From: Yanone Date: Fri, 16 Feb 2024 10:29:30 +0000 (+0100) Subject: Format HTML with new html formatter X-Git-Url: http://git.ipfire.org/gitweb/gitweb.cgi?a=commitdiff_plain;h=refs%2Fheads%2Fformat-html;p=thirdparty%2Fgoogle%2Ffonts.git Format HTML with new html formatter --- diff --git a/apache/aclonica/DESCRIPTION.en_us.html b/apache/aclonica/DESCRIPTION.en_us.html index 9909a828ff..c50a540a5d 100644 --- a/apache/aclonica/DESCRIPTION.en_us.html +++ b/apache/aclonica/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Aclonica is a strong and modern sans serif typeface with a slight deco/techno essence to it. Clean letterforms, a generous x-height for a friendlier feel and easily legible typestyle. Perfect for both display titling as well as body copy.

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+ Aclonica is a strong and modern sans serif typeface with a slight deco/techno essence to it. + Clean letterforms, a generous x-height for a friendlier feel and easily legible typestyle. + Perfect for both display titling as well as body copy. +

diff --git a/apache/arimo/DESCRIPTION.en_us.html b/apache/arimo/DESCRIPTION.en_us.html index 473aac0b62..44ee90c52f 100644 --- a/apache/arimo/DESCRIPTION.en_us.html +++ b/apache/arimo/DESCRIPTION.en_us.html @@ -1,8 +1,7 @@ -

Arimo was designed by Steve Matteson as an innovative, refreshing sans -serif design that is metrically compatible with Arial™. Arimo offers improved -on-screen readability characteristics and the pan-European WGL character set -and solves the needs of developers looking for width-compatible fonts to -address document portability across platforms.

- -

Updated in May 2013 with improved hinting and released under the -Apache 2.0 license.

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+ Arimo was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Arial™. + Arimo offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. +

+

+ Updated in May 2013 with improved hinting and released under the Apache 2.0 license. +

diff --git a/apache/calligraffitti/DESCRIPTION.en_us.html b/apache/calligraffitti/DESCRIPTION.en_us.html index dd8199a584..cfa7ca019f 100644 --- a/apache/calligraffitti/DESCRIPTION.en_us.html +++ b/apache/calligraffitti/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Calligraffitti by Open Window owes its credit to mom and all her years of Calligraphic experience. This impromptu rendering of her calligraphic alphabet captures her years or formal practice blended with a rare encounter with the mood altering music of Santana.

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+ Calligraffitti by Open Window owes its credit to mom and all her years of Calligraphic experience. + This impromptu rendering of her calligraphic alphabet captures her years or formal practice blended with a rare encounter with the mood altering music of Santana. +

diff --git a/apache/cherrycreamsoda/DESCRIPTION.en_us.html b/apache/cherrycreamsoda/DESCRIPTION.en_us.html index b8d3c53d9a..d5fc2ecdd3 100644 --- a/apache/cherrycreamsoda/DESCRIPTION.en_us.html +++ b/apache/cherrycreamsoda/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Cruise in to your favorite soda fountain and ask the jerk behind the counter to pull you a sweet red cherry cream soda! This extra wide sans-serif will take you back to the world of the 1950s teenager complete with bubbly enthusiasm and an optimistic outlook!

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+ Cruise in to your favorite soda fountain and ask the jerk behind the counter to pull you a sweet red cherry cream soda! + This extra wide sans-serif will take you back to the world of the 1950s teenager complete with bubbly enthusiasm and an optimistic outlook! +

diff --git a/apache/chewy/DESCRIPTION.en_us.html b/apache/chewy/DESCRIPTION.en_us.html index 93f7f008e3..f3b2974503 100644 --- a/apache/chewy/DESCRIPTION.en_us.html +++ b/apache/chewy/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-A font you can really sink your teeth into. -And unlike all those tasteless fonts, Chewy never loses its flavor! -Chewy is sealed for freshness in an easy-open package. -Be sure to sample Squid's other main courses and side dishes! + A font you can really sink your teeth into. + And unlike all those tasteless fonts, Chewy never loses its flavor! + Chewy is sealed for freshness in an easy-open package. + Be sure to sample Squid's other main courses and side dishes!

diff --git a/apache/comingsoon/DESCRIPTION.en_us.html b/apache/comingsoon/DESCRIPTION.en_us.html index 08c8a12ce9..8af97bbadf 100644 --- a/apache/comingsoon/DESCRIPTION.en_us.html +++ b/apache/comingsoon/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. Solid balance, masterful strokes, and just a touch of lemonade stand for good measure!

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+ Coming Soon by Open Window is based on the handwriting from mom when she was in 6th grade. + Solid balance, masterful strokes, and just a touch of lemonade stand for good measure! +

diff --git a/apache/cousine/DESCRIPTION.en_us.html b/apache/cousine/DESCRIPTION.en_us.html index 5124fe1245..15fdf395c1 100644 --- a/apache/cousine/DESCRIPTION.en_us.html +++ b/apache/cousine/DESCRIPTION.en_us.html @@ -1,5 +1,4 @@

-Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New™. -Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible -fonts to address document portability across platforms. + Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New™. + Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.

diff --git a/apache/craftygirls/DESCRIPTION.en_us.html b/apache/craftygirls/DESCRIPTION.en_us.html index afc8557e45..b76d8c91f9 100644 --- a/apache/craftygirls/DESCRIPTION.en_us.html +++ b/apache/craftygirls/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-Crafty Girls is inspired by crochet hooks, yarn, button boxes, thread, and glitter. -This delightfully playful casual handwriting script font was hand drawn by Crystal Kluge and makes the perfect compliment to all your projects. -Use it in your very best creative projects, then blog about them in the same font! + Crafty Girls is inspired by crochet hooks, yarn, button boxes, thread, and glitter. + This delightfully playful casual handwriting script font was hand drawn by Crystal Kluge and makes the perfect compliment to all your projects. + Use it in your very best creative projects, then blog about them in the same font!

diff --git a/apache/creepstercaps/DESCRIPTION.en_us.html b/apache/creepstercaps/DESCRIPTION.en_us.html index 8eb71d505c..7a4682605f 100644 --- a/apache/creepstercaps/DESCRIPTION.en_us.html +++ b/apache/creepstercaps/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

It's ghastly! It's gory! It's gruesomely gleeful! It's Creepster Caps, the blood-curdling new font from Squid and Sideshow. This fright-filled font has so many alternates it's like stitching together your own monster every time you use it. Creepster Caps: perfect for all of your grisly graphic needs!

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+ It's ghastly! + It's gory! + It's gruesomely gleeful! + It's Creepster Caps, the blood-curdling new font from Squid and Sideshow. + This fright-filled font has so many alternates it's like stitching together your own monster every time you use it. + Creepster Caps: perfect for all of your grisly graphic needs! +

diff --git a/apache/crushed/DESCRIPTION.en_us.html b/apache/crushed/DESCRIPTION.en_us.html index b8647fa653..6868863ccc 100644 --- a/apache/crushed/DESCRIPTION.en_us.html +++ b/apache/crushed/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Crushed was designed in 2010 as a headline and display typeface. Featuring a condensed body width and subtlely tapered vertical strokes, Crushed is a unicase design, tossing aside the traditional lowercase for one that matches the cap height. Though intended for display, Crushed actually looks great and reads well in text usage. The gentle taper of the stems add a certain class and the basic letterforms are modern and fresh.

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+ Crushed was designed in 2010 as a headline and display typeface. + Featuring a condensed body width and subtlely tapered vertical strokes, Crushed is a unicase design, tossing aside the traditional lowercase for one that matches the cap height. + Though intended for display, Crushed actually looks great and reads well in text usage. + The gentle taper of the stems add a certain class and the basic letterforms are modern and fresh. +

diff --git a/apache/fontdinerswanky/DESCRIPTION.en_us.html b/apache/fontdinerswanky/DESCRIPTION.en_us.html index 02377c1621..9d4e4a5fb0 100644 --- a/apache/fontdinerswanky/DESCRIPTION.en_us.html +++ b/apache/fontdinerswanky/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Atomic Age science meets ultra cool with this swingin' retro latin sharp serif font we call Fontdiner Swanky! Like the older much hipper brother of it's Loungy counterpart, Swanky brings his bolder style and charming good looks when it's time to really let the neighbors know you mean business!

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+ Atomic Age science meets ultra cool with this swingin' retro latin sharp serif font we call Fontdiner Swanky! + Like the older much hipper brother of it's Loungy counterpart, Swanky brings his bolder style and charming good looks when it's time to really let the neighbors know you mean business! +

diff --git a/apache/homemadeapple/DESCRIPTION.en_us.html b/apache/homemadeapple/DESCRIPTION.en_us.html index ee817f1de4..4563fe59f6 100644 --- a/apache/homemadeapple/DESCRIPTION.en_us.html +++ b/apache/homemadeapple/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-Nothing says down-home goodness like a delicious Homemade Apple pie. -For a good one, you have to make it yourself. -Should you find yourself lacking in the recipe department, use this beautifully drawn cursive handwriting script font to give a personal touch. + Nothing says down-home goodness like a delicious Homemade Apple pie. + For a good one, you have to make it yourself. + Should you find yourself lacking in the recipe department, use this beautifully drawn cursive handwriting script font to give a personal touch.

diff --git a/apache/irishgrover/DESCRIPTION.en_us.html b/apache/irishgrover/DESCRIPTION.en_us.html index 32a189ae86..0ced7def88 100644 --- a/apache/irishgrover/DESCRIPTION.en_us.html +++ b/apache/irishgrover/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Presenting Irish Grover! No, it's not a coveted new AKC breed. No, it's not a tasty seasonal pilsner. It's a fun, flamboyant, new display font by Squid that's way better than any of those possibilities. Sure and it's free for Pete's sake! And you can't say that about dogs or beer.

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+ Presenting Irish Grover! + No, it's not a coveted new AKC breed. + No, it's not a tasty seasonal pilsner. + It's a fun, flamboyant, new display font by Squid that's way better than any of those possibilities. + Sure and it's free for Pete's sake! + And you can't say that about dogs or beer. +

diff --git a/apache/jsmathcmbx10/DESCRIPTION.en_us.html b/apache/jsmathcmbx10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmbx10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmbx10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/jsmathcmex10/DESCRIPTION.en_us.html b/apache/jsmathcmex10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmex10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmex10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/jsmathcmmi10/DESCRIPTION.en_us.html b/apache/jsmathcmmi10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmmi10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmmi10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/jsmathcmr10/DESCRIPTION.en_us.html b/apache/jsmathcmr10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmr10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmr10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/jsmathcmsy10/DESCRIPTION.en_us.html b/apache/jsmathcmsy10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmsy10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmsy10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/jsmathcmti10/DESCRIPTION.en_us.html b/apache/jsmathcmti10/DESCRIPTION.en_us.html index 9cecbea9f4..282cc91b98 100644 --- a/apache/jsmathcmti10/DESCRIPTION.en_us.html +++ b/apache/jsmathcmti10/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

These are fonts to support the jsMath package. They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding.

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+ These are fonts to support the jsMath package. + They're based on data from the original Computer Modern fonts shipped with TeX, but with their own quirky encoding. +

diff --git a/apache/justanotherhand/DESCRIPTION.en_us.html b/apache/justanotherhand/DESCRIPTION.en_us.html index 9989225c92..4fb36e93f1 100644 --- a/apache/justanotherhand/DESCRIPTION.en_us.html +++ b/apache/justanotherhand/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

My personal handwriting has changed a number of times over the years. Just Another Hand is a narrow brush drawn handwriting font, inspired by the handwriting of my high school days. There's a little artistic license taken with Just Another Hand in the sense that while I never really wrote with a brush in high school, I wanted a cleaner stroke for this interpretation.

A little personality, a little restraint... a style that works for all sorts of projects across the board.

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+ My personal handwriting has changed a number of times over the years. + Just Another Hand is a narrow brush drawn handwriting font, inspired by the handwriting of my high school days. + There's a little artistic license taken with Just Another Hand in the sense that while I never really wrote with a brush in high school, I wanted a cleaner stroke for this interpretation. +

+

+ A little personality, a little restraint... + a style that works for all sorts of projects across the board. +

diff --git a/apache/kosugi/DESCRIPTION.en_us.html b/apache/kosugi/DESCRIPTION.en_us.html index 1041e7352d..30007a1159 100644 --- a/apache/kosugi/DESCRIPTION.en_us.html +++ b/apache/kosugi/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@

- Kosugi is a Gothic design, with low stroke contrast and monospaced metrics. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as "MotoyaLCedar W3 mono", it is now available under the name Kosugi. A Rounded version is available as Kosugi Maru. + Kosugi is a Gothic design, with low stroke contrast and monospaced metrics. + Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. + It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. + Originally available as "MotoyaLCedar W3 mono", it is now available under the name Kosugi. + A Rounded version is available as + + Kosugi Maru + + .

diff --git a/apache/kosugimaru/DESCRIPTION.en_us.html b/apache/kosugimaru/DESCRIPTION.en_us.html index 7a2cb70aa8..789944f781 100644 --- a/apache/kosugimaru/DESCRIPTION.en_us.html +++ b/apache/kosugimaru/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@

- Kosugi Maru is a Gothic Rounded design, with low stroke contrast and monospaced metrics, and rounded terminals. Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. Originally available as "MotoyaLMaru W3 mono", it is now available under the name Kosugi Maru. A regular gothic version is available as Kosugi. + Kosugi Maru is a Gothic Rounded design, with low stroke contrast and monospaced metrics, and rounded terminals. + Initially developed by MOTOYA and released for the Android platform under the Apache license, the typeface is based on a design from the 1950s. + It aims for beauty and readability, and evokes the Japanese cedar trees that have straight and thick trunks and branches. + Originally available as "MotoyaLMaru W3 mono", it is now available under the name Kosugi Maru. + A regular gothic version is available as + + Kosugi + + .

diff --git a/apache/kranky/DESCRIPTION.en_us.html b/apache/kranky/DESCRIPTION.en_us.html index b3559c0439..bab3221ae1 100644 --- a/apache/kranky/DESCRIPTION.en_us.html +++ b/apache/kranky/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Kranky is a hand-crafted, fun-filled font. + Kranky is a hand-crafted, fun-filled font.

diff --git a/apache/luckiestguy/DESCRIPTION.en_us.html b/apache/luckiestguy/DESCRIPTION.en_us.html index e9ecacb3d4..36402be4d5 100644 --- a/apache/luckiestguy/DESCRIPTION.en_us.html +++ b/apache/luckiestguy/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Luckiest Guy is a friendly heavyweight sans serif typeface inspired by 1950s advertisements with custom hand lettering. + Luckiest Guy is a friendly heavyweight sans serif typeface inspired by 1950s advertisements with custom hand lettering.

diff --git a/apache/maidenorange/DESCRIPTION.en_us.html b/apache/maidenorange/DESCRIPTION.en_us.html index 645a298594..b7df110dff 100644 --- a/apache/maidenorange/DESCRIPTION.en_us.html +++ b/apache/maidenorange/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-Maiden Orange is a light and festive slab serif font inspired by custom hand lettered 1950s advertisements. -Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. -From children's stories to the retro inspired, take Maiden Orange for a spin. + Maiden Orange is a light and festive slab serif font inspired by custom hand lettered 1950s advertisements. + Clean and legible, while also being offbeat and friendly, this font lends itself to a wide variety of uses. + From children's stories to the retro inspired, take Maiden Orange for a spin.

diff --git a/apache/montez/DESCRIPTION.en_us.html b/apache/montez/DESCRIPTION.en_us.html index c35135b6de..41c3896264 100644 --- a/apache/montez/DESCRIPTION.en_us.html +++ b/apache/montez/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Montezuma is a script font which draws inspiration from 1960s beauty product ads. Its sweeping strokes lend to a feel of joy and elegance, making it ideal for display uses that require a little drama, "joie de vivre" or Joy of Life. Best settings are at medium to large text sizes for optimal readability.

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+ Montezuma is a script font which draws inspiration from 1960s beauty product ads. + Its sweeping strokes lend to a feel of joy and elegance, making it ideal for display uses that require a little drama, "joie de vivre" or Joy of Life. + Best settings are at medium to large text sizes for optimal readability. +

diff --git a/apache/mountainsofchristmas/DESCRIPTION.en_us.html b/apache/mountainsofchristmas/DESCRIPTION.en_us.html index d2efd6ce22..e04797d0c8 100644 --- a/apache/mountainsofchristmas/DESCRIPTION.en_us.html +++ b/apache/mountainsofchristmas/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Ever wonder what font sugarplum fairies dream about? -Mountains of Christmas by the talented lettering artist Crystal Kluge is the perfect casual and playful serif font when you want to give your words a warm personal touch. + Ever wonder what font sugarplum fairies dream about? + Mountains of Christmas by the talented lettering artist Crystal Kluge is the perfect casual and playful serif font when you want to give your words a warm personal touch.

diff --git a/apache/opensanshebrew/DESCRIPTION.en_us.html b/apache/opensanshebrew/DESCRIPTION.en_us.html index 561b26f134..345755986c 100644 --- a/apache/opensanshebrew/DESCRIPTION.en_us.html +++ b/apache/opensanshebrew/DESCRIPTION.en_us.html @@ -1,9 +1,10 @@ -

Open Sans Hebrew was designed by Yanek Iontef as an extension of the a -Latin humanist sans serif typeface designed by Steve Matteson. Open Sans has -an upright stress, open forms and a neutral, yet friendly appearance. It was -optimized for print, web, and mobile interfaces, and has excellent legibility -characteristics in its letterforms.

- -

This is the normal width family. It has Regular, Bold, Light and ExtraBold -weights in upright and slanted styles, and is unhinted. There is also a -condensed width family.

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+ Open Sans Hebrew was designed by Yanek Iontef as an extension of the a Latin humanist sans serif typeface designed by Steve Matteson. + Open Sans has an upright stress, open forms and a neutral, yet friendly appearance. + It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. +

+

+ This is the normal width family. + It has Regular, Bold, Light and ExtraBold weights in upright and slanted styles, and is unhinted. + There is also a condensed width family. +

diff --git a/apache/opensanshebrewcondensed/DESCRIPTION.en_us.html b/apache/opensanshebrewcondensed/DESCRIPTION.en_us.html index b71fef52ff..7819bac91c 100644 --- a/apache/opensanshebrewcondensed/DESCRIPTION.en_us.html +++ b/apache/opensanshebrewcondensed/DESCRIPTION.en_us.html @@ -1,9 +1,10 @@ -

Open Sans Hebrew was designed by Yanek Iontef as an extension of the a -Latin humanist sans serif typeface designed by Steve Matteson. Open Sans has -an upright stress, open forms and a neutral, yet friendly appearance. It was -optimized for print, web, and mobile interfaces, and has excellent legibility -characteristics in its letterforms.

- -

This is the condensed width family. It has Regular, Bold, Light and -ExtraBold weights in upright and slanted styles, and is unhinted. There is -also a normal width family.

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+ Open Sans Hebrew was designed by Yanek Iontef as an extension of the a Latin humanist sans serif typeface designed by Steve Matteson. + Open Sans has an upright stress, open forms and a neutral, yet friendly appearance. + It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. +

+

+ This is the condensed width family. + It has Regular, Bold, Light and ExtraBold weights in upright and slanted styles, and is unhinted. + There is also a normal width family. +

diff --git a/apache/permanentmarker/DESCRIPTION.en_us.html b/apache/permanentmarker/DESCRIPTION.en_us.html index 076e76fdb9..38f2638339 100644 --- a/apache/permanentmarker/DESCRIPTION.en_us.html +++ b/apache/permanentmarker/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Permanent Marker represents the look and feel of a favorite writing instrument. + Permanent Marker represents the look and feel of a favorite writing instrument.

diff --git a/apache/rancho/DESCRIPTION.en_us.html b/apache/rancho/DESCRIPTION.en_us.html index a0d6617dde..98d2422fdf 100644 --- a/apache/rancho/DESCRIPTION.en_us.html +++ b/apache/rancho/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Rancho is a comfortable brush script typeface that works just as well in a barn or at the country club. + Rancho is a comfortable brush script typeface that works just as well in a barn or at the country club.

diff --git a/apache/redressed/DESCRIPTION.en_us.html b/apache/redressed/DESCRIPTION.en_us.html index 1f6c077378..a17948dfb8 100644 --- a/apache/redressed/DESCRIPTION.en_us.html +++ b/apache/redressed/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Redressed is a medium weight typeface which blends script and italic letterforms together in an upright non-connecting style. Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy.

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+ Redressed is a medium weight typeface which blends script and italic letterforms together in an upright non-connecting style. + Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. +

diff --git a/apache/robotomono/DESCRIPTION.en_us.html b/apache/robotomono/DESCRIPTION.en_us.html index eb6ba3a2e3..b2c7d296da 100644 --- a/apache/robotomono/DESCRIPTION.en_us.html +++ b/apache/robotomono/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Roboto Mono is a monospaced addition to the Roboto type family. -Like the other members of the Roboto family, the fonts are optimized for readability on screens across a wide variety of devices and reading environments. -While the monospaced version is related to its variable width cousin, it doesn’t hesitate to change forms to better fit the constraints of a monospaced environment. -For example, narrow glyphs like ‘I’, ‘l’ and ‘i’ have added serifs for more even texture while wider glyphs are adjusted for weight. -Curved caps like ‘C’ and ‘O’ take on the straighter sides from Roboto Condensed. + Roboto Mono is a monospaced addition to the + + Roboto + + type family. + Like the other members of the Roboto family, the fonts are optimized for readability on screens across a wide variety of devices and reading environments. + While the monospaced version is related to its variable width cousin, it doesn’t hesitate to change forms to better fit the constraints of a monospaced environment. + For example, narrow glyphs like ‘I’, ‘l’ and ‘i’ have added serifs for more even texture while wider glyphs are adjusted for weight. + Curved caps like ‘C’ and ‘O’ take on the straighter sides from Roboto Condensed.

-

-Special consideration is given to glyphs important for reading and writing software source code. -Letters with similar shapes are easy to tell apart. -Digit ‘1’, lowercase ‘l’ and capital ‘I’ are easily differentiated as are zero and the letter ‘O’. -Punctuation important for code has also been considered. -For example, the curly braces ‘{ }’ have exaggerated points to clearly differentiate them from parenthesis ‘( )’ and braces ‘[ ]’. -Periods and commas are also exaggerated to identify them more quickly. -The scale and weight of symbols commonly used as operators have also been optimized. + Special consideration is given to glyphs important for reading and writing software source code. + Letters with similar shapes are easy to tell apart. + Digit ‘1’, lowercase ‘l’ and capital ‘I’ are easily differentiated as are zero and the letter ‘O’. + Punctuation important for code has also been considered. + For example, the curly braces ‘{ }’ have exaggerated points to clearly differentiate them from parenthesis ‘( )’ and braces ‘[ ]’. + Periods and commas are also exaggerated to identify them more quickly. + The scale and weight of symbols commonly used as operators have also been optimized.

diff --git a/apache/robotoslab/DESCRIPTION.en_us.html b/apache/robotoslab/DESCRIPTION.en_us.html index 92c3d314f0..3e392a32ce 100644 --- a/apache/robotoslab/DESCRIPTION.en_us.html +++ b/apache/robotoslab/DESCRIPTION.en_us.html @@ -1,14 +1,28 @@ -

Roboto has a dual nature. It has a mechanical skeleton and the forms are -largely geometric. At the same time, the font features friendly and open -curves. While some grotesks distort their letterforms to force a rigid rhythm, -Roboto doesn’t compromise, allowing letters to be settled into their natural -width. This makes for a more natural reading rhythm more commonly found in -humanist and serif types.

- -

This is the Roboto Slab family, which can be used alongside the normal -Roboto family and the -Roboto Condensed family.

- -

In November 2019, the family was updated with a variable font "Weight" axis.

- -

To contribute, see github.com/googlefonts/robotoslab.

+

+ Roboto has a dual nature. + It has a mechanical skeleton and the forms are largely geometric. + At the same time, the font features friendly and open curves. + While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. + This makes for a more natural reading rhythm more commonly found in humanist and serif types. +

+

+ This is the Roboto Slab family, which can be used alongside the normal + + Roboto + + family and the + + Roboto Condensed + + family. +

+

+ In November 2019, the family was updated with a variable font "Weight" axis. +

+

+ To contribute, see + + github.com/googlefonts/robotoslab + + . +

diff --git a/apache/rochester/DESCRIPTION.en_us.html b/apache/rochester/DESCRIPTION.en_us.html index d14570f22d..f7967ab8ed 100644 --- a/apache/rochester/DESCRIPTION.en_us.html +++ b/apache/rochester/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

On the town with the latest sensation they call Rochester! This dapper fresh face is dressed to the nines and ready for action! Inspired by elegant calligraphic forms from the early age of Victorian and Art Deco, Rochester is the perfect selection when you want to add a touch of class or a smart looking formal style to any correspondence or memorandum!

\ No newline at end of file +

+ On the town with the latest sensation they call Rochester! + This dapper fresh face is dressed to the nines and ready for action! + Inspired by elegant calligraphic forms from the early age of Victorian and Art Deco, Rochester is the perfect selection when you want to add a touch of class or a smart looking formal style to any correspondence or memorandum! +

diff --git a/apache/rocksalt/DESCRIPTION.en_us.html b/apache/rocksalt/DESCRIPTION.en_us.html index 57c4e57061..f637f2271c 100644 --- a/apache/rocksalt/DESCRIPTION.en_us.html +++ b/apache/rocksalt/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Rock Salt was hand-crafted with felt-tip markers for a personal look you can pepper throughout your next project. + Rock Salt was hand-crafted with felt-tip markers for a personal look you can pepper throughout your next project.

diff --git a/apache/satisfy/DESCRIPTION.en_us.html b/apache/satisfy/DESCRIPTION.en_us.html index 152e6902a2..cafb8e96e5 100644 --- a/apache/satisfy/DESCRIPTION.en_us.html +++ b/apache/satisfy/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Looking for a brush script with a little pizazz? This new Sideshow typeface will fill the bill! Satisfy gives you the look of a timeless classic with a unique modern flair. Download this font by designer Squid and you'll be satisfied!

\ No newline at end of file +

+ Looking for a brush script with a little pizazz? + This new Sideshow typeface will fill the bill! + Satisfy gives you the look of a timeless classic with a unique modern flair. + Download this font by designer Squid and you'll be satisfied! +

diff --git a/apache/schoolbell/DESCRIPTION.en_us.html b/apache/schoolbell/DESCRIPTION.en_us.html index a9d9d0cd12..dc3c46b881 100644 --- a/apache/schoolbell/DESCRIPTION.en_us.html +++ b/apache/schoolbell/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Do you hear it? It's the sweet sound that let's you know when it's time to eat lunch in the cafeteria, head out to recess, or hop on the bus to head home! It's Schoolbell, the delightfully playful handwriting font from the finest lettering artist in the 2nd Grade!

\ No newline at end of file +

+ Do you hear it? + It's the sweet sound that let's you know when it's time to eat lunch in the cafeteria, head out to recess, or hop on the bus to head home! + It's Schoolbell, the delightfully playful handwriting font from the finest lettering artist in the 2nd Grade! +

diff --git a/apache/slackey/DESCRIPTION.en_us.html b/apache/slackey/DESCRIPTION.en_us.html index 3d6c4bc43b..cf210a3fb3 100644 --- a/apache/slackey/DESCRIPTION.en_us.html +++ b/apache/slackey/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Don't let the name fool you! Slackey really pulls its weight when you need a fun, chunky display font. So next time you have a weighty headlining chore to do, let Slackey do all the heavy lifting! Designed with a good work ethic and plenty of manual labor by Squid.

\ No newline at end of file +

+ Don't let the name fool you! + Slackey really pulls its weight when you need a fun, chunky display font. + So next time you have a weighty headlining chore to do, let Slackey do all the heavy lifting! + Designed with a good work ethic and plenty of manual labor by Squid. +

diff --git a/apache/smokum/DESCRIPTION.en_us.html b/apache/smokum/DESCRIPTION.en_us.html index d995815abb..a72069d3aa 100644 --- a/apache/smokum/DESCRIPTION.en_us.html +++ b/apache/smokum/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Smokum is a western inspired slab-serif font with a little playful swagger to it. It's perfect for headlines and display uses that require a little loosened up country flair, but because of the contrast of thicks and thins, it will perform best as a WebFont at medium to large point sizes.

\ No newline at end of file +

+ Smokum is a western inspired slab-serif font with a little playful swagger to it. + It's perfect for headlines and display uses that require a little loosened up country flair, but because of the contrast of thicks and thins, it will perform best as a WebFont at medium to large point sizes. +

diff --git a/apache/specialelite/DESCRIPTION.en_us.html b/apache/specialelite/DESCRIPTION.en_us.html index 40ce721d03..3621baf4a9 100644 --- a/apache/specialelite/DESCRIPTION.en_us.html +++ b/apache/specialelite/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-Special Elite mimics the Smith Corona Special Elite Type Number NR6 and Remington Noiseless typewriter models. + Special Elite mimics the Smith Corona Special Elite Type Number NR6 and Remington Noiseless typewriter models.

-A little bit of inked up grunge and a little old school analog flavor work together to give you a vintage typewriter typeface for your website and designs. + A little bit of inked up grunge and a little old school analog flavor work together to give you a vintage typewriter typeface for your website and designs.

diff --git a/apache/sunshiney/DESCRIPTION.en_us.html b/apache/sunshiney/DESCRIPTION.en_us.html index 825fd827be..9664aaf466 100644 --- a/apache/sunshiney/DESCRIPTION.en_us.html +++ b/apache/sunshiney/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Sunshiney is a little a ray of hand-crafted goodness that can lighten up the dreariest of domains. + Sunshiney is a little a ray of hand-crafted goodness that can lighten up the dreariest of domains.

diff --git a/apache/syncopate/DESCRIPTION.en_us.html b/apache/syncopate/DESCRIPTION.en_us.html index 3c6d326999..46e0b23f9b 100644 --- a/apache/syncopate/DESCRIPTION.en_us.html +++ b/apache/syncopate/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Syncopate was designed in 2010 as a headline and display typeface.

Light in weight with a wide body width, it is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. This motif allows for a vast array of setting possibilities.

Though intended for display, Syncopate does work well for limited text runs. The letter forms are a modern and stylish sans serif inspired by the many trendy sans serif typefaces that are so prevalent today. The lighter weight and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh.

A true bold was added in April 2011.

\ No newline at end of file +

+ Syncopate was designed in 2010 as a headline and display typeface. +

+

+ Light in weight with a wide body width, it is a unicase design where the traditional lowercase x-height has been abandoned and a single uppercase height rules the design of all of the alpha and numeric glyphs. + Some uppercase glyphs are copied to their lowercase slots, where other lowercase glyphs such as the a, e, and r, are scaled up to uppercase heights. + This motif allows for a vast array of setting possibilities. +

+

+ Though intended for display, Syncopate does work well for limited text runs. + The letter forms are a modern and stylish sans serif inspired by the many trendy sans serif typefaces that are so prevalent today. + The lighter weight and wide body impart a certain level of elegance, while the unicase approach keeps the look lively and fresh. +

+

+ A true bold was added in April 2011. +

diff --git a/apache/tinos/DESCRIPTION.en_us.html b/apache/tinos/DESCRIPTION.en_us.html index 0021d0a29d..9cfdd3e470 100644 --- a/apache/tinos/DESCRIPTION.en_us.html +++ b/apache/tinos/DESCRIPTION.en_us.html @@ -1,8 +1,7 @@ -

Tinos was designed by Steve Matteson as an innovative, refreshing serif -design that is metrically compatible with Times New Roman™. Tinos offers -improved on-screen readability characteristics and the pan-European WGL -character set and solves the needs of developers looking for width-compatible -fonts to address document portability across platforms.

- -

Updated in May 2013 with improved hinting and released under the -Apache 2.0 license.

\ No newline at end of file +

+ Tinos was designed by Steve Matteson as an innovative, refreshing serif design that is metrically compatible with Times New Roman™. + Tinos offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms. +

+

+ Updated in May 2013 with improved hinting and released under the Apache 2.0 license. +

diff --git a/apache/ultra/DESCRIPTION.en_us.html b/apache/ultra/DESCRIPTION.en_us.html index b12ec54078..0de15423da 100644 --- a/apache/ultra/DESCRIPTION.en_us.html +++ b/apache/ultra/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Ultra is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. Strong and dramatic letterforms for titling, a serious, yet friendly, and easily legible typestyle. Perfect for power headlines and titling for impact.

\ No newline at end of file +

+ Ultra is an ultra bold slab typeface with nods to wood type styles like Clarendon and Egyptian. + Strong and dramatic letterforms for titling, a serious, yet friendly, and easily legible typestyle. + Perfect for power headlines and titling for impact. +

diff --git a/apache/unkempt/DESCRIPTION.en_us.html b/apache/unkempt/DESCRIPTION.en_us.html index 45f90429a4..8653f5280c 100644 --- a/apache/unkempt/DESCRIPTION.en_us.html +++ b/apache/unkempt/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Unkempt is lacking in order and neatness, and began with hand-lettering. -This off-kilter gem is definitely different than a traditional regimented typeface. + Unkempt is lacking in order and neatness, and began with hand-lettering. + This off-kilter gem is definitely different than a traditional regimented typeface.

diff --git a/apache/walterturncoat/DESCRIPTION.en_us.html b/apache/walterturncoat/DESCRIPTION.en_us.html index 3702903b7f..465e6163fa 100644 --- a/apache/walterturncoat/DESCRIPTION.en_us.html +++ b/apache/walterturncoat/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Contrary to popular lore, Walter Turncoat was NOT a traitor executed during the Revolutionary War. Actually, Walter spent his days carefully executing new typefaces doing his part to help establish a free press! Ever the patriot, Squid honors old Walter with this spiffy font sure to bring out the Yankee Doodle in you.

* All characters described above are fictitious with the possible exception of Squid, whose existence remains an ongoing debate. Nevertheless you should check out his other fonts.

\ No newline at end of file +

+ Contrary to popular lore, Walter Turncoat was NOT a traitor executed during the Revolutionary War. + Actually, Walter spent his days carefully executing new typefaces doing his part to help establish a free press! + Ever the patriot, Squid honors old Walter with this spiffy font sure to bring out the Yankee Doodle in you. +

+

+ * All characters described above are fictitious with the possible exception of Squid, whose existence remains an ongoing debate. + Nevertheless you should check out his other fonts. +

diff --git a/apache/yellowtail/DESCRIPTION.en_us.html b/apache/yellowtail/DESCRIPTION.en_us.html index 88ce229947..37768aec41 100644 --- a/apache/yellowtail/DESCRIPTION.en_us.html +++ b/apache/yellowtail/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Yellowtail is an old school flavored flat brush script typeface of medium weight. It's mix of connecting and non-connecting letterforms lend to its unique look and legibility. Yellowtail nods to classic 1930's typestyles like Gillies Gothic & Kaufmann, yet has the loose visual cadence of sign painter scripts.

\ No newline at end of file +

+ Yellowtail is an old school flavored flat brush script typeface of medium weight. + It's mix of connecting and non-connecting letterforms lend to its unique look and legibility. + Yellowtail nods to classic 1930's typestyles like Gillies Gothic & Kaufmann, yet has the loose visual cadence of sign painter scripts. +

diff --git a/ofl/abeezee/DESCRIPTION.en_us.html b/ofl/abeezee/DESCRIPTION.en_us.html index 4acc5b4fe4..f93ec94d33 100644 --- a/ofl/abeezee/DESCRIPTION.en_us.html +++ b/ofl/abeezee/DESCRIPTION.en_us.html @@ -1,6 +1,19 @@ -

ABeeZee is a children's learning font. Open, friendly and simple, the -definite shapes support the process of learning to read and write. The -italic carefully reminds young readers of fluent writing movements -and inspires them to create their own unique handwriting.

-

Learn more at carrois.com.

-

To contribute, see github.com/googlefonts/abeezee.

+

+ ABeeZee is a children's learning font. + Open, friendly and simple, the definite shapes support the process of learning to read and write. + The italic carefully reminds young readers of fluent writing movements and inspires them to create their own unique handwriting. +

+

+ Learn more at + + carrois.com + + . +

+

+ To contribute, see + + github.com/googlefonts/abeezee + + . +

diff --git a/ofl/abel/DESCRIPTION.en_us.html b/ofl/abel/DESCRIPTION.en_us.html index 2d7b56deea..f0d250fcce 100644 --- a/ofl/abel/DESCRIPTION.en_us.html +++ b/ofl/abel/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Abel is a modern interpretation of the condensed flat-sided sans serif. Originally used for newspaper headlines and posters, this style can also be used for text on the web. Its angled terminals and spiked stems give it enough style to be unique at display sizes, while its mono-weight still works well at smaller text sizes.

Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com

\ No newline at end of file +

+ Abel is a modern interpretation of the condensed flat-sided sans serif. + Originally used for newspaper headlines and posters, this style can also be used for text on the web. + Its angled terminals and spiked stems give it enough style to be unique at display sizes, while its mono-weight still works well at smaller text sizes. +

+

+ Documentation can be found at + + www.madtype.com + + and to contribute to the project contact Matthew Desmond at + + mattdesmond@gmail.com + +

diff --git a/ofl/abhayalibre/DESCRIPTION.en_us.html b/ofl/abhayalibre/DESCRIPTION.en_us.html index 01f31d2f25..be5ab029c3 100644 --- a/ofl/abhayalibre/DESCRIPTION.en_us.html +++ b/ofl/abhayalibre/DESCRIPTION.en_us.html @@ -1,20 +1,35 @@

-Abhaya Libre is the unicode compliant, complete libre version of the most widely used Sinhala typeface ‘FM Abhaya’ and includes Sinhala and Latin support. -Designed in 1996, ‘FM Abhaya’ is an interpretation of the Sinhala letterpress typefaces from 1960s. -The name ‘Abhaya’ is derived from the King Abhaya (474 BCE to 454 BCE) who reigned Sri Lanka from the ancient kingdom of Upatissa Nuwara. + Abhaya Libre is the unicode compliant, complete libre version of the most widely used Sinhala typeface ‘FM Abhaya’ and includes Sinhala and Latin support. + Designed in 1996, ‘FM Abhaya’ is an interpretation of the Sinhala letterpress typefaces from 1960s. + The name ‘Abhaya’ is derived from the King Abhaya (474 BCE to 454 BCE) who reigned Sri Lanka from the ancient kingdom of Upatissa Nuwara.

-‘Abhaya Libre’ was completely redrawn from scratch based on FM Abhaya to comply with modern day usages in terms of web, tab and smaller sizes for smartphones. -Available in 5 weights, Abhaya Libre enables designers to build sophisticated typographic layouts by using lighter weights for body text and heavier weights for headlines and subheadings. -Each of these weights contains 925 glyphs that enables clean and precise rendering for Sinhala, Pali and Sanskrit texts. -Compact ‘Da’ forms can be enabled by using stylistic sets. -The Latin characters, that match the aesthetics of ‘Abhaya Libre Sinhala’, which was inspired by the style of the original Sinhala with an eminent contrast between distinctive strokes that go from thick to thin and was further modified to co-exist with the visual logics of Latin typefaces. -The ductus references according to the lines of a Didone typeface add a touch of Sinhala form to certain terminations. -Large counters have been added along with small ascenders and descenders for optimized screen viewing. + ‘Abhaya Libre’ was completely redrawn from scratch based on FM Abhaya to comply with modern day usages in terms of web, tab and smaller sizes for smartphones. + Available in 5 weights, Abhaya Libre enables designers to build sophisticated typographic layouts by using lighter weights for body text and heavier weights for headlines and subheadings. + Each of these weights contains 925 glyphs that enables clean and precise rendering for Sinhala, Pali and Sanskrit texts. + Compact ‘Da’ forms can be enabled by using stylistic sets. + The Latin characters, that match the aesthetics of ‘Abhaya Libre Sinhala’, which was inspired by the style of the original Sinhala with an eminent contrast between distinctive strokes that go from thick to thin and was further modified to co-exist with the visual logics of Latin typefaces. + The ductus references according to the lines of a Didone typeface add a touch of Sinhala form to certain terminations. + Large counters have been added along with small ascenders and descenders for optimized screen viewing.

-The project is led by Mooniak, a small type foundry based in Colombo, Sri Lanka, in collaboration with Pushpananda Ekanayake. -The Latin part is designed by Sol Matas. -Initial development and release was funded by Google Fonts in 2015. -For more information and updates, or to report any bugs or suggestions, see github.com/mooniak/abhaya-libre-font + The project is led by + + Mooniak + + , a small type foundry based in Colombo, Sri Lanka, in collaboration with + + Pushpananda Ekanayake + + . + The Latin part is designed by + + Sol Matas + + . + Initial development and release was funded by Google Fonts in 2015. + For more information and updates, or to report any bugs or suggestions, see + + github.com/mooniak/abhaya-libre-font +

diff --git a/ofl/aboreto/DESCRIPTION.en_us.html b/ofl/aboreto/DESCRIPTION.en_us.html index afa8a2a3f3..4f1ae2a6bc 100644 --- a/ofl/aboreto/DESCRIPTION.en_us.html +++ b/ofl/aboreto/DESCRIPTION.en_us.html @@ -1,7 +1,16 @@ -

Aboreto is a display typeface based on early renaissance majuscule alphabet done by Luca della Robbia, a 15th century Florentine sculptor. The typeface is not a straightforward digitalization (it even couldn’t be as the early Latin alphabet didn’t include all the letters we use today) but more of a revival which keeps current needs and technologies in mind.

- -

Aboreto has vertical stress, a feature more typical of later-century typefaces. Another uniqueness lies in the construction, because it is essentially a sans-serif typeface that has only occasional indication of serifs – either via the “hidden” serifs caused by stroke tapering or by slightly thickening the stroke endings. - -Aboreto comes in one weight - a high contrast regular that is on the thinner side.

- -

To contribute, see github.com/domija/Aboreto.

+

+ Aboreto is a display typeface based on early renaissance majuscule alphabet done by Luca della Robbia, a 15th century Florentine sculptor. + The typeface is not a straightforward digitalization (it even couldn’t be as the early Latin alphabet didn’t include all the letters we use today) but more of a revival which keeps current needs and technologies in mind. +

+

+ Aboreto has vertical stress, a feature more typical of later-century typefaces. + Another uniqueness lies in the construction, because it is essentially a sans-serif typeface that has only occasional indication of serifs – either via the “hidden” serifs caused by stroke tapering or by slightly thickening the stroke endings. + Aboreto comes in one weight - a high contrast regular that is on the thinner side. +

+

+ To contribute, see + + github.com/domija/Aboreto + + . +

diff --git a/ofl/abrilfatface/DESCRIPTION.en_us.html b/ofl/abrilfatface/DESCRIPTION.en_us.html index bd2525aa4f..a5e439a92a 100644 --- a/ofl/abrilfatface/DESCRIPTION.en_us.html +++ b/ofl/abrilfatface/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Abril Fatface is part of a bigger type family system, Abril, which includes 18 styles for all Display and Text uses. The titling weights are a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page to attract reader attention with measured tension by its curves, good color and high contrast.

Abril Fatface in particular is inspired by the heavy titling fonts used in advertising posters in 19th century Britain and France. The thin serifs and clean curves lend the typeface a refined touch that give any headline an elegant appearance. The Extended Latin character set supports over 50 languages, including those from Central and Northern Europe.

Abril is designed by TypeTogether - Veronika Burian & José Scaglione. The additional weights of Abril can be seen at www.type-together.com/Abril

\ No newline at end of file +

+ Abril Fatface is part of a bigger type family system, Abril, which includes 18 styles for all Display and Text uses. + The titling weights are a contemporary revamp of classic Didone styles, display both neutrality and strong presence on the page to attract reader attention with measured tension by its curves, good color and high contrast. +

+

+ Abril Fatface in particular is inspired by the heavy titling fonts used in advertising posters in 19th century Britain and France. + The thin serifs and clean curves lend the typeface a refined touch that give any headline an elegant appearance. + The Extended Latin character set supports over 50 languages, including those from Central and Northern Europe. +

+

+ Abril is designed by TypeTogether - Veronika Burian & José Scaglione. + The additional weights of Abril can be seen at + + www.type-together.com/Abril + +

diff --git a/ofl/abyssinicasil/DESCRIPTION.en_us.html b/ofl/abyssinicasil/DESCRIPTION.en_us.html index 7d7e0915c0..0b04fbd7ba 100644 --- a/ofl/abyssinicasil/DESCRIPTION.en_us.html +++ b/ofl/abyssinicasil/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@ -

-Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages. -

-

-For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, scripts.sil.org/AbyssinicaSIL -

-

To contribute, see github.com/silnrsi/font-abyssinica

+

+ Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages. +

+

+ For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, + + scripts.sil.org/AbyssinicaSIL + +

+

+ To contribute, see + + github.com/silnrsi/font-abyssinica + +

diff --git a/ofl/acme/DESCRIPTION.en_us.html b/ofl/acme/DESCRIPTION.en_us.html index 921ada88af..27da3029ec 100644 --- a/ofl/acme/DESCRIPTION.en_us.html +++ b/ofl/acme/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Acme is a condensed display typeface inspired by the visual language of classic cartoons and comics. It is designed to be used in headlines, and has a particular and groovy rhythm. The resulting texts are vivid but consistent, and its expressive characteristics work as well on screen as in print. The glyphs were each carefully designed, with top curve quality. It is well balanced, and carefully spaced by eye.

Designed by Juan Pablo del Peral for Huerta Tipográfica.

+

+ Acme is a condensed display typeface inspired by the visual language of classic cartoons and comics. + It is designed to be used in headlines, and has a particular and groovy rhythm. + The resulting texts are vivid but consistent, and its expressive characteristics work as well on screen as in print. + The glyphs were each carefully designed, with top curve quality. + It is well balanced, and carefully spaced by eye. +

+

+ Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + . +

diff --git a/ofl/actor/DESCRIPTION.en_us.html b/ofl/actor/DESCRIPTION.en_us.html index a2db7a7f9a..44627694e9 100644 --- a/ofl/actor/DESCRIPTION.en_us.html +++ b/ofl/actor/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

A diploma thesis project from the Aachen University of Applied Sciences at Karl-Friedrich (Kai) Oetzbach. The font originated in a course in type design. The idea was to learn through the creation of a typeface about writing as an information carrier. It was created entirely digitally, so the path to the current version is very rocky and winding.

Actor has a strong x-height, which is why it always requires a fairly high line spacing. The digits of Actor are created as old style figures. The forms of 6 and 9 are more dynamic and more tense than usual. The 8 has significantly shifted interiors and the 7 is slightly curved to the left.

\ No newline at end of file +

+ A diploma thesis project from the Aachen University of Applied Sciences at Karl-Friedrich (Kai) Oetzbach. + The font originated in a course in type design. + The idea was to learn through the creation of a typeface about writing as an information carrier. + It was created entirely digitally, so the path to the current version is very rocky and winding. +

+

+ Actor has a strong x-height, which is why it always requires a fairly high line spacing. + The digits of Actor are created as old style figures. + The forms of 6 and 9 are more dynamic and more tense than usual. + The 8 has significantly shifted interiors and the 7 is slightly curved to the left. +

diff --git a/ofl/adamina/DESCRIPTION.en_us.html b/ofl/adamina/DESCRIPTION.en_us.html index 2955a5c699..d159d705d3 100644 --- a/ofl/adamina/DESCRIPTION.en_us.html +++ b/ofl/adamina/DESCRIPTION.en_us.html @@ -1,15 +1,21 @@

-Adamina is a typeface designed for text setting in small sizes. -For this purpose the x-height is increased and contrast lowered. -Proportions are transitional and compact. -Refined design features like one-sided flaring and asymmetrical serifs are there to provide a pleasant reading experience. + Adamina is a typeface designed for text setting in small sizes. + For this purpose the x-height is increased and contrast lowered. + Proportions are transitional and compact. + Refined design features like one-sided flaring and asymmetrical serifs are there to provide a pleasant reading experience.

-Designed by Alexei Vanyashin for Cyreal. + Designed by Alexei Vanyashin for Cyreal.

-To contribute to the project, visit github.com/cyrealtype/Adamina + To contribute to the project, visit + + github.com/cyrealtype/Adamina +

-Updated: January 2016 to Version 1.012, to correct GPOS table (enabling kerning.) + + Updated: + + January 2016 to Version 1.012, to correct GPOS table (enabling kerning.)

diff --git a/ofl/adlamdisplay/DESCRIPTION.en_us.html b/ofl/adlamdisplay/DESCRIPTION.en_us.html index 01b43d9d53..a8bb366fc9 100644 --- a/ofl/adlamdisplay/DESCRIPTION.en_us.html +++ b/ofl/adlamdisplay/DESCRIPTION.en_us.html @@ -1,7 +1,11 @@

- To help address the lack of display typefaces for the ADLaM script, invented by Ibrahima and Abdoulaye Barry, Microsoft commissioned three renowned type designers Neil Patel, Mark Jamra, and Andrew Footit to create ADLaM Display. The team created the font by taking inspiration from the spots, triangles, lozenges and chevrons patterns found in traditional khasas (blankets), Wodaabe (hats), and textiles of the Fulani culture. + To help address the lack of display typefaces for the ADLaM script, invented by Ibrahima and Abdoulaye Barry, Microsoft commissioned three renowned type designers Neil Patel, Mark Jamra, and Andrew Footit to create ADLaM Display. + The team created the font by taking inspiration from the spots, triangles, lozenges and chevrons patterns found in traditional khasas (blankets), Wodaabe (hats), and textiles of the Fulani culture.

- To contribute, please visit https://github.com/microsoft/ADLaM-Display. -

\ No newline at end of file + To contribute, please visit + + https://github.com/microsoft/ADLaM-Display + + . +

diff --git a/ofl/adobeblank/DESCRIPTION.en_us.html b/ofl/adobeblank/DESCRIPTION.en_us.html index 6e30e1ea1a..6c26d8069d 100644 --- a/ofl/adobeblank/DESCRIPTION.en_us.html +++ b/ofl/adobeblank/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Adobe Blank is a special-purpose OpenType font that is based on the Adobe-Identity-0 ROS. -(ROS stands for /Registry, /Ordering, and /Supplement, and refers to the /CIDSystemInfo dictionary entries that define the glyph set name for CID-based character collections.) -The Adobe-Identity-0 ROS is a special-purpose character collection whose use is not tied to a specific language, and Adobe Blank 2 is a special-purpose OpenType font that is intended to render all Unicode code points using non-spacing and non-marking glyphs, thus the reason why the Adobe-Identity-0 ROS was chosen as the basis for this OpenType font. + Adobe Blank is a special-purpose OpenType font that is based on the Adobe-Identity-0 ROS. + (ROS stands for /Registry, /Ordering, and /Supplement, and refers to the /CIDSystemInfo dictionary entries that define the glyph set name for CID-based character collections.) The Adobe-Identity-0 ROS is a special-purpose character collection whose use is not tied to a specific language, and Adobe Blank 2 is a special-purpose OpenType font that is intended to render all Unicode code points using non-spacing and non-marking glyphs, thus the reason why the Adobe-Identity-0 ROS was chosen as the basis for this OpenType font.

-Adobe Blank maps 1,111,998 Unicode code points to 2,048 non-spacing and non-marking glyphs (CIDs 1 through 2048). -The 2,048 High and Low Surrogates (U+D800 through U+DFFF), the two noncharacters in the BMP and in each of the 16 Supplementary Planes (FFFE and FFFF), and the 32 noncharacters in the range U+FDD0 through U+FDEF are explicitly and intentionally excluded. -As a fully-functional OpenType font, the following 10 'sfnt' tables are included in an OTF format version of the font: CFF, DSIG, OS/2, cmap, head, hhea, hmtx, maxp, name, and post. + Adobe Blank maps 1,111,998 Unicode code points to 2,048 non-spacing and non-marking glyphs (CIDs 1 through 2048). + The 2,048 High and Low Surrogates (U+D800 through U+DFFF), the two noncharacters in the BMP and in each of the 16 Supplementary Planes (FFFE and FFFF), and the 32 noncharacters in the range U+FDD0 through U+FDEF are explicitly and intentionally excluded. + As a fully-functional OpenType font, the following 10 'sfnt' tables are included in an OTF format version of the font: CFF, DSIG, OS/2, cmap, head, hhea, hmtx, maxp, name, and post.

-In addition to a functional OpenType/CFF font, Adobe provides a TrueType (TTF) version that is available here (with a slight modification to the PostScript Name in the 'name' table from 'AdobeBlank' to 'AdobeBlank-Regular'.) + In addition to a functional OpenType/CFF font, Adobe provides a TrueType (TTF) version that is available here (with a slight modification to the PostScript Name in the 'name' table from 'AdobeBlank' to 'AdobeBlank-Regular'.)

-The Adobe Blank project is led by Dr. Ken Lunde, a font engineer in the Adobe Type team based in San Jose, California. -To contribute, see github.com/adobe-fonts/adobe-blank -

\ No newline at end of file + The Adobe Blank project is led by Dr. + Ken Lunde, a font engineer in the Adobe Type team based in San Jose, California. + To contribute, see + + github.com/adobe-fonts/adobe-blank + +

diff --git a/ofl/adventpro/DESCRIPTION.en_us.html b/ofl/adventpro/DESCRIPTION.en_us.html index 50f2bf04cb..a719af5299 100644 --- a/ofl/adventpro/DESCRIPTION.en_us.html +++ b/ofl/adventpro/DESCRIPTION.en_us.html @@ -1,12 +1,15 @@

- Advent Pro is a modern font designed for web and print. - Advent Pro utilizes some of the universal characteristics of the sans-serif genre with modern characteristics to - give an edge to your typography. + Advent Pro is a modern font designed for web and print. + Advent Pro utilizes some of the universal characteristics of the sans-serif genre with modern characteristics to give an edge to your typography.

- The family was upgraded to a variable font with additional Italic styles in December 2022. - The spacing and kerning was improved, which could lead to a slightly different text line length than the previous version. + The family was upgraded to a variable font with additional Italic styles in December 2022. + The spacing and kerning was improved, which could lead to a slightly different text line length than the previous version.

- To contribute, see github.com/googlefonts/Advent. + To contribute, see + + github.com/googlefonts/Advent + + .

diff --git a/ofl/agbalumo/DESCRIPTION.en_us.html b/ofl/agbalumo/DESCRIPTION.en_us.html index fb51bc6502..afe72f9903 100644 --- a/ofl/agbalumo/DESCRIPTION.en_us.html +++ b/ofl/agbalumo/DESCRIPTION.en_us.html @@ -1,5 +1,17 @@ -

Curvy, chunky, and compact. The Agbalumo display typeface has been designed to represent and capture the beauty of African languages. Primarily taking shape from the use of a brush pen, it's charming, playful, and cute look lends itself to a variety of commercial use cases. From beautifully curated eye catching websites to brightly colored packaged items, if you aim to communicate personality, Agbalumo is a sure selection.

- -

Agbalumo is a single weight font. The glyph set includes standard opentype features and an assortment of stylistic alternates. Agbalumo can be used for African languages that make use of the Latin script, European languages, and Vietnamese.

- -

To contribute to the project, visit github.com/SorkinType/Agbalumo

+

+ Curvy, chunky, and compact. + The Agbalumo display typeface has been designed to represent and capture the beauty of African languages. + Primarily taking shape from the use of a brush pen, it's charming, playful, and cute look lends itself to a variety of commercial use cases. + From beautifully curated eye catching websites to brightly colored packaged items, if you aim to communicate personality, Agbalumo is a sure selection. +

+

+ Agbalumo is a single weight font. + The glyph set includes standard opentype features and an assortment of stylistic alternates. + Agbalumo can be used for African languages that make use of the Latin script, European languages, and Vietnamese. +

+

+ To contribute to the project, visit + + github.com/SorkinType/Agbalumo + +

diff --git a/ofl/agdasima/DESCRIPTION.en_us.html b/ofl/agdasima/DESCRIPTION.en_us.html index 4c2704ac4b..884fb86b35 100644 --- a/ofl/agdasima/DESCRIPTION.en_us.html +++ b/ofl/agdasima/DESCRIPTION.en_us.html @@ -1,10 +1,11 @@

- Agdasima is a DocRepair font, intended to improve compliance with the ISO/IEC - 29500 standard by providing fallback for Agency FB that minimizes text reflow in Office Open - XML documents. Agdasima is based on Big Shoulders, a condensed American Gothic - sans-serif font family. + Agdasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Agency FB that minimizes text reflow in Office Open XML documents. + Agdasima is based on Big Shoulders, a condensed American Gothic sans-serif font family.

- To contribute, please visit github.com/docrepair-fonts/agdasima-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/agdasima-fonts + + . +

diff --git a/ofl/aguafinascript/DESCRIPTION.en_us.html b/ofl/aguafinascript/DESCRIPTION.en_us.html index b545d6ddeb..31908d5a2c 100644 --- a/ofl/aguafinascript/DESCRIPTION.en_us.html +++ b/ofl/aguafinascript/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script.

Graceful, but not too casual. Knowledgeable and artistic, but not too imposing. The characters flow into each other, making a very saucy script with appetizing color. The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility.

A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers.

\ No newline at end of file +

+ Semi-formal and eye-catching elegance is the name of the game, says Aguafina Script. +

+

+ Graceful, but not too casual. + Knowledgeable and artistic, but not too imposing. + The characters flow into each other, making a very saucy script with appetizing color. + The narrow lowercase allows for efficient use of space, while the long ascenders and descenders help maintain the legibility. +

+

+ A unique find among scripts, Aguafina is useful for product packaging, glossy magazine work, and book covers. +

diff --git a/ofl/akatab/DESCRIPTION.en_us.html b/ofl/akatab/DESCRIPTION.en_us.html index 55c5664853..c30154b2c7 100644 --- a/ofl/akatab/DESCRIPTION.en_us.html +++ b/ofl/akatab/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Akatab is a Unicode font for rendering Tifinagh characters in the Tamahaq, Tamashek and Tawallamat languages. This font uses state-of-the-art OpenType font technology to provide accurate typography including the formation of bi-consonant ligatures. Variations of characters are included in the font to meet personal and regional preferences. For more information about supported Unicode ranges and languages, smart font features and how to use them, please see the documentation in the documentation folder.

- -

To contribute, see github.com/silnrsi/font-akatab.

+

+ Akatab is a Unicode font for rendering Tifinagh characters in the Tamahaq, Tamashek and Tawallamat languages. + This font uses state-of-the-art OpenType font technology to provide accurate typography including the formation of bi-consonant ligatures. + Variations of characters are included in the font to meet personal and regional preferences. + For more information about supported Unicode ranges and languages, smart font features and how to use them, please see the documentation in the documentation folder. +

+

+ To contribute, see + + github.com/silnrsi/font-akatab + + . +

diff --git a/ofl/akayakanadaka/DESCRIPTION.en_us.html b/ofl/akayakanadaka/DESCRIPTION.en_us.html index 3b34923aaf..ed1ef89bfd 100644 --- a/ofl/akayakanadaka/DESCRIPTION.en_us.html +++ b/ofl/akayakanadaka/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@ -

Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Kanadaka and - Akaya Telivigala are made as two separate font files which share a common - Latin. +

+ Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. + Akaya Kanadaka and + + Akaya Telivigala + + are made as two separate font files which share a common Latin. +

+

+ To contribute, please see + + github.com/vaishnavimurthy/Akaya-Kanadaka + + .

- -

To contribute, please see github.com/vaishnavimurthy/Akaya-Kanadaka.

\ No newline at end of file diff --git a/ofl/akayatelivigala/DESCRIPTION.en_us.html b/ofl/akayatelivigala/DESCRIPTION.en_us.html index 1edf60d76f..f31bd13426 100644 --- a/ofl/akayatelivigala/DESCRIPTION.en_us.html +++ b/ofl/akayatelivigala/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. Akaya Telivigala and Akaya Kanadaka - are made as two separate font files which share a common - Latin. +

+ Akaya is a single weight experimental display typeface in Kannada, Telugu and Latin scripts. + Akaya Telivigala and + + Akaya Kanadaka + + are made as two separate font files which share a common Latin. +

+

+ To contribute, please see + + github.com/vaishnavimurthy/Akaya-Telivigala + + .

- -

To contribute, please see github.com/vaishnavimurthy/Akaya-Telivigala.

\ No newline at end of file diff --git a/ofl/akronim/DESCRIPTION.en_us.html b/ofl/akronim/DESCRIPTION.en_us.html index 909c7afa4b..56bc743e81 100644 --- a/ofl/akronim/DESCRIPTION.en_us.html +++ b/ofl/akronim/DESCRIPTION.en_us.html @@ -1,11 +1,15 @@ -

Akronim is a brand-new, original, brush like, stylish font with a Western -and Central European (e.g. Polish, Croatian, Czech, Magyar etc.) Latin -character set. Handmade in Poland, Europe, by Grzegorz -Klimczewski.

- -

An acronym (in Polish, "akronim") is an abbreviation that forms a word. So -this story is cut short. To understand it, imagine a nice girl with -beautifully plaited slavic hair, strolling among the fields of wheat. If you -imagine this, you will find a good use for this tasteful, brand-new -typeface.

\ No newline at end of file +

+ Akronim is a brand-new, original, brush like, stylish font with a Western and Central European (e.g. + Polish, Croatian, Czech, Magyar etc.) Latin character set. + Handmade in Poland, Europe, by + + Grzegorz Klimczewski + + . +

+

+ An acronym (in Polish, "akronim") is an abbreviation that forms a word. + So this story is cut short. + To understand it, imagine a nice girl with beautifully plaited slavic hair, strolling among the fields of wheat. + If you imagine this, you will find a good use for this tasteful, brand-new typeface. +

diff --git a/ofl/aksarabaligalang/DESCRIPTION.en_us.html b/ofl/aksarabaligalang/DESCRIPTION.en_us.html index 9a3f861299..f07ab0731b 100644 --- a/ofl/aksarabaligalang/DESCRIPTION.en_us.html +++ b/ofl/aksarabaligalang/DESCRIPTION.en_us.html @@ -1,50 +1,35 @@ -

This font requires a web browser with Graphite support enabled, -such as Firefox 11+, to display correctly. - -Learn how to enable Graphite in Firefox from SIL.

- -

Balinese is a language of the Austronesian family of languages, ostensibly -spoken by about three million people on the island of Bali, Indonesia, and -among some Balinese immigrant communities on other Indonesian islands -(although latest reports from the government of Bali suggest that actual -number of Balinese speakers is now closer to 1 million.)

- -

Balinese script, or Aksara Bali, is an abugida that was derived from the -Old Kawi script, which ultimately derived from the Brahmi script, the root of -all the Indic and Southeast Asian scripts. The earliest known inscriptions -were from the 11th century AD. An abugida, also known as an alphasyllabary, is -a segmental writing system in which consonant vowel sequences are written as a -unit. In the case of Balinese, each character is compromised of a consonant -along with the vowel “a.”

- -

Although Balinese script is taught to all Balinese children in grammar -school, the use of Balinese script has been largely superseded by Latin -script, due to the influx of Indonesian, the national language, and, as of -late, the increasing use of electronic communication for which Balinese script -has been problematic.

- -

In 1988, I Made Suatjana first attempted to create a font for Aksara Bali -using the DOS based ChiWriter. There was a lot of excitement about this -effort, but the font was difficult to use and the letters weren't as rounded -and connected as the writing system required. In 1996, I Made Suatjana -improved the shape of the letters by creating a Windows based font, called -Bali Simbar. The font was better shaped, although it was still quite difficult -to use because of the idiosyncrasies of Aksara Bali, which has letters -changing shape and moving above or below the line depending on where they -occur relative to other characters.

- -

In 2005 a seminar was held for the purpose of entering Aksara Bali into -Unicode and ISO 10646, sponsored by the Balinese Government Department of -Culture and Yayasan Bali Galang, a foundation promoting the use of Askara Bali -(Balinese script) under the direction of Donny Harimurti and his sons Bemby -Bantara Narendra and Dendy Narendra. The following year, Balinese script was -entered into Unicode, although it was categorized as "still having some -difficulties."

- -

There are now two fonts available for Aksara Bali: Bali Simbar Dwijendra, -developed by I Made Suatjana written in Visual Basic which uses the program -Keyman to manipulate the keyboard for Microsoft Word; and Bali Galang Smart -Font, developed by Donny Harimurti and his sons, which can only be used with -applications which are integrated with the Graphite engine (for example, -Firefox with Graphite enabled, and Open Office). We are grateful to the -engineers at Google for allowing Aksara Bali to be used as a web font.

\ No newline at end of file +

+ + This font requires a web browser with Graphite support enabled, such as Firefox 11+, to display correctly. + + Learn how to enable Graphite in Firefox from SIL + + . + +

+

+ Balinese is a language of the Austronesian family of languages, ostensibly spoken by about three million people on the island of Bali, Indonesia, and among some Balinese immigrant communities on other Indonesian islands (although latest reports from the government of Bali suggest that actual number of Balinese speakers is now closer to 1 million.) +

+

+ Balinese script, or Aksara Bali, is an abugida that was derived from the Old Kawi script, which ultimately derived from the Brahmi script, the root of all the Indic and Southeast Asian scripts. + The earliest known inscriptions were from the 11th century AD. + An abugida, also known as an alphasyllabary, is a segmental writing system in which consonant vowel sequences are written as a unit. + In the case of Balinese, each character is compromised of a consonant along with the vowel “a.” +

+

+ Although Balinese script is taught to all Balinese children in grammar school, the use of Balinese script has been largely superseded by Latin script, due to the influx of Indonesian, the national language, and, as of late, the increasing use of electronic communication for which Balinese script has been problematic. +

+

+ In 1988, I Made Suatjana first attempted to create a font for Aksara Bali using the DOS based ChiWriter. + There was a lot of excitement about this effort, but the font was difficult to use and the letters weren't as rounded and connected as the writing system required. + In 1996, I Made Suatjana improved the shape of the letters by creating a Windows based font, called Bali Simbar. + The font was better shaped, although it was still quite difficult to use because of the idiosyncrasies of Aksara Bali, which has letters changing shape and moving above or below the line depending on where they occur relative to other characters. +

+

+ In 2005 a seminar was held for the purpose of entering Aksara Bali into Unicode and ISO 10646, sponsored by the Balinese Government Department of Culture and Yayasan Bali Galang, a foundation promoting the use of Askara Bali (Balinese script) under the direction of Donny Harimurti and his sons Bemby Bantara Narendra and Dendy Narendra. + The following year, Balinese script was entered into Unicode, although it was categorized as "still having some difficulties." +

+

+ There are now two fonts available for Aksara Bali: Bali Simbar Dwijendra, developed by I Made Suatjana written in Visual Basic which uses the program Keyman to manipulate the keyboard for Microsoft Word; and Bali Galang Smart Font, developed by Donny Harimurti and his sons, which can only be used with applications which are integrated with the Graphite engine (for example, Firefox with Graphite enabled, and Open Office). + We are grateful to the engineers at Google for allowing Aksara Bali to be used as a web font. +

diff --git a/ofl/akshar/DESCRIPTION.en_us.html b/ofl/akshar/DESCRIPTION.en_us.html index f0c399e095..a554fa51f5 100644 --- a/ofl/akshar/DESCRIPTION.en_us.html +++ b/ofl/akshar/DESCRIPTION.en_us.html @@ -1,9 +1,30 @@ -

Akshar is a variable display sans-serif font family that supports Latin and Devanagari. - It is designed for titles, statements, headlines, annoucements, intros, outros, and other display texts. - Akshar (Hindi: अक्षर) literally means an alphabet or a letter in Hindi, Marathi, Gujarati and other Indic languages. -

-

Akshar is an OpenType Variable Font. It offers 2 axes: Weight (wght) and Contrast (CNTR). - The Weight axis ranges from 300 to 700. The Contrast axis ranges from 0 to 100.

-

Note: The Contrast axis is currently not supported by Google Fonts API. The fonts will be updated once it is - supported.

-

To contribute, visit github.com/tallchai/akshar-type.

\ No newline at end of file +

+ Akshar is a variable display sans-serif font family that supports Latin and Devanagari. + It is designed for titles, statements, headlines, annoucements, intros, outros, and other display texts. + Akshar (Hindi: अक्षर) literally means an alphabet or a letter in Hindi, Marathi, Gujarati and other Indic languages. +

+

+ Akshar is an OpenType Variable Font. + It offers 2 axes: Weight ( + + wght + + ) and Contrast ( + + CNTR + + ). + The Weight axis ranges from 300 to 700. + The Contrast axis ranges from 0 to 100. +

+

+ Note: The Contrast axis is currently not supported by Google Fonts API. + The fonts will be updated once it is supported. +

+

+ To contribute, visit + + github.com/tallchai/akshar-type + + . +

diff --git a/ofl/aladin/DESCRIPTION.en_us.html b/ofl/aladin/DESCRIPTION.en_us.html index 7451d92b4d..dacf06e6a7 100644 --- a/ofl/aladin/DESCRIPTION.en_us.html +++ b/ofl/aladin/DESCRIPTION.en_us.html @@ -1,7 +1,7 @@

-Aladin is a calligraphic vintage face with a middle eastern touch, designed by Angel Koziupa and produced by Alejandro Paul. + Aladin is a calligraphic vintage face with a middle eastern touch, designed by Angel Koziupa and produced by Alejandro Paul.

-Casual, airy counters and friendly terminals give it an advantage as a packaging font for exotic coffees and teas. -It also serves quite well on posters and book jackets where relaying the famous sense of Eastern hospitality and playfulness is a must. + Casual, airy counters and friendly terminals give it an advantage as a packaging font for exotic coffees and teas. + It also serves quite well on posters and book jackets where relaying the famous sense of Eastern hospitality and playfulness is a must.

diff --git a/ofl/alata/DESCRIPTION.en_us.html b/ofl/alata/DESCRIPTION.en_us.html index 7193f45311..60c2fb6cb3 100644 --- a/ofl/alata/DESCRIPTION.en_us.html +++ b/ofl/alata/DESCRIPTION.en_us.html @@ -1,7 +1,31 @@ -

Alata is a geometric low contrast sans design.

-

It can feel monumental, serious and archaic and occsionally eccentric. It draws inspiration from both Early 20th C poster lettering and epigraphic Greek mono line letters. Curiously the capitals letters draw influence from UK Lettering while in contrast the lower case is more 'continetal' or european in character. Alata offers a wide range of figures including oldstyle figures, small numbers including superiors and fractions. Alata also offers case sensitive forms.

- -

Alata is an original typeface designed by Spyros Zevelakis.. Eben Sorkin expanded the language support and refined the design in 2018.

-

Alata is published by Sorkin Type.

-

To contribute, see Alata GitHub

- +

+ Alata is a geometric low contrast sans design. +

+

+ It can feel monumental, serious and archaic and occsionally eccentric. + It draws inspiration from both Early 20th C poster lettering and epigraphic Greek mono line letters. + Curiously the capitals letters draw influence from UK Lettering while in contrast the lower case is more 'continetal' or european in character. + Alata offers a wide range of figures including oldstyle figures, small numbers including superiors and fractions. + Alata also offers case sensitive forms. +

+

+ Alata is an original typeface designed by + + Spyros Zevelakis. + + . + Eben Sorkin expanded the language support and refined the design in 2018. +

+

+ Alata is published by + + Sorkin Type + + . +

+

+ To contribute, see + + Alata GitHub + +

diff --git a/ofl/alatsi/DESCRIPTION.en_us.html b/ofl/alatsi/DESCRIPTION.en_us.html index ac2693cc71..9b13734a8b 100644 --- a/ofl/alatsi/DESCRIPTION.en_us.html +++ b/ofl/alatsi/DESCRIPTION.en_us.html @@ -1,10 +1,30 @@ -

Alatsi is an original typeface designed by Spyros Zevelakis.

-

It is a semicondensed geometric sans design which feels familiar, calm, trustable and contemporary. It is a little lighthearted or casual in feeling as well. The contemporary feeling comes from the treatment of the terminals and the cheekily pointed V A W. The calmness from the modest x height.

- -

Alatsi offers a wide range of figures which include oldstyle figures, numerators, denominators and fractions. It also offers case sensitive forms.

- -

Latest upgrade from November 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages.

- -

To contribute, see github.com/SorkinType/Alatsi.

- -

Alatsi is published by Sorkin Type.

+

+ Alatsi is an original typeface designed by Spyros Zevelakis. +

+

+ It is a semicondensed geometric sans design which feels familiar, calm, trustable and contemporary. + It is a little lighthearted or casual in feeling as well. + The contemporary feeling comes from the treatment of the terminals and the cheekily pointed V A W. + The calmness from the modest x height. +

+

+ Alatsi offers a wide range of figures which include oldstyle figures, numerators, denominators and fractions. + It also offers case sensitive forms. +

+

+ Latest upgrade from November 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. +

+

+ To contribute, see + + github.com/SorkinType/Alatsi + + . +

+

+ Alatsi is published by + + Sorkin Type + + . +

diff --git a/ofl/albertsans/DESCRIPTION.en_us.html b/ofl/albertsans/DESCRIPTION.en_us.html index a409d4a88a..b4169f7f40 100644 --- a/ofl/albertsans/DESCRIPTION.en_us.html +++ b/ofl/albertsans/DESCRIPTION.en_us.html @@ -1,3 +1,14 @@ -

Albert Sans is a modern geometric sans serif family, inspired by the type-characteristics of scandinavian architects and designers in the early 20th century. The Albert Sans family includes ten weights from Thin to Black and supports over two hundred languages.

-

Designed by the Danish type designer Andreas Rasmussen from a.Foundry.

-

To contribute, see github.com/usted/Albert-Sans.

+

+ Albert Sans is a modern geometric sans serif family, inspired by the type-characteristics of scandinavian architects and designers in the early 20th century. + The Albert Sans family includes ten weights from Thin to Black and supports over two hundred languages. +

+

+ Designed by the Danish type designer Andreas Rasmussen from a.Foundry. +

+

+ To contribute, see + + github.com/usted/Albert-Sans + + . +

diff --git a/ofl/aldrich/DESCRIPTION.en_us.html b/ofl/aldrich/DESCRIPTION.en_us.html index fbb12716ff..5c78d73724 100644 --- a/ofl/aldrich/DESCRIPTION.en_us.html +++ b/ofl/aldrich/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Aldrich is a rounded yet squarely proportioned font that is reminiscent of early 20th Century gothic styles. With a solid stance and confident mono-weight strokes, Aldrich is a hardworking family with roots in Midwestern ethics.

Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com

\ No newline at end of file +

+ Aldrich is a rounded yet squarely proportioned font that is reminiscent of early 20th Century gothic styles. + With a solid stance and confident mono-weight strokes, Aldrich is a hardworking family with roots in Midwestern ethics. +

+

+ Documentation can be found at + + www.madtype.com + + and to contribute to the project contact Matthew Desmond at + + mattdesmond@gmail.com + +

diff --git a/ofl/alef/DESCRIPTION.en_us.html b/ofl/alef/DESCRIPTION.en_us.html index 9abf8af853..50b8d071dd 100644 --- a/ofl/alef/DESCRIPTION.en_us.html +++ b/ofl/alef/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Alef was born in the screen and designed to the pixel in an attempt to extend the palette of Hebrew fonts available for web design. -It challenges the default, Arial. -Alef supports both the Hebrew and Latin writing systems. + Alef was born in the screen and designed to the pixel in an attempt to extend the palette of Hebrew fonts available for web design. + It challenges the default, Arial. + Alef supports both the Hebrew and Latin writing systems.

-To contribute, see alef.hagilda.com -

\ No newline at end of file + To contribute, see + + alef.hagilda.com + +

diff --git a/ofl/alegreya/DESCRIPTION.en_us.html b/ofl/alegreya/DESCRIPTION.en_us.html index 00bbf84f17..65669f2989 100644 --- a/ofl/alegreya/DESCRIPTION.en_us.html +++ b/ofl/alegreya/DESCRIPTION.en_us.html @@ -1,13 +1,42 @@ -

Alegreya was chosen as one of 53 "Fonts of the Decade" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Diseño, competition held in Madrid in 2010.

- -

Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language.

- -

The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. There is also a Small Caps sibling family.

- -

Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity.

- -

The Alegreya type system is a "super family", originally intended for literature, and includes serif and sans serif sister families.

- -

Designed by Juan Pablo del Peral for Huerta Tipográfica.

- -

To contribute, see github.com/huertatipografica/Alegreya.

+

+ Alegreya was chosen as one of 53 "Fonts of the Decade" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. + It was also selected in the 2nd Bienal Iberoamericana de Diseño, competition held in Madrid in 2010. +

+

+ Alegreya is a typeface originally intended for literature. + Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. + Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. +

+

+ The italic has just as much care and attention to detail in the design as the roman. + The bold weights are strong, and the Black weights are really experimental for the genre. + There is also a + + Small Caps + + sibling family. +

+

+ Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. +

+

+ The Alegreya type system is a "super family", originally intended for literature, and includes serif and + + sans serif + + sister families. +

+

+ Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + . +

+

+ To contribute, see + + github.com/huertatipografica/Alegreya + + . +

diff --git a/ofl/alegreyasans/DESCRIPTION.en_us.html b/ofl/alegreyasans/DESCRIPTION.en_us.html index 190e53946d..b76b54ef6a 100644 --- a/ofl/alegreyasans/DESCRIPTION.en_us.html +++ b/ofl/alegreyasans/DESCRIPTION.en_us.html @@ -1,17 +1,32 @@

-Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. -This gives a pleasant feeling to readers of long texts. -There is also a Small Caps companion family. -

+ Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. + This gives a pleasant feeling to readers of long texts. + There is also a + + Small Caps + + companion family. +

-The Alegreya type system is a "super family", originally intended for literature, and includes sans and serif sibling families. -The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. -The italics bring a strong emphasis to the roman styles. + The Alegreya type system is a "super family", originally intended for literature, and includes sans and + + serif + + sibling families. + The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. + The italics bring a strong emphasis to the roman styles.

-Designed by Juan Pablo del Peral for Huerta Tipográfica. + Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + .

-

-To contribute, see github.com/huertatipografica/Alegreya-Sans. + To contribute, see + + github.com/huertatipografica/Alegreya-Sans + + .

diff --git a/ofl/alegreyasanssc/DESCRIPTION.en_us.html b/ofl/alegreyasanssc/DESCRIPTION.en_us.html index 2b03c11fd7..b0993576fb 100644 --- a/ofl/alegreyasanssc/DESCRIPTION.en_us.html +++ b/ofl/alegreyasanssc/DESCRIPTION.en_us.html @@ -1,16 +1,31 @@

-Alegreya Sans SC is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. -This gives a pleasant feeling to readers of long texts. -

+ Alegreya Sans SC is a Small Caps companion family to + + Alegreya Sans + + , a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm. + This gives a pleasant feeling to readers of long texts. +

-The Alegreya type system is a "super family", originally intended for literature, and includes sans and serif sibling families. -The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. -The italics bring a strong emphasis to the roman styles. + The Alegreya type system is a "super family", originally intended for literature, and includes sans and + + serif + + sibling families. + The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through elements carefully designed in an atmosphere of diversity. + The italics bring a strong emphasis to the roman styles.

-Designed by Juan Pablo del Peral for Huerta Tipográfica. + Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + .

-

-To contribute, see github.com/huertatipografica/Alegreya-Sans. + To contribute, see + + github.com/huertatipografica/Alegreya-Sans + + .

diff --git a/ofl/alegreyasc/DESCRIPTION.en_us.html b/ofl/alegreyasc/DESCRIPTION.en_us.html index 71a03c189e..abb39946ae 100644 --- a/ofl/alegreyasc/DESCRIPTION.en_us.html +++ b/ofl/alegreyasc/DESCRIPTION.en_us.html @@ -1,13 +1,42 @@ -

Alegreya was chosen as one of 53 "Fonts of the Decade" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. It was also selected in the 2nd Bienal Iberoamericana de Diseño, competition held in Madrid in 2010.

- -

Alegreya is a typeface originally intended for literature. Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language.

- -

The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and the Black weights are really experimental for the genre. This is the Small Caps sister family that complements Alegreya, the main family.

- -

Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity.

- -

The Alegreya type system is a "super family", originally intended for literature, and includes serif and sans serif sister families.

- -

Designed by Juan Pablo del Peral for Huerta Tipográfica.

- -

To contribute, see github.com/huertatipografica/Alegreya.

+

+ Alegreya was chosen as one of 53 "Fonts of the Decade" at the ATypI Letter2 competition in September 2011, and one of the top 14 text type systems. + It was also selected in the 2nd Bienal Iberoamericana de Diseño, competition held in Madrid in 2010. +

+

+ Alegreya is a typeface originally intended for literature. + Among its crowning characteristics, it conveys a dynamic and varied rhythm which facilitates the reading of long texts. + Also, it provides freshness to the page while referring to the calligraphic letter, not as a literal interpretation, but rather in a contemporary typographic language. +

+

+ The italic has just as much care and attention to detail in the design as the roman. + The bold weights are strong, and the Black weights are really experimental for the genre. + This is the Small Caps sister family that complements + + Alegreya + + , the main family. +

+

+ Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements designed in an atmosphere of diversity. +

+

+ The Alegreya type system is a "super family", originally intended for literature, and includes serif and + + sans serif + + sister families. +

+

+ Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + . +

+

+ To contribute, see + + github.com/huertatipografica/Alegreya + + . +

diff --git a/ofl/aleo/DESCRIPTION.en_us.html b/ofl/aleo/DESCRIPTION.en_us.html index 80452cdfcb..55c2e0d8cc 100644 --- a/ofl/aleo/DESCRIPTION.en_us.html +++ b/ofl/aleo/DESCRIPTION.en_us.html @@ -1,5 +1,19 @@ -

Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the Lato font by Łukasz Dziedzic. Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high.

- -

The June 2023 update expanded the family from 6 style to 18 and became variable. It offers also a better language support (Pan African and Vietnamese added), and the design and spacing have been improved.

- -

To contribute, see github.com/AlessioLaiso/aleo.

+

+ Aleo is a contemporary typeface designed by Alessio Laiso as the slab serif companion to the + + Lato + + font by Łukasz Dziedzic. + Aleo has semi-rounded details and a sleek structure, giving it a strong personality while still keeping readability high. +

+

+ The June 2023 update expanded the family from 6 style to 18 and became variable. + It offers also a better language support (Pan African and Vietnamese added), and the design and spacing have been improved. +

+

+ To contribute, see + + github.com/AlessioLaiso/aleo + + . +

diff --git a/ofl/alexandria/DESCRIPTION.en_us.html b/ofl/alexandria/DESCRIPTION.en_us.html index 08ad49def0..39eec770b7 100644 --- a/ofl/alexandria/DESCRIPTION.en_us.html +++ b/ofl/alexandria/DESCRIPTION.en_us.html @@ -1,25 +1,23 @@

- Alexandria is the Arabic companion of Montserrat, - a Latin script typeface designed by Julieta Ulanovsky which was inspired by the old posters and signs in the - traditional Montserrat neighborhood of Buenos Aires. + Alexandria is the Arabic companion of + + Montserrat + + , a Latin script typeface designed by Julieta Ulanovsky which was inspired by the old posters and signs in the traditional Montserrat neighborhood of Buenos Aires.

- Alexandria is a variable font ranging from Thin to Black, increasing the ability to use the font in various applications, from long text - using the light weights to short headlines using the heavy thick weights. + Alexandria is a variable font ranging from Thin to Black, increasing the ability to use the font in various applications, from long text using the light weights to short headlines using the heavy thick weights.

-

-خط الإسكندرية العربي هو عائلة خط من ٩ أوزان مصنوع في مزاوجة خطيّة مع الخط اللاتيني -مونتسرات من تصميم جوليا ألانوفسكي مستوحياه من تصميمات للواصق ولوح قديمة في -شوارع حي مونتسرات في بينوس آيريس. + خط الإسكندرية العربي هو عائلة خط من ٩ أوزان مصنوع في مزاوجة خطيّة مع الخط اللاتيني مونتسرات من تصميم جوليا ألانوفسكي مستوحياه من تصميمات للواصق ولوح قديمة في شوارع حي مونتسرات في بينوس آيريس.

-

-كون العائلة الخطية مكوّنة من ٩ أوزان يزيد ذلك من قدرات استخدام الخط في تطبيقات -متنوعة، من خط مناسب للكتل النصية الطويلة عند استخدام الوزن الخفيف، لمناسبته للنصوص -القصيرة مثل العناوين والتي يناسبها استخدام الأوزان السميكة من الخط. + كون العائلة الخطية مكوّنة من ٩ أوزان يزيد ذلك من قدرات استخدام الخط في تطبيقات متنوعة، من خط مناسب للكتل النصية الطويلة عند استخدام الوزن الخفيف، لمناسبته للنصوص القصيرة مثل العناوين والتي يناسبها استخدام الأوزان السميكة من الخط.

-

- To contribute, see github.com/Gue3bara/Alexandria. + To contribute, see + + github.com/Gue3bara/Alexandria + + .

diff --git a/ofl/alexbrush/DESCRIPTION.en_us.html b/ofl/alexbrush/DESCRIPTION.en_us.html index 2b4708a087..c66afe460c 100644 --- a/ofl/alexbrush/DESCRIPTION.en_us.html +++ b/ofl/alexbrush/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Alex Brush is a beautifully flowing brush script. It has short ascenders and descenders allowing a legibility not seen in other script fonts. + Alex Brush is a beautifully flowing brush script. + It has short ascenders and descenders allowing a legibility not seen in other script fonts.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/alex-brush. + To contribute, see + + github.com/googlefonts/alex-brush + + .

diff --git a/ofl/alfaslabone/DESCRIPTION.en_us.html b/ofl/alfaslabone/DESCRIPTION.en_us.html index 3e15f9e207..8b49d8a0bd 100644 --- a/ofl/alfaslabone/DESCRIPTION.en_us.html +++ b/ofl/alfaslabone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Alfa Slab One is a contemporary take on the Six-lines Pica Egyptian created by Robert Thorne for the Thorowgood Foundry in 1921. Although initially based on that model, Alfa Slab One was designed with an extreme stem weight, big serifs, more stem contrast and gradual terminals with a single serif. All this attributes give Alfa Slab One a contemporary look with extreme black density.

\ No newline at end of file +

+ Alfa Slab One is a contemporary take on the Six-lines Pica Egyptian created by Robert Thorne for the Thorowgood Foundry in 1921. + Although initially based on that model, Alfa Slab One was designed with an extreme stem weight, big serifs, more stem contrast and gradual terminals with a single serif. + All this attributes give Alfa Slab One a contemporary look with extreme black density. +

diff --git a/ofl/alice/DESCRIPTION.en_us.html b/ofl/alice/DESCRIPTION.en_us.html index 52c1fd3501..ebda7415d4 100644 --- a/ofl/alice/DESCRIPTION.en_us.html +++ b/ofl/alice/DESCRIPTION.en_us.html @@ -1,5 +1,19 @@ -

Ksenia Erulevich, designer of the Alice typeface, was inspired by Lewis Carrol's novel and decided to make a typeface that will be suitable for typesetting that book.

-

It came out eclectic and quaint, old-fashioned, having widened proportions, open aperture, and soft rounded features; perfect for long meditative text-setting and headlines.

-

This is in fact Ksenia's first typeface, as part of her diploma project in a Type and Typography course in Moscow, Russia.

-

Released by Cyreal with help from Gayaneh Bagdasaryan and Alexei Vanyashin.

-

To contribute, see github.com/cyrealtype/Alice.

+

+ Ksenia Erulevich, designer of the Alice typeface, was inspired by Lewis Carrol's novel and decided to make a typeface that will be suitable for typesetting that book. +

+

+ It came out eclectic and quaint, old-fashioned, having widened proportions, open aperture, and soft rounded features; perfect for long meditative text-setting and headlines. +

+

+ This is in fact Ksenia's first typeface, as part of her diploma project in a Type and Typography course in Moscow, Russia. +

+

+ Released by Cyreal with help from Gayaneh Bagdasaryan and Alexei Vanyashin. +

+

+ To contribute, see + + github.com/cyrealtype/Alice + + . +

diff --git a/ofl/alike/DESCRIPTION.en_us.html b/ofl/alike/DESCRIPTION.en_us.html index 2eab2bb173..a33e90c54f 100644 --- a/ofl/alike/DESCRIPTION.en_us.html +++ b/ofl/alike/DESCRIPTION.en_us.html @@ -1,6 +1,20 @@ -

Alike is a text typeface with expressive and tense letterforms. Its design features are said to have Czech influence, but are softened for a friendlier feel. The proportions are regular and the contrast is low for a pleasant reading experience.

- -

Alike Angular is a complementary titling style.

-

Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal.

- -

To contribute to the project, visit github.com/cyrealtype/Alike

+

+ Alike is a text typeface with expressive and tense letterforms. + Its design features are said to have Czech influence, but are softened for a friendlier feel. + The proportions are regular and the contrast is low for a pleasant reading experience. +

+

+ + Alike Angular + + is a complementary titling style. +

+

+ Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. +

+

+ To contribute to the project, visit + + github.com/cyrealtype/Alike + +

diff --git a/ofl/alikeangular/DESCRIPTION.en_us.html b/ofl/alikeangular/DESCRIPTION.en_us.html index 69ab9f4a24..99a5c436f7 100644 --- a/ofl/alikeangular/DESCRIPTION.en_us.html +++ b/ofl/alikeangular/DESCRIPTION.en_us.html @@ -1,6 +1,21 @@ -

Alike Angular is a complementary titling style to Alike. It shares the same proportions as its counterpart for compatibility, and is designed for larger display sizes.

-

As opposed to the soft Regular, its letterforms consist of only straight splines. Additional expressive features are introduced in characters like T, Z, M, E.

- -

Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal.

- -

To contribute to the project, visit github.com/cyrealtype/Alike-Angular

+

+ Alike Angular is a complementary titling style to + + Alike + + . + It shares the same proportions as its counterpart for compatibility, and is designed for larger display sizes. +

+

+ As opposed to the soft Regular, its letterforms consist of only straight splines. + Additional expressive features are introduced in characters like T, Z, M, E. +

+

+ Designed by Sveta Sebyakina in 2009, and in collaboration with Alexei Vanyashin it was first released in 2011 by Cyreal. +

+

+ To contribute to the project, visit + + github.com/cyrealtype/Alike-Angular + +

diff --git a/ofl/alkalami/DESCRIPTION.en_us.html b/ofl/alkalami/DESCRIPTION.en_us.html index 49d97f8d4d..d2ef66843e 100644 --- a/ofl/alkalami/DESCRIPTION.en_us.html +++ b/ofl/alkalami/DESCRIPTION.en_us.html @@ -1,3 +1,21 @@ -

Alkalami is the local word for the Arabic "qalam", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. The baseline stroke is very thick and solid. The ascenders and other vertical strokes including the teeth are very narrow when compared to the baseline. A generous line height is necessary to allow for deep swashes and descenders, and the overall look of the page is a very black, solid rectangle. Diacritics are much smaller in scale, with very little distance from the main letters.

-

Learn more at github.com/silnrsi/font-alkalami.

-

To contribute, see github.com/silnrsi/font-alkalami.

+

+ Alkalami is the local word for the Arabic "qalam", a type of sharpened stick used for writing on wooden boards in the Kano region of Nigeria and in Niger, and what gives the style its distinct appearance. + The baseline stroke is very thick and solid. + The ascenders and other vertical strokes including the teeth are very narrow when compared to the baseline. + A generous line height is necessary to allow for deep swashes and descenders, and the overall look of the page is a very black, solid rectangle. + Diacritics are much smaller in scale, with very little distance from the main letters. +

+

+ Learn more at + + github.com/silnrsi/font-alkalami + + . +

+

+ To contribute, see + + github.com/silnrsi/font-alkalami + + . +

diff --git a/ofl/alkatra/DESCRIPTION.en_us.html b/ofl/alkatra/DESCRIPTION.en_us.html index 03b5634053..d34ba9504e 100644 --- a/ofl/alkatra/DESCRIPTION.en_us.html +++ b/ofl/alkatra/DESCRIPTION.en_us.html @@ -1,15 +1,19 @@

- A display typeface family comprising of Bangla, Devanagari, Odia and Latin + A display typeface family comprising of Bangla, Devanagari, Odia and Latin

- Each typeface for each script has been designed keeping in mind the inspiration of drawing letters for wall - graffitis in Bengal, India, by using a stick and tar. The forms have blobby blackness to it and have been designed - for mostly display purposes. + Each typeface for each script has been designed keeping in mind the inspiration of drawing letters for wall graffitis in Bengal, India, by using a stick and tar. + The forms have blobby blackness to it and have been designed for mostly display purposes.

- The design and idea has been spearheaded by Suman Bhandary. The Latin has been crafted by Lewis McGuffie. - Special thanks to Nehal Mathews and Lopamudra Bose for their assistance in Odia and Devanagari. + The design and idea has been spearheaded by Suman Bhandary. + The Latin has been crafted by Lewis McGuffie. + Special thanks to Nehal Mathews and Lopamudra Bose for their assistance in Odia and Devanagari.

- To contribute, please see github.com/suman51284/Alkatra. -

\ No newline at end of file + To contribute, please see + + github.com/suman51284/Alkatra + + . +

diff --git a/ofl/allan/DESCRIPTION.en_us.html b/ofl/allan/DESCRIPTION.en_us.html index 407f1824d8..271d4cc529 100644 --- a/ofl/allan/DESCRIPTION.en_us.html +++ b/ofl/allan/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@ -

Once Allan was a sign painter in Berlin. Grey paneling work in the subway, -bad materials, a city split in two. Now things have changed. His (character) -palette of activities have expanded tremendously: he happily spends time -traveling, experimenting in the gastronomic field, all kinds of festivities -are no longer foreign to him. He comes with alternate features, and hints. A -typeface suited for bigger sizes and display use. Truly a type that you like -to see!

\ No newline at end of file +

+ Once Allan was a sign painter in Berlin. + Grey paneling work in the subway, bad materials, a city split in two. + Now things have changed. + His (character) palette of activities have expanded tremendously: he happily spends time traveling, experimenting in the gastronomic field, all kinds of festivities are no longer foreign to him. + He comes with alternate features, and hints. + A typeface suited for bigger sizes and display use. + Truly a type that you like to see! +

diff --git a/ofl/allerta/DESCRIPTION.en_us.html b/ofl/allerta/DESCRIPTION.en_us.html index 4ad2aec118..142b5e1511 100644 --- a/ofl/allerta/DESCRIPTION.en_us.html +++ b/ofl/allerta/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.

\ No newline at end of file +

+ Allerta is an open source typeface designed for use in signage. + Allerta was designed to be easily and quickly read from a distance. + Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. + Initially published at + + matt.cc/allerta + + . +

diff --git a/ofl/allertastencil/DESCRIPTION.en_us.html b/ofl/allertastencil/DESCRIPTION.en_us.html index 4ad2aec118..142b5e1511 100644 --- a/ofl/allertastencil/DESCRIPTION.en_us.html +++ b/ofl/allertastencil/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.

\ No newline at end of file +

+ Allerta is an open source typeface designed for use in signage. + Allerta was designed to be easily and quickly read from a distance. + Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. + Initially published at + + matt.cc/allerta + + . +

diff --git a/ofl/allison/DESCRIPTION.en_us.html b/ofl/allison/DESCRIPTION.en_us.html index 9cea6e49ed..1bd25c3402 100644 --- a/ofl/allison/DESCRIPTION.en_us.html +++ b/ofl/allison/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Allison is a casual handwriting script. The lowercase forms carry an obvious flat pen calligraphic influence while the uppercase letters are more brushy in style. + Allison is a casual handwriting script. + The lowercase forms carry an obvious flat pen calligraphic influence while the uppercase letters are more brushy in style.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/allison. + To contribute, see + + github.com/googlefonts/allison + + .

diff --git a/ofl/allura/DESCRIPTION.en_us.html b/ofl/allura/DESCRIPTION.en_us.html index c227f396a9..50580c7699 100644 --- a/ofl/allura/DESCRIPTION.en_us.html +++ b/ofl/allura/DESCRIPTION.en_us.html @@ -1,10 +1,18 @@

-The casual characters of Allura are simple, clean and very legible. The script and formal sets offer a softer, more formal look. -

+ The casual characters of Allura are simple, clean and very legible. + The script and formal sets offer a softer, more formal look. +

+

+ Allura was designed with advertising, display and package design in mind. + This OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give designers maximum flexibility. +

-Allura was designed with advertising, display and package design in mind. This OpenType Pro version of Allura combines all three styles along with extra alternate glyphs and flourished graphics to give designers maximum flexibility. + In this family come complete with Latin Character sets including Western, Central, and Vietnamese language support.

-In this family come complete with Latin Character sets including Western, Central, and Vietnamese language support. + To contribute, see + + github.com/googlefonts/allura + + .

-

To contribute, see github.com/googlefonts/allura.

diff --git a/ofl/almarai/DESCRIPTION.en_us.html b/ofl/almarai/DESCRIPTION.en_us.html index 3f4746d1f4..3bff296410 100644 --- a/ofl/almarai/DESCRIPTION.en_us.html +++ b/ofl/almarai/DESCRIPTION.en_us.html @@ -1,5 +1,20 @@ -

Almarai is a modern Arabic and sans serif Latin typeface family in 4 weights. The font was created by Boutros™ for optimal readability and suitability for both online and offline applications.

- -

Almarai’s beauty lies in its clarity and simplicity. Beneath the font’s geometric look lies a strict adherence to calligraphic structure and rules. Each letter has been crafted with careful attention to detail, retaining subtle hints of handwriting. Letters have low contrast and wide aperture in all four weights. These characteristics were designed to enhance the readability of the font in various media, especially on screen.

- -

To contribute, see github.com/JuergenWillrodt/Almarai.

+

+ Almarai is a modern Arabic and sans serif Latin typeface family in 4 weights. + The font was created by Boutros™ for optimal readability and suitability for both online and offline applications. +

+

+ Almarai’s beauty lies in its clarity and simplicity. + Beneath the font’s geometric look lies a strict adherence to calligraphic structure and rules. + Each letter has been crafted with careful attention to detail, retaining subtle hints of handwriting. + Letters have low contrast and wide aperture in all four weights. + These characteristics were designed to enhance the readability of the font in various media, especially on screen. +

+

+ To contribute, see + + github.com/JuergenWillrodt/Almarai + + . +

+

+

diff --git a/ofl/almendra/DESCRIPTION.en_us.html b/ofl/almendra/DESCRIPTION.en_us.html index b2f9c28fab..4054c36eb9 100644 --- a/ofl/almendra/DESCRIPTION.en_us.html +++ b/ofl/almendra/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@ -

Almendra is a typeface design based on calligraphy. Its style is related to -the chancery and gothic hands. It is intended to be used in long texts, -especially young children's literature. Almendra's black and white forms -generate a nice texture in small sizes, while its many details appear when -given the opportunity in huge sizes. The main challenge was to make compatible -dialectic elements, especially balancing legibility and formal identity. -Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise–o -in 2010 and was part of the German editorial project Typodarium 2012.

- -

This is the Regular family, and there are sister -Small Cap and -Display -families.

\ No newline at end of file +

+ Almendra is a typeface design based on calligraphy. + Its style is related to the chancery and gothic hands. + It is intended to be used in long texts, especially young children's literature. + Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. + The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. + Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise–o in 2010 and was part of the German editorial project Typodarium 2012. +

+

+ This is the Regular family, and there are sister + + Small Cap + + and + + Display + + families. +

diff --git a/ofl/almendradisplay/DESCRIPTION.en_us.html b/ofl/almendradisplay/DESCRIPTION.en_us.html index 257b6823ed..ef4d0ebb8d 100644 --- a/ofl/almendradisplay/DESCRIPTION.en_us.html +++ b/ofl/almendradisplay/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@ -

Almendra is a typeface design based on calligraphy. Its style is related to -the chancery and gothic hands. It is intended to be used in long texts, -especially young children's literature. Almendra's black and white forms -generate a nice texture in small sizes, while its many details appear when -given the opportunity in huge sizes. The main challenge was to make compatible -dialectic elements, especially balancing legibility and formal identity. -Almendra was selected to be exhibited at the Bienal Iberoamericana de Diseno -in 2010 and was part of the German editorial project Typodarium 2012.

- -

This is the Display family, and there are sister -Regular and -Small Cap -families.

\ No newline at end of file +

+ Almendra is a typeface design based on calligraphy. + Its style is related to the chancery and gothic hands. + It is intended to be used in long texts, especially young children's literature. + Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. + The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. + Almendra was selected to be exhibited at the Bienal Iberoamericana de Diseno in 2010 and was part of the German editorial project Typodarium 2012. +

+

+ This is the Display family, and there are sister + + Regular + + and + + Small Cap + + families. +

diff --git a/ofl/almendrasc/DESCRIPTION.en_us.html b/ofl/almendrasc/DESCRIPTION.en_us.html index 1677c7881d..1a88907f1c 100644 --- a/ofl/almendrasc/DESCRIPTION.en_us.html +++ b/ofl/almendrasc/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@ -

Almendra is a typeface design based on calligraphy. Its style is related to -the chancery and gothic hands. It is intended to be used in long texts, -especially young children's literature. Almendra's black and white forms -generate a nice texture in small sizes, while its many details appear when -given the opportunity in huge sizes. The main challenge was to make compatible -dialectic elements, especially balancing legibility and formal identity. -Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise–o -in 2010 and was part of the German editorial project Typodarium 2012.

- -

This is the Small Cap family, and there are sister -Regular and -Display -families.

\ No newline at end of file +

+ Almendra is a typeface design based on calligraphy. + Its style is related to the chancery and gothic hands. + It is intended to be used in long texts, especially young children's literature. + Almendra's black and white forms generate a nice texture in small sizes, while its many details appear when given the opportunity in huge sizes. + The main challenge was to make compatible dialectic elements, especially balancing legibility and formal identity. + Almendra was selected to be exhibited at the Bienal Iberoamericana de Dise–o in 2010 and was part of the German editorial project Typodarium 2012. +

+

+ This is the Small Cap family, and there are sister + + Regular + + and + + Display + + families. +

diff --git a/ofl/alumnisans/DESCRIPTION.en_us.html b/ofl/alumnisans/DESCRIPTION.en_us.html index 40cb7ca463..74d893601b 100644 --- a/ofl/alumnisans/DESCRIPTION.en_us.html +++ b/ofl/alumnisans/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Originally inspired by the black face Impact, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super Thin weight. + Originally inspired by the black face Impact, it soon evolved to include numerous weights from the Black flavor of its progenitor to a super Thin weight.

-

-The extreme weights (Thin and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications. +

+ The extreme weights (Thin and Black) are designed for display situations while the remaining weights may be used for more traditional textual design applications.

-Alumni is available in roman and italic versions. It comes with Latin character sets including Western, Central, and Vietnamese language support. + Alumni is available in roman and italic versions. + It comes with Latin character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/alumni. + To contribute, see + + github.com/googlefonts/alumni + + .

diff --git a/ofl/alumnisanscollegiateone/DESCRIPTION.en_us.html b/ofl/alumnisanscollegiateone/DESCRIPTION.en_us.html index b1d4d68f3d..1e28eaebcc 100644 --- a/ofl/alumnisanscollegiateone/DESCRIPTION.en_us.html +++ b/ofl/alumnisanscollegiateone/DESCRIPTION.en_us.html @@ -1,13 +1,22 @@

- Alumni Sans Collegiate One is stand alone font based on Alumni. While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. Use this variation for situations requiring a sporty look. -

-

- Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. -

-

- It comes with Latin Character sets including Western, Central, and Vietnamese language support. -

-

- To contribute, see github.com/googlefonts/alumni-sans-collegiate. -

- \ No newline at end of file + Alumni Sans Collegiate One is stand alone font based on + + Alumni + + . + While it is a variable font available in Roman and Italic versions of each weight, the Collegiate version offers a display option adding a decorative outline to the ExtraBold style. + Use this variation for situations requiring a sporty look. +

+

+ Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 96px in digital media. +

+

+ It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/alumni-sans-collegiate + + . +

diff --git a/ofl/alumnisansinlineone/DESCRIPTION.en_us.html b/ofl/alumnisansinlineone/DESCRIPTION.en_us.html index 4bc65b4557..bc8f988355 100644 --- a/ofl/alumnisansinlineone/DESCRIPTION.en_us.html +++ b/ofl/alumnisansinlineone/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Alumni Inline One is a stand alone font from its base font, Alumni Sans (a variable font). Inline One is a black weight designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. + Alumni Inline One is a stand alone font from its base font, Alumni Sans (a variable font). + Inline One is a black weight designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media.

-In situations that require large text, use it in combination with the Alumni Sans base design. + In situations that require large text, use it in combination with the Alumni Sans base design.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/alumni-sans-inline. + To contribute, see + + github.com/googlefonts/alumni-sans-inline + + .

diff --git a/ofl/alumnisanspinstripe/DESCRIPTION.en_us.html b/ofl/alumnisanspinstripe/DESCRIPTION.en_us.html index 83c1160bc3..142cb05f6b 100644 --- a/ofl/alumnisanspinstripe/DESCRIPTION.en_us.html +++ b/ofl/alumnisanspinstripe/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Alumni Pinstripe is a stand alone font from its base font, Alumni Sans (a variable font). Pinstripe is a super-thin weight and designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. In situations that require large text, use this Pinstripe variation in combination with the Alumni Sans base design. + Alumni Pinstripe is a stand alone font from its base font, + + Alumni Sans + + (a variable font). + Pinstripe is a super-thin weight and designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. + In situations that require large text, use this Pinstripe variation in combination with the Alumni Sans base design.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/alumni-sans-pinstripe. + To contribute, see + + github.com/googlefonts/alumni-sans-pinstripe + + .

diff --git a/ofl/amarante/DESCRIPTION.en_us.html b/ofl/amarante/DESCRIPTION.en_us.html index c1ec6ba7ed..0462e77a49 100644 --- a/ofl/amarante/DESCRIPTION.en_us.html +++ b/ofl/amarante/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Amarante is a medium contrast condensed type. It uses unconventional Art Nouveau inspired shapes. Amarante is a display face but works surprisingly well in text and headlines too. Amarante supports a very broad range of languages.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Amarante is a medium contrast condensed type. + It uses unconventional Art Nouveau inspired shapes. + Amarante is a display face but works surprisingly well in text and headlines too. + Amarante supports a very broad range of languages. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/amaranth/DESCRIPTION.en_us.html b/ofl/amaranth/DESCRIPTION.en_us.html index bdbacec906..accd19884d 100644 --- a/ofl/amaranth/DESCRIPTION.en_us.html +++ b/ofl/amaranth/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

The Amaranth family is a friendly upright italic design with a slight contrast and distinctive curves. With its three new styles Amaranth is healthy for all your texts too!

\ No newline at end of file +

+ The Amaranth family is a friendly upright italic design with a slight contrast and distinctive curves. + With its three new styles Amaranth is healthy for all your texts too! +

diff --git a/ofl/amaticsc/DESCRIPTION.en_us.html b/ofl/amaticsc/DESCRIPTION.en_us.html index 388511e1c8..ce173031de 100644 --- a/ofl/amaticsc/DESCRIPTION.en_us.html +++ b/ofl/amaticsc/DESCRIPTION.en_us.html @@ -1,12 +1,11 @@

-Amatic SC (Small Caps) is a simple but effective hand drawn webfont. -It can be used for titling and small runs of text. -It was initially designed by Vernon Adams, and concieved of to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. + Amatic SC (Small Caps) is a simple but effective hand drawn webfont. + It can be used for titling and small runs of text. + It was initially designed by Vernon Adams, and concieved of to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

-It features both Latin and Hebrew alphabets. -The Latin was initially designed by Vernon Adams. -The Hebrew was designed by Ben Nathan, who also revised the Latin design. -Thomas Jockin respaced and kerned the whole font. + It features both Latin and Hebrew alphabets. + The Latin was initially designed by Vernon Adams. + The Hebrew was designed by Ben Nathan, who also revised the Latin design. + Thomas Jockin respaced and kerned the whole font.

- diff --git a/ofl/amethysta/DESCRIPTION.en_us.html b/ofl/amethysta/DESCRIPTION.en_us.html index 7f4e302d16..9e5d5ea94a 100644 --- a/ofl/amethysta/DESCRIPTION.en_us.html +++ b/ofl/amethysta/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Amethysta was designed by Konstantin Vinogradov with the purpose of printing on low quality paper in mind. This is why it has such minimalistic wedge serifs and terminals. It builds the impression of a simple and strong text typeface. In terms of proportions it is closely related to the transitional serif group.

Amethysta is suitable for small to medium sizes, while some details will be noticeable at larger sizes. It also will work well in print.

\ No newline at end of file +

+ Amethysta was designed by Konstantin Vinogradov with the purpose of printing on low quality paper in mind. + This is why it has such minimalistic wedge serifs and terminals. + It builds the impression of a simple and strong text typeface. + In terms of proportions it is closely related to the transitional serif group. +

+

+ Amethysta is suitable for small to medium sizes, while some details will be noticeable at larger sizes. + It also will work well in print. +

diff --git a/ofl/amiko/DESCRIPTION.en_us.html b/ofl/amiko/DESCRIPTION.en_us.html index 931c53c572..5be90a664e 100644 --- a/ofl/amiko/DESCRIPTION.en_us.html +++ b/ofl/amiko/DESCRIPTION.en_us.html @@ -1,12 +1,15 @@

-Amiko is a clean and utilitarian Devanagari and Latin typeface family, specifically designed for maximum legibility at the smallest possible text sizes. -It is intended for body text on the web and low resolution screens. -It was designed in a studio collaboration by Pablo Impallari, Rodrigo Fuenzalida and Andres Torresi. + Amiko is a clean and utilitarian Devanagari and Latin typeface family, specifically designed for maximum legibility at the smallest possible text sizes. + It is intended for body text on the web and low resolution screens. + It was designed in a studio collaboration by Pablo Impallari, Rodrigo Fuenzalida and Andres Torresi.

-Thank you to Pria Ravichandran, Erin McLaughlin, Girish Dalvi, Dan Reynolds and all those who have shared their knowledge and helped with reviews to improve Amiko. + Thank you to Pria Ravichandran, Erin McLaughlin, Girish Dalvi, Dan Reynolds and all those who have shared their knowledge and helped with reviews to improve Amiko.

-The Amiko project is led by Impallari Type, a type design foundry based in Rosario, Argentina. -To contribute, see github.com/impallari/Amiko-Devanagari -

\ No newline at end of file + The Amiko project is led by Impallari Type, a type design foundry based in Rosario, Argentina. + To contribute, see + + github.com/impallari/Amiko-Devanagari + +

diff --git a/ofl/amiri/DESCRIPTION.en_us.html b/ofl/amiri/DESCRIPTION.en_us.html index ad26b1afe0..c85d31414b 100644 --- a/ofl/amiri/DESCRIPTION.en_us.html +++ b/ofl/amiri/DESCRIPTION.en_us.html @@ -1,16 +1,20 @@

-Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. -Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. + Amiri is a classical Arabic typeface in Naskh style for typesetting books and other running text. + Its design is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named.

-

-Read more about the project at www.amirifont.org + Read more about the project at + + www.amirifont.org +

-

-To contribute, see github.com/aliftype/amiri. + To contribute, see + + github.com/aliftype/amiri + + .

-

-Updated in December 2022 to v1.000 + Updated in December 2022 to v1.000

diff --git a/ofl/amiriquran/DESCRIPTION.en_us.html b/ofl/amiriquran/DESCRIPTION.en_us.html index bd64c699a4..120899253f 100644 --- a/ofl/amiriquran/DESCRIPTION.en_us.html +++ b/ofl/amiriquran/DESCRIPTION.en_us.html @@ -1,59 +1,48 @@

- Amiri (أميري) is a classical Arabic typeface in Naskh style for typesetting books and - other running text. -

- -

- Amiri is a revival of the beautiful typeface pioneered in early 20th century by - Bulaq Press in Cairo, also known as Amiria Press, after which the font is - named. -

- -

- The uniqueness of this typeface comes from its superb balance between the - beauty of Naskh calligraphy on one hand, the constraints and requirements of - elegant typography on the other. Also, it is one of the few metal typefaces - that were used in typesetting the Koran, making it a good source for a digital - typeface to be used in typesetting Koranic verses. -

- -

- Amiri project aims at the revival of the aesthetics and traditions of Arabic - typesetting, and adapting it to the era of digital typesetting, in a publicly - available form. -

- + Amiri (أميري) is a classical Arabic typeface in Naskh style for typesetting books and other running text. +

+

+ Amiri is a revival of the beautiful typeface pioneered in early 20th century by Bulaq Press in Cairo, also known as Amiria Press, after which the font is named. +

+

+ The uniqueness of this typeface comes from its superb balance between the beauty of Naskh calligraphy on one hand, the constraints and requirements of elegant typography on the other. + Also, it is one of the few metal typefaces that were used in typesetting the Koran, making it a good source for a digital typeface to be used in typesetting Koranic verses. +

- See the website for further information: amirifont.org + Amiri project aims at the revival of the aesthetics and traditions of Arabic typesetting, and adapting it to the era of digital typesetting, in a publicly available form. +

+

+ See the website for further information: + + amirifont.org +

-

-الخط الأميري خط نسخي موجه لطباعة الكتب و النصوص الطويلة. + الخط الأميري خط نسخي موجه لطباعة الكتب و النصوص الطويلة.

-

-الخط الأميري هو إحياء و محاكاة للخط الطباعي الجميل الذي تميزت به مطبعة بولاق منذ -أوائل القرن العشرين، و التي عرفت أيضا بالمطبعة الأميرية، و من هنا أخذ الخط اسمه. + الخط الأميري هو إحياء و محاكاة للخط الطباعي الجميل الذي تميزت به مطبعة بولاق منذ أوائل القرن العشرين، و التي عرفت أيضا بالمطبعة الأميرية، و من هنا أخذ الخط اسمه.

-

-يتميز خط المطابع الأميرية بجماليته و مراعاته لفن الخط العربي، بأسلوب نسخي جميل، -و في ذات الوقت يراعى متطلبات الطباعة و القيود التي تفرضها، من غير إفراط في جانب -على حساب الآخر. و لهذا يتميز بمناسبته للصف الطباعي عموما، و لصف الكتب خصوصا. و قد -النصوص القرآنية. + يتميز خط المطابع الأميرية بجماليته و مراعاته لفن الخط العربي، بأسلوب نسخي جميل، و في ذات الوقت يراعى متطلبات الطباعة و القيود التي تفرضها، من غير إفراط في جانب على حساب الآخر. + و لهذا يتميز بمناسبته للصف الطباعي عموما، و لصف الكتب خصوصا. + و قد النصوص القرآنية.

-

-يهدف مشروع الخط الأميري إلى إحياء تقاليد و جماليات الطباعة العربية و موائمتها -لتقنيات عصر الحواسيب، مع إتاحتها للعموم. + يهدف مشروع الخط الأميري إلى إحياء تقاليد و جماليات الطباعة العربية و موائمتها لتقنيات عصر الحواسيب، مع إتاحتها للعموم.

-

-يمكن الحصول على آخر إصدارات الخط الأميري من موقعه: + يمكن الحصول على آخر إصدارات الخط الأميري من موقعه: +

+

+ + amirifont.org +

- -

amirifont.org

-

-To contribute, see github.com/alif-type/amiri. + To contribute, see + + github.com/alif-type/amiri + + .

diff --git a/ofl/amita/DESCRIPTION.en_us.html b/ofl/amita/DESCRIPTION.en_us.html index 208d982c74..ea0f740705 100644 --- a/ofl/amita/DESCRIPTION.en_us.html +++ b/ofl/amita/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@

-Amita is the Indian Feminine form of Amit. -Amita is a Latin and Devanagari typeface derived from -Redressed and Modular Infotech Devanagari 2310 and 1228. -The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. -Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. -The Devanagari is a traditionally calligraphic style. -The combination was designed by Eduardo Tunni. + Amita is the Indian Feminine form of Amit. + Amita is a Latin and Devanagari typeface derived from + + Redressed + + and Modular Infotech Devanagari 2310 and 1228. + The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style. + Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy. + The Devanagari is a traditionally calligraphic style. + The combination was designed by Eduardo Tunni.

-This project is led by Eduardo Tunni, a type designer based in Buenos Aires. -To contribute, see github.com/etunni/Amita -

\ No newline at end of file + This project is led by Eduardo Tunni, a type designer based in Buenos Aires. + To contribute, see + + github.com/etunni/Amita + +

diff --git a/ofl/amstelvaralpha/DESCRIPTION.en_us.html b/ofl/amstelvaralpha/DESCRIPTION.en_us.html index 6bee394d93..91dc64fff3 100644 --- a/ofl/amstelvaralpha/DESCRIPTION.en_us.html +++ b/ofl/amstelvaralpha/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-A serif text variable font, by David Berlow. + A serif text variable font, by David Berlow.

-To learn more about this project, visit github.com/TypeNetwork/fb-Amstelvar + To learn more about this project, visit + + github.com/TypeNetwork/fb-Amstelvar +

diff --git a/ofl/anaheim/DESCRIPTION.en_us.html b/ofl/anaheim/DESCRIPTION.en_us.html index 64f9810f9b..5dc8d68994 100644 --- a/ofl/anaheim/DESCRIPTION.en_us.html +++ b/ofl/anaheim/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@ -

The Anaheim font family is a free font family. The Anaheim Fonts are -designed to be used freely across the internet by web browsers on desktop -computers, laptops and mobile devices.

- -

All source files for the Anaheim Font family are hosted at -GitHub.

\ No newline at end of file +

+ The Anaheim font family is a free font family. + The Anaheim Fonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ All source files for the Anaheim Font family are hosted at + + GitHub + + . +

diff --git a/ofl/andadapro/DESCRIPTION.en_us.html b/ofl/andadapro/DESCRIPTION.en_us.html index 0b1b2ce330..192b181819 100644 --- a/ofl/andadapro/DESCRIPTION.en_us.html +++ b/ofl/andadapro/DESCRIPTION.en_us.html @@ -1,5 +1,19 @@ -

Andada Pro is an organic-slab serif, hybrid style and medium contrast type for text, initially designed to be used in a specific bilingual context, Spanish and Guaraní (pre-hispanic) languages. This font has received an award at the Ibero-America Design Biennial. The Biennial has been shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela.

- -

Designed by Carolina Giovagnoli for Huerta Tipográfica.

- -

To contribute see github.com/huertatipografica/Andada-Pro.

+

+ Andada Pro is an organic-slab serif, hybrid style and medium contrast type for text, initially designed to be used in a specific bilingual context, Spanish and Guaraní (pre-hispanic) languages. + This font has received an award at the Ibero-America Design Biennial. + The Biennial has been shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. +

+

+ Designed by Carolina Giovagnoli for + + Huerta Tipográfica + + . +

+

+ To contribute see + + github.com/huertatipografica/Andada-Pro + + . +

diff --git a/ofl/andika/DESCRIPTION.en_us.html b/ofl/andika/DESCRIPTION.en_us.html index 3fbc791b3c..94da05080d 100644 --- a/ofl/andika/DESCRIPTION.en_us.html +++ b/ofl/andika/DESCRIPTION.en_us.html @@ -1,21 +1,32 @@

-Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. -The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another. + Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. + The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another.

-Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set. + Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set.

-A sans serif font is preferred by some literacy personnel for teaching people to read. -Its forms are simpler and less cluttered than those of most serif fonts. -For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. -In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. -Andika addresses those issues. + A sans serif font is preferred by some literacy personnel for teaching people to read. + Its forms are simpler and less cluttered than those of most serif fonts. + For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. + In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. + Andika addresses those issues.

-The font has been upgraded in May 2022. This upgrade gives additional weight styles and expands the glyphset to support full Latin and Cyrillic characters sets. Rendering is also much improved. + The font has been upgraded in May 2022. + This upgrade gives additional weight styles and expands the glyphset to support full Latin and Cyrillic characters sets. + Rendering is also much improved.

-Read more at software.sil.org/andika + Read more at + + software.sil.org/andika + +

+

+ To contribute, see + + github.com/silnrsi/font-andika + + .

-

To contribute, see github.com/silnrsi/font-andika.

diff --git a/ofl/anekbangla/DESCRIPTION.en_us.html b/ofl/anekbangla/DESCRIPTION.en_us.html index 642b3c092a..5f722f9c64 100644 --- a/ofl/anekbangla/DESCRIPTION.en_us.html +++ b/ofl/anekbangla/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

diff --git a/ofl/anekdevanagari/DESCRIPTION.en_us.html b/ofl/anekdevanagari/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekdevanagari/DESCRIPTION.en_us.html +++ b/ofl/anekdevanagari/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anekgujarati/DESCRIPTION.en_us.html b/ofl/anekgujarati/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekgujarati/DESCRIPTION.en_us.html +++ b/ofl/anekgujarati/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anekgurmukhi/DESCRIPTION.en_us.html b/ofl/anekgurmukhi/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekgurmukhi/DESCRIPTION.en_us.html +++ b/ofl/anekgurmukhi/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anekkannada/DESCRIPTION.en_us.html b/ofl/anekkannada/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekkannada/DESCRIPTION.en_us.html +++ b/ofl/anekkannada/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/aneklatin/DESCRIPTION.en_us.html b/ofl/aneklatin/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/aneklatin/DESCRIPTION.en_us.html +++ b/ofl/aneklatin/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anekmalayalam/DESCRIPTION.en_us.html b/ofl/anekmalayalam/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekmalayalam/DESCRIPTION.en_us.html +++ b/ofl/anekmalayalam/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anekodia/DESCRIPTION.en_us.html b/ofl/anekodia/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anekodia/DESCRIPTION.en_us.html +++ b/ofl/anekodia/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anektamil/DESCRIPTION.en_us.html b/ofl/anektamil/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anektamil/DESCRIPTION.en_us.html +++ b/ofl/anektamil/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/anektelugu/DESCRIPTION.en_us.html b/ofl/anektelugu/DESCRIPTION.en_us.html index 71fd524d39..5f722f9c64 100644 --- a/ofl/anektelugu/DESCRIPTION.en_us.html +++ b/ofl/anektelugu/DESCRIPTION.en_us.html @@ -1,23 +1,31 @@ -

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

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

+

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

+

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

+

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

+

+ To contribute, see + + github.com/EkType/Anek +

- -

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

- -

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

- -

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

-

To contribute, see github.com/EkType/Anek

\ No newline at end of file diff --git a/ofl/angkor/DESCRIPTION.en_us.html b/ofl/angkor/DESCRIPTION.en_us.html index 64a4787afb..4504a01ad5 100644 --- a/ofl/angkor/DESCRIPTION.en_us.html +++ b/ofl/angkor/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Angkor is a Khmer font for headlines and even banner designs. + Angkor is a Khmer font for headlines and even banner designs.

-To contribute, see github.com/danhhong/Angkor. + To contribute, see + + github.com/danhhong/Angkor + + .

diff --git a/ofl/annapurnasil/DESCRIPTION.en_us.html b/ofl/annapurnasil/DESCRIPTION.en_us.html index a5af4b8a2a..801923684f 100644 --- a/ofl/annapurnasil/DESCRIPTION.en_us.html +++ b/ofl/annapurnasil/DESCRIPTION.en_us.html @@ -1,3 +1,10 @@ -

Annapurna SIL is a Unicode-based font family with broad support for writing systems that use the Devanagari script.

- -

To contribute, please see github.com/silnrsi/font-annapurna.

+

+ Annapurna SIL is a Unicode-based font family with broad support for writing systems that use the Devanagari script. +

+

+ To contribute, please see + + github.com/silnrsi/font-annapurna + + . +

diff --git a/ofl/annieuseyourtelescope/DESCRIPTION.en_us.html b/ofl/annieuseyourtelescope/DESCRIPTION.en_us.html index a8ba5d14c2..b2e9ea6029 100644 --- a/ofl/annieuseyourtelescope/DESCRIPTION.en_us.html +++ b/ofl/annieuseyourtelescope/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

This is a favorite of mine. A talented photography student I know was writing something down and I squealed and ran over to beg her for a sample of her writing. It was worth the effort, as I adore her style and feel it translated perfectly into a cute font. She named the font as a nod to one of her favorite bands, Jack’s Mannequin.

\ No newline at end of file +

+ This is a favorite of mine. + A talented photography student I know was writing something down and I squealed and ran over to beg her for a sample of her writing. + It was worth the effort, as I adore her style and feel it translated perfectly into a cute font. + She named the font as a nod to one of her favorite bands, Jack’s Mannequin. +

diff --git a/ofl/anonymouspro/DESCRIPTION.en_us.html b/ofl/anonymouspro/DESCRIPTION.en_us.html index b86ef5cb76..f415473428 100644 --- a/ofl/anonymouspro/DESCRIPTION.en_us.html +++ b/ofl/anonymouspro/DESCRIPTION.en_us.html @@ -1,8 +1,8 @@

-Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. -It is inspired by Anonymous 9, a freeware Macintosh bitmap font developed in the mid-'90s by Susan Lesch and David Lamkins, that was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font. + Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. + It is inspired by Anonymous 9, a freeware Macintosh bitmap font developed in the mid-'90s by Susan Lesch and David Lamkins, that was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font.

-Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code. -The regular and bold styles have embedded bitmaps for the smallest sizes (10-13 ppem.) + Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code. + The regular and bold styles have embedded bitmaps for the smallest sizes (10-13 ppem.)

diff --git a/ofl/anta/DESCRIPTION.en_us.html b/ofl/anta/DESCRIPTION.en_us.html index 1f82531db8..0f95c97d00 100644 --- a/ofl/anta/DESCRIPTION.en_us.html +++ b/ofl/anta/DESCRIPTION.en_us.html @@ -1,2 +1,12 @@ -

Anta, a modern font family, is intelligently designed for screen publications. Anta Typeface has several interesting, constructed glyph shapes that give the typeface a modern look. The typeface is particularly suitable for graphic design, but also for branding projects.

-

To contribute, see github.com/Typedesigners/Anta-Regular.

+

+ Anta, a modern font family, is intelligently designed for screen publications. + Anta Typeface has several interesting, constructed glyph shapes that give the typeface a modern look. + The typeface is particularly suitable for graphic design, but also for branding projects. +

+

+ To contribute, see + + github.com/Typedesigners/Anta-Regular + + . +

diff --git a/ofl/antic/DESCRIPTION.en_us.html b/ofl/antic/DESCRIPTION.en_us.html index 20a2114844..e545af785a 100644 --- a/ofl/antic/DESCRIPTION.en_us.html +++ b/ofl/antic/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Antic is the result of studying calligraphic forms, and is designed to be used for running text. This started two big text type family projects and this is the first one. Antic explores the use of sans-serif letterforms for text usage, keeping a calligraphic touch found in the serif counterpart, Clark. The letterforms have an eight degree stress, which is almost the same degree of my own hand writing.

\ No newline at end of file +

+ Antic is the result of studying calligraphic forms, and is designed to be used for running text. + This started two big text type family projects and this is the first one. + Antic explores the use of sans-serif letterforms for text usage, keeping a calligraphic touch found in the serif counterpart, Clark. + The letterforms have an eight degree stress, which is almost the same degree of my own hand writing. +

diff --git a/ofl/anticdidone/DESCRIPTION.en_us.html b/ofl/anticdidone/DESCRIPTION.en_us.html index 64f77e0130..1684b71776 100644 --- a/ofl/anticdidone/DESCRIPTION.en_us.html +++ b/ofl/anticdidone/DESCRIPTION.en_us.html @@ -1 +1,24 @@ -

Antic Didone was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Didone family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system.

Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Didone's minuscule ornate serifs create a unique texture. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen.

The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.

\ No newline at end of file +

+ Antic Didone was designed for use in the headlines of newspapers and magazines. + The Antic Type System is a super family that is still evolving, and this first release of the Didone family. + It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. +

+

+ Each family in the type system has a large x-height that makes it very readable, especially on the web. + Each also has slight stress derived from handwriting. + Antic Didone's minuscule ornate serifs create a unique texture. + With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. +

+

+ The Antic Type System is in progress and is being regularly improved. + If you have a request, wish to contribute improvements or even fund specific features, simply contact + + Santiago Orozco + + . + You can follow Santiago on Twitter, + + @Typemade + + . +

diff --git a/ofl/anticslab/DESCRIPTION.en_us.html b/ofl/anticslab/DESCRIPTION.en_us.html index ab8b5d95ea..fcf3962abf 100644 --- a/ofl/anticslab/DESCRIPTION.en_us.html +++ b/ofl/anticslab/DESCRIPTION.en_us.html @@ -1 +1,24 @@ -

Antic Slab was designed for use in the headlines of newspapers and magazines. The Antic Type System is a super family that is still evolving, and this first release of the Slab family. It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system.

Each family in the type system has a large x-height that makes it very readable, especially on the web. Each also has slight stress derived from handwriting. Antic Slab's discreet slab serifs give it a strong presence in layouts. With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen.

The Antic Type System is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.

\ No newline at end of file +

+ Antic Slab was designed for use in the headlines of newspapers and magazines. + The Antic Type System is a super family that is still evolving, and this first release of the Slab family. + It complements the Sans and Didone versions, giving the designer freedom to create rhythmic and dynamic typography using all three families in the type system. +

+

+ Each family in the type system has a large x-height that makes it very readable, especially on the web. + Each also has slight stress derived from handwriting. + Antic Slab's discreet slab serifs give it a strong presence in layouts. + With modern proportions and condensed letterforms, it is great for economical typesetting, on paper and on screen. +

+

+ The Antic Type System is in progress and is being regularly improved. + If you have a request, wish to contribute improvements or even fund specific features, simply contact + + Santiago Orozco + + . + You can follow Santiago on Twitter, + + @Typemade + + . +

diff --git a/ofl/anton/DESCRIPTION.en_us.html b/ofl/anton/DESCRIPTION.en_us.html index caabe5cfd1..052d83b418 100644 --- a/ofl/anton/DESCRIPTION.en_us.html +++ b/ofl/anton/DESCRIPTION.en_us.html @@ -1,12 +1,14 @@

-Anton is a reworking of a traditional advertising sans serif typeface. The -letter forms have been digitised and then reshaped for use as a webfont, the -counters have been opened up a little and the stems optimised for use as bold -display font in modern web browsers. + Anton is a reworking of a traditional advertising sans serif typeface. + The letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers.

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

-

-To contribute see github.com/googlefonts/AntonFont. +

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

diff --git a/ofl/antonio/DESCRIPTION.en_us.html b/ofl/antonio/DESCRIPTION.en_us.html index 2f518125d9..171406d0d2 100644 --- a/ofl/antonio/DESCRIPTION.en_us.html +++ b/ofl/antonio/DESCRIPTION.en_us.html @@ -1,12 +1,13 @@

- Antonio is a 'refined' version of the Anton Font. Anton is a single weight web font, designed specifically for - larger display, headline and 'banner' use (see Google's PR for the Chromebook notebooks that used Anton, big and - bright). + Antonio is a 'refined' version of the Anton Font. + Anton is a single weight web font, designed specifically for larger display, headline and 'banner' use (see Google's PR for the Chromebook notebooks that used Anton, big and bright).

- Antonio extends the Anton design to include more weights and introduces refinements to the design that makes it also - suitable for use in smaller headings, menus and 'buttons' etc. + Antonio extends the Anton design to include more weights and introduces refinements to the design that makes it also suitable for use in smaller headings, menus and 'buttons' etc.

- To contribute, see github.com/googlefonts/antonioFont -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/antonioFont + +

diff --git a/ofl/anuphan/DESCRIPTION.en_us.html b/ofl/anuphan/DESCRIPTION.en_us.html index 1e77b7d989..410c6969bf 100644 --- a/ofl/anuphan/DESCRIPTION.en_us.html +++ b/ofl/anuphan/DESCRIPTION.en_us.html @@ -1,15 +1,22 @@

- Anuphan is a loopless version of IBM Plex Thai developed by Mint Tantisuwanna, a type designer at - Cadson Demak. This project is intended for self-improvement/educational purpose. + Anuphan is a loopless version of IBM Plex Thai developed by Mint Tantisuwanna, a type designer at Cadson Demak. + This project is intended for self-improvement/educational purpose.

- Note: This is not a modification of IBM Plex Sans Thai. All drawings and outlines of Thai characters in this project - are based solely on the Latin version of IBM Plex Sans. + Note: This is not a modification of IBM Plex Sans Thai. + All drawings and outlines of Thai characters in this project are based solely on the Latin version of IBM Plex Sans.

- Read more about Mint Tantisuwanna's process on cadsondemak.com/medias/read/design-like-a-bilingual-ibm-plex-thai. + Read more about Mint Tantisuwanna's process on + + cadsondemak.com/medias/read/design-like-a-bilingual-ibm-plex-thai + + .

- To contribute, please visit github.com/cadsondemak/Anuphan. -

\ No newline at end of file + To contribute, please visit + + github.com/cadsondemak/Anuphan + + . +

diff --git a/ofl/anybody/DESCRIPTION.en_us.html b/ofl/anybody/DESCRIPTION.en_us.html index 10e50618c9..d93201923c 100644 --- a/ofl/anybody/DESCRIPTION.en_us.html +++ b/ofl/anybody/DESCRIPTION.en_us.html @@ -1,3 +1,22 @@ -

Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. The italic angle is 10 degrees, noticable but subtle. The inclusion of some popular OpenType features make it practical and customizable.

-

Learn more at www.etceteratype.co/anybody.

-

To contribute, see github.com/Etcetera-Type-Co/Anybody.

+

+ Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. + It's flexible enough to adapt to a variety of situations. + From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. + Its high x-height and low cap height help exaggerate extreme widths and weights. + The italic angle is 10 degrees, noticable but subtle. + The inclusion of some popular OpenType features make it practical and customizable. +

+

+ Learn more at + + www.etceteratype.co/anybody + + . +

+

+ To contribute, see + + github.com/Etcetera-Type-Co/Anybody + + . +

diff --git a/ofl/aoboshione/DESCRIPTION.en_us.html b/ofl/aoboshione/DESCRIPTION.en_us.html index 327d60fe70..4ed7e5cb4d 100644 --- a/ofl/aoboshione/DESCRIPTION.en_us.html +++ b/ofl/aoboshione/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-"Aoboshi" is a single-weight serif-style Japanese font inspired by Copperplate Gothic. + "Aoboshi" is a single-weight serif-style Japanese font inspired by Copperplate Gothic.

-

-To contribute to the project, visit github.com/matsuba723/Aoboshi +

+ To contribute to the project, visit + + github.com/matsuba723/Aoboshi +

diff --git a/ofl/arapey/DESCRIPTION.en_us.html b/ofl/arapey/DESCRIPTION.en_us.html index ac85316adf..f73617b0f9 100644 --- a/ofl/arapey/DESCRIPTION.en_us.html +++ b/ofl/arapey/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Arapey (Ah-ra-pay) is a contemporary modern typeface.

The first sketches of this typography were made during a vacation in Arapey, a small town the north of Uruguay, hence its name.

While this font style has reminiscences of a Bodoni, the structures, soft lines and finishes give the words that use it a calm and distinguished feeling.

The italics are gentle, rhythmic, and bring a special glamour to both text use and titles.

\ No newline at end of file +

+ Arapey (Ah-ra-pay) is a contemporary modern typeface. +

+

+ The first sketches of this typography were made during a vacation in Arapey, a small town the north of Uruguay, hence its name. +

+

+ While this font style has reminiscences of a Bodoni, the structures, soft lines and finishes give the words that use it a calm and distinguished feeling. +

+

+ The italics are gentle, rhythmic, and bring a special glamour to both text use and titles. +

diff --git a/ofl/arbutus/DESCRIPTION.en_us.html b/ofl/arbutus/DESCRIPTION.en_us.html index 16b3d39415..dd351d50b3 100644 --- a/ofl/arbutus/DESCRIPTION.en_us.html +++ b/ofl/arbutus/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Arbutus is a sturdy, medium contrast, slab serif typeface with a faceted/spiked treatment inspired by American wood type. -The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile. + Arbutus is a sturdy, medium contrast, slab serif typeface with a faceted/spiked treatment inspired by American wood type. + The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.

diff --git a/ofl/arbutusslab/DESCRIPTION.en_us.html b/ofl/arbutusslab/DESCRIPTION.en_us.html index 5347e65a35..64c99d9a1f 100644 --- a/ofl/arbutusslab/DESCRIPTION.en_us.html +++ b/ofl/arbutusslab/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Arbutus Slab is a sturdy, medium contrast, slab serif typeface inspired by 18th and 19th American jobbing type. -The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile. + Arbutus Slab is a sturdy, medium contrast, slab serif typeface inspired by 18th and 19th American jobbing type. + The generous spacing found in this design means that it can be used at fairly small sizes which makes it surprisingly versatile.

diff --git a/ofl/architectsdaughter/DESCRIPTION.en_us.html b/ofl/architectsdaughter/DESCRIPTION.en_us.html index 3791cf0d7a..224fd8ca70 100644 --- a/ofl/architectsdaughter/DESCRIPTION.en_us.html +++ b/ofl/architectsdaughter/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Inspired by the writing of the daughter of an architect (surprise, surprise!), this font incorporates the graphic, squared look of architectural writing, combined with the natural feel of daily handwriting.

\ No newline at end of file +

+ Inspired by the writing of the daughter of an architect (surprise, surprise!), this font incorporates the graphic, squared look of architectural writing, combined with the natural feel of daily handwriting. +

diff --git a/ofl/archivo/DESCRIPTION.en_us.html b/ofl/archivo/DESCRIPTION.en_us.html index 425b88a38e..5195c6416f 100644 --- a/ofl/archivo/DESCRIPTION.en_us.html +++ b/ofl/archivo/DESCRIPTION.en_us.html @@ -1,5 +1,18 @@ -

Archivo is a grotesque sans serif typeface family originally designed for highlights and headlines. This family is reminiscent of late nineteenth century American typefaces. The technical and aesthetic characteristics of the font are both crafted for high performance typography. It was designed to be used simultaneously in print and online platforms and supports over 200 world languages.

- -

Archivo has been upgraded to a variable font in 2021. The weight and width axes allow a wide variety of styles, from Thin to Black and from ExtraCondensed to Expanded.

- -

Archivo is designed by Héctor Gatti and Omnibus-Type Team. To contribute to the project visit github.com/Omnibus-Type.

+

+ Archivo is a grotesque sans serif typeface family originally designed for highlights and headlines. + This family is reminiscent of late nineteenth century American typefaces. + The technical and aesthetic characteristics of the font are both crafted for high performance typography. + It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. +

+

+ Archivo has been upgraded to a variable font in 2021. + The weight and width axes allow a wide variety of styles, from Thin to Black and from ExtraCondensed to Expanded. +

+

+ Archivo is designed by Héctor Gatti and Omnibus-Type Team. + To contribute to the project visit + + github.com/Omnibus-Type + + . +

diff --git a/ofl/archivoblack/DESCRIPTION.en_us.html b/ofl/archivoblack/DESCRIPTION.en_us.html index 234e1942df..a835c550a3 100644 --- a/ofl/archivoblack/DESCRIPTION.en_us.html +++ b/ofl/archivoblack/DESCRIPTION.en_us.html @@ -1,14 +1,28 @@

-Archivo Black was designed to be used simultaneously in print and digital platforms. -The technical and aesthetic characteristics of the font are both crafted for high performance typography. -It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. + Archivo Black was designed to be used simultaneously in print and digital platforms. + The technical and aesthetic characteristics of the font are both crafted for high performance typography. + It was designed to be used simultaneously in print and online platforms and supports over 200 world languages.

-Archivo is a grotesque sans serif typeface family from Omnibus-Type. -It was originally designed for highlights and headlines. -This family is reminiscent of late nineteenth century American typefaces. -It includes normal, Black and Narrow styles, and was derived from Chivo + Archivo is a grotesque sans serif typeface family from Omnibus-Type. + It was originally designed for highlights and headlines. + This family is reminiscent of late nineteenth century American typefaces. + It includes + + normal + + , Black and + + Narrow + + styles, and was derived from + + Chivo +

-To contribute to the project visit github.com/Omnibus-Type + To contribute to the project visit + + github.com/Omnibus-Type +

diff --git a/ofl/archivonarrow/DESCRIPTION.en_us.html b/ofl/archivonarrow/DESCRIPTION.en_us.html index 039c3da7ad..4ff9d8a4b6 100644 --- a/ofl/archivonarrow/DESCRIPTION.en_us.html +++ b/ofl/archivonarrow/DESCRIPTION.en_us.html @@ -1,17 +1,31 @@

-Archivo Narrow was designed to be used simultaneously in print and digital platforms. -The technical and aesthetic characteristics of the font are both crafted for high performance typography. -It was designed to be used simultaneously in print and online platforms and supports over 200 world languages. + Archivo Narrow was designed to be used simultaneously in print and digital platforms. + The technical and aesthetic characteristics of the font are both crafted for high performance typography. + It was designed to be used simultaneously in print and online platforms and supports over 200 world languages.

-Archivo is a grotesque sans serif typeface family from Omnibus-Type. -It was originally designed for highlights and headlines. -This family is reminiscent of late nineteenth century American typefaces. -It includes normal, Narrow and Black styles, and was derived from Chivo + Archivo is a grotesque sans serif typeface family from Omnibus-Type. + It was originally designed for highlights and headlines. + This family is reminiscent of late nineteenth century American typefaces. + It includes + + normal + + , Narrow and + + Black + + styles, and was derived from + + Chivo +

-In April 2020, the family was converted to a variable font family. + In April 2020, the family was converted to a variable font family.

-To contribute to the project visit github.com/Omnibus-Type + To contribute to the project visit + + github.com/Omnibus-Type +

diff --git a/ofl/arefruqaa/DESCRIPTION.en_us.html b/ofl/arefruqaa/DESCRIPTION.en_us.html index cffbdca42f..48ca15d4e1 100644 --- a/ofl/arefruqaa/DESCRIPTION.en_us.html +++ b/ofl/arefruqaa/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Aref Ruqaa is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. + Aref Ruqaa is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style.

-The Latin part is based on AMS Euler, but spaced for regular text rather than mathematics. + The Latin part is based on AMS Euler, but spaced for regular text rather than mathematics.

-The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. -To contribute, see github.com/alif-type/aref-ruqaa + The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. + To contribute, see + + github.com/alif-type/aref-ruqaa +

diff --git a/ofl/arefruqaaink/DESCRIPTION.en_us.html b/ofl/arefruqaaink/DESCRIPTION.en_us.html index 655fea4512..1483deb1e2 100644 --- a/ofl/arefruqaaink/DESCRIPTION.en_us.html +++ b/ofl/arefruqaaink/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

-Aref Ruqaa Ink is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style. + Aref Ruqaa Ink is an Arabic typeface that aspires to capture the essence of the classical Ruqaa calligraphic style.

-The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. -To contribute, see github.com/alif-type/aref-ruqaa + The Aref Ruqaa project is led by Khaled Hosny, a type designer based in Cairo, Egypt. + To contribute, see + + github.com/alif-type/aref-ruqaa +

diff --git a/ofl/areyouserious/DESCRIPTION.en_us.html b/ofl/areyouserious/DESCRIPTION.en_us.html index 49cb901350..6497ae7fab 100644 --- a/ofl/areyouserious/DESCRIPTION.en_us.html +++ b/ofl/areyouserious/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Are You Serious doesn't take itself seriously at all. This is a fun playful font with a very joyful spirit. + Are You Serious doesn't take itself seriously at all. + This is a fun playful font with a very joyful spirit.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/are-you-serious. + To contribute, see + + github.com/googlefonts/are-you-serious + + .

diff --git a/ofl/arima/DESCRIPTION.en_us.html b/ofl/arima/DESCRIPTION.en_us.html index b1d4236482..48f29823cd 100644 --- a/ofl/arima/DESCRIPTION.en_us.html +++ b/ofl/arima/DESCRIPTION.en_us.html @@ -1,24 +1,23 @@

- A display font with soft edges and calligraphic feel is the main inspiration for Arima project. + A display font with soft edges and calligraphic feel is the main inspiration for Arima project.

- It has a low contrast to allow good rendering on screen. - Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font - to be used in headlines, brand names, and similar uses on the web. - The primary goal was to create a design that will prove popular because it resonates with both casual and - professional designers, and without ever lowering the quality of the design. - Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in - the mobile era. - From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users. + It has a low contrast to allow good rendering on screen. + Legibility is always a central concern, but the design has a lot of personality to be recognizable as a display font to be used in headlines, brand names, and similar uses on the web. + The primary goal was to create a design that will prove popular because it resonates with both casual and professional designers, and without ever lowering the quality of the design. + Each font in the family was extensively tested on low resolution phones and refined to work well as a web font in the mobile era. + From the very first round of design testing, each font was hinted with ttfautohint and refined for Windows users.

- Arima Madurai has an extended language support for the Tamil and Latin scripts, as well as Malayalam and Greek. + Arima Madurai has an extended language support for the Tamil and Latin scripts, as well as Malayalam and Greek.

- Greek developed during Google Summer of Code 2017 by Rosalie Wagner, under the mentorship of Emilios Theofanous and - Irene Vlachou." + Greek developed during Google Summer of Code 2017 by Rosalie Wagner, under the mentorship of Emilios Theofanous and Irene Vlachou."

- The Arima project is led by NDISCOVER, a type design foundry based in Portugal. - To contribute, see github.com/NDISCOVER/Arima-Font -

\ No newline at end of file + The Arima project is led by NDISCOVER, a type design foundry based in Portugal. + To contribute, see + + github.com/NDISCOVER/Arima-Font + +

diff --git a/ofl/arizonia/DESCRIPTION.en_us.html b/ofl/arizonia/DESCRIPTION.en_us.html index dcad35e487..3d4cf0c85a 100644 --- a/ofl/arizonia/DESCRIPTION.en_us.html +++ b/ofl/arizonia/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-Arizonia was inspired by the lettering found on a construction truck. It has a sign-painterly appearance which features thick and contrasting stokes that have been painted by a pointed brush. + Arizonia was inspired by the lettering found on a construction truck. + It has a sign-painterly appearance which features thick and contrasting stokes that have been painted by a pointed brush.

-It can be used for situations that require a hand lettered, contemporary and sporty feel. As with any script, Arizonia should not be used in ALL Caps. + It can be used for situations that require a hand lettered, contemporary and sporty feel. + As with any script, Arizonia should not be used in ALL Caps.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/arizonia. + To contribute, see + + github.com/googlefonts/arizonia + + .

diff --git a/ofl/armata/DESCRIPTION.en_us.html b/ofl/armata/DESCRIPTION.en_us.html index df5bdac10d..ebd38e071c 100644 --- a/ofl/armata/DESCRIPTION.en_us.html +++ b/ofl/armata/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-Armata is a low contrast sans serif text face, with a mixture of familiar and unfamiliar shapes. -The steadiness and strength is juxtaposed with some innovative and delicate gestures. -Armata can be used in a wide range of sizes. + Armata is a low contrast sans serif text face, with a mixture of familiar and unfamiliar shapes. + The steadiness and strength is juxtaposed with some innovative and delicate gestures. + Armata can be used in a wide range of sizes.

diff --git a/ofl/aronesans/DESCRIPTION.en_us.html b/ofl/aronesans/DESCRIPTION.en_us.html index fb5e44e86d..eb1567df2f 100644 --- a/ofl/aronesans/DESCRIPTION.en_us.html +++ b/ofl/aronesans/DESCRIPTION.en_us.html @@ -1,9 +1,17 @@

-AR One Sans is a type family for use in augmented reality environments and user interfaces. The family's low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. The design of letterforms is based on research and thorough testing on various devices ranging from high-end headsets to low-resolution smartphone-based devices. It has optical weights for high and low-resolution duplexed to avoid text reflow, making it easy to deliver a seamless user experience across platforms/devices. The functionality of the text has been tested thoroughly to make the reading experience better even in longer texts. + AR One Sans is a type family for use in augmented reality environments and user interfaces. + The family's low contrast, generous spacing and robust shapes make it work well in busy backgrounds with high readability. + The design of letterforms is based on research and thorough testing on various devices ranging from high-end headsets to low-resolution smartphone-based devices. + It has optical weights for high and low-resolution duplexed to avoid text reflow, making it easy to deliver a seamless user experience across platforms/devices. + The functionality of the text has been tested thoroughly to make the reading experience better even in longer texts.

-AR One Sans language support includes full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages. + AR One Sans language support includes full coverage of Vietnamese, additional to all Western, Central, and South-Eastern European languages.

-

-To contribute see github.com/niteeshy/ar-one-sans. +

+ To contribute see + + github.com/niteeshy/ar-one-sans + + .

diff --git a/ofl/arsenal/DESCRIPTION.en_us.html b/ofl/arsenal/DESCRIPTION.en_us.html index 3eb5648ace..9d346e0b75 100644 --- a/ofl/arsenal/DESCRIPTION.en_us.html +++ b/ofl/arsenal/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@

-In 2011 Andrij's typeface became a winner of Ukrainian Type Design Competition 'Mystetsky Arsenal' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. Andrij's winning entry was crowned Arsenal and made publicly available.

- -

Arsenal is a semi-grotesque with traditional forms. It is primarily designed for body text and intended for various professional communication. Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font.

- -

Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. Notable traits: neutrality, clarity, swiftness. -

\ No newline at end of file + In 2011 + + Andrij + + 's typeface became a winner of Ukrainian Type Design Competition ' + + Mystetsky Arsenal + + ' in which three main criteria were sought for: being zeitgeist, practical, and Ukrainian. + Andrij's winning entry was crowned Arsenal and made publicly available. +

+

+ Arsenal is a semi-grotesque with traditional forms. + It is primarily designed for body text and intended for various professional communication. + Its special qualities of letter shapes and subtle contrast modulation articulate grace and expressivity. + Arsenal's somewhat lyrical sentiment abides to the Ukrainian nature of the font. +

+

+ Main design features: narrow proportions that allow for economical type-setting, moderate aperture and observable contrast. + Notable traits: neutrality, clarity, swiftness. +

diff --git a/ofl/artifika/DESCRIPTION.en_us.html b/ofl/artifika/DESCRIPTION.en_us.html index 5a731464bc..28a6ca33ff 100644 --- a/ofl/artifika/DESCRIPTION.en_us.html +++ b/ofl/artifika/DESCRIPTION.en_us.html @@ -1,7 +1,20 @@ -

Artifika is an amiable upright italic for fashionable display titling.

-

Overall features are tender and crisp, descenders short. Settled curves are sculpted with calligraphic elegance, - instrokes have a widening as a tribute to it's broad-nib origin.

-

Nearly horizontal flat serifs support left-to-right direction, making the typeface pleasant for reading on screen. +

+ Artifika is an amiable upright italic for fashionable display titling. +

+

+ Overall features are tender and crisp, descenders short. + Settled curves are sculpted with calligraphic elegance, instrokes have a widening as a tribute to it's broad-nib origin. +

+

+ Nearly horizontal flat serifs support left-to-right direction, making the typeface pleasant for reading on screen. +

+

+ Designed by Yulya Zhdanova, Ivan Petrov in 2010-2011. +

+

+ To contribute, see + + github.com/cyrealtype/Artifika + + .

-

Designed by Yulya Zhdanova, Ivan Petrov in 2010-2011.

-

To contribute, see github.com/cyrealtype/Artifika.

\ No newline at end of file diff --git a/ofl/arvo/DESCRIPTION.en_us.html b/ofl/arvo/DESCRIPTION.en_us.html index 7f473661b3..2a747ab916 100644 --- a/ofl/arvo/DESCRIPTION.en_us.html +++ b/ofl/arvo/DESCRIPTION.en_us.html @@ -1,46 +1,46 @@

-Arvo is a geometric slab-serif typeface family suited for screen and print. -The family includes 4 cuts: Roman, Italic, Roman Bold, Bold Italic. -It is a libre font, first published in Google Fonts. -The flavour of the font is rather mixed. -It's monolinear-ish, but has a tiny bit of contrast (which increases the legibility a little in Mac OS X.) + Arvo is a geometric slab-serif typeface family suited for screen and print. + The family includes 4 cuts: Roman, Italic, Roman Bold, Bold Italic. + It is a libre font, first published in Google Fonts. + The flavour of the font is rather mixed. + It's monolinear-ish, but has a tiny bit of contrast (which increases the legibility a little in Mac OS X.)

-

-The name Arvo is a typical Estonian man's name, but is not widely used today. -In the Finnish language, Arvo means "number, value, worth." Considering how much programming is involved in hinting, all these meanings are true. + The name Arvo is a typical Estonian man's name, but is not widely used today. + In the Finnish language, Arvo means "number, value, worth." Considering how much programming is involved in hinting, all these meanings are true.

-

-In December 2013 Arvo 2.0.1 was released, with support for languages that use the Cyrillic script, the latin script is expanded to Adobe's Glyph List 3, and many truetype hints are improved especially for in smaller sizes (regular cuts start now from 9ppem). -Also added PANOSE classification numbers, cleaned up character palette order, and many more smaller bug fixes were made. + In December 2013 Arvo 2.0.1 was released, with support for languages that use the Cyrillic script, the latin script is expanded to Adobe's Glyph List 3, and many truetype hints are improved especially for in smaller sizes (regular cuts start now from 9ppem). + Also added PANOSE classification numbers, cleaned up character palette order, and many more smaller bug fixes were made.

-

-Updated August 2015: Bold and Bold Italic styles were updated to allow document embedding. + + Updated August 2015: + + Bold and Bold Italic styles were updated to allow document embedding.

-

-Arvo – это брусковый шрифт из семейства геометрических шрифтов с прямоугольными засечками. -Данный шрифт создан для использования на экранах, а также в печатном виде (офсетная печать и т.д). -Шрифт состоит из четырёх начертании: обычный, курсив, жирный и жирный курсив.Arvo распространяется на основании лицензии OFL. -Благодаря которой любой пользователь может скачать/загрузить данное семейство шрифтов и пользоваться ими по своему усмотрению (смотри подробнее scripts.sil.org/OFL). -Для улучения читаемости на экранах, шрифт имеет детальное оптимирование Truetype (хинтинг), что в системах Windows и Linux предоставляет возможность набора мелкого шрифта, не теряя при этом качества читаемости. - -

-Краткая биография -

- -

-Антон Коовит родился в 1981 году, в городе Таллинне. -Изучал графический дизайн в Академии Художеств Эстонии, а также в ESAG городе Париже и в Амстердаме Академии Геррит Рейтвельда, Голландия. - -После окончания изучения графического дизайна Антон Коовит направился на учёбу в Королевскую Академию Художеств Гааги (КАВК den Haag) для приобетения градуса магистра по шрифтовому дизайну. -После окончания магистротурного обучения Антон Коовит основал фирму Кхорк ОО, которая действует по широкому профилю: оформление выстовок, логотипы, плакаты и шрифты. -С 2007 года он проживает в Берлине. -Кроме создания проектов в области типографии он преподаёт типографию, а также проводид консультативное обучение шрифтовому дизайну. -

- -

-Известные шрифты Антона Коовита: Adam, Aleksei, GQ Slab, U8, Arvo. + Arvo – это брусковый шрифт из семейства геометрических шрифтов с прямоугольными засечками. + Данный шрифт создан для использования на экранах, а также в печатном виде (офсетная печать и т.д). + Шрифт состоит из четырёх начертании: обычный, курсив, жирный и жирный курсив.Arvo распространяется на основании лицензии OFL. + Благодаря которой любой пользователь может скачать/загрузить данное семейство шрифтов и пользоваться ими по своему усмотрению (смотри подробнее + + scripts.sil.org/OFL + + ). + Для улучения читаемости на экранах, шрифт имеет детальное оптимирование Truetype (хинтинг), что в системах Windows и Linux предоставляет возможность набора мелкого шрифта, не теряя при этом качества читаемости. +

+ Краткая биография +

+

+ Антон Коовит родился в 1981 году, в городе Таллинне. + Изучал графический дизайн в Академии Художеств Эстонии, а также в ESAG городе Париже и в Амстердаме Академии Геррит Рейтвельда, Голландия. + После окончания изучения графического дизайна Антон Коовит направился на учёбу в Королевскую Академию Художеств Гааги (КАВК den Haag) для приобетения градуса магистра по шрифтовому дизайну. + После окончания магистротурного обучения Антон Коовит основал фирму Кхорк ОО, которая действует по широкому профилю: оформление выстовок, логотипы, плакаты и шрифты. + С 2007 года он проживает в Берлине. + Кроме создания проектов в области типографии он преподаёт типографию, а также проводид консультативное обучение шрифтовому дизайну. +

+

+ Известные шрифты Антона Коовита: Adam, Aleksei, GQ Slab, U8, Arvo. +

diff --git a/ofl/arya/DESCRIPTION.en_us.html b/ofl/arya/DESCRIPTION.en_us.html index 9008c9f16d..0416485793 100644 --- a/ofl/arya/DESCRIPTION.en_us.html +++ b/ofl/arya/DESCRIPTION.en_us.html @@ -1,10 +1,12 @@

-Arya is a Devanagari and Latin type family. -It originated with Modular InfoTech's 1201, and was made more smooth. -The new and original Latin design is intended to match the Devanagari in weight and and size with an unusual high-contrast sans serif design. + Arya is a Devanagari and Latin type family. + It originated with Modular InfoTech's 1201, and was made more smooth. + The new and original Latin design is intended to match the Devanagari in weight and and size with an unusual high-contrast sans serif design.

-

-This project is led by Eduardo Tunni, a type designed based in Buenos Aires, Argentina. -To contribute, visit github.com/etunni/Arya + This project is led by Eduardo Tunni, a type designed based in Buenos Aires, Argentina. + To contribute, visit + + github.com/etunni/Arya +

diff --git a/ofl/asap/DESCRIPTION.en_us.html b/ofl/asap/DESCRIPTION.en_us.html index 701b925cee..3877e7c876 100644 --- a/ofl/asap/DESCRIPTION.en_us.html +++ b/ofl/asap/DESCRIPTION.en_us.html @@ -1,3 +1,18 @@ -

Asap ("as soon as possible") is a contemporary sans-serif family with subtle rounded corners. This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. This useful feature allows users to change type styles on-the-go without reflowing a text body.

-

Asap has been upgraded to a variable font in 2021, and in October 2022, this variable is completed by a width axis and a larger scope of weight. Axes weight now go from Thin to Black and width from Condensed to Expanded.

-

Asap is based on Ancha (Pablo Cosgaya, Hector Gatti). It is designed by Pablo Cosgaya and Omnibus-Type Team, with the collaboration of Andrés Torresi. To contribute, see github.com/Omnibus-Type/Asap.

+

+ Asap ("as soon as possible") is a contemporary sans-serif family with subtle rounded corners. + This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. + This useful feature allows users to change type styles on-the-go without reflowing a text body. +

+

+ Asap has been upgraded to a variable font in 2021, and in October 2022, this variable is completed by a width axis and a larger scope of weight. + Axes weight now go from Thin to Black and width from Condensed to Expanded. +

+

+ Asap is based on Ancha (Pablo Cosgaya, Hector Gatti). + It is designed by Pablo Cosgaya and Omnibus-Type Team, with the collaboration of Andrés Torresi. + To contribute, see + + github.com/Omnibus-Type/Asap + + . +

diff --git a/ofl/asapcondensed/DESCRIPTION.en_us.html b/ofl/asapcondensed/DESCRIPTION.en_us.html index b906fd288c..7139c2cf40 100644 --- a/ofl/asapcondensed/DESCRIPTION.en_us.html +++ b/ofl/asapcondensed/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Asap Condensed is the condensed version of the Asap family. Its a contemporary sans-serif family with subtle rounded corners. -Designed by Pablo Cosgaya and Nicolás Silva, Asap ("as soon as possible") has 8 styles: Regular, Medium, Semibold, Bold and its italics. -This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. -This useful feature allows users to change type styles on-the-go without reflowing a text body. -Asap is based on Ancha (designed by Pablo Cosgaya and Hector Gatti), and has been developed with the collaboration of Andrés Torresi. + Asap Condensed is the condensed version of the + + Asap family + + . + Its a contemporary sans-serif family with subtle rounded corners. + Designed by Pablo Cosgaya and Nicolás Silva, Asap ("as soon as possible") has 8 styles: Regular, Medium, Semibold, Bold and its italics. + This family, specially developed for screen and desktop use, offers a standarised character width on all styles, which means lines of text remain the same length. + This useful feature allows users to change type styles on-the-go without reflowing a text body. + Asap is based on Ancha (designed by Pablo Cosgaya and Hector Gatti), and has been developed with the collaboration of Andrés Torresi. +

+

+ To contribute, see + + github.com/Omnibus-Type/AsapCondensed + + .

-

To contribute, see github.com/Omnibus-Type/AsapCondensed.

- diff --git a/ofl/asar/DESCRIPTION.en_us.html b/ofl/asar/DESCRIPTION.en_us.html index 5bb2d3fdd8..95496070ae 100644 --- a/ofl/asar/DESCRIPTION.en_us.html +++ b/ofl/asar/DESCRIPTION.en_us.html @@ -1,16 +1,21 @@

-Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. -The design is meant to work well with long texts while maintaining a certain charm at large sizes. -Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features. + Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line. + The design is meant to work well with long texts while maintaining a certain charm at large sizes. + Asar is partially derived from Pria Ravichadran's + + Palanquin + + , starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features.

-

-The design arrives at its own identity by adjusting for the density of certain brush strokes, that dictate wider spacing and new forms. -The brush used is the Expand Path feature of Fontlab Studio 5, using a width of 93, an angle of -55, and a roundness of 35. -In general the letters are designed so as to not require further adjustment, but where this is not satisfying then manual adjustments are made. + The design arrives at its own identity by adjusting for the density of certain brush strokes, that dictate wider spacing and new forms. + The brush used is the Expand Path feature of Fontlab Studio 5, using a width of 93, an angle of -55, and a roundness of 35. + In general the letters are designed so as to not require further adjustment, but where this is not satisfying then manual adjustments are made.

-

-This project is led by Sorkin Type, an international type foundry based in Boston. -To contribute, see github.com/EbenSorkin/Asar -

\ No newline at end of file + This project is led by Sorkin Type, an international type foundry based in Boston. + To contribute, see + + github.com/EbenSorkin/Asar + +

diff --git a/ofl/asset/DESCRIPTION.en_us.html b/ofl/asset/DESCRIPTION.en_us.html index 38aec5a2b6..877958e5cc 100644 --- a/ofl/asset/DESCRIPTION.en_us.html +++ b/ofl/asset/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

- Asset was inspired by the engraved letters found on United States dollar bills. Asset belongs to the "fat face" - category because it is so bold or heavy. It is also a high contrast design and very extended or wide. Although it is - legible at medium sizes it will shine most when used large where both its restraint and passion can be seen. This - font was made specifically to be used on the web, but will work well in print. + Asset was inspired by the engraved letters found on United States dollar bills. + Asset belongs to the "fat face" category because it is so bold or heavy. + It is also a high contrast design and very extended or wide. + Although it is legible at medium sizes it will shine most when used large where both its restraint and passion can be seen. + This font was made specifically to be used on the web, but will work well in print.

- To contribute, see github.com/SorkinType/Asset. -

\ No newline at end of file + To contribute, see + + github.com/SorkinType/Asset + + . +

diff --git a/ofl/assistant/DESCRIPTION.en_us.html b/ofl/assistant/DESCRIPTION.en_us.html index 121dacae87..465e443756 100644 --- a/ofl/assistant/DESCRIPTION.en_us.html +++ b/ofl/assistant/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Assistant is a Hebrew and Latin type family, with a contemporary sans serif Hebrew design. -The family contains 6 upright styles, from ExtraLight to Black. + Assistant is a Hebrew and Latin type family, with a contemporary sans serif Hebrew design. + The family contains 6 upright styles, from ExtraLight to Black.

-Hebrew type family was designed by Ben Nathan, to complement the Latin Source Sans Pro that was designed by Paul Hunt at Adobe Type. + Hebrew type family was designed by Ben Nathan, to complement the Latin Source Sans Pro that was designed by Paul Hunt at Adobe Type.

-The Assistant project is led by Ben Nathan, a type designer based in Tel Aviv, Israel. -To contribute, see github.com/hafontia/Assistant -

\ No newline at end of file + The Assistant project is led by Ben Nathan, a type designer based in Tel Aviv, Israel. + To contribute, see + + github.com/hafontia/Assistant + +

diff --git a/ofl/astloch/DESCRIPTION.en_us.html b/ofl/astloch/DESCRIPTION.en_us.html index 534da68226..acf8b988ac 100644 --- a/ofl/astloch/DESCRIPTION.en_us.html +++ b/ofl/astloch/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Astloch is a set of monolinear display faces — one delicate, one sturdy — based on the mix of sharp angles and florid curves found in fraktur lettering.

\ No newline at end of file +

+ Astloch is a set of monolinear display faces — one delicate, one sturdy — based on the mix of sharp angles and florid curves found in fraktur lettering. +

diff --git a/ofl/asul/DESCRIPTION.en_us.html b/ofl/asul/DESCRIPTION.en_us.html index 21a4b80b45..5113ed48a8 100644 --- a/ofl/asul/DESCRIPTION.en_us.html +++ b/ofl/asul/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Asul can be described as a baroque humanist typface; it has semi-serifs and it is a type revival project developed for editorial use. It is based on a typeface found in some Argentinian books and magazines from the early 20th century.

\ No newline at end of file +

+ Asul can be described as a baroque humanist typface; it has semi-serifs and it is a type revival project developed for editorial use. + It is based on a typeface found in some Argentinian books and magazines from the early 20th century. +

diff --git a/ofl/athiti/DESCRIPTION.en_us.html b/ofl/athiti/DESCRIPTION.en_us.html index ef14273e2f..a1fed2a11f 100644 --- a/ofl/athiti/DESCRIPTION.en_us.html +++ b/ofl/athiti/DESCRIPTION.en_us.html @@ -1,25 +1,28 @@

-Athiti is a Thai word for the Sun, and it is an informal sans Latin and loopless Thai typeface. -The friendly personality is based on humanist calligraphy, and has an organic look and feel while preserving the traditional construction of Roman type. -It all started with a desire to learn more about the origin of strokes in human handwriting. -It is designed to reflect a trace of writing tools and convey its inspiration. -The family consists of 6 weights that can be used in headlines or body text. + Athiti is a Thai word for the Sun, and it is an informal sans Latin and loopless Thai typeface. + The friendly personality is based on humanist calligraphy, and has an organic look and feel while preserving the traditional construction of Roman type. + It all started with a desire to learn more about the origin of strokes in human handwriting. + It is designed to reflect a trace of writing tools and convey its inspiration. + The family consists of 6 weights that can be used in headlines or body text.

-The outer curves contrast with the angled inner counter shapes, which distributes feelings of strength and softness at the same time. -Athiti can be used with a mixture of formal and informal content, for example in educational work. + The outer curves contrast with the angled inner counter shapes, which distributes feelings of strength and softness at the same time. + Athiti can be used with a mixture of formal and informal content, for example in educational work.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -A specific approach has been taken for dealing with thick and thin strokes in the Thai design. -Other type designers may consider this font as an example when developing new fonts. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + A specific approach has been taken for dealing with thick and thin strokes in the Thai design. + Other type designers may consider this font as an example when developing new fonts.

-Informal loopless Thai typefaces have slightly simplified details, as compared to the formal looped style, and this allows type designers to extend loopless families to very black weights. -Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall texture. -Also, in this case, ink trapping is required when connecting two specific strokes of each glyph, and it has to be done carefully, as it has been in Athiti. + Informal loopless Thai typefaces have slightly simplified details, as compared to the formal looped style, and this allows type designers to extend loopless families to very black weights. + Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall texture. + Also, in this case, ink trapping is required when connecting two specific strokes of each glyph, and it has to be done carefully, as it has been in Athiti.

-The Athiti project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/athiti -

\ No newline at end of file + The Athiti project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/athiti + +

diff --git a/ofl/atkinsonhyperlegible/DESCRIPTION.en_us.html b/ofl/atkinsonhyperlegible/DESCRIPTION.en_us.html index a83c349c94..489291ab50 100644 --- a/ofl/atkinsonhyperlegible/DESCRIPTION.en_us.html +++ b/ofl/atkinsonhyperlegible/DESCRIPTION.en_us.html @@ -1,12 +1,20 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + From Rebranding to Readability with Atkinson Hyperlegible + + . +

diff --git a/ofl/atma/DESCRIPTION.en_us.html b/ofl/atma/DESCRIPTION.en_us.html index 3ef20af2ad..1b1ac563e9 100644 --- a/ofl/atma/DESCRIPTION.en_us.html +++ b/ofl/atma/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Atma is an original Bengali and Latin typeface family with a fun and informal feeling. -The Bengali and Latin were developed in parallel as a studio collaboration by Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud. + Atma is an original Bengali and Latin typeface family with a fun and informal feeling. + The Bengali and Latin were developed in parallel as a studio collaboration by Jeremie Hornus, Gregori Vincens, Yoann Minet, and Roxane Gataud.

-The Atma project is led by Black Foundry, a type design foundry based in Paris, France. -To contribute, see github.com/TypefactoryNet/Atma + The Atma project is led by Black Foundry, a type design foundry based in Paris, France. + To contribute, see + + github.com/TypefactoryNet/Atma +

diff --git a/ofl/atomicage/DESCRIPTION.en_us.html b/ofl/atomicage/DESCRIPTION.en_us.html index d9d8887929..6440a5abe0 100644 --- a/ofl/atomicage/DESCRIPTION.en_us.html +++ b/ofl/atomicage/DESCRIPTION.en_us.html @@ -1,14 +1,25 @@

-Foundry: Sorkin Type Co + + Foundry: + + Sorkin Type Co + +

-Atomic Age was inspired by 1950s era connected scripts seen on nameplates of American cars. -Atomic Age looses the connection but keeps the spirit of these letters to make a highly legible somewhat mechanical looking font. -Atomic Age is usable from very small sizes all the way up to large display sizes. + Atomic Age was inspired by 1950s era connected scripts seen on nameplates of American cars. + Atomic Age looses the connection but keeps the spirit of these letters to make a highly legible somewhat mechanical looking font. + Atomic Age is usable from very small sizes all the way up to large display sizes.

-To contribute to the project, visit github.com/EbenSorkin/Atomic-Age + To contribute to the project, visit + + github.com/EbenSorkin/Atomic-Age +

-Updated: January 2016 to Version 1.007, to correct encoding, improve hinting, and tightened inter-letter spacing (so the vertical and horizontal metrics have changed, causing some reflow.) + + Updated: + + January 2016 to Version 1.007, to correct encoding, improve hinting, and tightened inter-letter spacing (so the vertical and horizontal metrics have changed, causing some reflow.)

diff --git a/ofl/aubrey/DESCRIPTION.en_us.html b/ofl/aubrey/DESCRIPTION.en_us.html index 8e3f0c369c..921779d862 100644 --- a/ofl/aubrey/DESCRIPTION.en_us.html +++ b/ofl/aubrey/DESCRIPTION.en_us.html @@ -1,9 +1,17 @@ -

Aubrey is a playful condensed decorative font with an art nouveau essence. - Horizontal elements are unexpectedly cut and swapped with - sloped curves creating off-beats in the overall rhythm. - Spurs are added to twist and stress the movement. - Aubrey can be a good choice for designing holiday - decorations and greetings. Works best in medium and large sizes.

- Designed by Gayaneh Bagdasaryan.

-

To contribute, see github.com/cyrealtype/Aubrey.

\ No newline at end of file + Aubrey is a playful condensed decorative font with an art nouveau essence. + Horizontal elements are unexpectedly cut and swapped with sloped curves creating off-beats in the overall rhythm. + Spurs are added to twist and stress the movement. + Aubrey can be a good choice for designing holiday decorations and greetings. + Works best in medium and large sizes. +

+

+ Designed by Gayaneh Bagdasaryan. +

+

+ To contribute, see + + github.com/cyrealtype/Aubrey + + . +

diff --git a/ofl/audiowide/DESCRIPTION.en_us.html b/ofl/audiowide/DESCRIPTION.en_us.html index 6491910096..acbde1dd18 100644 --- a/ofl/audiowide/DESCRIPTION.en_us.html +++ b/ofl/audiowide/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@ -

Audiowide is a sans serif, technology styled, typeface composed of soft -corner tubular forms. With vague nods to letter styles like that of Handel -Gothic and the Converse logo, Audiowide veers off in a direction of its own for -a slightly more techno-futuristic and yet cleanly readable typestyle.

-

Designed by Brian J. Bonislawsky for Astigmatic (AOETI). Audiowide is a -Unicode typeface family that supports languages that use the Latin script and -its variants, and could be expanded to support other scripts. To contribute to -the project contact -Brian J. Bonislawsky.

+

+ Audiowide is a sans serif, technology styled, typeface composed of soft corner tubular forms. + With vague nods to letter styles like that of Handel Gothic and the Converse logo, Audiowide veers off in a direction of its own for a slightly more techno-futuristic and yet cleanly readable typestyle. +

+

+ Designed by Brian J. + Bonislawsky for Astigmatic (AOETI). + Audiowide is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/autourone/DESCRIPTION.en_us.html b/ofl/autourone/DESCRIPTION.en_us.html index 3cf52cc2f1..aa40c82b88 100644 --- a/ofl/autourone/DESCRIPTION.en_us.html +++ b/ofl/autourone/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-Autour One is inspired by handwritten letters on Ludwig Hohlwein posters. -It has been changed and adapted from the originals in a variety of ways so that it will work in paragraphs of text and on the web. -Autour One can be used a in a wide range of sizes. -Autour means 'round' in French. + Autour One is inspired by handwritten letters on Ludwig Hohlwein posters. + It has been changed and adapted from the originals in a variety of ways so that it will work in paragraphs of text and on the web. + Autour One can be used a in a wide range of sizes. + Autour means 'round' in French.

diff --git a/ofl/average/DESCRIPTION.en_us.html b/ofl/average/DESCRIPTION.en_us.html index af12582902..b9d8e7b170 100644 --- a/ofl/average/DESCRIPTION.en_us.html +++ b/ofl/average/DESCRIPTION.en_us.html @@ -1,17 +1,26 @@ -

Average is a typeface that emerged from a long process of research into -text typeface families from various different historical periods, both -classical and contemporary. The idea was to design an average font for use in -text, through a lengthy process of shape measurement and data gathering in -spreadsheets. This resulted in a series of parameters which could be used by a -designer to determine the proportions, color, spacing and other attributes of -a typeface. Once the parameters were defined and best values were selected, -the forms for the Average Regular typeface were drawn.

- -

In september 2022, Average has been updated to provide a larger glyphset and therefore greater language support.

- -

A sans sister family, -Average Sans, -is also available.

- -

To contribute to the project contact -

To contribute, see github.com/etunni/average.

+

+ Average is a typeface that emerged from a long process of research into text typeface families from various different historical periods, both classical and contemporary. + The idea was to design an average font for use in text, through a lengthy process of shape measurement and data gathering in spreadsheets. + This resulted in a series of parameters which could be used by a designer to determine the proportions, color, spacing and other attributes of a typeface. + Once the parameters were defined and best values were selected, the forms for the Average Regular typeface were drawn. +

+

+ In september 2022, Average has been updated to provide a larger glyphset and therefore greater language support. +

+

+ A sans sister family, + + Average Sans + + , is also available. +

+

+ To contribute to the project contact +

+ To contribute, see + + github.com/etunni/average + + . +

+

diff --git a/ofl/averagesans/DESCRIPTION.en_us.html b/ofl/averagesans/DESCRIPTION.en_us.html index c163c12fac..446b56eebd 100644 --- a/ofl/averagesans/DESCRIPTION.en_us.html +++ b/ofl/averagesans/DESCRIPTION.en_us.html @@ -1,8 +1,16 @@ -

Average Sans has the color, structure and proportions of its serif sister -family, Average, -which it complements harmoniously. The neutrality of the forms create a nice -texture, both for texts and short headlines. Use it for online magazines, -academic texts and blogs.

- -

To contribute to the project contact -Eduardo Tunni.

\ No newline at end of file +

+ Average Sans has the color, structure and proportions of its serif sister family, + + Average + + , which it complements harmoniously. + The neutrality of the forms create a nice texture, both for texts and short headlines. + Use it for online magazines, academic texts and blogs. +

+

+ To contribute to the project contact + + Eduardo Tunni + + . +

diff --git a/ofl/averiagruesalibre/DESCRIPTION.en_us.html b/ofl/averiagruesalibre/DESCRIPTION.en_us.html index cf5aef1e19..31e88eab04 100644 --- a/ofl/averiagruesalibre/DESCRIPTION.en_us.html +++ b/ofl/averiagruesalibre/DESCRIPTION.en_us.html @@ -1,7 +1,21 @@

-Avería means "breakdown" or "mechanical damage" in Spanish - and is related to the root of the English word "average." -Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia + Avería means "breakdown" or "mechanical damage" in Spanish - and is related to the root of the English word "average." Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at + + iotic.com/averia +

-Averia Gruesa Libre exists in a Regular style, and there are also the Averia Libre, Averia Sans Libre and Averia Serif Libre families with 6 styles. + Averia Gruesa Libre exists in a Regular style, and there are also the + + Averia Libre + + , + + Averia Sans Libre + + and + + Averia Serif Libre + + families with 6 styles.

diff --git a/ofl/averialibre/DESCRIPTION.en_us.html b/ofl/averialibre/DESCRIPTION.en_us.html index c674210e35..d50f98cfe2 100644 --- a/ofl/averialibre/DESCRIPTION.en_us.html +++ b/ofl/averialibre/DESCRIPTION.en_us.html @@ -1,7 +1,21 @@

-Avería means "breakdown" or "mechanical damage" in Spanish - and is related to the root of the English word "average." -Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia + Avería means "breakdown" or "mechanical damage" in Spanish - and is related to the root of the English word "average." Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at + + iotic.com/averia +

-Averia Libre exists in 6 styles, and there are also the Averia Serif Libre, Averia Sans Libre and Averia Gruesa Libre families. + Averia Libre exists in 6 styles, and there are also the + + Averia Serif Libre + + , + + Averia Sans Libre + + and + + Averia Gruesa Libre + + families.

diff --git a/ofl/averiasanslibre/DESCRIPTION.en_us.html b/ofl/averiasanslibre/DESCRIPTION.en_us.html index 813e4eca63..c2635054dd 100644 --- a/ofl/averiasanslibre/DESCRIPTION.en_us.html +++ b/ofl/averiasanslibre/DESCRIPTION.en_us.html @@ -1 +1,39 @@ -

Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.

The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.

Averia Sans Libre exists in 6 styles, and there are also the Averia Libre, Averia Serif Libre and Averia Gruesa Libre families.

For more information please visit the Avería page on the iotic website or send an email to Dan Sayers.

\ No newline at end of file +

+ Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. + The process is described at + + iotic.com/averia + + . + All metrics are the result of an averaging process. + The included glyphs are those that existed in a majority of the source fonts. +

+

+ The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. +

+

+ Averia Sans Libre exists in 6 styles, and there are also the + + Averia Libre + + , + + Averia Serif Libre + + and + + Averia Gruesa Libre + + families. +

+

+ For more information please visit the + + Avería page on the iotic website + + or send an email to + + Dan Sayers + + . +

diff --git a/ofl/averiaseriflibre/DESCRIPTION.en_us.html b/ofl/averiaseriflibre/DESCRIPTION.en_us.html index a53c7963a8..66ee2eab93 100644 --- a/ofl/averiaseriflibre/DESCRIPTION.en_us.html +++ b/ofl/averiaseriflibre/DESCRIPTION.en_us.html @@ -1 +1,39 @@ -

Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.

The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.

Averia Serif Libre exists in 6 styles, and there are also the Averia Libre, Averia Sans Libre and Averia Gruesa Libre families.

For more information please visit the Avería page on the iotic website or send an email to Dan Sayers.

\ No newline at end of file +

+ Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. + The process is described at + + iotic.com/averia + + . + All metrics are the result of an averaging process. + The included glyphs are those that existed in a majority of the source fonts. +

+

+ The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011. +

+

+ Averia Serif Libre exists in 6 styles, and there are also the + + Averia Libre + + , + + Averia Sans Libre + + and + + Averia Gruesa Libre + + families. +

+

+ For more information please visit the + + Avería page on the iotic website + + or send an email to + + Dan Sayers + + . +

diff --git a/ofl/azeretmono/DESCRIPTION.en_us.html b/ofl/azeretmono/DESCRIPTION.en_us.html index 6cdc9a9101..4932b34ea0 100644 --- a/ofl/azeretmono/DESCRIPTION.en_us.html +++ b/ofl/azeretmono/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Azeret Mono is a monospaced typeface with a mono-linear character. The story of the typeface began with a draft that was driven by an exploration of OCR fonts, past and futuristic operating systems, various interfaces and the nineties. The final result is more based on a desire to achieve an appearance of the typeface that could serve in operating systems. Thus the overall character is a conjunction of everything described with details that evoke a specific personality.

- -

Azeret is designed by Martin Vácha and Daniel Quisek. To contribute, see github.com/displaay/Azeret.

- - +

+ Azeret Mono is a monospaced typeface with a mono-linear character. + The story of the typeface began with a draft that was driven by an exploration of OCR fonts, past and futuristic operating systems, various interfaces and the nineties. + The final result is more based on a desire to achieve an appearance of the typeface that could serve in operating systems. + Thus the overall character is a conjunction of everything described with details that evoke a specific personality. +

+

+ Azeret is designed by Martin Vácha and Daniel Quisek. + To contribute, see + + github.com/displaay/Azeret + + . +

diff --git a/ofl/b612/DESCRIPTION.en_us.html b/ofl/b612/DESCRIPTION.en_us.html index 5d9fb2b87e..a5c689ccb0 100644 --- a/ofl/b612/DESCRIPTION.en_us.html +++ b/ofl/b612/DESCRIPTION.en_us.html @@ -1,24 +1,43 @@

-B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. -Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. -Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. + B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. + Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. + Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field.

-In 2010, Airbus initiated a research collaboration with ENAC and Université de Toulouse III on a prospective study to define and validate an “Aeronautical Font”: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. -The typographical research was conducted through iterations from experimentation to design. -Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. -Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint‑Exupéry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like réales and incises, but also the technical and functional image of sans serif or bitmap. + In 2010, Airbus initiated a research collaboration with ENAC and Université de Toulouse III on a prospective study to define and validate an “Aeronautical Font”: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. + The typographical research was conducted through iterations from experimentation to design. + Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. + Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint‑Exupéry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like réales and incises, but also the technical and functional image of sans serif or bitmap.

-B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. -It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III). -In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. -B612 project was awarded the Observeur du Design: Industry Star in 2018. + B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. + It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency + + Intactile DESIGN + + , and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) + + Interactive Informatics Team + + for Laurent Spaggiari from the + + Airbus + + Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III). + In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the + + Polarsys project + + , an industry-oriented project hosted by the Eclipse foundation. + B612 project was awarded the Observeur du Design: Industry Star in 2018.

-Updated 2019-03: Updated to latest upstream release. + Updated 2019-03: Updated to latest upstream release.

-The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. -To contribute, see github.com/polarsys/b612 + The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. + To contribute, see + + github.com/polarsys/b612 +

diff --git a/ofl/b612mono/DESCRIPTION.en_us.html b/ofl/b612mono/DESCRIPTION.en_us.html index f5398cb4f4..a5c689ccb0 100644 --- a/ofl/b612mono/DESCRIPTION.en_us.html +++ b/ofl/b612mono/DESCRIPTION.en_us.html @@ -1,24 +1,43 @@

-B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. -Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. -Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field. + B612 is an highly legible open source font family, designed and tested to be used on aircraft cockpit screens. + Its design makes it particularly suitable for degraded contexts (ensuring legibility and readability of data), with a positive effect on reducing visual fatigue and cognitive load. + Particular attention was given to the uniformity of the typeface, whether being used for isolated terms, reading information on a map, mixing capital letters and numbers, waypoint lists, long or abbreviated texts, specific terms and data in the aeronautical field.

-In 2010, Airbus initiated a research collaboration with ENAC and Université de Toulouse III on a prospective study to define and validate an “Aeronautical Font”: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. -The typographical research was conducted through iterations from experimentation to design. -Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. -Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint‑Exupéry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like réales and incises, but also the technical and functional image of sans serif or bitmap. + In 2010, Airbus initiated a research collaboration with ENAC and Université de Toulouse III on a prospective study to define and validate an “Aeronautical Font”: the challenge was to improve the display of textual data information on all cockpit screens, concerning more specifically legibility, readability and reading comfort, and to enhance the overall cockpit consistency. + The typographical research was conducted through iterations from experimentation to design. + Two years later, Airbus came to Intactile DESIGN in order to design and develop the eight variants of the font. + Baptized B612 in reference to the imaginary asteroid of the aviator Antoine de Saint‑Exupéry, the font has been optimised following a calligraphic approach, in order to preserve the readable qualities of humanist typefaces like réales and incises, but also the technical and functional image of sans serif or bitmap.

-B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. -It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III). -In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation. -B612 project was awarded the Observeur du Design: Industry Star in 2018. + B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono. + It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency + + Intactile DESIGN + + , and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) + + Interactive Informatics Team + + for Laurent Spaggiari from the + + Airbus + + Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III). + In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the + + Polarsys project + + , an industry-oriented project hosted by the Eclipse foundation. + B612 project was awarded the Observeur du Design: Industry Star in 2018.

-Updated 2019-03: Updated to latest upstream release. + Updated 2019-03: Updated to latest upstream release.

-The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. -To contribute, see github.com/polarsys/b612 + The B612 project is led by Polarsys, an Eclipse Working Group created by large industry players and by tools providers to collaborate on the creation and support of Open Source tools for the development of embedded systems. + To contribute, see + + github.com/polarsys/b612 +

diff --git a/ofl/babylonica/DESCRIPTION.en_us.html b/ofl/babylonica/DESCRIPTION.en_us.html index 1b0d37d4fd..d313a20284 100644 --- a/ofl/babylonica/DESCRIPTION.en_us.html +++ b/ofl/babylonica/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Babylonica is a dry brush style with hand written calligraphic brush characteristics. It's italicized approach is sometimes interrupted by upright or even back-slanted forms giving it an interrupted stress. This stress gives Babylonica that truly hand lettered appeal. + Babylonica is a dry brush style with hand written calligraphic brush characteristics. + It's italicized approach is sometimes interrupted by upright or even back-slanted forms giving it an interrupted stress. + This stress gives Babylonica that truly hand lettered appeal.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/babylonica. + To contribute, see + + github.com/googlefonts/babylonica + + .

diff --git a/ofl/bacasimeantique/DESCRIPTION.en_us.html b/ofl/bacasimeantique/DESCRIPTION.en_us.html index b578143e9a..0f1e783b33 100644 --- a/ofl/bacasimeantique/DESCRIPTION.en_us.html +++ b/ofl/bacasimeantique/DESCRIPTION.en_us.html @@ -1,10 +1,11 @@

- Bacasime Antique is a DocRepair font, intended to improve compliance with the - ISO/IEC 29500 standard by providing fallback for Baskerville Old Face that minimizes text reflow in - Office Open XML documents. Bacasime Antique is based on Playfair, which is - stylistically a transitional design. + Bacasime Antique is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Baskerville Old Face that minimizes text reflow in Office Open XML documents. + Bacasime Antique is based on Playfair, which is stylistically a transitional design.

- To contribute, please visit github.com/docrepair-fonts/bacasime-antique-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/bacasime-antique-fonts + + . +

diff --git a/ofl/badscript/DESCRIPTION.en_us.html b/ofl/badscript/DESCRIPTION.en_us.html index 6f54750e64..8d9bc728a7 100644 --- a/ofl/badscript/DESCRIPTION.en_us.html +++ b/ofl/badscript/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Bad Script started from a simple six-letter logotype and developed into a separate font, supporting Latin and Cyrillic character sets. It was completely made using a tablet to imitate casual and neat handwriting. Designed to resemble the designer's own handwriting, while making it systematic and smooth.

Designed by Roman Shchyukin from Gaslight.

\ No newline at end of file +

+ Bad Script started from a simple six-letter logotype and developed into a separate font, supporting Latin and Cyrillic character sets. + It was completely made using a tablet to imitate casual and neat handwriting. + Designed to resemble the designer's own handwriting, while making it systematic and smooth. +

+

+ Designed by Roman Shchyukin from Gaslight. +

diff --git a/ofl/bagelfatone/DESCRIPTION.en_us.html b/ofl/bagelfatone/DESCRIPTION.en_us.html index 2b04d158d2..cf5074d215 100644 --- a/ofl/bagelfatone/DESCRIPTION.en_us.html +++ b/ofl/bagelfatone/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@

- Bagel Fat is a very heavy/fat font with rounded details. By these rounded corners, the overall mood is cute and lovely which is inspired by bread, pastries and sweets. Also a large contrast at where the horizontal and the vertical stroke come across makes it unique, not just cute. + Bagel Fat is a very heavy/fat font with rounded details. + By these rounded corners, the overall mood is cute and lovely which is inspired by bread, pastries and sweets. + Also a large contrast at where the horizontal and the vertical stroke come across makes it unique, not just cute.

- To contribute, please visit github.com/JAMO-TYPEFACE/BagelFat. + To contribute, please visit + + github.com/JAMO-TYPEFACE/BagelFat + + .

diff --git a/ofl/bahiana/DESCRIPTION.en_us.html b/ofl/bahiana/DESCRIPTION.en_us.html index a07493fcc6..482386a3a1 100644 --- a/ofl/bahiana/DESCRIPTION.en_us.html +++ b/ofl/bahiana/DESCRIPTION.en_us.html @@ -1,9 +1,9 @@

-Bahiana has a rustic, fresh and casual look. -Its ideal for composing condensed titles and short texts. -The family has OpenType alternatives to make the texture more organic. -There are 490 glyphs and diacritics, supporting over 103 Latin languages (including Guarani.) + Bahiana has a rustic, fresh and casual look. + Its ideal for composing condensed titles and short texts. + The family has OpenType alternatives to make the texture more organic. + There are 490 glyphs and diacritics, supporting over 103 Latin languages (including Guarani.)

-Designed by Daniela Raskovsky and Pablo Cosgaya. + Designed by Daniela Raskovsky and Pablo Cosgaya.

diff --git a/ofl/bahianita/DESCRIPTION.en_us.html b/ofl/bahianita/DESCRIPTION.en_us.html index d4e0973ad0..4a31de3ea9 100644 --- a/ofl/bahianita/DESCRIPTION.en_us.html +++ b/ofl/bahianita/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@

-Bahianita is an evolution of the Bahiana project, adding lowercase. -It has a rustic, fresh and casual appearance, which has been influenced by wood carving. -Its proportions are ideal for composing condensed titles and short texts. + Bahianita is an evolution of the + + Bahiana + + project, adding lowercase. + It has a rustic, fresh and casual appearance, which has been influenced by wood carving. + Its proportions are ideal for composing condensed titles and short texts.

-To contribute, see github.com/Omnibus-Type/Bahiana/tree/master/Bahianita + To contribute, see + + github.com/Omnibus-Type/Bahiana/tree/master/Bahianita +

diff --git a/ofl/baijamjuree/DESCRIPTION.en_us.html b/ofl/baijamjuree/DESCRIPTION.en_us.html index 5faf175b58..75e239c1db 100644 --- a/ofl/baijamjuree/DESCRIPTION.en_us.html +++ b/ofl/baijamjuree/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Bai Jamjuree is a Thai and Latin family which works well for headings and small passages of text. The design was inspired by Eurostyle and other square san serifs.

\ No newline at end of file +

+ Bai Jamjuree is a Thai and Latin family which works well for headings and small passages of text. + The design was inspired by Eurostyle and other square san serifs. +

diff --git a/ofl/bakbakone/DESCRIPTION.en_us.html b/ofl/bakbakone/DESCRIPTION.en_us.html index 1ee3168819..65a03dfff4 100644 --- a/ofl/bakbakone/DESCRIPTION.en_us.html +++ b/ofl/bakbakone/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@

-Bakbak One is a custom brand typeface for All India Bakchod. Owing to its usage, it is a heavyweight display typeface for headings, video titles and posters. It consists of 1 weight and 692 glyphs and borrows from humanist ‘Johnston’ like arches. Bakbak is loud and present but also neutral enough to render anything from a warning to a mockery. + Bakbak One is a custom brand typeface for All India Bakchod. + Owing to its usage, it is a heavyweight display typeface for headings, video titles and posters. + It consists of 1 weight and 692 glyphs and borrows from humanist ‘Johnston’ like arches. + Bakbak is loud and present but also neutral enough to render anything from a warning to a mockery.

-To contribute, please visit github.com/googlefonts/bakbak + To contribute, please visit + + github.com/googlefonts/bakbak +

diff --git a/ofl/ballet/DESCRIPTION.en_us.html b/ofl/ballet/DESCRIPTION.en_us.html index 52e414f741..646b3f620a 100644 --- a/ofl/ballet/DESCRIPTION.en_us.html +++ b/ofl/ballet/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@ -

Ballet is a reinterpretation of the classic Spencerian script style with a few whimsical twists in two different versions: - Ballet aligned and crooked, both with Latin GF Plus character set (+630 characters/+800 glyphs). +

+ Ballet is a reinterpretation of the classic Spencerian script style with a few whimsical twists in two different versions: Ballet aligned and crooked, both with Latin GF Plus character set (+630 characters/+800 glyphs).

- Ballet is designed by Maximiliano Sproviero and developed by Eduardo Tunni. - To contribute, see github.com/Omnibus-Type/Ballet + Ballet is designed by Maximiliano Sproviero and developed by Eduardo Tunni. + To contribute, see + + github.com/Omnibus-Type/Ballet +

diff --git a/ofl/baloo2/DESCRIPTION.en_us.html b/ofl/baloo2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloo2/DESCRIPTION.en_us.html +++ b/ofl/baloo2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloobhai2/DESCRIPTION.en_us.html b/ofl/baloobhai2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloobhai2/DESCRIPTION.en_us.html +++ b/ofl/baloobhai2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloobhaijaan2/DESCRIPTION.en_us.html b/ofl/baloobhaijaan2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloobhaijaan2/DESCRIPTION.en_us.html +++ b/ofl/baloobhaijaan2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloobhaina2/DESCRIPTION.en_us.html b/ofl/baloobhaina2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloobhaina2/DESCRIPTION.en_us.html +++ b/ofl/baloobhaina2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloochettan2/DESCRIPTION.en_us.html b/ofl/baloochettan2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloochettan2/DESCRIPTION.en_us.html +++ b/ofl/baloochettan2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/balooda2/DESCRIPTION.en_us.html b/ofl/balooda2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/balooda2/DESCRIPTION.en_us.html +++ b/ofl/balooda2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloopaaji2/DESCRIPTION.en_us.html b/ofl/baloopaaji2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloopaaji2/DESCRIPTION.en_us.html +++ b/ofl/baloopaaji2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/balootamma2/DESCRIPTION.en_us.html b/ofl/balootamma2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/balootamma2/DESCRIPTION.en_us.html +++ b/ofl/balootamma2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/balootammudu2/DESCRIPTION.en_us.html b/ofl/balootammudu2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/balootammudu2/DESCRIPTION.en_us.html +++ b/ofl/balootammudu2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/baloothambi2/DESCRIPTION.en_us.html b/ofl/baloothambi2/DESCRIPTION.en_us.html index 6e21861753..e766badb0e 100644 --- a/ofl/baloothambi2/DESCRIPTION.en_us.html +++ b/ofl/baloothambi2/DESCRIPTION.en_us.html @@ -1,29 +1,31 @@

- A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. - Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and - libre licensed. + A perfect blend of pointy paws in a coat of fur, Baloo is an affable display typeface by Ek Type. + Available in nine Indian scripts plus Arabic along with a Latin counterpart, the family is Unicode compliant and libre licensed.

- Baloo 2 is an extension of the earlier Baloo project. The new Baloo 2 includes additional glyphs, engineering - improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. - The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. - This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or - copious reams, demanding headlines or whispering bylines. Carefree yet confident, sprightly yet versatile, the - renewed family of Baloo promises to bring warmth to every project. + Baloo 2 is an extension of the earlier Baloo project. + The new Baloo 2 includes additional glyphs, engineering improvements, and has been extended to five weights, ranging from the light footed Regular to the affable ExtraBold. + The lighter weights retain Baloo’s characteristic bounce, but they do so slightly, infusing life into each word. + This allows the new family to freely fraternise with texts of all sizes and temperaments — be it short bursts or copious reams, demanding headlines or whispering bylines. + Carefree yet confident, sprightly yet versatile, the renewed family of Baloo promises to bring warmth to every project.

- The Baloo 2 project consists of ten font families with unique - local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). Each family supports one - Indic/Arabic script plus Latin, Latin Extended, and Vietnamese. + The Baloo 2 project consists of + + ten font families + + with unique local names for each of the nine Indic scripts plus Arabic (Baloo Bhaijaan 2). + Each family supports one Indic/Arabic script plus Latin, Latin Extended, and Vietnamese.

- It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. The Gurmukhi is - designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and - Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by - Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. - Baloo Devanagari and Latin are collaboratively designed by Ek Type. Font engineering and type design assistance by - Girish Dalvi. + It took a team of committed type designers to rear Baloo and raise it to be the typeface we love. + The Gurmukhi is designed by Shuchita Grover; Bangla by Noopur Datye and Sulekha Rajkumar; Odia by Yesha Goshar, Manish Minz, and Shuchita Grover; Gujarati by Noopur Datye and Supriya Tembe; Kannada by Divya Kowshik and Shuchita Grover; Telugu by Maithili Shingre and Omkar Shende; Malayalam by Maithili Shingre and Unnati Kotecha; and Tamil by Aadarsh Rajan. + Baloo Devanagari and Latin are collaboratively designed by Ek Type. + Font engineering and type design assistance by Girish Dalvi.

- To contribute to the project, visit github.com/EkType/Baloo2 -

\ No newline at end of file + To contribute to the project, visit + + github.com/EkType/Baloo2 + +

diff --git a/ofl/balsamiqsans/DESCRIPTION.en_us.html b/ofl/balsamiqsans/DESCRIPTION.en_us.html index 089dfd618e..c6895b0031 100644 --- a/ofl/balsamiqsans/DESCRIPTION.en_us.html +++ b/ofl/balsamiqsans/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

Balsamiq Sans is the handwritten font created for the Balsamiq Wireframes and has been in use since version 2.1.

-

The font contains 942 glyphs in 2 weights with italics/obliques, and includes the basic and extended latin character set, Cyrillic, Basic Symbols and Dingbats, Math and Technical Symbols, and punctuation

- -

To contribute, see github.com/balsamiq/balsamiqsans

+

+ Balsamiq Sans is the handwritten font created for the Balsamiq Wireframes and has been in use since version 2.1. +

+

+ The font contains 942 glyphs in 2 weights with italics/obliques, and includes the basic and extended latin character set, Cyrillic, Basic Symbols and Dingbats, Math and Technical Symbols, and punctuation +

+

+ To contribute, see + + github.com/balsamiq/balsamiqsans + +

diff --git a/ofl/balthazar/DESCRIPTION.en_us.html b/ofl/balthazar/DESCRIPTION.en_us.html index b56a23d3fe..e2f14aaf5f 100644 --- a/ofl/balthazar/DESCRIPTION.en_us.html +++ b/ofl/balthazar/DESCRIPTION.en_us.html @@ -1 +1,18 @@ -

Balthazar is a contemporary "Copperplate Gothic like" serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris. Unusually this type includes lowercase letters. The high x-height gives the text a compact look, true to the original Cooperplate Gothic design. The general form is less condensed. It has diagonal stress, and a soft variation in contrast to improve legibility. It is bolder than normal for better rasterization on screen. The typeface works smoothly at text sizes with its delicate serifs, which gives a crisp effect on the screen. At larger sizes it shows a strong personality with the combination of serif details and the modulation of its strokes. It is useful for both short text and headlines, but it is also comfortable for reading on screen.

Designed by Dario Muhafara for tipo foundry.

\ No newline at end of file +

+ Balthazar is a contemporary "Copperplate Gothic like" serif typeface inspired by the kind of typefaces used by many bistros and cafes in New York City and Paris. + Unusually this type includes lowercase letters. + The high x-height gives the text a compact look, true to the original Cooperplate Gothic design. + The general form is less condensed. + It has diagonal stress, and a soft variation in contrast to improve legibility. + It is bolder than normal for better rasterization on screen. + The typeface works smoothly at text sizes with its delicate serifs, which gives a crisp effect on the screen. + At larger sizes it shows a strong personality with the combination of serif details and the modulation of its strokes. + It is useful for both short text and headlines, but it is also comfortable for reading on screen. +

+

+ Designed by Dario Muhafara for + + tipo foundry + + . +

diff --git a/ofl/bangers/DESCRIPTION.en_us.html b/ofl/bangers/DESCRIPTION.en_us.html index 42a55facbc..a56e1d9a82 100644 --- a/ofl/bangers/DESCRIPTION.en_us.html +++ b/ofl/bangers/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Bangers is a comicbook style font which packs a punch! It was designed in the style of mid-20th century superhero comics cover lettering in mind.

- -

To contribute, see github.com/googlefonts/bangers.

+

+ Bangers is a comicbook style font which packs a punch! + It was designed in the style of mid-20th century superhero comics cover lettering in mind. +

+

+ To contribute, see + + github.com/googlefonts/bangers + + . +

diff --git a/ofl/barlow/DESCRIPTION.en_us.html b/ofl/barlow/DESCRIPTION.en_us.html index 76367a5c67..5fbee51e6d 100644 --- a/ofl/barlow/DESCRIPTION.en_us.html +++ b/ofl/barlow/DESCRIPTION.en_us.html @@ -1,15 +1,22 @@

-Barlow is a slightly rounded, low-contrast, grotesk type family. -Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. + Barlow is a slightly rounded, low-contrast, grotesk type family. + Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains.

-This is the Normal family, which is part of the superfamily along with -Semi Condensed and -Condensed, -each with 9 weights in Roman and Italic. -

+ This is the Normal family, which is part of the superfamily along with + + Semi Condensed + + and + + Condensed + + , each with 9 weights in Roman and Italic.

-The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. -To contribute, see github.com/jpt/barlow + The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. + To contribute, see + + github.com/jpt/barlow +

diff --git a/ofl/barlowcondensed/DESCRIPTION.en_us.html b/ofl/barlowcondensed/DESCRIPTION.en_us.html index 5313bf204a..8e0c4337d9 100644 --- a/ofl/barlowcondensed/DESCRIPTION.en_us.html +++ b/ofl/barlowcondensed/DESCRIPTION.en_us.html @@ -1,15 +1,22 @@

-Barlow is a slightly rounded, low-contrast, grotesk type family. -Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. + Barlow is a slightly rounded, low-contrast, grotesk type family. + Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains.

-This is the Condensed family, which is part of the superfamily along with -Normal and -Semi Condensed, -each with 9 weights in Roman and Italic. -

+ This is the Condensed family, which is part of the superfamily along with + + Normal + + and + + Semi Condensed + + , each with 9 weights in Roman and Italic.

-The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. -To contribute, see github.com/jpt/barlow + The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. + To contribute, see + + github.com/jpt/barlow +

diff --git a/ofl/barlowsemicondensed/DESCRIPTION.en_us.html b/ofl/barlowsemicondensed/DESCRIPTION.en_us.html index 6dcf1b5146..17ed344b64 100644 --- a/ofl/barlowsemicondensed/DESCRIPTION.en_us.html +++ b/ofl/barlowsemicondensed/DESCRIPTION.en_us.html @@ -1,14 +1,22 @@

-Barlow is a slightly rounded, low-contrast, grotesk type family. -Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains. + Barlow is a slightly rounded, low-contrast, grotesk type family. + Drawing from the visual style of the California public, Barlow shares qualities with the state's car plates, highway signs, busses, and trains.

-This is the Semi Condensed family, which is part of the superfamily along with -Condensed, and -Normal, -each with 9 weights in Roman and Italic. + This is the Semi Condensed family, which is part of the superfamily along with + + Condensed + + , and + + Normal + + , each with 9 weights in Roman and Italic.

-The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. -To contribute, see github.com/jpt/barlow + The Barlow project is led by Jeremy Tribby, a designer based in San Francisco, USA. + To contribute, see + + github.com/jpt/barlow +

diff --git a/ofl/barriecito/DESCRIPTION.en_us.html b/ofl/barriecito/DESCRIPTION.en_us.html index a20eafdb81..5febe23dbd 100644 --- a/ofl/barriecito/DESCRIPTION.en_us.html +++ b/ofl/barriecito/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@

-Barriecito is an evolution of the Barrio project, adding lowercase. -The amateur appearance conveys a friendly and authentic tone which works well for hand crafted products and billboards. -It also works well on screens at headline sizes. + Barriecito is an evolution of the + + Barrio + + project, adding lowercase. + The amateur appearance conveys a friendly and authentic tone which works well for hand crafted products and billboards. + It also works well on screens at headline sizes.

-To contribute, see github.com/Omnibus-Type/Barrio/tree/master/Barriecito + To contribute, see + + github.com/Omnibus-Type/Barrio/tree/master/Barriecito +

diff --git a/ofl/barrio/DESCRIPTION.en_us.html b/ofl/barrio/DESCRIPTION.en_us.html index 34bfdcd7fb..1e8469f7f7 100644 --- a/ofl/barrio/DESCRIPTION.en_us.html +++ b/ofl/barrio/DESCRIPTION.en_us.html @@ -1,9 +1,9 @@

-Barrio is designed to be used on screens, billboards, magazines and promotional material. -Its particularly remarkable for its rhythmic contrast and its amateur appearance. -These features make it ideal for warm, lively and fun communication. -Barrio offers 490 glyphs and diacritics with support for over 103 languages ​​Latin (including Guarani.) + Barrio is designed to be used on screens, billboards, magazines and promotional material. + Its particularly remarkable for its rhythmic contrast and its amateur appearance. + These features make it ideal for warm, lively and fun communication. + Barrio offers 490 glyphs and diacritics with support for over 103 languages ​​Latin (including Guarani.)

-Designed by Sergio Jiménez and Pablo Cosgaya. + Designed by Sergio Jiménez and Pablo Cosgaya.

diff --git a/ofl/basic/DESCRIPTION.en_us.html b/ofl/basic/DESCRIPTION.en_us.html index 58fa7214bc..950e157437 100644 --- a/ofl/basic/DESCRIPTION.en_us.html +++ b/ofl/basic/DESCRIPTION.en_us.html @@ -1,9 +1,34 @@ -

Foundry: Sorkin Type Co

- -

Basic is a low contrast san serif text face. Basic mixes familiar forms with a hint of novelty. It is is easy to read and is slightly elegant. Basic can be used from small sizes to larger display settings.

- -

Source files are available from github.com/EbenSorkin/Basic. -To contribute to the project, contact Eben Sorkin.

- -

Updated August 2014: Sorkin Type Co extended the character set and improved the hinting.

\ No newline at end of file +

+ + Foundry: + + Sorkin Type Co + + +

+

+ Basic is a low contrast san serif text face. + Basic mixes familiar forms with a hint of novelty. + It is is easy to read and is slightly elegant. + Basic can be used from small sizes to larger display settings. +

+

+ Source files are available from + + github.com/EbenSorkin/Basic + + . + To contribute to the project, contact + + Eben Sorkin + + . +

+

+ + Updated August 2014: + + Sorkin Type Co extended the character set and improved the hinting. +

+

+

diff --git a/ofl/baskervville/DESCRIPTION.en_us.html b/ofl/baskervville/DESCRIPTION.en_us.html index 3485502110..a780333a3f 100644 --- a/ofl/baskervville/DESCRIPTION.en_us.html +++ b/ofl/baskervville/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-Baskervville is a revival of Jacob’s revival of Baskerville’s typeface. It was distributed by the Berger-Levrault Foundry from 1815. The font Jacob produced was sold as a »Caractères dans le genre Baskerwille« i.e »Baskerwille alike fonts« — with a w instead of a v. + Baskervville is a revival of Jacob’s revival of Baskerville’s typeface. + It was distributed by the Berger-Levrault Foundry from 1815. + The font Jacob produced was sold as a »Caractères dans le genre Baskerwille« i.e »Baskerwille alike fonts« — with a w instead of a v.

-The particularity of Jacob’s Baskerwille is that the roman is very close to Baskerville’s typefaces while the italic is closer to Didot’s typefaces. The ANRT workshop aimed to digitize Jacob’s font in order to show his work which moves from transitional to modern styles. + The particularity of Jacob’s Baskerwille is that the roman is very close to Baskerville’s typefaces while the italic is closer to Didot’s typefaces. + The ANRT workshop aimed to digitize Jacob’s font in order to show his work which moves from transitional to modern styles.

-Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, Rémi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys and Rosalie Wagner), under the direction of Charles Mazé. Development and production by Rosalie Wagner. + Baskervville was designed by the ANRT students from 2017 (Alexis Faudot, Rémi Forte, Morgane Pierson, Rafael Ribas, Tanguy Vanlaeys and Rosalie Wagner), under the direction of Charles Mazé. + Development and production by Rosalie Wagner.

-To contribute, see github.com/anrt-type/ANRT-Baskervville -

\ No newline at end of file + To contribute, see + + github.com/anrt-type/ANRT-Baskervville + +

diff --git a/ofl/battambang/DESCRIPTION.en_us.html b/ofl/battambang/DESCRIPTION.en_us.html index 209a6f3029..5ced269208 100644 --- a/ofl/battambang/DESCRIPTION.en_us.html +++ b/ofl/battambang/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Battambang is a Khmer font for body text. The shape is similar to the Battambang legacy font released in the 1990s. + Battambang is a Khmer font for body text. + The shape is similar to the Battambang legacy font released in the 1990s.

-To contribute, see github.com/danhhong/Battambang. + To contribute, see + + github.com/danhhong/Battambang + + .

diff --git a/ofl/baumans/DESCRIPTION.en_us.html b/ofl/baumans/DESCRIPTION.en_us.html index d7852956d2..304e0181d7 100644 --- a/ofl/baumans/DESCRIPTION.en_us.html +++ b/ofl/baumans/DESCRIPTION.en_us.html @@ -1 +1,17 @@ -

Baumans is a geometric typeface for headlines. Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms.

The concept of the typeface fits with Moholy-Nagy's typography statement that type must be clear, legible, and communicate its message.

The main distinctive features are the sharp corners in MVW, curved Z and unicase-like N. Contrast is monolinear and proportions are balanced.

Baumans is suitable for medium to large sizes and optimized for screen.

Designed by Henadij Zarechnjuk.

\ No newline at end of file +

+ Baumans is a geometric typeface for headlines. + Its letterforms are inspired by Bauhaus typefaces and preconstructivist forms. +

+

+ The concept of the typeface fits with Moholy-Nagy's typography statement that type must be clear, legible, and communicate its message. +

+

+ The main distinctive features are the sharp corners in MVW, curved Z and unicase-like N. + Contrast is monolinear and proportions are balanced. +

+

+ Baumans is suitable for medium to large sizes and optimized for screen. +

+

+ Designed by Henadij Zarechnjuk. +

diff --git a/ofl/bayon/DESCRIPTION.en_us.html b/ofl/bayon/DESCRIPTION.en_us.html index 19ca9f6852..a57e3edf43 100644 --- a/ofl/bayon/DESCRIPTION.en_us.html +++ b/ofl/bayon/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Bayon is a Khmer font for headlines, titles and subtitles, and even banner designs. + Bayon is a Khmer font for headlines, titles and subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Bayon. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Bayon + + . +

diff --git a/ofl/beaurivage/DESCRIPTION.en_us.html b/ofl/beaurivage/DESCRIPTION.en_us.html index e74a81dbda..00e6b9fc24 100644 --- a/ofl/beaurivage/DESCRIPTION.en_us.html +++ b/ofl/beaurivage/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Beau Rivage is a classic calligraphic with strong contrast between thick and thin strokes. Perfect for invitations and posh events. Utilize the stylistic sets which contain ornamental caps and more flourished lower case forms. + Beau Rivage is a classic calligraphic with strong contrast between thick and thin strokes. + Perfect for invitations and posh events. + Utilize the stylistic sets which contain ornamental caps and more flourished lower case forms.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/beau-rivage. + To contribute, see + + github.com/googlefonts/beau-rivage + + .

diff --git a/ofl/bebasneue/DESCRIPTION.en_us.html b/ofl/bebasneue/DESCRIPTION.en_us.html index 48c9863fba..2cac57344e 100644 --- a/ofl/bebasneue/DESCRIPTION.en_us.html +++ b/ofl/bebasneue/DESCRIPTION.en_us.html @@ -1,9 +1,17 @@

-Bebas Neue is a display family suitable for headlines, captions, and packaging, designed by Ryoichi Tsunekawa. It's based on the original Bebas typeface. The family is suitable for pro users due to its extended character set and OpenType features. + Bebas Neue is a display family suitable for headlines, captions, and packaging, designed by Ryoichi Tsunekawa. + It's based on the original Bebas typeface. + The family is suitable for pro users due to its extended character set and OpenType features.

-To contribute, see https://github.com/dharmatype/Bebas-Neue. + To contribute, see + + https://github.com/dharmatype/Bebas-Neue + + .

-http://bebasneue.com + + http://bebasneue.com +

diff --git a/ofl/belanosima/DESCRIPTION.en_us.html b/ofl/belanosima/DESCRIPTION.en_us.html index a60a93e1fc..9a3c47669d 100644 --- a/ofl/belanosima/DESCRIPTION.en_us.html +++ b/ofl/belanosima/DESCRIPTION.en_us.html @@ -1,11 +1,12 @@

- Belanosima is a DocRepair font, intended to improve compliance with the - ISO/IEC 29500 standard by providing fallback for Berlin Sans FB that minimizes text reflow in - Office Open XML documents. Belanosima is based on Josefin Sans, a geometric, - elegant family with a vintage feeling, for use at larger sizes. Josefin Sans - is inspired by geometric sans serif designs from the 1920s. + Belanosima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Berlin Sans FB that minimizes text reflow in Office Open XML documents. + Belanosima is based on Josefin Sans, a geometric, elegant family with a vintage feeling, for use at larger sizes. + Josefin Sans is inspired by geometric sans serif designs from the 1920s.

- To contribute, please visit github.com/docrepair-fonts/belanosima-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/belanosima-fonts + + . +

diff --git a/ofl/belgrano/DESCRIPTION.en_us.html b/ofl/belgrano/DESCRIPTION.en_us.html index b312c52579..6801e17128 100644 --- a/ofl/belgrano/DESCRIPTION.en_us.html +++ b/ofl/belgrano/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Belgrano is a slab serif type designed initially for printed newspapers. It has been adapted for use on the web, with coarse terminals and larger counterforms that mean it works well in very small sizes.

\ No newline at end of file +

+ Belgrano is a slab serif type designed initially for printed newspapers. + It has been adapted for use on the web, with coarse terminals and larger counterforms that mean it works well in very small sizes. +

diff --git a/ofl/bellefair/DESCRIPTION.en_us.html b/ofl/bellefair/DESCRIPTION.en_us.html index b297da77f6..f3f7f72a6c 100644 --- a/ofl/bellefair/DESCRIPTION.en_us.html +++ b/ofl/bellefair/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Bellefair started life as a Latin typeface designed by Nick Shinn. -Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color. + Bellefair started life as a Latin typeface designed by Nick Shinn. + Then a Hebrew typeface was designed as part of the project by Liron Lavi Turkenich, to be a good match in terms of style, weight and overall color.

diff --git a/ofl/belleza/DESCRIPTION.en_us.html b/ofl/belleza/DESCRIPTION.en_us.html index 1064f26068..f783893cac 100644 --- a/ofl/belleza/DESCRIPTION.en_us.html +++ b/ofl/belleza/DESCRIPTION.en_us.html @@ -1,3 +1,17 @@ -

Belleza is a humanist sans serif typeface inspired by the world of fashion. With classic proportions, high contrast in its strokes and special counters, it provides a fresh look that reminds readers of elegant models and feminine beauty.

Belleza is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts.

-

The last release in June 2022, offers an major language support update.

-

To contribute, see github.com/etunni/belleza.

+

+ Belleza is a humanist sans serif typeface inspired by the world of fashion. + With classic proportions, high contrast in its strokes and special counters, it provides a fresh look that reminds readers of elegant models and feminine beauty. +

+

+ Belleza is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. +

+

+ The last release in June 2022, offers an major language support update. +

+

+ To contribute, see + + github.com/etunni/belleza + + . +

diff --git a/ofl/bellota/DESCRIPTION.en_us.html b/ofl/bellota/DESCRIPTION.en_us.html index ed2d7a09a6..f35ea18e5a 100644 --- a/ofl/bellota/DESCRIPTION.en_us.html +++ b/ofl/bellota/DESCRIPTION.en_us.html @@ -1,5 +1,17 @@ -

Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It’s just cute enough!

- -

It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps.

- -

To contribute to the project, please go to github.com/kemie/Bellota-Font.

\ No newline at end of file +

+ Bellota is an ornamented, low contrast sans-serif with text and swash alternates. + It’s just cute enough! +

+

+ It comes in two variations: Normal and Text. + Each of these comes in three weights (Light/Regular/Bold) and Italics. + There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. + Stylistic Set 1: Text, Stylistic Set 2: Swash caps. +

+

+ To contribute to the project, please go to + + github.com/kemie/Bellota-Font + + . +

diff --git a/ofl/bellotatext/DESCRIPTION.en_us.html b/ofl/bellotatext/DESCRIPTION.en_us.html index ed2d7a09a6..f35ea18e5a 100644 --- a/ofl/bellotatext/DESCRIPTION.en_us.html +++ b/ofl/bellotatext/DESCRIPTION.en_us.html @@ -1,5 +1,17 @@ -

Bellota is an ornamented, low contrast sans-serif with text and swash alternates. It’s just cute enough!

- -

It comes in two variations: Normal and Text. Each of these comes in three weights (Light/Regular/Bold) and Italics. There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. Stylistic Set 1: Text, Stylistic Set 2: Swash caps.

- -

To contribute to the project, please go to github.com/kemie/Bellota-Font.

\ No newline at end of file +

+ Bellota is an ornamented, low contrast sans-serif with text and swash alternates. + It’s just cute enough! +

+

+ It comes in two variations: Normal and Text. + Each of these comes in three weights (Light/Regular/Bold) and Italics. + There are stylistic alternates (for swash and non-ornamented characters) and ligatures available through OpenType features. + Stylistic Set 1: Text, Stylistic Set 2: Swash caps. +

+

+ To contribute to the project, please go to + + github.com/kemie/Bellota-Font + + . +

diff --git a/ofl/benchnine/DESCRIPTION.en_us.html b/ofl/benchnine/DESCRIPTION.en_us.html index 5d63ed49c5..6e35180aed 100644 --- a/ofl/benchnine/DESCRIPTION.en_us.html +++ b/ofl/benchnine/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The design of BenchNine is loosely based on the look of the ink spreads and -bleeds characteristic of traditional or vernacular woodcut type. The design -takes a mash-up of a number of old Stephenson Blake designs and rounds the -corners a little. In theory the face should work well for headlines that want -to stand out just a little from the crowd.

\ No newline at end of file +

+ The design of BenchNine is loosely based on the look of the ink spreads and bleeds characteristic of traditional or vernacular woodcut type. + The design takes a mash-up of a number of old Stephenson Blake designs and rounds the corners a little. + In theory the face should work well for headlines that want to stand out just a little from the crowd. +

diff --git a/ofl/benne/DESCRIPTION.en_us.html b/ofl/benne/DESCRIPTION.en_us.html index cc9fdb324c..60d66bb46e 100644 --- a/ofl/benne/DESCRIPTION.en_us.html +++ b/ofl/benne/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Benne is a Kannada text font developed by John Harrington. - The style and weights are designed to harmonise with EB Garamond, originally designed by Georg Duffner. + Benne is a Kannada text font developed by John Harrington. + The style and weights are designed to harmonise with EB Garamond, originally designed by Georg Duffner. +

+

+ To contribute, see + + github.com/googlefonts/Benne + + .

- -

To contribute, see github.com/googlefonts/Benne.

\ No newline at end of file diff --git a/ofl/bentham/DESCRIPTION.en_us.html b/ofl/bentham/DESCRIPTION.en_us.html index a3d2629f29..7ad2ec5e91 100644 --- a/ofl/bentham/DESCRIPTION.en_us.html +++ b/ofl/bentham/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Bentham is inspired by the lettering of nineteenth-century maps, gravestones and the maker’s plates of cast-iron machinery. -It is characterized by expressive, flowing, and bulging curves, mannered awkwardness, and the bobbles on the terminals of its characters. -The ‘modern face’ type genre is the typographical equivalent, and it can be found in books printed throughout the nineteenth century. -This genre survived in educational textbooks produced throughout the twentieth century, and is preserved in computer science as the style which Donald Knuth adopted for his TEX typesetting system. + Bentham is inspired by the lettering of nineteenth-century maps, gravestones and the maker’s plates of cast-iron machinery. + It is characterized by expressive, flowing, and bulging curves, mannered awkwardness, and the bobbles on the terminals of its characters. + The ‘modern face’ type genre is the typographical equivalent, and it can be found in books printed throughout the nineteenth century. + This genre survived in educational textbooks produced throughout the twentieth century, and is preserved in computer science as the style which Donald Knuth adopted for his + + T + + E + + X typesetting system + + .

-Bentham is a half-way design; -true neither to the type produced during the nineteenth century, nor to the letterforms of cartographers, stonecutters, or engravers. -Really it is an examination of the characteristics that these letters share, colored by Ben's approach to type drawing. + Bentham is a half-way design; true neither to the type produced during the nineteenth century, nor to the letterforms of cartographers, stonecutters, or engravers. + Really it is an examination of the characteristics that these letters share, colored by Ben's approach to type drawing.

diff --git a/ofl/berkshireswash/DESCRIPTION.en_us.html b/ofl/berkshireswash/DESCRIPTION.en_us.html index 9a0f2cf1ef..ffeb4e091c 100644 --- a/ofl/berkshireswash/DESCRIPTION.en_us.html +++ b/ofl/berkshireswash/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Berkshire Swash is an alluring semi-sweet typestyle with a bold yet feminine flair to it.

Designed by Astigmatic (AOETI). To contribute to the project contact Brian J. Bonislawsky.

\ No newline at end of file +

+ Berkshire Swash is an alluring semi-sweet typestyle with a bold yet feminine flair to it. +

+

+ Designed by Astigmatic (AOETI). + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/besley/DESCRIPTION.en_us.html b/ofl/besley/DESCRIPTION.en_us.html index 1d99172468..d7e474b9ae 100644 --- a/ofl/besley/DESCRIPTION.en_us.html +++ b/ofl/besley/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

-Besley is a antique slab serif inspired by Robert Besley's Clarendon. -It features a full range of weights and matching italics, making it subtle for a variety of uses. A slight rounding of the corners gives a subtle warmth, and OpenType features such as ligatures and contextual substitutions perfect the finer details. It was made with love and will continue to improve with your support.

+ Besley is a antique slab serif inspired by Robert Besley's Clarendon. + It features a full range of weights and matching italics, making it subtle for a variety of uses. + A slight rounding of the corners gives a subtle warmth, and OpenType features such as ligatures and contextual substitutions perfect the finer details. + It was made with love and will continue to improve with your support. +

-The Besley project is designed by Owen Earl (indestructible type*). To contribute, see https://github.com/indestructible-type/Besley + The Besley project is designed by Owen Earl (indestructible type*). + To contribute, see + + https://github.com/indestructible-type/Besley +

diff --git a/ofl/bethellen/DESCRIPTION.en_us.html b/ofl/bethellen/DESCRIPTION.en_us.html index ef5ae4d3dc..ddf3807475 100644 --- a/ofl/bethellen/DESCRIPTION.en_us.html +++ b/ofl/bethellen/DESCRIPTION.en_us.html @@ -1,4 +1,14 @@

-Beth Ellen is a simple, joyful handwritten font crafted after the penmanship of my mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. The purpose of this typeface is to give, so it is totally free to use for personal or commercial projects under the SIL Open Font License. My single request is that you help the legacy of Beth Ellen live on by sending a short note to someone you love each time the font is used. Tell them you love them, encourage them to be their best, or send them a scripture. This is the way Beth Ellen lived her life, writing notes to share love and faith. + Beth Ellen is a simple, joyful handwritten font crafted after the penmanship of my mom, Beth Ellen Jelinski who passed away from cancer on March 5th, 2017. + The purpose of this typeface is to give, so it is totally free to use for personal or commercial projects under the SIL Open Font License. + My single request is that you help the legacy of Beth Ellen live on by sending a short note to someone you love each time the font is used. + Tell them you love them, encourage them to be their best, or send them a scripture. + This is the way Beth Ellen lived her life, writing notes to share love and faith. +

+

+ To contribute, see + + github.com/googlefonts/BethEllen + + .

-

To contribute, see github.com/googlefonts/BethEllen.

diff --git a/ofl/bevan/DESCRIPTION.en_us.html b/ofl/bevan/DESCRIPTION.en_us.html index 26e9b4c1d5..fe48379d91 100644 --- a/ofl/bevan/DESCRIPTION.en_us.html +++ b/ofl/bevan/DESCRIPTION.en_us.html @@ -1,3 +1,14 @@ -

Bevan is a reworking of a traditional slab serif display typeface created by Heinrich Jost in the 1930s. In Bevan, Jost's earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers.

-

Upgrade December 2021: an Italic style was added during the Summer of Type Program 2016, thanks to the contribution of Kalapi Gajjar-Bordawekar and Jacques Le Bailly.

-

To contribute, see github.com/googlefonts/BevanFont.

+

+ Bevan is a reworking of a traditional slab serif display typeface created by Heinrich Jost in the 1930s. + In Bevan, Jost's earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. +

+

+ Upgrade December 2021: an Italic style was added during the Summer of Type Program 2016, thanks to the contribution of Kalapi Gajjar-Bordawekar and Jacques Le Bailly. +

+

+ To contribute, see + + github.com/googlefonts/BevanFont + + . +

diff --git a/ofl/bevietnampro/DESCRIPTION.en_us.html b/ofl/bevietnampro/DESCRIPTION.en_us.html index 5dc39ee815..360e171a31 100644 --- a/ofl/bevietnampro/DESCRIPTION.en_us.html +++ b/ofl/bevietnampro/DESCRIPTION.en_us.html @@ -1,7 +1,11 @@

-Be Vietnam Pro is a Neo Grotesk which is well suited to tech companies and startups. We have refined Vietnamese letterforms with diacritics adaptive forms and engineered them for the best readability. + Be Vietnam Pro is a Neo Grotesk which is well suited to tech companies and startups. + We have refined Vietnamese letterforms with diacritics adaptive forms and engineered them for the best readability.

-

-To contribute, see github.com/bettergui/BeVietnamPro. + To contribute, see + + github.com/bettergui/BeVietnamPro + + .

diff --git a/ofl/bhavuka/DESCRIPTION.en_us.html b/ofl/bhavuka/DESCRIPTION.en_us.html index 153ff5bdab..ed8ed6ff55 100644 --- a/ofl/bhavuka/DESCRIPTION.en_us.html +++ b/ofl/bhavuka/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Bhavuka is a playful Latin and Devanagari typeface. -It started life as Snippet, by Gesine Todt. + Bhavuka is a playful Latin and Devanagari typeface. + It started life as Snippet, by Gesine Todt.

-

-The Bhavuka project is led by Matt Heximer, a type designer based in Vancouver. To contribute, see github.com/10four/Bhavuka + The Bhavuka project is led by Matt Heximer, a type designer based in Vancouver. + To contribute, see + + github.com/10four/Bhavuka +

diff --git a/ofl/bhutukaexpandedone/DESCRIPTION.en_us.html b/ofl/bhutukaexpandedone/DESCRIPTION.en_us.html index f0714da17c..e90a9c76f3 100644 --- a/ofl/bhutukaexpandedone/DESCRIPTION.en_us.html +++ b/ofl/bhutukaexpandedone/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@

- BhuTuka Expanded One is a Gurmukhi companion to Aoife Mooney’s BioRhyme Expanded Light typeface. + BhuTuka Expanded One is a Gurmukhi companion to Aoife Mooney’s + + BioRhyme Expanded Light + + typeface.

- To contribute, see github.com/erinmclaughlin/BhuTuka-Extended-One. -

\ No newline at end of file + To contribute, see + + github.com/erinmclaughlin/BhuTuka-Extended-One + + . +

diff --git a/ofl/bigelowrules/DESCRIPTION.en_us.html b/ofl/bigelowrules/DESCRIPTION.en_us.html index 864c0401c2..314be0a538 100644 --- a/ofl/bigelowrules/DESCRIPTION.en_us.html +++ b/ofl/bigelowrules/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

The Bigelow Rules typeface is an odd hybrid from numerous inspirations. -Imagine Times Roman feels the squeeze, marries a Didone, and gives birth -to something with retro appeal and bounce with some eclectic glyph oddities -thrown in for spunk. That is Bigelow Rules.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ The Bigelow Rules typeface is an odd hybrid from numerous inspirations. + Imagine Times Roman feels the squeeze, marries a Didone, and gives birth to something with retro appeal and bounce with some eclectic glyph oddities thrown in for spunk. + That is Bigelow Rules. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/bigshotone/DESCRIPTION.en_us.html b/ofl/bigshotone/DESCRIPTION.en_us.html index e38205ba8d..d8f1c35e05 100644 --- a/ofl/bigshotone/DESCRIPTION.en_us.html +++ b/ofl/bigshotone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Bigshot One is a contemporary Didone. The design plays within its systematic features and likes to be cheeky. Bigshot One also likes to show-off and prefers big display sizes.

\ No newline at end of file +

+ Bigshot One is a contemporary Didone. + The design plays within its systematic features and likes to be cheeky. + Bigshot One also likes to show-off and prefers big display sizes. +

diff --git a/ofl/bigshouldersdisplay/DESCRIPTION.en_us.html b/ofl/bigshouldersdisplay/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshouldersdisplay/DESCRIPTION.en_us.html +++ b/ofl/bigshouldersdisplay/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bigshouldersinlinedisplay/DESCRIPTION.en_us.html b/ofl/bigshouldersinlinedisplay/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshouldersinlinedisplay/DESCRIPTION.en_us.html +++ b/ofl/bigshouldersinlinedisplay/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bigshouldersinlinetext/DESCRIPTION.en_us.html b/ofl/bigshouldersinlinetext/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshouldersinlinetext/DESCRIPTION.en_us.html +++ b/ofl/bigshouldersinlinetext/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bigshouldersstencildisplay/DESCRIPTION.en_us.html b/ofl/bigshouldersstencildisplay/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshouldersstencildisplay/DESCRIPTION.en_us.html +++ b/ofl/bigshouldersstencildisplay/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bigshouldersstenciltext/DESCRIPTION.en_us.html b/ofl/bigshouldersstenciltext/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshouldersstenciltext/DESCRIPTION.en_us.html +++ b/ofl/bigshouldersstenciltext/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bigshoulderstext/DESCRIPTION.en_us.html b/ofl/bigshoulderstext/DESCRIPTION.en_us.html index 8268fa4f99..93fd95d55c 100644 --- a/ofl/bigshoulderstext/DESCRIPTION.en_us.html +++ b/ofl/bigshoulderstext/DESCRIPTION.en_us.html @@ -1,9 +1,29 @@ -

Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance.

- -

Big Shoulders is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice.

- -

Big Shoulders Stencil explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses.

- -

Big Shoulders Inline formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s.

- -

To contribute, see github.com/xotypeco/big_shoulders.

+

+ Big Shoulders is a superfamily of condensed American Gothic variable fonts, created for the Chicago Design System, and the citizens of Chicago. + The family's tall, sans-serif forms are based in Chicago's multiple histories in railway transport, public political action, and dance. +

+

+ + Big Shoulders + + is used in the Chicago Design System as the primary typeface to identify Chicago and its citizens allowing the Chicagoans to speak with one consistent typographic voice. +

+

+ + Big Shoulders Stencil + + explores Chicago's histories in work and protest, and is designed to apply the Chicagoan voice to those uses. +

+

+ + Big Shoulders Inline + + formalizes a local typographic vernacular for celebration, taking its hypnotic inline design from Chicago House parties, and local LGBTQ dance events, a tradition beginning in the early 1980s. +

+

+ To contribute, see + + github.com/xotypeco/big_shoulders + + . +

diff --git a/ofl/bilbo/DESCRIPTION.en_us.html b/ofl/bilbo/DESCRIPTION.en_us.html index 0479075e13..e97b5c687f 100644 --- a/ofl/bilbo/DESCRIPTION.en_us.html +++ b/ofl/bilbo/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Bilbo is a very legible calligraphic style that has a masculine feel. It can be used for more than just display. Use Bilbo in body copy that requires added warmth to a message. + Bilbo is a very legible calligraphic style that has a masculine feel. + It can be used for more than just display. + Use Bilbo in body copy that requires added warmth to a message.

-Bilbo comes with Latin Character sets including Western, Central, and Vietnamese language support. + Bilbo comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/bilbo. + To contribute, see + + github.com/googlefonts/bilbo + + .

diff --git a/ofl/bilboswashcaps/DESCRIPTION.en_us.html b/ofl/bilboswashcaps/DESCRIPTION.en_us.html index 8ad82ec610..cd35794c03 100644 --- a/ofl/bilboswashcaps/DESCRIPTION.en_us.html +++ b/ofl/bilboswashcaps/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.

\ No newline at end of file +

+ Bilbo Swash Caps is a sister family to the normal + + Bilbo + + . + It is very legible calligraphic style that has a masculine feel. + This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message. +

diff --git a/ofl/biorhyme/DESCRIPTION.en_us.html b/ofl/biorhyme/DESCRIPTION.en_us.html index e310641a34..7e1c59c3d6 100644 --- a/ofl/biorhyme/DESCRIPTION.en_us.html +++ b/ofl/biorhyme/DESCRIPTION.en_us.html @@ -1,3 +1,10 @@ -

BioRhyme is a Latin typeface family comprised of two widths, normal and expanded. Previously separated into two distinct families, BioRhyme has been updated in September 2023, and became variable on two axes, offering weights ranging from ExtraLight to ExtraBold.

- -

To contribute, see github.com/aoifemooney/makingbiorhyme

+

+ BioRhyme is a Latin typeface family comprised of two widths, normal and expanded. + Previously separated into two distinct families, BioRhyme has been updated in September 2023, and became variable on two axes, offering weights ranging from ExtraLight to ExtraBold. +

+

+ To contribute, see + + github.com/aoifemooney/makingbiorhyme + +

diff --git a/ofl/biorhymeexpanded/DESCRIPTION.en_us.html b/ofl/biorhymeexpanded/DESCRIPTION.en_us.html index a30385ec54..e46a15c86c 100644 --- a/ofl/biorhymeexpanded/DESCRIPTION.en_us.html +++ b/ofl/biorhymeexpanded/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@

-BioRhyme is a Latin typeface family comprised of two widths, a normal family and an expanded family. -Each family has 5 weights, and both are intended for use in large and medium sizes. + BioRhyme is a Latin typeface family comprised of two widths, a + + normal + + family and an expanded family. + Each family has 5 weights, and both are intended for use in large and medium sizes.

-To contribute, see github.com/aoifemooney/makingbiorhyme -

\ No newline at end of file + To contribute, see + + github.com/aoifemooney/makingbiorhyme + +

diff --git a/ofl/birthstone/DESCRIPTION.en_us.html b/ofl/birthstone/DESCRIPTION.en_us.html index b8abe3265d..b086460741 100644 --- a/ofl/birthstone/DESCRIPTION.en_us.html +++ b/ofl/birthstone/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. There are 3 precious stylistic sets: Script, Casual, and Formal, plus a Titling set. + The Birthstone Family is a set of fonts that are not only diverse but perfectly compatible to interchange styles in a single block of text. + There are 3 precious stylistic sets: Script, Casual, and Formal, plus a Titling set.

-For added luster, there is the sibling Birthstone Bounce (both Regular and Medium weights) a version that includes caps and ending swashed forms. All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. + For added luster, there is the sibling Birthstone Bounce (both Regular and Medium weights) a version that includes caps and ending swashed forms. + All the styles are uniquely compatible to one another, but distinctly different. + See how easily the fonts may change according to the needs of the look.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/birthstone. + To contribute, see + + github.com/googlefonts/birthstone + + .

diff --git a/ofl/birthstonebounce/DESCRIPTION.en_us.html b/ofl/birthstonebounce/DESCRIPTION.en_us.html index 87e0de1185..9ed5bc937f 100644 --- a/ofl/birthstonebounce/DESCRIPTION.en_us.html +++ b/ofl/birthstonebounce/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-Birthstone Bounce is the sibling family of Birthstone that adds more luster and playfulness to it. Available in Regular and Medium weights, this version includes caps and ending swashed forms. + Birthstone Bounce is the sibling family of Birthstone that adds more luster and playfulness to it. + Available in Regular and Medium weights, this version includes caps and ending swashed forms.

-All the styles are uniquely compatible to one another, but distinctly different. See how easily the fonts may change according to the needs of the look. + All the styles are uniquely compatible to one another, but distinctly different. + See how easily the fonts may change according to the needs of the look.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/birthstone-bounce. + To contribute, see + + github.com/googlefonts/birthstone-bounce + + .

diff --git a/ofl/biryani/DESCRIPTION.en_us.html b/ofl/biryani/DESCRIPTION.en_us.html index 4ed00fb623..564d5ef4a3 100644 --- a/ofl/biryani/DESCRIPTION.en_us.html +++ b/ofl/biryani/DESCRIPTION.en_us.html @@ -1,17 +1,17 @@

-Biryani (बिरयानी) is a libre font development project. -Its fonts are designed in a monolinear, geometric sans serif style. -Like several early geometric sans typefaces from the last century, Biryani’s characters have a strong flavor to them; they are more wonky than sterile. -Biryani’s fonts are indeed meant for text, just not necessarily for very long, immersive reading-length passages. -The letterforms are a bit too “display” for that. + Biryani (बिरयानी) is a libre font development project. + Its fonts are designed in a monolinear, geometric sans serif style. + Like several early geometric sans typefaces from the last century, Biryani’s characters have a strong flavor to them; they are more wonky than sterile. + Biryani’s fonts are indeed meant for text, just not necessarily for very long, immersive reading-length passages. + The letterforms are a bit too “display” for that.

-

-Currently, the Biryani fonts support the Latin and Devangari scripts, meaning that Indian languages like Hindi, Marathi, and Nepali may be set with the fonts, in addition to most Western and Central European languages. + Currently, the Biryani fonts support the Latin and Devangari scripts, meaning that Indian languages like Hindi, Marathi, and Nepali may be set with the fonts, in addition to most Western and Central European languages.

-

-The Biryani project is led by Dan Reynolds, a type designer based in Berlin, Germany. -To contribute, visit github.com/typeoff/biryani + The Biryani project is led by Dan Reynolds, a type designer based in Berlin, Germany. + To contribute, visit + + github.com/typeoff/biryani +

- diff --git a/ofl/bitter/DESCRIPTION.en_us.html b/ofl/bitter/DESCRIPTION.en_us.html index fd495d9098..109a5e1a7d 100644 --- a/ofl/bitter/DESCRIPTION.en_us.html +++ b/ofl/bitter/DESCRIPTION.en_us.html @@ -1,9 +1,26 @@ -

People read and interact with text on screens more and more each day. What happens on screen ends up being more important than what comes out of the printer. With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen.

- -

Motivated by her love for the pixel, Sol Matas designed Bitter. A "contemporary" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts.

- -

Bitter has little variation in stroke weight and the Regular style is thicker than a usual ‘Regular’ style for print design. This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals.

- -

Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. The typeface is balanced and manually spaced to use very few kerning pairs.

- -

To contribute, see github.com/solmatas/BitterPro.

+

+ People read and interact with text on screens more and more each day. + What happens on screen ends up being more important than what comes out of the printer. + With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. +

+

+ Motivated by her love for the pixel, Sol Matas designed Bitter. + A "contemporary" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. + The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. + It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. +

+

+ Bitter has little variation in stroke weight and the Regular style is thicker than a usual ‘Regular’ style for print design. + This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes with square terminals. +

+

+ Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. + The typeface is balanced and manually spaced to use very few kerning pairs. +

+

+ To contribute, see + + github.com/solmatas/BitterPro + + . +

diff --git a/ofl/bizudgothic/DESCRIPTION.en_us.html b/ofl/bizudgothic/DESCRIPTION.en_us.html index 7529596e7e..936bc07195 100644 --- a/ofl/bizudgothic/DESCRIPTION.en_us.html +++ b/ofl/bizudgothic/DESCRIPTION.en_us.html @@ -1,14 +1,27 @@

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

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

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

+

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

-

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

\ No newline at end of file diff --git a/ofl/bizudmincho/DESCRIPTION.en_us.html b/ofl/bizudmincho/DESCRIPTION.en_us.html index b0b17b47e9..2026f10075 100644 --- a/ofl/bizudmincho/DESCRIPTION.en_us.html +++ b/ofl/bizudmincho/DESCRIPTION.en_us.html @@ -1,16 +1,27 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace + + . +

diff --git a/ofl/bizudpgothic/DESCRIPTION.en_us.html b/ofl/bizudpgothic/DESCRIPTION.en_us.html index d17d11a604..de3af63f9c 100644 --- a/ofl/bizudpgothic/DESCRIPTION.en_us.html +++ b/ofl/bizudpgothic/DESCRIPTION.en_us.html @@ -1,15 +1,27 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace + + . +

diff --git a/ofl/bizudpmincho/DESCRIPTION.en_us.html b/ofl/bizudpmincho/DESCRIPTION.en_us.html index df7697e71f..52ae61e5ad 100644 --- a/ofl/bizudpmincho/DESCRIPTION.en_us.html +++ b/ofl/bizudpmincho/DESCRIPTION.en_us.html @@ -1,16 +1,27 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace + + . +

diff --git a/ofl/blackandwhitepicture/DESCRIPTION.en_us.html b/ofl/blackandwhitepicture/DESCRIPTION.en_us.html index 275d69a1e4..8e8b7396ed 100644 --- a/ofl/blackandwhitepicture/DESCRIPTION.en_us.html +++ b/ofl/blackandwhitepicture/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Black And White Picture is a Korean and Latin font

+

+ Black And White Picture is a Korean and Latin font +

diff --git a/ofl/blackhansans/DESCRIPTION.en_us.html b/ofl/blackhansans/DESCRIPTION.en_us.html index 47fe84b697..3ae864c9c5 100644 --- a/ofl/blackhansans/DESCRIPTION.en_us.html +++ b/ofl/blackhansans/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Black Han Sans is a Korean and Latin font. The Latin is based on Chivo Black.

\ No newline at end of file +

+ Black Han Sans is a Korean and Latin font. + The Latin is based on + + Chivo Black + + . +

diff --git a/ofl/blackopsone/DESCRIPTION.en_us.html b/ofl/blackopsone/DESCRIPTION.en_us.html index 30fe7a5111..c4a8d5e088 100644 --- a/ofl/blackopsone/DESCRIPTION.en_us.html +++ b/ofl/blackopsone/DESCRIPTION.en_us.html @@ -1,4 +1,14 @@ -

Black Ops One is a low contrast, semi geometric typeface inspired by military stencil lettering. -It is heavy, sturdy, punchy, and looks best when used at medium to large sizes because of the small cuts found in stencils.

-

In the July 2022 update, Black Ops One has improved language support.

-

To contribute, see github.com/SorkinType/Black-Ops.

+

+ Black Ops One is a low contrast, semi geometric typeface inspired by military stencil lettering. + It is heavy, sturdy, punchy, and looks best when used at medium to large sizes because of the small cuts found in stencils. +

+

+ In the July 2022 update, Black Ops One has improved language support. +

+

+ To contribute, see + + github.com/SorkinType/Black-Ops + + . +

diff --git a/ofl/blaka/DESCRIPTION.en_us.html b/ofl/blaka/DESCRIPTION.en_us.html index 3cbfff1fc8..20c06b75b7 100644 --- a/ofl/blaka/DESCRIPTION.en_us.html +++ b/ofl/blaka/DESCRIPTION.en_us.html @@ -1,18 +1,27 @@

- Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the - geometric features to create midgrounds with the Kufic style for the Arabic letterforms. + + Blaka + + is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms.

- The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed - pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps - to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. + The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. + While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features.

- The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also - comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant - are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few - applications like Google Chrome (version 98 or later). + The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. + Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant + + Blaka Ink + + . + The Ink variant are color fonts where the colors are defined by the font itself. + Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later).

- To contribute, see github.com/Gue3bara/Blaka. -

\ No newline at end of file + To contribute, see + + github.com/Gue3bara/Blaka + + . +

diff --git a/ofl/blakahollow/DESCRIPTION.en_us.html b/ofl/blakahollow/DESCRIPTION.en_us.html index 3cbfff1fc8..20c06b75b7 100644 --- a/ofl/blakahollow/DESCRIPTION.en_us.html +++ b/ofl/blakahollow/DESCRIPTION.en_us.html @@ -1,18 +1,27 @@

- Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the - geometric features to create midgrounds with the Kufic style for the Arabic letterforms. + + Blaka + + is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms.

- The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed - pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps - to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. + The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. + While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features.

- The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also - comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant - are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few - applications like Google Chrome (version 98 or later). + The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. + Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant + + Blaka Ink + + . + The Ink variant are color fonts where the colors are defined by the font itself. + Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later).

- To contribute, see github.com/Gue3bara/Blaka. -

\ No newline at end of file + To contribute, see + + github.com/Gue3bara/Blaka + + . +

diff --git a/ofl/blakaink/DESCRIPTION.en_us.html b/ofl/blakaink/DESCRIPTION.en_us.html index 3cbfff1fc8..20c06b75b7 100644 --- a/ofl/blakaink/DESCRIPTION.en_us.html +++ b/ofl/blakaink/DESCRIPTION.en_us.html @@ -1,18 +1,27 @@

- Blaka is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the - geometric features to create midgrounds with the Kufic style for the Arabic letterforms. + + Blaka + + is an experimental typeface, enriching the gothic feeling of Black Letters by enhancing the geometric features to create midgrounds with the Kufic style for the Arabic letterforms.

- The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed - pen. While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps - to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features. + The aesthetical matching process between the two scripts relies on the features of being hand-drawn with a reed pen. + While Latin letterforms maintain sharp edges, Arabic relies on sharp edges and thick strokes to create overlaps to replace a usual baseline in most letterforms, giving the Arabic letterforms contemporary features.

- The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. Blaka also - comes in two variants, the usual monochrome variants as well as an Ink variant Blaka Ink. The Ink variant - are color fonts where the colors are defined by the font itself. Support for color fonts is currently limited to few - applications like Google Chrome (version 98 or later). + The font family comes in two styles, Blaka and Blaka Hollow, featuring an outlined version of the font. + Blaka also comes in two variants, the usual monochrome variants as well as an Ink variant + + Blaka Ink + + . + The Ink variant are color fonts where the colors are defined by the font itself. + Support for color fonts is currently limited to few applications like Google Chrome (version 98 or later).

- To contribute, see github.com/Gue3bara/Blaka. -

\ No newline at end of file + To contribute, see + + github.com/Gue3bara/Blaka + + . +

diff --git a/ofl/blinker/DESCRIPTION.en_us.html b/ofl/blinker/DESCRIPTION.en_us.html index 86942a814e..1f28f62316 100644 --- a/ofl/blinker/DESCRIPTION.en_us.html +++ b/ofl/blinker/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@

-Blinker is a low contrast sans serif typeface with a squircle as its basic shape, think squarish curves, or Eurostyle’s flamboyant cousin. It’s best used for medium to large text, rather than a long copy. To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. Blink! + Blinker is a low contrast sans serif typeface with a + + squircle + + as its basic shape, think squarish curves, or Eurostyle’s flamboyant cousin. + It’s best used for medium to large text, rather than a long copy. + To do its claim justice Blinker also comes with a headline weight with an extra large x-height, tight spacing, and glyphs drawn more narrowly. + Blink!

-The original 9 weights with a latin extended glyph set were designed by supertype’s Jürgen Huber in 2019.
-To contribute, see github.com/supertype-de/Blinker + The original 9 weights with a latin extended glyph set were designed by + + supertype’s + + Jürgen Huber in 2019. +
+ To contribute, see + + github.com/supertype-de/Blinker +

diff --git a/ofl/bodonimoda/DESCRIPTION.en_us.html b/ofl/bodonimoda/DESCRIPTION.en_us.html index dcae09e0de..2b77db88d1 100644 --- a/ofl/bodonimoda/DESCRIPTION.en_us.html +++ b/ofl/bodonimoda/DESCRIPTION.en_us.html @@ -1,8 +1,12 @@

-Bodoni Moda is a no-compromises Bodoni family, built for the digital age. -This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, -totalling 64 font files. It was made with love and will continue to improve with your support. + Bodoni Moda is a no-compromises Bodoni family, built for the digital age. + This font family includes a full range of weights, italics, an extended character set, OpenType features, and optical sizes, totalling 64 font files. + It was made with love and will continue to improve with your support.

-The Bodoni Moda project is designed by Owen Earl (indestructible type*). To contribute, see github.com/indestructible-type/Bodoni + The Bodoni Moda project is designed by Owen Earl (indestructible type*). + To contribute, see + + github.com/indestructible-type/Bodoni +

diff --git a/ofl/bokor/DESCRIPTION.en_us.html b/ofl/bokor/DESCRIPTION.en_us.html index be2daa7b4a..026ad2fbe4 100644 --- a/ofl/bokor/DESCRIPTION.en_us.html +++ b/ofl/bokor/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Bokor is a display Khmer font, suitable for headlines, titles, subtitles, and even banner designs. + Bokor is a display Khmer font, suitable for headlines, titles, subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Bokor. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Bokor + + . +

diff --git a/ofl/bonanova/DESCRIPTION.en_us.html b/ofl/bonanova/DESCRIPTION.en_us.html index 3b190ff70c..a5a2a86d32 100644 --- a/ofl/bonanova/DESCRIPTION.en_us.html +++ b/ofl/bonanova/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich — the creator of Polish banknotes. Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad.

- -

To contribute, see github.com/kosmynkab/Bona-Nova.

\ No newline at end of file +

+ Bona Nova is a digitisation of Bona, a cursive typeface designed in 1971 by Andrzej Heidrich — the creator of Polish banknotes. + Besides giving it a digital form, this project was the opportunity to expand the character set, design the small caps, alternates and opentype functions for the typeface. + Two new versions has been created together with the original author; a Regular and a Bold, to give the family a form of a classical triad. +

+

+ To contribute, see + + github.com/kosmynkab/Bona-Nova + + . +

diff --git a/ofl/bonbon/DESCRIPTION.en_us.html b/ofl/bonbon/DESCRIPTION.en_us.html index 31cbdf87b9..342f7c931b 100644 --- a/ofl/bonbon/DESCRIPTION.en_us.html +++ b/ofl/bonbon/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Bonbon is a fancy handwriting font for cheerful and bright headlines. The letterforms are artistic and naive as if they are written in a teenage girl's diary. It is drawn with a fine marker by author Ksenia Erulevich. Curves are carefully adjusted so that the font will also work well in print - making it a good choice for appetizing product design, greeting cards, or titling in children's books. Extra ornamental characters are included.

\ No newline at end of file +

+ Bonbon is a fancy handwriting font for cheerful and bright headlines. + The letterforms are artistic and naive as if they are written in a teenage girl's diary. + It is drawn with a fine marker by author Ksenia Erulevich. + Curves are carefully adjusted so that the font will also work well in print - making it a good choice for appetizing product design, greeting cards, or titling in children's books. + Extra ornamental characters are included. +

diff --git a/ofl/bonheurroyale/DESCRIPTION.en_us.html b/ofl/bonheurroyale/DESCRIPTION.en_us.html index 641b359108..6de25dd246 100644 --- a/ofl/bonheurroyale/DESCRIPTION.en_us.html +++ b/ofl/bonheurroyale/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-It's casual and contemporary. BonheurRoyale has the look of a calligraphic hand with a slightly brush feel. The contrast of this and thin strokes gives this clean style a legible quality. + It's casual and contemporary. + BonheurRoyale has the look of a calligraphic hand with a slightly brush feel. + The contrast of this and thin strokes gives this clean style a legible quality.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/bonheur-royale. + To contribute, see + + github.com/googlefonts/bonheur-royale + + .

diff --git a/ofl/boogaloo/DESCRIPTION.en_us.html b/ofl/boogaloo/DESCRIPTION.en_us.html index 757fe4a8b1..203721ba04 100644 --- a/ofl/boogaloo/DESCRIPTION.en_us.html +++ b/ofl/boogaloo/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Boogaloo was started in 2010 as a complement to the Salsa typeface, while thinking about type used in Latin American music genres and the culture's own identity. The structure of Boogaloo is that of classic American lettering, found so often in old LP albums cover art from the 1960s, when Latin music became very popular and preceding the birth of the musical phenomenon of Salsa. Functionally this typeface can be used to display texts that wish to remind readers of the 1960s, Latin music. There is movement, coolness and happiness across all its forms.

\ No newline at end of file +

+ Boogaloo was started in 2010 as a complement to the Salsa typeface, while thinking about type used in Latin American music genres and the culture's own identity. + The structure of Boogaloo is that of classic American lettering, found so often in old LP albums cover art from the 1960s, when Latin music became very popular and preceding the birth of the musical phenomenon of Salsa. + Functionally this typeface can be used to display texts that wish to remind readers of the 1960s, Latin music. + There is movement, coolness and happiness across all its forms. +

diff --git a/ofl/borel/DESCRIPTION.en_us.html b/ofl/borel/DESCRIPTION.en_us.html index 0186df721c..a25ffbc28c 100644 --- a/ofl/borel/DESCRIPTION.en_us.html +++ b/ofl/borel/DESCRIPTION.en_us.html @@ -1,11 +1,27 @@

- What considerations should be taken into account when approaching typography in the context of simultaneous learning of reading and writing? Borel is a French cursive primer — developed with primary school teachers and speech therapists — which aims aims to harmonise cursive strokes and common typographic structure. This typeface, named in tribute to Suzanne Borel-Maisonny (a pioneer in speech therapy), boasts a sturdy design featuring low contrast and a generous x-height. The letters are intentionally open and clearly differentiated while adhering to the conventions of handwriting in French schools. + What considerations should be taken into account when approaching typography in the context of simultaneous learning of reading and writing? + Borel is a French cursive primer — developed with primary school teachers and speech therapists — which aims aims to harmonise cursive strokes and common typographic structure. + This typeface, named in tribute to Suzanne Borel-Maisonny (a pioneer in speech therapy), boasts a sturdy design featuring low contrast and a generous x-height. + The letters are intentionally open and clearly differentiated while adhering to the conventions of handwriting in French schools.

- Due to the specifity of this project, the font only supports a limited set of glyphs allowing to write in French, English, Spanish, Catalan, German, Portuguese, Turkish and Vietnamese. Please submit language requests with images in the issue tracker of the reposotory linked below. + Due to the specifity of this project, the font only supports a limited set of glyphs allowing to write in French, English, Spanish, Catalan, German, Portuguese, Turkish and Vietnamese. + Please submit language requests with images in the issue tracker of the reposotory linked below.

- Find more documentation here: Français | English + Find more documentation here: + + Français + + | + + English + +

+

+ To contribute, please see + + github.com/RosaWagner/Borel + + .

- -

To contribute, please see github.com/RosaWagner/Borel.

diff --git a/ofl/bowlbyone/DESCRIPTION.en_us.html b/ofl/bowlbyone/DESCRIPTION.en_us.html index f739e66f73..116204769e 100644 --- a/ofl/bowlbyone/DESCRIPTION.en_us.html +++ b/ofl/bowlbyone/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Bowlby One has been designed for use as a utilitarian, all caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.

\ No newline at end of file +

+ Bowlby One has been designed for use as a utilitarian, all caps display font. + A version with lowercase characters is also available. + Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. + Bowlby One is perfect for big bold headlines and display uses that need a slightly roughened look. + Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices. +

diff --git a/ofl/bowlbyonesc/DESCRIPTION.en_us.html b/ofl/bowlbyonesc/DESCRIPTION.en_us.html index 033272df07..2c88eafc5b 100644 --- a/ofl/bowlbyonesc/DESCRIPTION.en_us.html +++ b/ofl/bowlbyonesc/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.

\ No newline at end of file +

+ Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. + A version + + with lowercase characters + + is also available. + Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. + Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. + Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices. +

diff --git a/ofl/braahone/DESCRIPTION.en_us.html b/ofl/braahone/DESCRIPTION.en_us.html index 42795c7489..b96d8d33ef 100644 --- a/ofl/braahone/DESCRIPTION.en_us.html +++ b/ofl/braahone/DESCRIPTION.en_us.html @@ -1,13 +1,15 @@

- Braah is a display font that perfectly blends boldness and playfulness. - The font is available with corresponding Latin/Gurmukhi scripts, - making it versatile and adaptable to different languages. - Braah was designed by India-based typeface and UX designer Ashish Kumar. + Braah is a display font that perfectly blends boldness and playfulness. + The font is available with corresponding Latin/Gurmukhi scripts, making it versatile and adaptable to different languages. + Braah was designed by India-based typeface and UX designer Ashish Kumar.

- -

An update in May 2023 corrects the original vertical metrics, which may impact line spacing in some layouts.

-

- To contribute to the project please see github.com/artandtype/Braah. + An update in May 2023 corrects the original vertical metrics, which may impact line spacing in some layouts. +

+

+ To contribute to the project please see + + github.com/artandtype/Braah + + .

diff --git a/ofl/brawler/DESCRIPTION.en_us.html b/ofl/brawler/DESCRIPTION.en_us.html index 2728088eed..4c6890d8f3 100644 --- a/ofl/brawler/DESCRIPTION.en_us.html +++ b/ofl/brawler/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

Brawler is a compact typeface with sharp features and a sturdy character, designed for comfortable reading in small - sizes. It was initially planned as a typeface for newspapers and tabloids. Thus, the design concept was shaped by - the demands of low quality printing media and the aesthetic preferences of periodical publications.

-

To contribute, see github.com/cyrealtype/Brawler.

\ No newline at end of file +

+ Brawler is a compact typeface with sharp features and a sturdy character, designed for comfortable reading in small sizes. + It was initially planned as a typeface for newspapers and tabloids. + Thus, the design concept was shaped by the demands of low quality printing media and the aesthetic preferences of periodical publications. +

+

+ To contribute, see + + github.com/cyrealtype/Brawler + + . +

diff --git a/ofl/breeserif/DESCRIPTION.en_us.html b/ofl/breeserif/DESCRIPTION.en_us.html index 2141818c74..406eb7fad8 100644 --- a/ofl/breeserif/DESCRIPTION.en_us.html +++ b/ofl/breeserif/DESCRIPTION.en_us.html @@ -1,4 +1,8 @@

-This friendly upright italic is the serif cousin of TypeTogether's award winning family Bree. -Designed by Veronika Burian and José Scaglione, Bree was originally released in 2008 and became an immediate success because of its originality, charming appearance and versatility. + This friendly upright italic is the serif cousin of TypeTogether's award winning family + + Bree + + . + Designed by Veronika Burian and José Scaglione, Bree was originally released in 2008 and became an immediate success because of its originality, charming appearance and versatility.

diff --git a/ofl/bricolagegrotesque/DESCRIPTION.en_us.html b/ofl/bricolagegrotesque/DESCRIPTION.en_us.html index 2b3e6f2139..95b526f1f6 100644 --- a/ofl/bricolagegrotesque/DESCRIPTION.en_us.html +++ b/ofl/bricolagegrotesque/DESCRIPTION.en_us.html @@ -1,5 +1,21 @@ -

Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. It started as a fork of Mayenne Sans, an open-source single weight font designed by Jérémy Landes (Studio Triple). It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque Nº9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps.

- -

By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. At the same time, it’s so steeped in historical sources and references that it’s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else.

- -

To contribute, see github.com/ateliertriay/bricolage.

+

+ Bricolage Grotesque is a collage of lots of different things: historical sources, technical decisions and personal feelings. + It started as a fork of + + Mayenne Sans + + , an open-source single weight font designed by Jérémy Landes (Studio Triple). + It evolved by reinforcing cues from French sources and British sources: the compressed weights lean more towards the anxious and wonky tones of Grotesque Nº9 and the regular weights have a bit more of Antique Olive's relaxed and confident attitude. + The smaller optical sizes become more neutral and reflective of contemporary sans serifs, notably through the use of exaggerated ink traps. +

+

+ By blending iconic British and French designs with modern trends and tools, it aims to traverse a complex typographical and emotional landscape. + At the same time, it’s so steeped in historical sources and references that it’s hard to call it anything but a re-interpretation of the same ideas but for a different purpose: trying to express visually what it feels like to move countries and rebuild, what it feels like to have a hybrid identity where you cannot be what you were and yet you can never truly be anybody else. +

+

+ To contribute, see + + github.com/ateliertriay/bricolage + + . +

diff --git a/ofl/brunoace/DESCRIPTION.en_us.html b/ofl/brunoace/DESCRIPTION.en_us.html index 45c198e08c..e002e86c3b 100644 --- a/ofl/brunoace/DESCRIPTION.en_us.html +++ b/ofl/brunoace/DESCRIPTION.en_us.html @@ -1,9 +1,18 @@ -

Bruno Ace draws inspiration from modern automotive logos. This techno - geometric sans has a wide stance with a tall x-height for a strong look and - appeal.

- -

Both a normal case and small caps font exists. +

+ Bruno Ace draws inspiration from modern automotive logos. + This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. +

+

+ Both a normal case and small caps font + + exists + + .

- To contribute, see github.com/googlefonts/Bruno-ace. -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/Bruno-ace + + . +

diff --git a/ofl/brunoacesc/DESCRIPTION.en_us.html b/ofl/brunoacesc/DESCRIPTION.en_us.html index 45c198e08c..e002e86c3b 100644 --- a/ofl/brunoacesc/DESCRIPTION.en_us.html +++ b/ofl/brunoacesc/DESCRIPTION.en_us.html @@ -1,9 +1,18 @@ -

Bruno Ace draws inspiration from modern automotive logos. This techno - geometric sans has a wide stance with a tall x-height for a strong look and - appeal.

- -

Both a normal case and small caps font exists. +

+ Bruno Ace draws inspiration from modern automotive logos. + This techno geometric sans has a wide stance with a tall x-height for a strong look and appeal. +

+

+ Both a normal case and small caps font + + exists + + .

- To contribute, see github.com/googlefonts/Bruno-ace. -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/Bruno-ace + + . +

diff --git a/ofl/brygada1918/DESCRIPTION.en_us.html b/ofl/brygada1918/DESCRIPTION.en_us.html index c9c3b6b8dc..44d1e79ff3 100644 --- a/ofl/brygada1918/DESCRIPTION.en_us.html +++ b/ofl/brygada1918/DESCRIPTION.en_us.html @@ -1,10 +1,31 @@

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

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

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

\ No newline at end of file + To learn more about Brygada, visit: + + Reviving a forgotten font: Type detectives give life to Brygada + + (English), + + Rewitalizacja zapomnianej czcionki: nowe życie Brygady + + (Polish). +

diff --git a/ofl/bubblegumsans/DESCRIPTION.en_us.html b/ofl/bubblegumsans/DESCRIPTION.en_us.html index 1f8b271c7f..1c0eab5da6 100644 --- a/ofl/bubblegumsans/DESCRIPTION.en_us.html +++ b/ofl/bubblegumsans/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Bubblegum Sans is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. It bounces with joy and tells a great story. Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium.

From Sudtipos.

\ No newline at end of file +

+ Bubblegum Sans is upbeat, flavor-loaded, brushalicious letters for the sunny side of the street. + It bounces with joy and tells a great story. + Designed by Angel Koziupa and produced by Ale Paul, this typeface is a loud 21st century shoutout to the kind of the 1930s lettering that sold everything to everyone through every medium. +

+

+ From + + Sudtipos + + . +

diff --git a/ofl/bubblerone/DESCRIPTION.en_us.html b/ofl/bubblerone/DESCRIPTION.en_us.html index 23615058e2..bdd68fa595 100644 --- a/ofl/bubblerone/DESCRIPTION.en_us.html +++ b/ofl/bubblerone/DESCRIPTION.en_us.html @@ -1,10 +1,16 @@ -

Bubbler One is an original font with thin strokes that are particularly -straight. It is a legible typeface in small sizes. You can use Bubbler One for -any kind of text, formal or informal, big or small; I hope you find it -useful!

- -

Designed by Brenda -Gallo and Gustavo -Dipre.

\ No newline at end of file +

+ Bubbler One is an original font with thin strokes that are particularly straight. + It is a legible typeface in small sizes. + You can use Bubbler One for any kind of text, formal or informal, big or small; I hope you find it useful! +

+

+ Designed by + + Brenda Gallo + + and + + Gustavo Dipre + + . +

diff --git a/ofl/buda/DESCRIPTION.en_us.html b/ofl/buda/DESCRIPTION.en_us.html index 0edd955120..4c71905dfb 100644 --- a/ofl/buda/DESCRIPTION.en_us.html +++ b/ofl/buda/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Against the typographical grey, Buda is a black and white typeface. The letters are shared by two contrasting weights, which clash and balance each other out. This typeface is inspired by Budapest, a paradoxal town, beautiful and ugly, fragile and exuberant. Like this town, the typeface Buda is an assemblage of heterogeneous elements which form a harmony.

\ No newline at end of file +

+ Against the typographical grey, Buda is a black and white typeface. + The letters are shared by two contrasting weights, which clash and balance each other out. + This typeface is inspired by Budapest, a paradoxal town, beautiful and ugly, fragile and exuberant. + Like this town, the typeface Buda is an assemblage of heterogeneous elements which form a harmony. +

diff --git a/ofl/buenard/DESCRIPTION.en_us.html b/ofl/buenard/DESCRIPTION.en_us.html index b3e9241bdb..44edf9cc7b 100644 --- a/ofl/buenard/DESCRIPTION.en_us.html +++ b/ofl/buenard/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Buenard is a high-quality serif typeface for art books. Its based on the Transitional Roman classical structure, with less contrasted strokes and heavier serifs.

It has its own contemporary style, combining elegance, consistency and legibility for all text sizes, making it an excellent choice when selecting a serif font.

Buenard was initially designed for an Argentinian art publisher and progressed as a final project in the Postgraduate Career in Typography at the University of Buenos Aires.

\ No newline at end of file +

+ Buenard is a high-quality serif typeface for art books. + Its based on the Transitional Roman classical structure, with less contrasted strokes and heavier serifs. +

+

+ It has its own contemporary style, combining elegance, consistency and legibility for all text sizes, making it an excellent choice when selecting a serif font. +

+

+ Buenard was initially designed for an Argentinian art publisher and progressed as a final project in the Postgraduate Career in Typography at the University of Buenos Aires. +

diff --git a/ofl/bungee/DESCRIPTION.en_us.html b/ofl/bungee/DESCRIPTION.en_us.html index e1b56ac1db..4ae2f4712c 100644 --- a/ofl/bungee/DESCRIPTION.en_us.html +++ b/ofl/bungee/DESCRIPTION.en_us.html @@ -1,26 +1,52 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 5 variations are available: + As a display superfamily, 5 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeecolor/DESCRIPTION.en_us.html b/ofl/bungeecolor/DESCRIPTION.en_us.html index 0000875837..5136a30b2a 100644 --- a/ofl/bungeecolor/DESCRIPTION.en_us.html +++ b/ofl/bungeecolor/DESCRIPTION.en_us.html @@ -1,27 +1,57 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 6 variations are available: + As a display superfamily, 6 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeehairline/DESCRIPTION.en_us.html b/ofl/bungeehairline/DESCRIPTION.en_us.html index 6d49920246..6109746c78 100644 --- a/ofl/bungeehairline/DESCRIPTION.en_us.html +++ b/ofl/bungeehairline/DESCRIPTION.en_us.html @@ -1,26 +1,52 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 5 variations are available: + As a display superfamily, 5 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeeinline/DESCRIPTION.en_us.html b/ofl/bungeeinline/DESCRIPTION.en_us.html index 15c583127a..cd84c7ab99 100644 --- a/ofl/bungeeinline/DESCRIPTION.en_us.html +++ b/ofl/bungeeinline/DESCRIPTION.en_us.html @@ -1,26 +1,52 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 5 variations are available: + As a display superfamily, 5 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeeoutline/DESCRIPTION.en_us.html b/ofl/bungeeoutline/DESCRIPTION.en_us.html index 7744d58922..80729ceede 100644 --- a/ofl/bungeeoutline/DESCRIPTION.en_us.html +++ b/ofl/bungeeoutline/DESCRIPTION.en_us.html @@ -1,26 +1,52 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 5 variations are available: + As a display superfamily, 5 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeeshade/DESCRIPTION.en_us.html b/ofl/bungeeshade/DESCRIPTION.en_us.html index ffd4db31f1..badbaac688 100644 --- a/ofl/bungeeshade/DESCRIPTION.en_us.html +++ b/ofl/bungeeshade/DESCRIPTION.en_us.html @@ -1,26 +1,52 @@

-In the crowded urban environment, space for signage is always at a premium. -From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. -Bungee is a font family that celebrates urban signage. -It wrangles the Latin alphabet to work vertically as well as horizontally. + In the crowded urban environment, space for signage is always at a premium. + From dumpy liquor stores to majestic theaters, sometimes signs have nowhere to go but up. + Bungee is a font family that celebrates urban signage. + It wrangles the Latin alphabet to work vertically as well as horizontally.

-Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License. + Thanks to support from Google and The Font Bureau, Bungee is released under the SIL Open Font License.

-As a display superfamily, 5 variations are available: + As a display superfamily, 5 variations are available:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

-The Bungee project is led by David Jonathan Ross, a type designer based in the USA. -To contribute, see github.com/djrrb/Bungee -

\ No newline at end of file + Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee + +

+

+ The Bungee project is led by David Jonathan Ross, a type designer based in the USA. + To contribute, see + + github.com/djrrb/Bungee + +

diff --git a/ofl/bungeespice/DESCRIPTION.en_us.html b/ofl/bungeespice/DESCRIPTION.en_us.html index 6f57e48405..ae53b24fda 100644 --- a/ofl/bungeespice/DESCRIPTION.en_us.html +++ b/ofl/bungeespice/DESCRIPTION.en_us.html @@ -1,21 +1,45 @@

-Bungee Spice is a derivative of David Jonathan Ross font Bungee. -Bungee Spice is a COLRv1 font exhibiting multiple gradients -within each glyph. + Bungee Spice is a derivative of David Jonathan Ross font Bungee. + Bungee Spice is a COLRv1 font exhibiting multiple gradients within each glyph.

-Bungee Spice is released under the SIL Open Font License. + Bungee Spice is released under the SIL Open Font License.

-David Jonathan Ross superfamily Bungee includes: + David Jonathan Ross superfamily Bungee includes:

-

-Learn more about Bungee’s design in the digital specimen at djr.com/bungee +

+

+

+ Learn more about Bungee’s design in the digital specimen at + + djr.com/bungee +

diff --git a/ofl/butcherman/DESCRIPTION.en_us.html b/ofl/butcherman/DESCRIPTION.en_us.html index e4705b7044..e89712234a 100644 --- a/ofl/butcherman/DESCRIPTION.en_us.html +++ b/ofl/butcherman/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Butcherman is a zombified display font, hacked and chopped and left for dead, yet still crawling.

\ No newline at end of file +

+ Butcherman is a zombified display font, hacked and chopped and left for dead, yet still crawling. +

diff --git a/ofl/butterflykids/DESCRIPTION.en_us.html b/ofl/butterflykids/DESCRIPTION.en_us.html index ee50ed2735..740cf8d20b 100644 --- a/ofl/butterflykids/DESCRIPTION.en_us.html +++ b/ofl/butterflykids/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Cute and flirty, Butterfly Kids flits about spreading cheer! Be fun. Be cute. Be happy!

\ No newline at end of file +

+ Cute and flirty, Butterfly Kids flits about spreading cheer! + Be fun. + Be cute. + Be happy! +

diff --git a/ofl/cabin/DESCRIPTION.en_us.html b/ofl/cabin/DESCRIPTION.en_us.html index fced223caf..c54759ee55 100644 --- a/ofl/cabin/DESCRIPTION.en_us.html +++ b/ofl/cabin/DESCRIPTION.en_us.html @@ -1,16 +1,19 @@

-Cabin is a humanist sans inspired by Edward Johnston's and Eric Gill's typefaces, with a touch of modernism. -Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. -It remains true to its roots, but has its own personality. -

+ Cabin is a humanist sans inspired by Edward Johnston's and Eric Gill's typefaces, with a touch of modernism. + Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. + It remains true to its roots, but has its own personality. +

-The Cabin font family comes in two variable fonts, roman and true italic, with a Weight range from Regular to Bold, and a Width range from normal to Condensed. -The stroke contrast is almost monolinear, although top and bottom curves are slightly thinned. -Counters of the b, g, p and q are rounded, and all are optically adjusted. + The Cabin font family comes in two variable fonts, roman and true italic, with a Weight range from Regular to Bold, and a Width range from normal to Condensed. + The stroke contrast is almost monolinear, although top and bottom curves are slightly thinned. + Counters of the b, g, p and q are rounded, and all are optically adjusted.

-Cabin has wide language support, including full Latin coverage of Vietnamese, additional to all Western, Central, and South/Eastern European languages. + Cabin has wide language support, including full Latin coverage of Vietnamese, additional to all Western, Central, and South/Eastern European languages.

-To contribute, see github.com/impallari/Cabin + To contribute, see + + github.com/impallari/Cabin +

diff --git a/ofl/cabincondensed/DESCRIPTION.en_us.html b/ofl/cabincondensed/DESCRIPTION.en_us.html index b30090b9ea..42fd1a287c 100644 --- a/ofl/cabincondensed/DESCRIPTION.en_us.html +++ b/ofl/cabincondensed/DESCRIPTION.en_us.html @@ -1,4 +1,8 @@

-This is the condensed set of styles of the Cabin font family. -The compete family is available as a variable font, with a Weight range from Regular to Bold, and a Width range from Normal to Condensed. + This is the condensed set of styles of the + + Cabin font family + + . + The compete family is available as a variable font, with a Weight range from Regular to Bold, and a Width range from Normal to Condensed.

diff --git a/ofl/cabinsketch/DESCRIPTION.en_us.html b/ofl/cabinsketch/DESCRIPTION.en_us.html index 964e623320..65a36d5223 100644 --- a/ofl/cabinsketch/DESCRIPTION.en_us.html +++ b/ofl/cabinsketch/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

The Cabin Font is a humanist sans inspired by Edward Johnston’s and Eric Gill’s typefaces, with a touch of modernism.

Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans.

This is the Sketch version, with the texture of a teenage doodle.

\ No newline at end of file +

+ The Cabin Font is a humanist sans inspired by Edward Johnston’s and Eric Gill’s typefaces, with a touch of modernism. +

+

+ Cabin incorporates modern proportions, optical adjustments, and some elements of the geometric sans. +

+

+ This is the Sketch version, with the texture of a teenage doodle. +

+

+

diff --git a/ofl/caesardressing/DESCRIPTION.en_us.html b/ofl/caesardressing/DESCRIPTION.en_us.html index 22fb6cbe8e..0dde34c7f3 100644 --- a/ofl/caesardressing/DESCRIPTION.en_us.html +++ b/ofl/caesardressing/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Caesar Dressing is a 'Markers' take on a Greek alphabet. Open Window fonts gravitate towards more experimental or spontaneous renderings and this one doesn't look out of place next to the most experimental of those. It also maintains the geometric balance of a classic Greek-font quite effectively. Designed by Dathan Boardman of Open Window.

\ No newline at end of file +

+ Caesar Dressing is a 'Markers' take on a Greek alphabet. + Open Window fonts gravitate towards more experimental or spontaneous renderings and this one doesn't look out of place next to the most experimental of those. + It also maintains the geometric balance of a classic Greek-font quite effectively. + Designed by Dathan Boardman of Open Window. +

diff --git a/ofl/cagliostro/DESCRIPTION.en_us.html b/ofl/cagliostro/DESCRIPTION.en_us.html index a77b90e46f..61ae90cf38 100644 --- a/ofl/cagliostro/DESCRIPTION.en_us.html +++ b/ofl/cagliostro/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Cagliostro was inspired by the early 20th Century lettering work of Ozwald Bruce Cooper. Care was taken to preserve the original hand-lettered feel of his work while updating the style for modern use. The x-height was increased from the original style and some of the more quirky aspects were toned back. The end result is a very handsome and unique sans that is very useful for titles and short blocks of text.

Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com

\ No newline at end of file +

+ Cagliostro was inspired by the early 20th Century lettering work of Ozwald Bruce Cooper. + Care was taken to preserve the original hand-lettered feel of his work while updating the style for modern use. + The x-height was increased from the original style and some of the more quirky aspects were toned back. + The end result is a very handsome and unique sans that is very useful for titles and short blocks of text. +

+

+ Documentation can be found at + + www.madtype.com + + and to contribute to the project contact Matthew Desmond at + + mattdesmond@gmail.com + +

diff --git a/ofl/cairo/DESCRIPTION.en_us.html b/ofl/cairo/DESCRIPTION.en_us.html index d84ee22cab..9b5f0f6435 100644 --- a/ofl/cairo/DESCRIPTION.en_us.html +++ b/ofl/cairo/DESCRIPTION.en_us.html @@ -1,13 +1,28 @@

-Cairo is a contemporary multilingual typeface family. -Mohamed Gaber extended the Latin typeface family Titillum Web to support the Arabic script, with a design that is based on the Kufi calligraphic style. Now available as a variable font. + Cairo is a contemporary multilingual typeface family. + + Mohamed Gaber + + extended the Latin typeface family + + Titillum Web + + to support the Arabic script, with a design that is based on the Kufi calligraphic style. + Now available as a variable font.

-Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. -The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. -The Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. + Cairo balances classic and contemporary tastes with wide open counters and short ascenders and descenders that minimize length while maintaining easy readability. + The lighter weights can be used for body text while the heavier weights are perfect for headlines and display typography. + The Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages.

-The Cairo project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. -To contribute, see github.com/Gue3bara/Cairo + The Cairo project is led by + + Mohamed Gaber + + , a type designer based in Cairo, Egypt. + To contribute, see + + github.com/Gue3bara/Cairo +

diff --git a/ofl/cairoplay/DESCRIPTION.en_us.html b/ofl/cairoplay/DESCRIPTION.en_us.html index 684d21b815..d83350afbc 100644 --- a/ofl/cairoplay/DESCRIPTION.en_us.html +++ b/ofl/cairoplay/DESCRIPTION.en_us.html @@ -1,3 +1,14 @@ -

Cairo Play is a color font version of Cairo which features colored marks.

- -

To contribute, see github.com/Gue3bara/Cairo.

+

+ Cairo Play is a color font version of + + Cairo + + which features colored marks. +

+

+ To contribute, see + + github.com/Gue3bara/Cairo + + . +

diff --git a/ofl/caladea/DESCRIPTION.en_us.html b/ofl/caladea/DESCRIPTION.en_us.html index dad3f22374..20b050233d 100644 --- a/ofl/caladea/DESCRIPTION.en_us.html +++ b/ofl/caladea/DESCRIPTION.en_us.html @@ -1,12 +1,32 @@ -

Caladea is a free modern, friendly serif font family based on Cambo, designed by Carolina Giovagnoli and Andrés Torresi for Huerta Tipográfica.

- -

Caladea has the following differences:

- +

+ Caladea is a free modern, friendly serif font family based on + + Cambo + + , designed by Carolina Giovagnoli and Andrés Torresi for Huerta Tipográfica. +

+

+ Caladea has the following differences: +

- -

To contribute, see github.com/huertatipografica/Caladea.

+

+ To contribute, see + + github.com/huertatipografica/Caladea + + . +

diff --git a/ofl/calistoga/DESCRIPTION.en_us.html b/ofl/calistoga/DESCRIPTION.en_us.html index 2f25fc7ae2..cf7fe22757 100644 --- a/ofl/calistoga/DESCRIPTION.en_us.html +++ b/ofl/calistoga/DESCRIPTION.en_us.html @@ -1,7 +1,20 @@ -

Calistoga is a cheerful, space saving display typeface. It was inspired by Oscar M. Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. Its vintage railroad flavor is found in the whole design.

- -

Calistoga includes proportional, tabular, old style and lining figures. It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms.

- -

Calistoga is an original typeface designed by Yvonne Schuttler. Eben Sorkin expanded the language support and refined the design in 2018 and 2022.

- -

To contribute, see github.com/SorkinType/Calistoga

+

+ Calistoga is a cheerful, space saving display typeface. + It was inspired by Oscar M. + Bryn's lettering as seen on the posters made for the Western US based Santa Fe Railroad. + Its vintage railroad flavor is found in the whole design. +

+

+ Calistoga includes proportional, tabular, old style and lining figures. + It also offers fractions, superiors, inferiors, a broad range of symbols, and it includes case sensitive forms. +

+

+ Calistoga is an original typeface designed by Yvonne Schuttler. + Eben Sorkin expanded the language support and refined the design in 2018 and 2022. +

+

+ To contribute, see + + github.com/SorkinType/Calistoga + +

diff --git a/ofl/cambay/DESCRIPTION.en_us.html b/ofl/cambay/DESCRIPTION.en_us.html index d063028138..cce79ec164 100644 --- a/ofl/cambay/DESCRIPTION.en_us.html +++ b/ofl/cambay/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell. -It comes in two weights, Regular and Bold, in upright and oblique styles. -The oblique styles are slanted with only the absolutely necessary optical corrections. + Cambay is a libre Devanagari typeface family designed to match the Latin + + Cantarell + + . + It comes in two weights, Regular and Bold, in upright and oblique styles. + The oblique styles are slanted with only the absolutely necessary optical corrections.

-

-This project is led by Pooja Saxena, a type designer based in Bangalore, India. -To contribute, see Cambay on GitHub. -

\ No newline at end of file + This project is led by Pooja Saxena, a type designer based in Bangalore, India. + To contribute, see + + Cambay on GitHub + + . +

diff --git a/ofl/cambo/DESCRIPTION.en_us.html b/ofl/cambo/DESCRIPTION.en_us.html index 56670fd97d..cdf9af2933 100644 --- a/ofl/cambo/DESCRIPTION.en_us.html +++ b/ofl/cambo/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Cambo is a modern Latin typeface inspired by the contrast, style and ornaments of Khmer typefaces and writing styles. Its main objective is to be used to write Latin texts in a Khmer context, but it is also an elegant choice for all kinds of texts.

Designed by Carolina Giovagnoli and Andrés Torresi for Huerta Tipográfica.

\ No newline at end of file +

+ Cambo is a modern Latin typeface inspired by the contrast, style and ornaments of Khmer typefaces and writing styles. + Its main objective is to be used to write Latin texts in a Khmer context, but it is also an elegant choice for all kinds of texts. +

+

+ Designed by Carolina Giovagnoli and Andrés Torresi for + + Huerta Tipográfica + + . +

diff --git a/ofl/candal/DESCRIPTION.en_us.html b/ofl/candal/DESCRIPTION.en_us.html index b65e72efa2..99eed2330c 100644 --- a/ofl/candal/DESCRIPTION.en_us.html +++ b/ofl/candal/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Candal is an original and fun sans serif type design by Vernon Adams which was inspired by historical types.

\ No newline at end of file +

+ Candal is an original and fun sans serif type design by Vernon Adams which was inspired by historical types. +

diff --git a/ofl/cantarell/DESCRIPTION.en_us.html b/ofl/cantarell/DESCRIPTION.en_us.html index 6713b12e89..2ed8233038 100644 --- a/ofl/cantarell/DESCRIPTION.en_us.html +++ b/ofl/cantarell/DESCRIPTION.en_us.html @@ -1,9 +1,21 @@ -

The Cantarell typeface family was designed during Dave Crossland's study of MA Typeface Design in 2009 in the Department of Typography at the University of Reading (UK).

- -

The typeface is designed as a contemporary Humanist sans serif, and was developed for on-screen reading; in particular, reading web pages on an HTC Dream mobile phone.

- -

This family was developed using only open-source softwares, mainly FontForge. Typeface designs are tools too, and therefore these font files are licensed in a way that respects your freedom — you are invited to extend them to meet your needs, such as to add the glyphs missing from your own writing systems, under the terms of the Open Font License.

- -

In October 2022 some metadata were fixed such as license clification, style name and style linking. Users may notice that the style "Oblique" has changed to "Italic".

- -

To contribute, see github.com/davelab6/cantarell.

+

+ The Cantarell typeface family was designed during Dave Crossland's study of MA Typeface Design in 2009 in the Department of Typography at the University of Reading (UK). +

+

+ The typeface is designed as a contemporary Humanist sans serif, and was developed for on-screen reading; in particular, reading web pages on an HTC Dream mobile phone. +

+

+ This family was developed using only open-source softwares, mainly FontForge. + Typeface designs are tools too, and therefore these font files are licensed in a way that respects your freedom — you are invited to extend them to meet your needs, such as to add the glyphs missing from your own writing systems, under the terms of the Open Font License. +

+

+ In October 2022 some metadata were fixed such as license clification, style name and style linking. + Users may notice that the style "Oblique" has changed to "Italic". +

+

+ To contribute, see + + github.com/davelab6/cantarell + + . +

diff --git a/ofl/cantataone/DESCRIPTION.en_us.html b/ofl/cantataone/DESCRIPTION.en_us.html index 044a0212c9..bad9ca02bc 100644 --- a/ofl/cantataone/DESCRIPTION.en_us.html +++ b/ofl/cantataone/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Cantata One is a high contrast extended Didone style text face. In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. Cantata One was originally inspired by hand written letters made with a pointed pen on an old map handmade map of NYC.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Cantata One is a high contrast extended Didone style text face. + In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. + Cantata One was originally inspired by hand written letters made with a pointed pen on an old map handmade map of NYC. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/cantoraone/DESCRIPTION.en_us.html b/ofl/cantoraone/DESCRIPTION.en_us.html index cb1e064483..ad1970788c 100644 --- a/ofl/cantoraone/DESCRIPTION.en_us.html +++ b/ofl/cantoraone/DESCRIPTION.en_us.html @@ -1,13 +1,14 @@ -

Cantora ('Singer' in Spanish) is a friendly semi formal, semi condensed, -semi sans serif. It has reminiscences of hand lettering, mixing straight and -bowed stems, and natural curves.

- -

It was born as an experiment in drawing from the outside to the inside -(drawing the space surrounding the letters first, instead of drawing the -letters themselves) in trying to apply the ideas and methods of Michael Harvey -and Evert Bloemsma to my own glyphs construction.

- -

In 0ctober 2022 naming inconcistencies between the font file and the API were fixed, users maybe cautious with using this update as the font name now aligns with the family name displayed by the API: Cantora One (instead of CantoraOne).

- -

Although Cantora is a sans, the lowercase letters have serif proportions. -It's perfect for headlines (H1, H2, H3) in sizes larger than 20px.

\ No newline at end of file +

+ Cantora ('Singer' in Spanish) is a friendly semi formal, semi condensed, semi sans serif. + It has reminiscences of hand lettering, mixing straight and bowed stems, and natural curves. +

+

+ It was born as an experiment in drawing from the outside to the inside (drawing the space surrounding the letters first, instead of drawing the letters themselves) in trying to apply the ideas and methods of Michael Harvey and Evert Bloemsma to my own glyphs construction. +

+

+ In 0ctober 2022 naming inconcistencies between the font file and the API were fixed, users maybe cautious with using this update as the font name now aligns with the family name displayed by the API: Cantora One (instead of CantoraOne). +

+

+ Although Cantora is a sans, the lowercase letters have serif proportions. + It's perfect for headlines (H1, H2, H3) in sizes larger than 20px. +

diff --git a/ofl/caprasimo/DESCRIPTION.en_us.html b/ofl/caprasimo/DESCRIPTION.en_us.html index 2e9281f376..76bb143a9d 100644 --- a/ofl/caprasimo/DESCRIPTION.en_us.html +++ b/ofl/caprasimo/DESCRIPTION.en_us.html @@ -1,12 +1,12 @@

- Caprasimo is a DocRepair font, intended to improve compliance with the ISO/IEC - 29500 standard by providing fallback for Cooper Black that minimizes text reflow in Office Open - XML documents. Caprasimo is based on Fraunces, a display, old-style soft-serif - typeface inspired by the mannerisms of early 20th century typefaces such as - the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia - Zimbardi, partners at Undercase Type. + Caprasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Cooper Black that minimizes text reflow in Office Open XML documents. + Caprasimo is based on Fraunces, a display, old-style soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as the Cooper Series. + Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at Undercase Type.

- To contribute, please visit github.com/docrepair-fonts/caprasimo-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/caprasimo-fonts + + . +

diff --git a/ofl/capriola/DESCRIPTION.en_us.html b/ofl/capriola/DESCRIPTION.en_us.html index 5d03f12e26..30ec1f561d 100644 --- a/ofl/capriola/DESCRIPTION.en_us.html +++ b/ofl/capriola/DESCRIPTION.en_us.html @@ -1,9 +1,35 @@ -

Foundry: Sorkin Type Co

- -

Capriola is a sans-serif typeface whose unique style draws upon forms seen in handwriting and italic types. Skeletons of the most characteristic glyphs are inspired by quick handwriting and based on a single hand movement (G,a,g,k,e). Capriola ambitiously seeks to push the boundaries of originality in the genre without losing legibility.

- -

The unusual glyphs are quite noticeable in large sizes which allows for distinctive headlines. However in small sizes these gestures become less noticeable making it possible to set longer texts. The name "Capriola" means somersault in English. Such glyphs as "a", "e" or "G" are the real acrobats and the "g" makes a double salto! Capriola was spaced for web. Capriola's originality combined with utility makes it ideal for a wide range of uses.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Capriola is a sans-serif typeface whose unique style draws upon forms seen in handwriting and italic types. + Skeletons of the most characteristic glyphs are inspired by quick handwriting and based on a single hand movement (G,a,g,k,e). + Capriola ambitiously seeks to push the boundaries of originality in the genre without losing legibility. +

+

+ The unusual glyphs are quite noticeable in large sizes which allows for distinctive headlines. + However in small sizes these gestures become less noticeable making it possible to set longer texts. + The name "Capriola" means somersault in English. + Such glyphs as "a", "e" or "G" are the real acrobats and the "g" makes a double salto! + Capriola was spaced for web. + Capriola's originality combined with utility makes it ideal for a wide range of uses. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/caramel/DESCRIPTION.en_us.html b/ofl/caramel/DESCRIPTION.en_us.html index 881d4de680..606a15ff5f 100644 --- a/ofl/caramel/DESCRIPTION.en_us.html +++ b/ofl/caramel/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-The Caramel Family is a fun, hand lettered script with three variations that are combined in the latest version of the font. Use alternates and style sets to customize your work. + The Caramel Family is a fun, hand lettered script with three variations that are combined in the latest version of the font. + Use alternates and style sets to customize your work.

-Caramel comes with Latin Character sets including Western, Central, and Vietnamese language support. + Caramel comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/caramel + To contribute, see + + github.com/googlefonts/caramel +

diff --git a/ofl/carattere/DESCRIPTION.en_us.html b/ofl/carattere/DESCRIPTION.en_us.html index ecfbe3cafb..d9287121ef 100644 --- a/ofl/carattere/DESCRIPTION.en_us.html +++ b/ofl/carattere/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Carattere is a beautiful italic style that is perfect for invitations and other uses where formal elegance and beauty are essential. + Carattere is a beautiful italic style that is perfect for invitations and other uses where formal elegance and beauty are essential.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/carattere. + To contribute, see + + github.com/googlefonts/carattere + + .

diff --git a/ofl/cardo/DESCRIPTION.en_us.html b/ofl/cardo/DESCRIPTION.en_us.html index 4bfe686681..463f9be5bd 100644 --- a/ofl/cardo/DESCRIPTION.en_us.html +++ b/ofl/cardo/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Cardo is a large Unicode font specifically designed for the needs of classicists, Biblical scholars, medievalists, and linguists. It also works well for general typesetting in situations where a high-quality Old Style font is appropriate. Its large character set supports many modern languages as well as those needed by scholars. Cardo also contains features that are required for high-quality typography such as ligatures, text figures (also known as old style numerals), true small capitals and a variety of punctuation and space characters.

\ No newline at end of file +

+ Cardo is a large Unicode font specifically designed for the needs of classicists, Biblical scholars, medievalists, and linguists. + It also works well for general typesetting in situations where a high-quality Old Style font is appropriate. + Its large character set supports many modern languages as well as those needed by scholars. + Cardo also contains features that are required for high-quality typography such as ligatures, text figures (also known as old style numerals), true small capitals and a variety of punctuation and space characters. +

diff --git a/ofl/carlito/DESCRIPTION.en_us.html b/ofl/carlito/DESCRIPTION.en_us.html index 91645c633b..e54a7500d6 100644 --- a/ofl/carlito/DESCRIPTION.en_us.html +++ b/ofl/carlito/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

- Carlito is a font designed derived from Lato (also designed by Łukasz Dziedzic) that is metric-compatible with Calibri. + Carlito is a font designed derived from + + Lato + + (also designed by Łukasz Dziedzic) that is metric-compatible with Calibri.

- It comes with Latin and Cyrillic character sets. + It comes with Latin and Cyrillic character sets.

- To contribute, see github.com/googlefonts/carlito -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/carlito + +

diff --git a/ofl/carme/DESCRIPTION.en_us.html b/ofl/carme/DESCRIPTION.en_us.html index 7a559c497f..1029ce5c5d 100644 --- a/ofl/carme/DESCRIPTION.en_us.html +++ b/ofl/carme/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Carme (Version 1.0) is a clean sans-serif font, specially designed for texts. It contains 206 glyphs and it was given visual metrics and kerning. The bold version is about to be released.

\ No newline at end of file +

+ Carme (Version 1.0) is a clean sans-serif font, specially designed for texts. + It contains 206 glyphs and it was given visual metrics and kerning. + The bold version is about to be released. +

diff --git a/ofl/carroisgothic/DESCRIPTION.en_us.html b/ofl/carroisgothic/DESCRIPTION.en_us.html index badcd41d67..c735b06046 100644 --- a/ofl/carroisgothic/DESCRIPTION.en_us.html +++ b/ofl/carroisgothic/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Carrois Gothic is a well balanced and modern gothic type family. -Clean and beautiful. -What more do you need? -There is the Small Caps sister family too, useful for all noble and significant applications. + Carrois Gothic is a well balanced and modern gothic type family. + Clean and beautiful. + What more do you need? + There is the + + Small Caps sister family + + too, useful for all noble and significant applications.

-Learn more at carrois.com + Learn more at + + carrois.com +

diff --git a/ofl/carroisgothicsc/DESCRIPTION.en_us.html b/ofl/carroisgothicsc/DESCRIPTION.en_us.html index 286bbace61..8e80ae8ca7 100644 --- a/ofl/carroisgothicsc/DESCRIPTION.en_us.html +++ b/ofl/carroisgothicsc/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Carrois Gothic is a well balanced and modern gothic type family. -Clean and beautiful. -What more do you need? -This is the Small Caps sister family to the regular family, useful for all noble and significant applications. + Carrois Gothic is a well balanced and modern gothic type family. + Clean and beautiful. + What more do you need? + This is the Small Caps sister family to the + + regular family + + , useful for all noble and significant applications.

-Learn more at carrois.com + Learn more at + + carrois.com +

diff --git a/ofl/carterone/DESCRIPTION.en_us.html b/ofl/carterone/DESCRIPTION.en_us.html index 11d6cd9ba1..bb4c1e5a87 100644 --- a/ofl/carterone/DESCRIPTION.en_us.html +++ b/ofl/carterone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Carter is a reworking of particular casual typeforms that were popular around the mid Twentieth Century, often found used areas such advertising or pulp fiction book covers. The letter forms of Carter have been reshaped and digitised for use as a webfont, the counters have been opened up a little and the stems optimised for use as display font for modern web browsers.

\ No newline at end of file +

+ Carter is a reworking of particular casual typeforms that were popular around the mid Twentieth Century, often found used areas such advertising or pulp fiction book covers. + The letter forms of Carter have been reshaped and digitised for use as a webfont, the counters have been opened up a little and the stems optimised for use as display font for modern web browsers. +

diff --git a/ofl/castoro/DESCRIPTION.en_us.html b/ofl/castoro/DESCRIPTION.en_us.html index d9a0830e08..b1a55150ed 100644 --- a/ofl/castoro/DESCRIPTION.en_us.html +++ b/ofl/castoro/DESCRIPTION.en_us.html @@ -1,15 +1,19 @@

- Castoro began as a synthesis of aspects of assorted Dutch types from the 16–18th Centuries and was initially made for the Indic fonts that Tiro produced for Harvard University Press. The version released as Castoro retains the extensive diacritic set for transliteration of South Asian languages and additional characters for an increased number of European languages. + Castoro began as a synthesis of aspects of assorted Dutch types from the 16–18th Centuries and was initially made for the Indic fonts that Tiro produced for Harvard University Press. + The version released as Castoro retains the extensive diacritic set for transliteration of South Asian languages and additional characters for an increased number of European languages.

-

- Castoro is named for the North American beaver, Castor canadensis. Robust serif text types with extensive language and typographic layout support are sometimes referred to as 'workhorse' types. Castoro may be thought of as a busy beaver. + Castoro is named for the North American beaver, Castor canadensis. + Robust serif text types with extensive language and typographic layout support are sometimes referred to as 'workhorse' types. + Castoro may be thought of as a busy beaver.

-

- The roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja Słojewska. + The roman was designed by John Hudson, and the italic with his Tiro colleague Paul Hanslow, assisted by Kaja Słojewska.

-

- To contribute, see github.com/TiroTypeworks/Castoro. + To contribute, see + + github.com/TiroTypeworks/Castoro + + .

diff --git a/ofl/castorotitling/DESCRIPTION.en_us.html b/ofl/castorotitling/DESCRIPTION.en_us.html index 505c13098b..f5a4cd9246 100644 --- a/ofl/castorotitling/DESCRIPTION.en_us.html +++ b/ofl/castorotitling/DESCRIPTION.en_us.html @@ -1,11 +1,15 @@

- Castoro Titling is an all-caps font in which the uppercase of the Castoro text typeface has been ‘re-hung’ on the proportions of Roman inscriptional letters. These lighter, elegant forms are ideal for larger sizes. The font covers the same set of extended diacritics for European orthographies and for transliteration of Indian languages. + Castoro Titling is an all-caps font in which the uppercase of the Castoro text typeface has been ‘re-hung’ on the proportions of Roman inscriptional letters. + These lighter, elegant forms are ideal for larger sizes. + The font covers the same set of extended diacritics for European orthographies and for transliteration of Indian languages.

-

- Castoro Titling was designed by John Hudson. + Castoro Titling was designed by John Hudson.

-

- To contribute, see github.com/TiroTypeworks/Castoro. + To contribute, see + + github.com/TiroTypeworks/Castoro + + .

diff --git a/ofl/catamaran/DESCRIPTION.en_us.html b/ofl/catamaran/DESCRIPTION.en_us.html index ca36e6a645..975da6a7b5 100644 --- a/ofl/catamaran/DESCRIPTION.en_us.html +++ b/ofl/catamaran/DESCRIPTION.en_us.html @@ -1,15 +1,20 @@

-Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age. -The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin. + Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age. + The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family + + Palanquin + + .

-

-It currently comprises of 9 text weights, making it a versatile family that strikes a balance between typographic conventions and that bit of sparkle. -(A catamaran is a multihulled vessel consisting of two parallel hulls of equal size. -The catamaran concept is a relative newcomer for Western boat designers, been used since time immemorial among the Dravidian people, in South India.) + It currently comprises of 9 text weights, making it a versatile family that strikes a balance between typographic conventions and that bit of sparkle. + (A catamaran is a multihulled vessel consisting of two parallel hulls of equal size. + The catamaran concept is a relative newcomer for Western boat designers, been used since time immemorial among the Dravidian people, in South India.)

-

-The Catamaran project is led by Pria Ravichandran, a type designer from India. -To contribute, visit github.com/VanillaandCream/Catamaran + The Catamaran project is led by Pria Ravichandran, a type designer from India. + To contribute, visit + + github.com/VanillaandCream/Catamaran +

diff --git a/ofl/caudex/DESCRIPTION.en_us.html b/ofl/caudex/DESCRIPTION.en_us.html index eed6861c20..87bcf12536 100644 --- a/ofl/caudex/DESCRIPTION.en_us.html +++ b/ofl/caudex/DESCRIPTION.en_us.html @@ -1 +1,17 @@ -

Caudex is a Unicode TrueType font created with FontForge. It is developed on SourceForge. It includes most of the Medieval Unicode Font Initiative (MUFI) version 3.0 recommendations.

The font was originally made in the late nineties using the ISO 8859-1 character set, and used for printing some old handwritten text. Greek is also included.

\ No newline at end of file +

+ Caudex is a Unicode TrueType font created with FontForge. + It is developed on + + SourceForge + + . + It includes most of the + + Medieval Unicode Font Initiative + + (MUFI) version 3.0 recommendations. +

+

+ The font was originally made in the late nineties using the ISO 8859-1 character set, and used for printing some old handwritten text. + Greek is also included. +

diff --git a/ofl/caveat/DESCRIPTION.en_us.html b/ofl/caveat/DESCRIPTION.en_us.html index a0f8be6a24..76007364c1 100644 --- a/ofl/caveat/DESCRIPTION.en_us.html +++ b/ofl/caveat/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

-Caveat is a handwriting type family designed by Pablo Impallari. -It is designed for both short annotations and body text usage. -For a different style, there is also a sister family, Caveat Brush + Caveat is a handwriting type family designed by Pablo Impallari. + It is designed for both short annotations and body text usage. + For a different style, there is also a sister family, + + Caveat Brush +

-The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel. + The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.

-The Caveat project was commissioned by Google from Impallari Type, a type design foundry in Rosario, Argentina. -To contribute, see github.com/googlefonts/caveat + The Caveat project was commissioned by Google from Impallari Type, a type design foundry in Rosario, Argentina. + To contribute, see + + github.com/googlefonts/caveat +

-Updated June 2019 to v1.500: Adding extended Cyrillic, by Cyreal, a type design foundry in Moscow, Russia. + Updated June 2019 to v1.500: Adding extended Cyrillic, by + + Cyreal + + , a type design foundry in Moscow, Russia.

diff --git a/ofl/caveatbrush/DESCRIPTION.en_us.html b/ofl/caveatbrush/DESCRIPTION.en_us.html index ac526f57fd..38059bccb9 100644 --- a/ofl/caveatbrush/DESCRIPTION.en_us.html +++ b/ofl/caveatbrush/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Caveat is a handwriting type family designed by Pablo Impallari. -It is designed for short annotations. -For a different style, there is also a sister family, Caveat + Caveat is a handwriting type family designed by Pablo Impallari. + It is designed for short annotations. + For a different style, there is also a sister family, + + Caveat +

-The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel. + The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.

diff --git a/ofl/cedarvillecursive/DESCRIPTION.en_us.html b/ofl/cedarvillecursive/DESCRIPTION.en_us.html index 20f598a273..ccb5fe49c6 100644 --- a/ofl/cedarvillecursive/DESCRIPTION.en_us.html +++ b/ofl/cedarvillecursive/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

This font is based on the handwriting of a perky, cheerful young preschool teacher. From her love of her Cedarville University alma mater to her passion for her students, she is a delightful, dependable person. I think her handwriting contains that same blend of fun appeal with restrained discipline alongside it. Many handwritten script fonts have large flourishes, but this is a more simple script, similar to authentic daily handwriting.

\ No newline at end of file +

+ This font is based on the handwriting of a perky, cheerful young preschool teacher. + From her love of her Cedarville University alma mater to her passion for her students, she is a delightful, dependable person. + I think her handwriting contains that same blend of fun appeal with restrained discipline alongside it. + Many handwritten script fonts have large flourishes, but this is a more simple script, similar to authentic daily handwriting. +

diff --git a/ofl/cevicheone/DESCRIPTION.en_us.html b/ofl/cevicheone/DESCRIPTION.en_us.html index 7b182857de..e526514b1a 100644 --- a/ofl/cevicheone/DESCRIPTION.en_us.html +++ b/ofl/cevicheone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Ceviche One is a bold expressionist sans. Tasty, wild and delicious curves are inspired in lettering from the 1960s. Ceviche One is a great and dynamic option for large headlines, displays and posters.

\ No newline at end of file +

+ Ceviche One is a bold expressionist sans. + Tasty, wild and delicious curves are inspired in lettering from the 1960s. + Ceviche One is a great and dynamic option for large headlines, displays and posters. +

diff --git a/ofl/chakrapetch/DESCRIPTION.en_us.html b/ofl/chakrapetch/DESCRIPTION.en_us.html index c1d2b27256..5026fc7d34 100644 --- a/ofl/chakrapetch/DESCRIPTION.en_us.html +++ b/ofl/chakrapetch/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Chakra Petch is a Thai and Latin family which features Thai's traditional looped letterforms. It's a square sans serif with tapered corners. Due to the design, it works well for both digital and print based media.

\ No newline at end of file +

+ Chakra Petch is a Thai and Latin family which features Thai's traditional looped letterforms. + It's a square sans serif with tapered corners. + Due to the design, it works well for both digital and print based media. +

diff --git a/ofl/changa/DESCRIPTION.en_us.html b/ofl/changa/DESCRIPTION.en_us.html index 023a0bbc23..d6d126f2b3 100644 --- a/ofl/changa/DESCRIPTION.en_us.html +++ b/ofl/changa/DESCRIPTION.en_us.html @@ -1,11 +1,20 @@ -

Changa is intended for text usage, with its short ascenders and descenders -and a set of lowercase letters inscribed within a square. The uppercase -letters gains slightly more in height form a single height so that -typographers can set text with minimum line spacing.

- -

Changa One -is also available, the initial style that is an extra-bold sister family -intended for display usage.

- -

In November 2019, it was updated with a Variable Font "Weight" axis.

-

To contribute, see github.com/googlefonts/changa-vf.

+

+ Changa is intended for text usage, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. + The uppercase letters gains slightly more in height form a single height so that typographers can set text with minimum line spacing. +

+

+ + Changa One + + is also available, the initial style that is an extra-bold sister family intended for display usage. +

+

+ In November 2019, it was updated with a Variable Font "Weight" axis. +

+

+ To contribute, see + + github.com/googlefonts/changa-vf + + . +

diff --git a/ofl/changaone/DESCRIPTION.en_us.html b/ofl/changaone/DESCRIPTION.en_us.html index 0be53ee014..471d072714 100644 --- a/ofl/changaone/DESCRIPTION.en_us.html +++ b/ofl/changaone/DESCRIPTION.en_us.html @@ -1,16 +1,20 @@ -

Changa One is intended for titles, with its short ascenders and descenders -and a set of lowercase letters inscribed within a square. The uppercases case -gains slightly more in height and develops its morphology in a single height -in order to make it possible to create text composition with minimum line -spacing.

- -

Its counter-shapes are rectangular, featuring small curvatures in opposite -vertexes which accompany and break the shapes, thus evoking a modern -style.

- -

Changa is also -available, a continuation of the development of this typeface as a -regular weight sister family intended for text usage.

- -

To contribute to the project contact -Eduardo Tunni.

\ No newline at end of file +

+ Changa One is intended for titles, with its short ascenders and descenders and a set of lowercase letters inscribed within a square. + The uppercases case gains slightly more in height and develops its morphology in a single height in order to make it possible to create text composition with minimum line spacing. +

+

+ Its counter-shapes are rectangular, featuring small curvatures in opposite vertexes which accompany and break the shapes, thus evoking a modern style. +

+

+ + Changa + + is also available, a continuation of the development of this typeface as a regular weight sister family intended for text usage. +

+

+ To contribute to the project contact + + Eduardo Tunni + + . +

diff --git a/ofl/chango/DESCRIPTION.en_us.html b/ofl/chango/DESCRIPTION.en_us.html index 5547172394..36c6974162 100644 --- a/ofl/chango/DESCRIPTION.en_us.html +++ b/ofl/chango/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Chango is a display face based on letters drawn by Mexican illustrator Ernesto “Chango” García Cabral. It’s big and heavy, ideal for head-line body sizes with a humorous touch.

\ No newline at end of file +

+ Chango is a display face based on letters drawn by Mexican illustrator Ernesto “Chango” García Cabral. + It’s big and heavy, ideal for head-line body sizes with a humorous touch. +

diff --git a/ofl/charissil/DESCRIPTION.en_us.html b/ofl/charissil/DESCRIPTION.en_us.html index af4bb3e590..b3cb23873e 100644 --- a/ofl/charissil/DESCRIPTION.en_us.html +++ b/ofl/charissil/DESCRIPTION.en_us.html @@ -1,3 +1,20 @@ -

The Charis project is intended to provide a free and open font family for all current languages and writing systems that use Latin and Cyrillic scripts. It supports almost the complete range of Unicode characters for these scripts, including a comprehensive range of diacritics and a large set of symbols useful for linguistics and literacy work. Smart font routines automatically adjust the position of diacritics to support and optimize arbitrary base+diacritic combinations. This project uses a UFO-based design and production workflow, with all sources in open formats and a completely open-source build toolkit.

-

Learn more at software.sil.org/charis.

-

To contribute, see github.com/silnrsi/font-charis.

+

+ The Charis project is intended to provide a free and open font family for all current languages and writing systems that use Latin and Cyrillic scripts. + It supports almost the complete range of Unicode characters for these scripts, including a comprehensive range of diacritics and a large set of symbols useful for linguistics and literacy work. + Smart font routines automatically adjust the position of diacritics to support and optimize arbitrary base+diacritic combinations. + This project uses a UFO-based design and production workflow, with all sources in open formats and a completely open-source build toolkit. +

+

+ Learn more at + + software.sil.org/charis + + . +

+

+ To contribute, see + + github.com/silnrsi/font-charis + + . +

diff --git a/ofl/charm/DESCRIPTION.en_us.html b/ofl/charm/DESCRIPTION.en_us.html index 9567d4eb73..f2b50cddde 100644 --- a/ofl/charm/DESCRIPTION.en_us.html +++ b/ofl/charm/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Charm is a handwritten Thai and Latin family. The letterforms were created using a flat tip pen on paper. It works well for Thai religous texts.

\ No newline at end of file +

+ Charm is a handwritten Thai and Latin family. + The letterforms were created using a flat tip pen on paper. + It works well for Thai religous texts. +

diff --git a/ofl/charmonman/DESCRIPTION.en_us.html b/ofl/charmonman/DESCRIPTION.en_us.html index 18eaa29233..d0f138c491 100644 --- a/ofl/charmonman/DESCRIPTION.en_us.html +++ b/ofl/charmonman/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Charmonman is a Thai and Latin family which takes inspiration from Zapfino. It features tall ascenders and descenders with swashed letterforms.

\ No newline at end of file +

+ Charmonman is a Thai and Latin family which takes inspiration from Zapfino. + It features tall ascenders and descenders with swashed letterforms. +

diff --git a/ofl/chathura/DESCRIPTION.en_us.html b/ofl/chathura/DESCRIPTION.en_us.html index 3ac06cf5bb..94afc5c239 100644 --- a/ofl/chathura/DESCRIPTION.en_us.html +++ b/ofl/chathura/DESCRIPTION.en_us.html @@ -1,14 +1,17 @@

-Chathura was developed initially as an ASCII font in 2009 in the Ezi Fonts collection, which consists 42 Telugu ASCII fonts. -In 2015 Chathura was developed into a Unicode font family with support for Telugu and Latin. -The design is useful for invitations, headings, in print and on the web. -Each letter has rectangular forms and a uniform stroke thickness. + Chathura was developed initially as an ASCII font in 2009 in the Ezi Fonts collection, which consists 42 Telugu ASCII fonts. + In 2015 Chathura was developed into a Unicode font family with support for Telugu and Latin. + The design is useful for invitations, headings, in print and on the web. + Each letter has rectangular forms and a uniform stroke thickness.

-The Telugu component was designed by Appaji Ambarisha Darbha. -The Latin component was added from Rajdhani, a Latin and Devanagari font family developed by Shiva Nalleperumal at Indian Type Foundry. + The Telugu component was designed by Appaji Ambarisha Darbha. + The Latin component was added from Rajdhani, a Latin and Devanagari font family developed by Shiva Nalleperumal at Indian Type Foundry.

-The Chathura project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/Chathura + The Chathura project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/Chathura +

diff --git a/ofl/chauphilomeneone/DESCRIPTION.en_us.html b/ofl/chauphilomeneone/DESCRIPTION.en_us.html index 392873f934..19f2df6e67 100644 --- a/ofl/chauphilomeneone/DESCRIPTION.en_us.html +++ b/ofl/chauphilomeneone/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Chau Philomene One is one of four families within the Chau superfamily. -Hardy, ideal for headings and highlighted text, with narrow letters and sharp angles that have a distinctive personality. + Chau Philomene One is one of four families within the Chau superfamily. + Hardy, ideal for headings and highlighted text, with narrow letters and sharp angles that have a distinctive personality.

diff --git a/ofl/chelaone/DESCRIPTION.en_us.html b/ofl/chelaone/DESCRIPTION.en_us.html index 667b3e347b..147591d755 100644 --- a/ofl/chelaone/DESCRIPTION.en_us.html +++ b/ofl/chelaone/DESCRIPTION.en_us.html @@ -1,2 +1,7 @@ -

Chela One is a bold and condensed brush script typeface from Chilean type -foundry LatinoType.

\ No newline at end of file +

+ Chela One is a bold and condensed brush script typeface from Chilean type foundry + + LatinoType + + . +

diff --git a/ofl/chelseamarket/DESCRIPTION.en_us.html b/ofl/chelseamarket/DESCRIPTION.en_us.html index aa46b49571..d5421746bf 100644 --- a/ofl/chelseamarket/DESCRIPTION.en_us.html +++ b/ofl/chelseamarket/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Let's picnic on the High Line, grab some delights from the market and we'll people-watch from our cozy blanket nestled on a small patch of nature surrounded in the bustle of the city as it ages gracefully. Enjoy the quirky bohemian feel of Chelsea Market and use it often.

\ No newline at end of file +

+ Let's picnic on the High Line, grab some delights from the market and we'll people-watch from our cozy blanket nestled on a small patch of nature surrounded in the bustle of the city as it ages gracefully. + Enjoy the quirky bohemian feel of Chelsea Market and use it often. +

diff --git a/ofl/chenla/DESCRIPTION.en_us.html b/ofl/chenla/DESCRIPTION.en_us.html index 77d3fabd29..5de12093d2 100644 --- a/ofl/chenla/DESCRIPTION.en_us.html +++ b/ofl/chenla/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Chenla fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.

\ No newline at end of file +

+ The Chenla fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. + The designer, + + Danh Hong + + , has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the + + KhmerOS + + project, dedicated to a vision where Cambodians can learn and use computers in their own language. +

diff --git a/ofl/cherish/DESCRIPTION.en_us.html b/ofl/cherish/DESCRIPTION.en_us.html index 4ca382479f..f4360c1ea0 100644 --- a/ofl/cherish/DESCRIPTION.en_us.html +++ b/ofl/cherish/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Cherish is a gorgeous dry brush style that adds expression and sophistication to your design creations. Perfect for captions and short phrases combined with modern sans fonts. + Cherish is a gorgeous dry brush style that adds expression and sophistication to your design creations. + Perfect for captions and short phrases combined with modern sans fonts.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/cherish. + To contribute, see + + github.com/googlefonts/cherish + + .

diff --git a/ofl/cherrybombone/DESCRIPTION.en_us.html b/ofl/cherrybombone/DESCRIPTION.en_us.html index f813fc9843..3639570562 100644 --- a/ofl/cherrybombone/DESCRIPTION.en_us.html +++ b/ofl/cherrybombone/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Satsuyako first released the kana font CherryBomb in 2012 with the concept, "Cute with a kick." Its round and modern bounciness has made it appealing for diverse use from title logos and food packaging to children' s magazines. + Satsuyako first released the kana font CherryBomb in 2012 with the concept, "Cute with a kick." Its round and modern bounciness has made it appealing for diverse use from title logos and food packaging to children' s magazines.

-To publish on Google Fonts, the designer adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style. + To publish on Google Fonts, the designer adjusted the outline and balance of all the letters, added symbols and Latin glyphs, and made it into a proportional font that could also be used in the vertical writing style.

-To contribute to the project, visit github.com/satsuyako/CherryBomb + To contribute to the project, visit + + github.com/satsuyako/CherryBomb +

diff --git a/ofl/cherryswash/DESCRIPTION.en_us.html b/ofl/cherryswash/DESCRIPTION.en_us.html index c6538604aa..dcf2a18d62 100644 --- a/ofl/cherryswash/DESCRIPTION.en_us.html +++ b/ofl/cherryswash/DESCRIPTION.en_us.html @@ -1,3 +1,4 @@ -

Cherry Swash is a contemporary slab-serif, with no stroke contrast yet -eye-catching form with its elegant swash capitals. This typeface will look at -its best in your headlines and logos.

+

+ Cherry Swash is a contemporary slab-serif, with no stroke contrast yet eye-catching form with its elegant swash capitals. + This typeface will look at its best in your headlines and logos. +

diff --git a/ofl/chicle/DESCRIPTION.en_us.html b/ofl/chicle/DESCRIPTION.en_us.html index 3aa07edae6..a45e1cbd9a 100644 --- a/ofl/chicle/DESCRIPTION.en_us.html +++ b/ofl/chicle/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decided to show their playful side.

Chicle has bold, stretchable, kid-proof, pet-resistant letters. This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats.

Chicle is Spanish for bubble gum. Its a definite sugar fix — no substitutes.

\ No newline at end of file +

+ In a much needed break from complex scripts and polished packaging fonts, Koziupa and Paul decided to show their playful side. +

+

+ Chicle has bold, stretchable, kid-proof, pet-resistant letters. + This font is made to take the abuse of software used to put together the elaborate, attention-scrambling artwork of candy, cereal, and toy packaging, or whatever boxed obscenity contains cat and dog treats. +

+

+ Chicle is Spanish for bubble gum. + Its a definite sugar fix — no substitutes. +

diff --git a/ofl/chilanka/DESCRIPTION.en_us.html b/ofl/chilanka/DESCRIPTION.en_us.html index 3b4b4ba201..cfe46ad61b 100644 --- a/ofl/chilanka/DESCRIPTION.en_us.html +++ b/ofl/chilanka/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Chilanka is Malayalam handwriting style font designed by Santhosh Thottingal. It follows the common style one can see in everyday handwriting of Malayalam. It has a comprehensive Malayalam glyph set that contains most of the unique Malayalam conjuncts.

- -

To contribute, see gitlab.com/smc/fonts/chilanka.

+

+ Chilanka is Malayalam handwriting style font designed by Santhosh Thottingal. + It follows the common style one can see in everyday handwriting of Malayalam. + It has a comprehensive Malayalam glyph set that contains most of the unique Malayalam conjuncts. +

+

+ To contribute, see + + gitlab.com/smc/fonts/chilanka + + . +

diff --git a/ofl/chivo/DESCRIPTION.en_us.html b/ofl/chivo/DESCRIPTION.en_us.html index fa2001f466..56d13ca295 100644 --- a/ofl/chivo/DESCRIPTION.en_us.html +++ b/ofl/chivo/DESCRIPTION.en_us.html @@ -1,5 +1,17 @@ -

Chivo ("Goat" in Spanish) is Omnibus-Type's first grotesque family. The strength of Chivo Black makes it ideal for highlights and headlines whilst Chivo Regular's elegance is ideal for continuous reading. Its design details make it an indispensable ally for any designer.

- -

In october 2022, the family is upgraded to a variable font ranging from Thin to Black, including matching italics. The glyphset has also been extended, supporting now a wider number of languages.

- -

The family was developed by Héctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.

+

+ Chivo ("Goat" in Spanish) is Omnibus-Type's first grotesque family. + The strength of Chivo Black makes it ideal for highlights and headlines whilst Chivo Regular's elegance is ideal for continuous reading. + Its design details make it an indispensable ally for any designer. +

+

+ In october 2022, the family is upgraded to a variable font ranging from Thin to Black, including matching italics. + The glyphset has also been extended, supporting now a wider number of languages. +

+

+ The family was developed by Héctor Gatti. + To contribute, see + + github.com/Omnibus-Type/Chivo + + . +

diff --git a/ofl/chivomono/DESCRIPTION.en_us.html b/ofl/chivomono/DESCRIPTION.en_us.html index 8ea8d809a0..d18a1a3cb9 100644 --- a/ofl/chivomono/DESCRIPTION.en_us.html +++ b/ofl/chivomono/DESCRIPTION.en_us.html @@ -1,7 +1,20 @@ -

Chivo (‘goat’ in Spanish) is the first Omnibus-Type neo-grotesque typeface family. -Its solidness and balanced strokes give Chivo both elegance and practicality.

- -

Chivo Mono is the monospace sibling of Chivo. -Likewise, Chivo Mono is a variable font ranging from Thin to Black with matching Italics.

- -

The family was developed by Héctor Gatti. To contribute, see github.com/Omnibus-Type/Chivo.

+

+ Chivo (‘goat’ in Spanish) is the first Omnibus-Type neo-grotesque typeface family. + Its solidness and balanced strokes give Chivo both elegance and practicality. +

+

+ Chivo Mono is the monospace sibling of + + Chivo + + . + Likewise, Chivo Mono is a variable font ranging from Thin to Black with matching Italics. +

+

+ The family was developed by Héctor Gatti. + To contribute, see + + github.com/Omnibus-Type/Chivo + + . +

diff --git a/ofl/chokokutai/DESCRIPTION.en_us.html b/ofl/chokokutai/DESCRIPTION.en_us.html index 17f9572608..c107930fa4 100644 --- a/ofl/chokokutai/DESCRIPTION.en_us.html +++ b/ofl/chokokutai/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-Chokokutai is a display Japanese font family whose characters have a funky appearance. + Chokokutai is a display Japanese font family whose characters have a funky appearance.

-To contribute to the project, visit github.com/go108go/Chokokutai + To contribute to the project, visit + + github.com/go108go/Chokokutai +

diff --git a/ofl/chonburi/DESCRIPTION.en_us.html b/ofl/chonburi/DESCRIPTION.en_us.html index 1b557d2567..c9c518c50a 100644 --- a/ofl/chonburi/DESCRIPTION.en_us.html +++ b/ofl/chonburi/DESCRIPTION.en_us.html @@ -1,8 +1,10 @@

-Chonburi is a new Thai + Latin typeface for display usage, with an formal looped + serif design. + Chonburi is a new Thai + Latin typeface for display usage, with an formal looped + serif design.

-

-The Chonburi project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/chonburi + The Chonburi project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/chonburi +

diff --git a/ofl/cinzel/DESCRIPTION.en_us.html b/ofl/cinzel/DESCRIPTION.en_us.html index b12c423c94..a1fe588196 100644 --- a/ofl/cinzel/DESCRIPTION.en_us.html +++ b/ofl/cinzel/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@ -

Cinzel is a typeface inspired in first century roman inscriptions, and based -on classical proportions. However it’s not a simple revivalism, while it -conveys all the ancient history of the latin alphabet it also merges a -contemporary feel onto it.

- -

To contribute, see github.com/NDISCOVER/Cinzel.

+

+ Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. + However it’s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it. +

+

+ To contribute, see + + github.com/NDISCOVER/Cinzel + + . +

diff --git a/ofl/cinzeldecorative/DESCRIPTION.en_us.html b/ofl/cinzeldecorative/DESCRIPTION.en_us.html index e04286c8d4..c71675ba30 100644 --- a/ofl/cinzeldecorative/DESCRIPTION.en_us.html +++ b/ofl/cinzeldecorative/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@ -

Cinzel is a typeface inspired in first century roman inscriptions, and based -on classical proportions. However it’s not a simple revivalism, while it -conveys all the ancient history of the latin alphabet it also merges a -contemporary feel onto it.

+

+ Cinzel is a typeface inspired in first century roman inscriptions, and based on classical proportions. + However it’s not a simple revivalism, while it conveys all the ancient history of the latin alphabet it also merges a contemporary feel onto it. +

diff --git a/ofl/clickerscript/DESCRIPTION.en_us.html b/ofl/clickerscript/DESCRIPTION.en_us.html index 18d0d2e47a..718a8606b3 100644 --- a/ofl/clickerscript/DESCRIPTION.en_us.html +++ b/ofl/clickerscript/DESCRIPTION.en_us.html @@ -1,8 +1,16 @@ -

Clicker Script finds its inspiration from RCA Records Stereo Action Series -from the 1960's. This signature elegant yet slightly bouncy script truly -sings, and lends a happy go lucky flavor to any design.

- -

Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI).

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Clicker Script finds its inspiration from RCA Records Stereo Action Series from the 1960's. + This signature elegant yet slightly bouncy script truly sings, and lends a happy go lucky flavor to any design. +

+

+ Designed by Brian J. + Bonislawsky and Jim Lyles for Astigmatic (AOETI). +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/climatecrisis/DESCRIPTION.en_us.html b/ofl/climatecrisis/DESCRIPTION.en_us.html index 84a0479416..3f50d9e9bc 100644 --- a/ofl/climatecrisis/DESCRIPTION.en_us.html +++ b/ofl/climatecrisis/DESCRIPTION.en_us.html @@ -1,9 +1,18 @@

- Climate Crisis, is a variable font designed to help visualise the urgency of climate change, designed for Helsingin Sanomat, the largest Nordic newspaper. The typeface’s weight responds to the levels of Arctic sea ice from 1979 to 2019 and predictions for 2050, based on data from the National Snow and Ice Data Center. + Climate Crisis, is a variable font designed to help visualise the urgency of climate change, designed for Helsingin Sanomat, the largest Nordic newspaper. + The typeface’s weight responds to the levels of Arctic sea ice from 1979 to 2019 and predictions for 2050, based on data from the National Snow and Ice Data Center.

-

- Case study on the mini website. +

+ Case study on the + + mini website + + .

- To contribute, see github.com/dancoull/ClimateCrisis. + To contribute, see + + github.com/dancoull/ClimateCrisis + + .

diff --git a/ofl/coda/DESCRIPTION.en_us.html b/ofl/coda/DESCRIPTION.en_us.html index 4dccfcc054..834f89f119 100644 --- a/ofl/coda/DESCRIPTION.en_us.html +++ b/ofl/coda/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Eye-catching, no-messing, bandwidth-saving, Coda's Heavy (800) style is designed to be an unassuming, practical, impact heavy display font for the world wide web.

Designed to be used in large sizes to bring bold information to web pages, it is complemented by a Regular weight for use in text and display contexts.

These webfonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

\ No newline at end of file +

+ Eye-catching, no-messing, bandwidth-saving, Coda's Heavy (800) style is designed to be an unassuming, practical, impact heavy display font for the world wide web. +

+

+ Designed to be used in large sizes to bring bold information to web pages, it is complemented by a Regular weight for use in text and display contexts. +

+

+ These webfonts are designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

diff --git a/ofl/codystar/DESCRIPTION.en_us.html b/ofl/codystar/DESCRIPTION.en_us.html index 1dcd105036..140f44bd33 100644 --- a/ofl/codystar/DESCRIPTION.en_us.html +++ b/ofl/codystar/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

As you stroll down Manhattan streets and through Times Square, look all around you at the sizzling lights! Sparkling. Brilliant. Codystar.

Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project contact Font Diner.

\ No newline at end of file +

+ As you stroll down Manhattan streets and through Times Square, look all around you at the sizzling lights! + Sparkling. + Brilliant. + Codystar. +

+

+ Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project contact + + Font Diner + + . +

diff --git a/ofl/coiny/DESCRIPTION.en_us.html b/ofl/coiny/DESCRIPTION.en_us.html index 2944d88d1c..887025c55f 100644 --- a/ofl/coiny/DESCRIPTION.en_us.html +++ b/ofl/coiny/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Coiny is a typeface designed originally for the Latin and Tamil scripts in parallel. -Naturally bold, and born on street to shine on screen. -It has a structure based on simple geometrical shapes, and is inspired by the vernacular designs seen around every big city. -The forms are similar to those found with writing made with a rounded brush point. -It is a lot of fun for titles and headlines. + Coiny is a typeface designed originally for the Latin and Tamil scripts in parallel. + Naturally bold, and born on street to shine on screen. + It has a structure based on simple geometrical shapes, and is inspired by the vernacular designs seen around every big city. + The forms are similar to those found with writing made with a rounded brush point. + It is a lot of fun for titles and headlines.

-The Coiny project is led by Marcelo Magalhães, a type designer based in São Paulo, Brasil. -To contribute, see github.com/marcelommp/Coiny -

\ No newline at end of file + The Coiny project is led by Marcelo Magalhães, a type designer based in São Paulo, Brasil. + To contribute, see + + github.com/marcelommp/Coiny + +

diff --git a/ofl/combo/DESCRIPTION.en_us.html b/ofl/combo/DESCRIPTION.en_us.html index 1c34c72e0d..bb4ff2fcb3 100644 --- a/ofl/combo/DESCRIPTION.en_us.html +++ b/ofl/combo/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Combo has a simple structure, based on the elliptical arcs and strokes of a flat-tipped marker pen. This display typeface is suitable for use in advertisements, headlines and short texts.

\ No newline at end of file +

+ Combo has a simple structure, based on the elliptical arcs and strokes of a flat-tipped marker pen. + This display typeface is suitable for use in advertisements, headlines and short texts. +

diff --git a/ofl/comfortaa/DESCRIPTION.en_us.html b/ofl/comfortaa/DESCRIPTION.en_us.html index 6ac51a4b39..c46fed5609 100644 --- a/ofl/comfortaa/DESCRIPTION.en_us.html +++ b/ofl/comfortaa/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Comfortaa is a rounded geometric sans-serif type design intended for large sizes. It is absolutely free, both for personal and commercial use.

If you like it please visit my DeviantArt page and fav it (but obviously only if you like it.) You are also more than welcome to comment about anything you want (I'm open to critique). I obviously would love to see how my font is being used, so feel free to comment with a link to your work, or send me a message.

I hope you will enjoy using my font!

\ No newline at end of file +

+ Comfortaa is a rounded geometric sans-serif type design intended for large sizes. + It is absolutely free, both for personal and commercial use. +

+

+ If you like it please + + visit my DeviantArt page + + and fav it (but obviously only if you like it.) You are also more than welcome to comment about anything you want (I'm open to critique). + I obviously would love to see how my font is being used, so feel free to comment with a link to your work, or send me a message. +

+

+ I hope you will enjoy using my font! +

diff --git a/ofl/comforter/DESCRIPTION.en_us.html b/ofl/comforter/DESCRIPTION.en_us.html index 9f980679da..a5c120182f 100644 --- a/ofl/comforter/DESCRIPTION.en_us.html +++ b/ofl/comforter/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Comforter is a bouncy, upright brush style script. Its look is appealing for many usages. It’s contemporary, and non- traditional. It’s sophisticated, yet fun and funky. + Comforter is a bouncy, upright brush style script. + Its look is appealing for many usages. + It’s contemporary, and non- traditional. + It’s sophisticated, yet fun and funky.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/comforter. + To contribute, see + + github.com/googlefonts/comforter + + .

diff --git a/ofl/comforterbrush/DESCRIPTION.en_us.html b/ofl/comforterbrush/DESCRIPTION.en_us.html index 4cae72803e..5296b12767 100644 --- a/ofl/comforterbrush/DESCRIPTION.en_us.html +++ b/ofl/comforterbrush/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Comforter Brush is the "brushy" companion of Comforter, a bouncy, upright brush style script a contemporary, and non- traditional script font. + Comforter Brush is the "brushy" companion of Comforter, a bouncy, upright brush style script a contemporary, and non- traditional script font.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/comforter-brush. + To contribute, see + + github.com/googlefonts/comforter-brush + + .

diff --git a/ofl/comicneue/DESCRIPTION.en_us.html b/ofl/comicneue/DESCRIPTION.en_us.html index 388a0402bf..d78fabbc24 100644 --- a/ofl/comicneue/DESCRIPTION.en_us.html +++ b/ofl/comicneue/DESCRIPTION.en_us.html @@ -1,14 +1,22 @@

-Comic Neue is an original reinterpretation of the classic, Comic Sans. + Comic Neue is an original reinterpretation of the classic, Comic Sans.

-Comic Neue aspires to be the casual script choice for everyone, including the typographically savvy. -The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape – while maintaining the honesty that made Comic Sans so popular. + Comic Neue aspires to be the casual script choice for everyone, including the typographically savvy. + The squashed, wonky, and weird glyphs of Comic Sans have been beaten into shape – while maintaining the honesty that made Comic Sans so popular.

-Don't miss the project homepage, comicneue.com + + Don't miss the project homepage, + + comicneue.com + +

-The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan. -To contribute or report any issues, see github.com/crozynski/comicneue + The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan. + To contribute or report any issues, see + + github.com/crozynski/comicneue +

diff --git a/ofl/comme/DESCRIPTION.en_us.html b/ofl/comme/DESCRIPTION.en_us.html index 0efe87c056..d63ee93e8b 100644 --- a/ofl/comme/DESCRIPTION.en_us.html +++ b/ofl/comme/DESCRIPTION.en_us.html @@ -1,3 +1,15 @@ -

Comme is a variable Sans Serif font forked from the Oxygen family. Language support is improved in this version, and the font is variable, with a weight axis ranging from thin to black.

- -

To contribute, please see github.com/googlefonts/comme.

+

+ Comme is a variable Sans Serif font forked from the + + Oxygen family + + . + Language support is improved in this version, and the font is variable, with a weight axis ranging from thin to black. +

+

+ To contribute, please see + + github.com/googlefonts/comme + + . +

diff --git a/ofl/commissioner/DESCRIPTION.en_us.html b/ofl/commissioner/DESCRIPTION.en_us.html index f6bb1c98e4..0aa802283e 100644 --- a/ofl/commissioner/DESCRIPTION.en_us.html +++ b/ofl/commissioner/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three “voices”. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones. +

+ Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. + The family consists of three “voices”. + The default style is a grotesque with straight stems. + As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs and the joints become more idiosyncratic. + The volume axis transforms the glyphic serifs to wedge-like ones.

- -

Each voice of Commissioner comes in a range of styles from Thin to Black including italics. The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes. +

+ Each voice of Commissioner comes in a range of styles from Thin to Black including italics. + The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes. +

+

+ To contribute, please see + + github.com/kosbarts/Commissioner + + .

- -

To contribute, please see github.com/kosbarts/Commissioner.

diff --git a/ofl/concertone/DESCRIPTION.en_us.html b/ofl/concertone/DESCRIPTION.en_us.html index 2bf2e365ef..08a057ee63 100644 --- a/ofl/concertone/DESCRIPTION.en_us.html +++ b/ofl/concertone/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Concert One is a rounded grotesque typeface inspired by 19th century 3D lettering from a leaflet announcing a chamber concert.

To contribute to the project contact Johan Kallas or Mihkel Virkus.

\ No newline at end of file +

+ Concert One is a rounded grotesque typeface inspired by 19th century 3D lettering from a leaflet announcing a chamber concert. +

+

+ To contribute to the project contact + + Johan Kallas + + or + + Mihkel Virkus + + . +

diff --git a/ofl/condiment/DESCRIPTION.en_us.html b/ofl/condiment/DESCRIPTION.en_us.html index 14e069ce06..9c4f614e1e 100644 --- a/ofl/condiment/DESCRIPTION.en_us.html +++ b/ofl/condiment/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Condiment adds flavor to your design. This font by Angel Koziupa and Ale Paul is prepared with powdered soft shapes mixed with brush-drawn letters.

\ No newline at end of file +

+ Condiment adds flavor to your design. + This font by Angel Koziupa and Ale Paul is prepared with powdered soft shapes mixed with brush-drawn letters. +

diff --git a/ofl/content/DESCRIPTION.en_us.html b/ofl/content/DESCRIPTION.en_us.html index 41cc6ec12a..d745acf72b 100644 --- a/ofl/content/DESCRIPTION.en_us.html +++ b/ofl/content/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Content fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.

\ No newline at end of file +

+ The Content fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. + The designer, + + Danh Hong + + , has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the + + KhmerOS + + project, dedicated to a vision where Cambodians can learn and use computers in their own language. +

diff --git a/ofl/contrailone/DESCRIPTION.en_us.html b/ofl/contrailone/DESCRIPTION.en_us.html index 482118a0fa..50c1ec029d 100644 --- a/ofl/contrailone/DESCRIPTION.en_us.html +++ b/ofl/contrailone/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Contrail is based on handmade sans letters seen on UK posters. It's slight slant and bouncy quality suggest the emerging jet age and a state of both readiness and excited anticipation. Its rounded corners give it an approachable friendly feeling. Contrail is a low contrast design that is suitable for use in medium to large sizes including headlines. This font was made specifically to be used as web type.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Contrail is based on handmade sans letters seen on UK posters. + It's slight slant and bouncy quality suggest the emerging jet age and a state of both readiness and excited anticipation. + Its rounded corners give it an approachable friendly feeling. + Contrail is a low contrast design that is suitable for use in medium to large sizes including headlines. + This font was made specifically to be used as web type. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/convergence/DESCRIPTION.en_us.html b/ofl/convergence/DESCRIPTION.en_us.html index daade18dab..d12ab22e3c 100644 --- a/ofl/convergence/DESCRIPTION.en_us.html +++ b/ofl/convergence/DESCRIPTION.en_us.html @@ -1 +1,32 @@ -

Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them.

In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke.

The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the "humanistic cursive" that is Convergence.

Designed by Nicola‡s Silva (@zar_nicolas20) and John Vargas (@vargas74)

\ No newline at end of file +

+ Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. + It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them. +

+

+ In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. + Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. + Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. + In addition, the glyph for the letter r has a relatively closed instroke. +

+

+ The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the "humanistic cursive" that is Convergence. +

+

+ Designed by + + Nicola‡s Silva + + ( + + @zar_nicolas20 + + ) and + + John Vargas + + ( + + @vargas74 + + ) +

diff --git a/ofl/cookie/DESCRIPTION.en_us.html b/ofl/cookie/DESCRIPTION.en_us.html index d2cfc84aab..7ca5870cf2 100644 --- a/ofl/cookie/DESCRIPTION.en_us.html +++ b/ofl/cookie/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Cookie is a script typeface based on brush calligraphy. It has a little bit of 1950s style that makes you think about all the beautiful ads and pin-ups from this time. It is sweet and friendly - but not too decorative; simple and legible even in text sizes.

\ No newline at end of file +

+ Cookie is a script typeface based on brush calligraphy. + It has a little bit of 1950s style that makes you think about all the beautiful ads and pin-ups from this time. + It is sweet and friendly - but not too decorative; simple and legible even in text sizes. +

diff --git a/ofl/copse/DESCRIPTION.en_us.html b/ofl/copse/DESCRIPTION.en_us.html index 2b62a014f2..b35f40769b 100644 --- a/ofl/copse/DESCRIPTION.en_us.html +++ b/ofl/copse/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Copse is a low-contrast slab serif that is a little soft around the edges, but with a clear and sturdy posture.

\ No newline at end of file +

+ Copse is a low-contrast slab serif that is a little soft around the edges, but with a clear and sturdy posture. +

diff --git a/ofl/corben/DESCRIPTION.en_us.html b/ofl/corben/DESCRIPTION.en_us.html index 1cb1d2547e..72897fdc1e 100644 --- a/ofl/corben/DESCRIPTION.en_us.html +++ b/ofl/corben/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Corben is a simple web friendly display font with ample curves and ligatures. -Corben is designed to be easy on the eye with a touch of classic display lettering. + Corben is a simple web friendly display font with ample curves and ligatures. + Corben is designed to be easy on the eye with a touch of classic display lettering.

diff --git a/ofl/corinthia/DESCRIPTION.en_us.html b/ofl/corinthia/DESCRIPTION.en_us.html index 3058d02dcf..9bd92a45ca 100644 --- a/ofl/corinthia/DESCRIPTION.en_us.html +++ b/ofl/corinthia/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Corinthia flows with perfect connections and beautiful curves. It’s a delightful design that offers wide usage... + Corinthia flows with perfect connections and beautiful curves. + It’s a delightful design that offers wide usage...

-All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products. + All three weights are perfect for creating elegant design work from packaging and romance novels, to invitations and social expression products.

-This award winning font comes with over 500 glyphs, covering Latin Western, Central, and Vietnamese language support. + This award winning font comes with over 500 glyphs, covering Latin Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/corinthia. + To contribute, see + + github.com/googlefonts/corinthia + + .

diff --git a/ofl/cormorant/DESCRIPTION.en_us.html b/ofl/cormorant/DESCRIPTION.en_us.html index 7c4636145a..1e4dcedebe 100644 --- a/ofl/cormorant/DESCRIPTION.en_us.html +++ b/ofl/cormorant/DESCRIPTION.en_us.html @@ -1,4 +1,25 @@ -

Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Bēhance page.

-

While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-

The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant

\ No newline at end of file +

+ Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + . +

+

+ While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. +

+

+ He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant + +

diff --git a/ofl/cormorantgaramond/DESCRIPTION.en_us.html b/ofl/cormorantgaramond/DESCRIPTION.en_us.html index 7c4636145a..1e4dcedebe 100644 --- a/ofl/cormorantgaramond/DESCRIPTION.en_us.html +++ b/ofl/cormorantgaramond/DESCRIPTION.en_us.html @@ -1,4 +1,25 @@ -

Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Bēhance page.

-

While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-

The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant

\ No newline at end of file +

+ Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + . +

+

+ While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. +

+

+ He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant + +

diff --git a/ofl/cormorantinfant/DESCRIPTION.en_us.html b/ofl/cormorantinfant/DESCRIPTION.en_us.html index 7c4636145a..1e4dcedebe 100644 --- a/ofl/cormorantinfant/DESCRIPTION.en_us.html +++ b/ofl/cormorantinfant/DESCRIPTION.en_us.html @@ -1,4 +1,25 @@ -

Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Bēhance page.

-

While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-

The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant

\ No newline at end of file +

+ Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + . +

+

+ While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. +

+

+ He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant + +

diff --git a/ofl/cormorantsc/DESCRIPTION.en_us.html b/ofl/cormorantsc/DESCRIPTION.en_us.html index 7c4636145a..1e4dcedebe 100644 --- a/ofl/cormorantsc/DESCRIPTION.en_us.html +++ b/ofl/cormorantsc/DESCRIPTION.en_us.html @@ -1,4 +1,25 @@ -

Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Bēhance page.

-

While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-

The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant

\ No newline at end of file +

+ Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + . +

+

+ While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. +

+

+ He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant + +

diff --git a/ofl/cormorantunicase/DESCRIPTION.en_us.html b/ofl/cormorantunicase/DESCRIPTION.en_us.html index 7c4636145a..1e4dcedebe 100644 --- a/ofl/cormorantunicase/DESCRIPTION.en_us.html +++ b/ofl/cormorantunicase/DESCRIPTION.en_us.html @@ -1,4 +1,25 @@ -

Cormorant is a free display type family developed by Christian Thalmann. The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. For an illustrated presentation and description of the family, please visit its Bēhance page.

-

While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-

The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. To contribute, see github.com/CatharsisFonts/Cormorant

\ No newline at end of file +

+ Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + . +

+

+ While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. +

+

+ He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant + +

diff --git a/ofl/cormorantupright/DESCRIPTION.en_us.html b/ofl/cormorantupright/DESCRIPTION.en_us.html index 7f270bf9c6..1e4dcedebe 100644 --- a/ofl/cormorantupright/DESCRIPTION.en_us.html +++ b/ofl/cormorantupright/DESCRIPTION.en_us.html @@ -1,16 +1,25 @@

-Cormorant is a free display type family developed by Christian Thalmann. -The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. -For an illustrated presentation and description of the family, please visit its Bēhance page. + Cormorant is a free display type family developed by Christian Thalmann. + The project currently comprises a total of 45 font files spanning 9 different visual styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, and Unicase) and 5 weights (Light, Regular, Medium, SemiBold, and Bold.) Cormorant was conceived, drawn, spaced, kerned, programmed, interpolated, and produced in its entirety by Christian Thalmann of Catharsis Fonts. + For an illustrated presentation and description of the family, please visit its + + Bēhance page + + .

-While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. -Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression. + While this project was heavily inspired by Claude Garamont's immortal legacy, Christian did not use any specific font as a starting point or direct reference for the designs. + Most glyphs were drawn from scratch; when he needed guidance on a specific character, he searched for the term Garamond and skimmed through the results for a general impression.

-

He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. -He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. -Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process.

-The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. -To contribute, see github.com/CatharsisFonts/Cormorant + He is grateful to the creative souls on the Typophile, TypeDrawers and Typografie forums, and Github, for a wealth of knowledge about type design, and for providing a large amount of excellent feedback on Cormorant during its development. + He also thanks the tireless folks at Glyphs, in particular Rainer Erich Scheichelbauer of Schriftlabor and Georg Seifert. + Special thanks go to Dave Crossland and Google Fonts for making the libre release of this font family possible through generous funding of the development process. +

+

+ The Cormorant project is led by Christian Thalmann, a type designer based in Zurich, Switzerland. + To contribute, see + + github.com/CatharsisFonts/Cormorant +

diff --git a/ofl/courgette/DESCRIPTION.en_us.html b/ofl/courgette/DESCRIPTION.en_us.html index dc1e78072f..c1d9a06158 100644 --- a/ofl/courgette/DESCRIPTION.en_us.html +++ b/ofl/courgette/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Courgette is a medium low contrast brushy italic script type. A brushy italic style is traditionally for display and unsurprisingly Courgette works well in display. However Courgette's low contrast and carefully made forms mean that it also works well in smaller sizes and even in massed text.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Courgette is a medium low contrast brushy italic script type. + A brushy italic style is traditionally for display and unsurprisingly Courgette works well in display. + However Courgette's low contrast and carefully made forms mean that it also works well in smaller sizes and even in massed text. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/courierprime/DESCRIPTION.en_us.html b/ofl/courierprime/DESCRIPTION.en_us.html index 7a1cf8c304..5103a2d774 100644 --- a/ofl/courierprime/DESCRIPTION.en_us.html +++ b/ofl/courierprime/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Courier Prime is a new take on IBM's Courier which was designed in 1956 by Howard Kettler.

- -

It's a monospaced family, designed specifically for screenplays. Overall the family is more refined than its predecessor. The serifs are crisper and less rounded. The counters are subtly wider. The bold weight is a bit darker and the italics are more cursive.

- -

To contribute, see github.com/quoteunquoteapps/CourierPrime

+

+ Courier Prime is a new take on IBM's Courier which was designed in 1956 by Howard Kettler. +

+

+ It's a monospaced family, designed specifically for screenplays. + Overall the family is more refined than its predecessor. + The serifs are crisper and less rounded. + The counters are subtly wider. + The bold weight is a bit darker and the italics are more cursive. +

+

+ To contribute, see + + github.com/quoteunquoteapps/CourierPrime + +

diff --git a/ofl/coustard/DESCRIPTION.en_us.html b/ofl/coustard/DESCRIPTION.en_us.html index bf6d742e89..eb3eadea2b 100644 --- a/ofl/coustard/DESCRIPTION.en_us.html +++ b/ofl/coustard/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Coustard is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

Coustard has been developed from a fork of Tienne, another font in the Google Font Directory, available under the SIL Open Font License which allows for remixing fonts.

\ No newline at end of file +

+ Coustard is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ Coustard has been developed from a fork of Tienne, another font in the Google Font Directory, available under the SIL Open Font License which allows for remixing fonts. +

diff --git a/ofl/coveredbyyourgrace/DESCRIPTION.en_us.html b/ofl/coveredbyyourgrace/DESCRIPTION.en_us.html index dc11e8e3e6..f0f4c2a860 100644 --- a/ofl/coveredbyyourgrace/DESCRIPTION.en_us.html +++ b/ofl/coveredbyyourgrace/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Covered By Your Grace is based on the adorable handwriting of a very sweet teacher friend. I love her whimsical curves and extensions.

\ No newline at end of file +

+ Covered By Your Grace is based on the adorable handwriting of a very sweet teacher friend. + I love her whimsical curves and extensions. +

diff --git a/ofl/creepster/DESCRIPTION.en_us.html b/ofl/creepster/DESCRIPTION.en_us.html index a33b1fa27f..104b75eb02 100644 --- a/ofl/creepster/DESCRIPTION.en_us.html +++ b/ofl/creepster/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Creepster is a fright-filled font, perfect for all of your grisly graphic needs! + Creepster is a fright-filled font, perfect for all of your grisly graphic needs!

diff --git a/ofl/creteround/DESCRIPTION.en_us.html b/ofl/creteround/DESCRIPTION.en_us.html index 25a4f84245..eaaa28e1b5 100644 --- a/ofl/creteround/DESCRIPTION.en_us.html +++ b/ofl/creteround/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Crete Round is a warm slab serif providing a hint of softness to texts. It started as a tailored version of the original Crete fonts, created specially to serve as corporate typeface for the type design competition Letter2. Crete Round is more independent from the original with modified terminals and serifs to create two new fonts that deliver a more contemporary and functional appearance. The tall x-height, low contrast and sturdy slabs prove to be surprisingly efficient for web use.

\ No newline at end of file +

+ Crete Round is a warm slab serif providing a hint of softness to texts. + It started as a tailored version of the + + original Crete fonts + + , created specially to serve as corporate typeface for the type design competition + + Letter2 + + . + Crete Round is more independent from the original with modified terminals and serifs to create two new fonts that deliver a more contemporary and functional appearance. + The tall x-height, low contrast and sturdy slabs prove to be surprisingly efficient for web use. +

diff --git a/ofl/crimsonpro/DESCRIPTION.en_us.html b/ofl/crimsonpro/DESCRIPTION.en_us.html index 5073522d82..ca7da55dc8 100644 --- a/ofl/crimsonpro/DESCRIPTION.en_us.html +++ b/ofl/crimsonpro/DESCRIPTION.en_us.html @@ -1,13 +1,16 @@

-Crimson Pro is a serif typeface family: Contemporary, clear, classic and rounded/open. Something for a college textbook, editorial websites and any reading experience with book-length texts -It contributes to the tradition of beautiful Garamond-inspired typefaces, often called “Garalde” or “Old Style,” and has 8 named weights, in Roman and Italic, and is available as a Variable Font with a Weight axis. + Crimson Pro is a serif typeface family: Contemporary, clear, classic and rounded/open. + Something for a college textbook, editorial websites and any reading experience with book-length texts It contributes to the tradition of beautiful Garamond-inspired typefaces, often called “Garalde” or “Old Style,” and has 8 named weights, in Roman and Italic, and is available as a Variable Font with a Weight axis.

-The first Crimson design was initiated by Sebastian Kosch in 2009, and he later completely redrew a new version called Crimson Prime. -Google commissioned Jacques Le Bailly to review both typefaces, and develop Crimson Pro as a new design that synthesises both designs into a final authoritative family, first released in January 2019. -All decisions were made to enable better readability for longer texts and the ability to make good and diverse typography. + The first Crimson design was initiated by Sebastian Kosch in 2009, and he later completely redrew a new version called Crimson Prime. + Google commissioned Jacques Le Bailly to review both typefaces, and develop Crimson Pro as a new design that synthesises both designs into a final authoritative family, first released in January 2019. + All decisions were made to enable better readability for longer texts and the ability to make good and diverse typography.

-The Crimson Pro project is led by Jacques Le Bailly, a type designer based in Den Haag, Netherlands. -To contribute, see github.com/Fonthausen/CrimsonPro + The Crimson Pro project is led by Jacques Le Bailly, a type designer based in Den Haag, Netherlands. + To contribute, see + + github.com/Fonthausen/CrimsonPro +

diff --git a/ofl/crimsontext/DESCRIPTION.en_us.html b/ofl/crimsontext/DESCRIPTION.en_us.html index fea1e0faa0..295d9aae25 100644 --- a/ofl/crimsontext/DESCRIPTION.en_us.html +++ b/ofl/crimsontext/DESCRIPTION.en_us.html @@ -1,3 +1,21 @@ -

Crimson Text is a font family for book production in the tradition of beautiful oldstyle typefaces.

There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like oldstyle figures, small caps, fleurons, math characters and the like. In fact, a lot of time is spend developing free knock-offs of ugly "standards" like Times and Helvetica.

Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse.

-

Several important bug fixes have been brought in March 2022, including the harmonisation of the line-spacing across all styles.

-

To contribute, see github.com/googlefonts/Crimson.

+

+ Crimson Text is a font family for book production in the tradition of beautiful oldstyle typefaces. +

+

+ There are a lot of great free fonts around, but one kind is missing: those Garamond-inspired types with all the little niceties like oldstyle figures, small caps, fleurons, math characters and the like. + In fact, a lot of time is spend developing free knock-offs of ugly "standards" like Times and Helvetica. +

+

+ Crimson Text is inspired by the fantastic work of people like Jan Tschichold, Robert Slimbach and Jonathan Hoefler. + We hope that the free type community will one day be able to enjoy Crimson Text as a beautiful workhorse. +

+

+ Several important bug fixes have been brought in March 2022, including the harmonisation of the line-spacing across all styles. +

+

+ To contribute, see + + github.com/googlefonts/Crimson + + . +

diff --git a/ofl/croissantone/DESCRIPTION.en_us.html b/ofl/croissantone/DESCRIPTION.en_us.html index 3cc98443be..9f55251b3a 100644 --- a/ofl/croissantone/DESCRIPTION.en_us.html +++ b/ofl/croissantone/DESCRIPTION.en_us.html @@ -1,8 +1,12 @@ -

Croissant is a typeface inspired by the Parisian spirit, in the people and -the landscapes there. The lowercase letters have smooth round shapes, and a -nice long out-stroke to connect nearly every glyph, reminding the reader of -elegant French handwriting. The uppercases have a classical structure and soft -terminals that embody the spirit of this multi-purpose typeface.

- -

To contribute to the project contact -Eduardo Tunni.

\ No newline at end of file +

+ Croissant is a typeface inspired by the Parisian spirit, in the people and the landscapes there. + The lowercase letters have smooth round shapes, and a nice long out-stroke to connect nearly every glyph, reminding the reader of elegant French handwriting. + The uppercases have a classical structure and soft terminals that embody the spirit of this multi-purpose typeface. +

+

+ To contribute to the project contact + + Eduardo Tunni + + . +

diff --git a/ofl/cuprum/DESCRIPTION.en_us.html b/ofl/cuprum/DESCRIPTION.en_us.html index c1f8641d55..a404bd8d60 100644 --- a/ofl/cuprum/DESCRIPTION.en_us.html +++ b/ofl/cuprum/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Cuprum was created in 2006 based on the works Miles Newlyn. Cuprum is a narrow grotesque. It is quite versatile. Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. Copper is too noble, but it is much cheaper and copper is not used for medals – only pots.

\ No newline at end of file +

+ Cuprum was created in 2006 based on the works Miles Newlyn. + Cuprum is a narrow grotesque. + It is quite versatile. + Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. + An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. + Copper is too noble, but it is much cheaper and copper is not used for medals – only pots. +

diff --git a/ofl/cutefont/DESCRIPTION.en_us.html b/ofl/cutefont/DESCRIPTION.en_us.html index 2e4788c2a1..754856cf89 100644 --- a/ofl/cutefont/DESCRIPTION.en_us.html +++ b/ofl/cutefont/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Cute Font is a Korean and Latin font

\ No newline at end of file +

+ Cute Font is a Korean and Latin font +

diff --git a/ofl/cutive/DESCRIPTION.en_us.html b/ofl/cutive/DESCRIPTION.en_us.html index 82dc03c2a3..289dbc1a14 100644 --- a/ofl/cutive/DESCRIPTION.en_us.html +++ b/ofl/cutive/DESCRIPTION.en_us.html @@ -1,10 +1,14 @@ -

The design of Cutive, and this monospace sister family -Cutive Mono, is -based on a number of classic typewriter typefaces, in particular the faces of -IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces -re-emerge as webfonts that are useful for adding character to body texts as -well as in larger sizes for headers and display.

- -

To contribute to the project see -Cutive on -GitHub.

\ No newline at end of file +

+ The design of Cutive, and this monospace sister family + + Cutive Mono + + , is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. +

+

+ To contribute to the project see + + Cutive on GitHub + + . +

diff --git a/ofl/cutivemono/DESCRIPTION.en_us.html b/ofl/cutivemono/DESCRIPTION.en_us.html index d9fcd83609..d8beffd83f 100644 --- a/ofl/cutivemono/DESCRIPTION.en_us.html +++ b/ofl/cutivemono/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@ -

The design of -Cutive, and this -monospace sister family Cutive Mono, is based on a number of classic -typewriter typefaces, in particular the faces of IBM's 'Executive,' and the -older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that -are useful for adding character to body texts as well as in larger sizes for -headers and display.

- -

To contribute to the project see -Cutive on -GitHub.

\ No newline at end of file +

+ The design of + + Cutive + + , and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display. +

+

+ To contribute to the project see + + Cutive on GitHub + + . +

diff --git a/ofl/daibannasil/DESCRIPTION.en_us.html b/ofl/daibannasil/DESCRIPTION.en_us.html index 90b4c38005..e8f9542b7e 100644 --- a/ofl/daibannasil/DESCRIPTION.en_us.html +++ b/ofl/daibannasil/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Dai Banna provides a libre and open font family for the New Tai Lue (Xishuangbanna Dai) script. The New Tai Lue (Xishuangbanna Dai) script is used by approximately 300,000 people who speak the Xishuangbanna Dai language in Yunnan, China. It is a simplification of the Tai Tham (Old Tai Lue) script as used for this language for hundreds of years.

- -

To contribute, please see github.com/silnrsi/font-daibannasil.

+

+ Dai Banna provides a libre and open font family for the New Tai Lue (Xishuangbanna Dai) script. + The New Tai Lue (Xishuangbanna Dai) script is used by approximately 300,000 people who speak the Xishuangbanna Dai language in Yunnan, China. + It is a simplification of the Tai Tham (Old Tai Lue) script as used for this language for hundreds of years. +

+

+ To contribute, please see + + github.com/silnrsi/font-daibannasil + + . +

diff --git a/ofl/damion/DESCRIPTION.en_us.html b/ofl/damion/DESCRIPTION.en_us.html index 1e1c7a8b21..a57f7e8d7b 100644 --- a/ofl/damion/DESCRIPTION.en_us.html +++ b/ofl/damion/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Damion is a casual script face derived from some typical mid C20 casual typefaces such as that drawn by Max Kaufmann in 1936 for American Type Founders.

Damion has taken these and similar type forms and also added some of it's own forms to create a casual webfont for Display use on modern web pages.

\ No newline at end of file +

+ Damion is a casual script face derived from some typical mid C20 casual typefaces such as that drawn by Max Kaufmann in 1936 for American Type Founders. +

+

+ Damion has taken these and similar type forms and also added some of it's own forms to create a casual webfont for Display use on modern web pages. +

diff --git a/ofl/dancingscript/DESCRIPTION.en_us.html b/ofl/dancingscript/DESCRIPTION.en_us.html index 18d1221883..1b4aea81ea 100644 --- a/ofl/dancingscript/DESCRIPTION.en_us.html +++ b/ofl/dancingscript/DESCRIPTION.en_us.html @@ -1,5 +1,28 @@ -

Dancing Script is a lively casual script where the letters bounce and change size slightly. Caps are big, and goes below the baseline.

Dancing Script references popular scripts typefaces from the 50's.

It relates to Murray Hill (Emil Klumpp. 1956) in his weight distribution, and to Mistral (Roger Excoffon. 1953) in his lively bouncing effect.

Use it when you want a friendly, informal and spontaneous look.

Updated May 18th 2011 with bold!

- -

In November 2019, it was updated with a Variable Font "Weight" axis.

- -

To contribute, see github.com/impallari/DancingScript.

+

+ Dancing Script is a lively casual script where the letters bounce and change size slightly. + Caps are big, and goes below the baseline. +

+

+ Dancing Script references popular scripts typefaces from the 50's. +

+

+ It relates to Murray Hill (Emil Klumpp. + 1956) in his weight distribution, and to Mistral (Roger Excoffon. + 1953) in his lively bouncing effect. +

+

+ Use it when you want a friendly, informal and spontaneous look. +

+

+ Updated May 18th 2011 with bold! +

+

+ In November 2019, it was updated with a Variable Font "Weight" axis. +

+

+ To contribute, see + + github.com/impallari/DancingScript + + . +

diff --git a/ofl/dangrek/DESCRIPTION.en_us.html b/ofl/dangrek/DESCRIPTION.en_us.html index ca81b6a50c..e6522af51a 100644 --- a/ofl/dangrek/DESCRIPTION.en_us.html +++ b/ofl/dangrek/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Dangrek is a Khmer font for headlines, titles and subtitles, and even banner designs. + Dangrek is a Khmer font for headlines, titles and subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Dangrek. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Dangrek + + . +

diff --git a/ofl/darkergrotesque/DESCRIPTION.en_us.html b/ofl/darkergrotesque/DESCRIPTION.en_us.html index bfc4db35a8..f49fc187cc 100644 --- a/ofl/darkergrotesque/DESCRIPTION.en_us.html +++ b/ofl/darkergrotesque/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@ -

Darker Grotesque is a contemporary grotesque designed by Gabriel Lam, inspired by the post-modern and brutalism typographic trends. This is an original Vietnamese typeface designed by a Vietnamese type designer, ViệtAnh Nguyễn.

- -

In 2023, an upgrade fixed some issues, taking the opportunity to make the font variable.

- -

To contribute, see github.com/bettergui/DarkerGrotesque.

- -

Darker Grotesque là bộ mặt chữ không chân đương đại được thiết kế bởi Gabriel Lam (Gia Lâm Bảo) và được truyền cảm hứng từ phong trào thiết kế chữ post-modern và brutalism. Cả bộ chữ bao gồm 14 kiểu, 7 loại trọng lượng khác nhau kèm theo phiên bản nghiêng. Đây là một thiết kế mặt chữ Việt Nam được thiết kế bởi người Việt Nam.

- -

Năm 2023 có thêm bản nâng cấp để sửa một số lỗi nhỏ và hỗ trợ phông chữ đa hình.

- -

Hãy đóng góp cho dự án của chúng tôi ở github.com/bettergui/DarkerGrotesque.

+

+ Darker Grotesque is a contemporary grotesque designed by Gabriel Lam, inspired by the post-modern and brutalism typographic trends. + This is an original Vietnamese typeface designed by a Vietnamese type designer, ViệtAnh Nguyễn. +

+

+ In 2023, an upgrade fixed some issues, taking the opportunity to make the font variable. +

+

+ To contribute, see + + github.com/bettergui/DarkerGrotesque + + . +

+

+ Darker Grotesque là bộ mặt chữ không chân đương đại được thiết kế bởi Gabriel Lam (Gia Lâm Bảo) và được truyền cảm hứng từ phong trào thiết kế chữ post-modern và brutalism. + Cả bộ chữ bao gồm 14 kiểu, 7 loại trọng lượng khác nhau kèm theo phiên bản nghiêng. + Đây là một thiết kế mặt chữ Việt Nam được thiết kế bởi người Việt Nam. +

+

+ Năm 2023 có thêm bản nâng cấp để sửa một số lỗi nhỏ và hỗ trợ phông chữ đa hình. +

+

+ Hãy đóng góp cho dự án của chúng tôi ở + + github.com/bettergui/DarkerGrotesque + + . +

diff --git a/ofl/darumadropone/DESCRIPTION.en_us.html b/ofl/darumadropone/DESCRIPTION.en_us.html index df95c61bdd..cb781ad9a6 100644 --- a/ofl/darumadropone/DESCRIPTION.en_us.html +++ b/ofl/darumadropone/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and "Daruma Otoshi" which is a Japanese folk craft game. + Darumdrop is a flavorful handwritten font inspired by Japanese handwriting and "Daruma Otoshi" which is a Japanese folk craft game.

-To contribute to the project, visit github.com/ManiackersDesign/darumadrop + To contribute to the project, visit + + github.com/ManiackersDesign/darumadrop +

diff --git a/ofl/davidlibre/DESCRIPTION.en_us.html b/ofl/davidlibre/DESCRIPTION.en_us.html index a78c3e256c..022acca6a1 100644 --- a/ofl/davidlibre/DESCRIPTION.en_us.html +++ b/ofl/davidlibre/DESCRIPTION.en_us.html @@ -1,19 +1,41 @@ -

David Libre is a Libre David Hebrew, based on David Hadash Formal, released by Monotype Corporation in 2012. David Hadash Formal is a modern digitization made from original large scale technical drawings for the typeface drawn by Ismar David.

- -

Google has worked with Monotype to release the 3 book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public.

- -

This project includes working with the David Hadash sources to create a new version, that fits the requirements of Israeli instituions, since David is the official font for Israeli correspondence.

- -

Some glyphs were updated, such as the Sheqel symbol. It was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard.

- -

Latin characters from the Gentium typeface were derived and integrated to accommodate cases in which Latin and Hebrew characters will be used in tandem.

- -

Each font includes OpenType features required for diacritic marks (nikud) and Hebrew-specific uses, including alternative Hebrew-height numerals (available as Stylistic Set 1) an alternative "Hebrew ampersand" symbol designed by Ismar David (available in Stylistic Set 2) and an alternative Sheqel symbol designed by Ismar David (available in Stylistic Set 3.)

- -

Every effort was made to keep the original designs intact, and the type's original spacing is well preserved. However, several changes have been made to fit with David Libre's goal to be used as a free alternative to the David font commonly installed on PCs. In order to be compatible with documents previously set in the version of David bundled with Microsoft Windows, David Hadash's glyph size has been reduced by 12.5%. This was made to prevent cases in which documents previously typed in Microsoft's David to take up more pages and cause odd line breaks. Please note that this does not guarantee full compatibility with that David, only a close approximation.

- -

Diacritic marks have been repositioned. Biblical cantillation marks are not supported.

- -

The construction of David Libre was made by Meir Sadan, commissioned by Google for the Google Fonts project.

- -

The David Libre project is led by Meir Sadan, a type designer based in Tel Aviv, Israel. To contribute, see github.com/meirsadan/david-libre.

+

+ David Libre is a Libre David Hebrew, based on David Hadash Formal, released by Monotype Corporation in 2012. + David Hadash Formal is a modern digitization made from original large scale technical drawings for the typeface drawn by Ismar David. +

+

+ Google has worked with Monotype to release the 3 book weights (Regular, Medium and Bold) under the SIL Open Font License and create a new version for use by the public. +

+

+ This project includes working with the David Hadash sources to create a new version, that fits the requirements of Israeli instituions, since David is the official font for Israeli correspondence. +

+

+ Some glyphs were updated, such as the Sheqel symbol. + It was redesigned to be recognizable by contemporary Hebrew readers, since the original Sheqel symbol is too far from today's standard. +

+

+ Latin characters from the Gentium typeface were derived and integrated to accommodate cases in which Latin and Hebrew characters will be used in tandem. +

+

+ Each font includes OpenType features required for diacritic marks (nikud) and Hebrew-specific uses, including alternative Hebrew-height numerals (available as Stylistic Set 1) an alternative "Hebrew ampersand" symbol designed by Ismar David (available in Stylistic Set 2) and an alternative Sheqel symbol designed by Ismar David (available in Stylistic Set 3.) +

+

+ Every effort was made to keep the original designs intact, and the type's original spacing is well preserved. + However, several changes have been made to fit with David Libre's goal to be used as a free alternative to the David font commonly installed on PCs. + In order to be compatible with documents previously set in the version of David bundled with Microsoft Windows, David Hadash's glyph size has been reduced by 12.5%. + This was made to prevent cases in which documents previously typed in Microsoft's David to take up more pages and cause odd line breaks. + Please note that this does not guarantee full compatibility with that David, only a close approximation. +

+

+ Diacritic marks have been repositioned. + Biblical cantillation marks are not supported. +

+

+ The construction of David Libre was made by Meir Sadan, commissioned by Google for the Google Fonts project. +

+

+ The David Libre project is led by Meir Sadan, a type designer based in Tel Aviv, Israel. + To contribute, see + + + github.com/meirsadan/david-libre . +

diff --git a/ofl/dawningofanewday/DESCRIPTION.en_us.html b/ofl/dawningofanewday/DESCRIPTION.en_us.html index a7faf333aa..6b75a23a52 100644 --- a/ofl/dawningofanewday/DESCRIPTION.en_us.html +++ b/ofl/dawningofanewday/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Dawning of a New Day is based on the handwriting of a friend. The title was chosen by my friend, but also had great meaning to me. I like to think of each new day as a chance to start fresh, free from past mistakes. It is my desire that the light, fluid motions of this script mimic that hopeful feeling.

\ No newline at end of file +

+ Dawning of a New Day is based on the handwriting of a friend. + The title was chosen by my friend, but also had great meaning to me. + I like to think of each new day as a chance to start fresh, free from past mistakes. + It is my desire that the light, fluid motions of this script mimic that hopeful feeling. +

diff --git a/ofl/daysone/DESCRIPTION.en_us.html b/ofl/daysone/DESCRIPTION.en_us.html index cf2abc21d9..87b307b007 100644 --- a/ofl/daysone/DESCRIPTION.en_us.html +++ b/ofl/daysone/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Days One is an experiment, which was established in 2008 by three people: Alexander Kalachev, Ivan Gladkikh, Alexei Maslov. Letterforms are wide, and the strokes are thick. This makes Days One good for headlines. It is similar to the more Regular weight font 'Numans' also available in Google Web Fonts.

\ No newline at end of file +

+ Days One is an experiment, which was established in 2008 by three people: Alexander Kalachev, Ivan Gladkikh, Alexei Maslov. + Letterforms are wide, and the strokes are thick. + This makes Days One good for headlines. + It is similar to the more Regular weight font 'Numans' also available in Google Web Fonts. +

diff --git a/ofl/decovaralpha/DESCRIPTION.en_us.html b/ofl/decovaralpha/DESCRIPTION.en_us.html index 94e30df6e8..7e61c76f1b 100644 --- a/ofl/decovaralpha/DESCRIPTION.en_us.html +++ b/ofl/decovaralpha/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-A decorative sans variable font, by David Berlow. + A decorative sans variable font, by David Berlow.

-To learn more about this project, visit github.com/TypeNetwork/fb-Decovar + To learn more about this project, visit + + github.com/TypeNetwork/fb-Decovar +

diff --git a/ofl/dekko/DESCRIPTION.en_us.html b/ofl/dekko/DESCRIPTION.en_us.html index c3cc7d72f0..2312eb1fcc 100644 --- a/ofl/dekko/DESCRIPTION.en_us.html +++ b/ofl/dekko/DESCRIPTION.en_us.html @@ -1,17 +1,25 @@

-Dekko’s personality is both warm and casual. -It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. -The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. -Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack. -Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. -The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress. + Dekko’s personality is both warm and casual. + It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight. + The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens. + Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with + + Short Stack + + . + Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals. + The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress.

-

-This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. -To contribute, visit github.com/EbenSorkin/Dekko + This project is led by Eben Sorkin at Sorkin Type Co, a type foundry based in Boston, USA. + To contribute, visit + + github.com/EbenSorkin/Dekko +

-

-Updated: Improvements made to OpenType shaping and vertical metrics in May 2015. -

\ No newline at end of file + + Updated: + + Improvements made to OpenType shaping and vertical metrics in May 2015. +

diff --git a/ofl/delagothicone/DESCRIPTION.en_us.html b/ofl/delagothicone/DESCRIPTION.en_us.html index e9b7945bec..720aaf8c64 100644 --- a/ofl/delagothicone/DESCRIPTION.en_us.html +++ b/ofl/delagothicone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-DelaGothic is a flat, very thick Gothic body. Its stability and strength make it ideal for use on posters and packaging. + DelaGothic is a flat, very thick Gothic body. + Its stability and strength make it ideal for use on posters and packaging.

-To contribute to the project, visit github.com/syakuzen/DelaGothic + To contribute to the project, visit + + github.com/syakuzen/DelaGothic +

diff --git a/ofl/delicioushandrawn/DESCRIPTION.en_us.html b/ofl/delicioushandrawn/DESCRIPTION.en_us.html index 5e7877b524..85b3478a5b 100644 --- a/ofl/delicioushandrawn/DESCRIPTION.en_us.html +++ b/ofl/delicioushandrawn/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Delicious Handrawn is a font inspired by Agung Rohmat's handwriting. He drew all the glyphs on his iPad using the Procreate app. It took a lot of testing to find the perfect design as he felt his handwriting was not neat.

- -

To contribute, see github.com/alphArtype/Delicious-Handrawn.

+

+ Delicious Handrawn is a font inspired by Agung Rohmat's handwriting. + He drew all the glyphs on his iPad using the Procreate app. + It took a lot of testing to find the perfect design as he felt his handwriting was not neat. +

+

+ To contribute, see + + github.com/alphArtype/Delicious-Handrawn + + . +

diff --git a/ofl/delius/DESCRIPTION.en_us.html b/ofl/delius/DESCRIPTION.en_us.html index feb4c10bd6..6563e85ead 100644 --- a/ofl/delius/DESCRIPTION.en_us.html +++ b/ofl/delius/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Delius is a high quality comic book lettering typeface super-family; it has several families, Delis, Delius Unicase and Delius Swash Caps.

A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.

\ No newline at end of file +

+ Delius is a high quality comic book lettering typeface super-family; it has several families, Delis, Delius Unicase and Delius Swash Caps. +

+

+ A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting. +

diff --git a/ofl/deliusswashcaps/DESCRIPTION.en_us.html b/ofl/deliusswashcaps/DESCRIPTION.en_us.html index df794b4fc3..c7444b0c2e 100644 --- a/ofl/deliusswashcaps/DESCRIPTION.en_us.html +++ b/ofl/deliusswashcaps/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Delius Swash Caps is part of a high quality comic book lettering typeface super-family. It has special uppercase letters for special uses, such as in titles and logos. It has companion families, Delius and Delius Unicase.

A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.

\ No newline at end of file +

+ Delius Swash Caps is part of a high quality comic book lettering typeface super-family. + It has special uppercase letters for special uses, such as in titles and logos. + It has companion families, Delius and Delius Unicase. +

+

+ A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting. +

diff --git a/ofl/deliusunicase/DESCRIPTION.en_us.html b/ofl/deliusunicase/DESCRIPTION.en_us.html index 5352671fc8..ffccf2a725 100644 --- a/ofl/deliusunicase/DESCRIPTION.en_us.html +++ b/ofl/deliusunicase/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Delius Unicase is part of a high quality comic book lettering typeface super-family. It has mixed uppercase and lowercase letters for 'unicase' uses, such as in comic strip lettering. It has companion families, Delius and Delius Swash Caps.

A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting.

\ No newline at end of file +

+ Delius Unicase is part of a high quality comic book lettering typeface super-family. + It has mixed uppercase and lowercase letters for 'unicase' uses, such as in comic strip lettering. + It has companion families, Delius and Delius Swash Caps. +

+

+ A round marker was used to define Delius's stroke: the line gets thicker at both ends to define the beginning and end of the stroke, as a marker line would do, and the ductus imitates the movements of handwriting. +

diff --git a/ofl/dellarespira/DESCRIPTION.en_us.html b/ofl/dellarespira/DESCRIPTION.en_us.html index b60bfc681d..56fe32f799 100644 --- a/ofl/dellarespira/DESCRIPTION.en_us.html +++ b/ofl/dellarespira/DESCRIPTION.en_us.html @@ -1,6 +1,17 @@ -

Della Respira a revival of the Della Robbia typeface by American Type -Founders (ATF).

Della Respira is a Unicode typeface family that supports -languages that use the Latin script and its variants, and could be expanded to -support other scripts.

To contribute to the project contact -Nathan Willis and see the source -files on Launchpad.

+

+ Della Respira a revival of the Della Robbia typeface by American Type Founders (ATF). +

+

+ Della Respira is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. +

+

+ To contribute to the project contact + + Nathan Willis + + and see the source files on + + Launchpad + + . +

diff --git a/ofl/denkone/DESCRIPTION.en_us.html b/ofl/denkone/DESCRIPTION.en_us.html index 37d5b902f3..69cd2b53a6 100644 --- a/ofl/denkone/DESCRIPTION.en_us.html +++ b/ofl/denkone/DESCRIPTION.en_us.html @@ -1,8 +1,16 @@ -

Denk One is a medium contrast display sans serif. It was inspired by a hand -painted German sign. It has been carefully adjusted to the restrictions of the -screen. Despite having display characteristics, Denk One can be used in a wide -range of sizes.

- -

Latest upgrade from February 2023 expands the Latin script language coverage.

- -

To contribute, see github.com/SorkinType/Denk-One.

+

+ Denk One is a medium contrast display sans serif. + It was inspired by a hand painted German sign. + It has been carefully adjusted to the restrictions of the screen. + Despite having display characteristics, Denk One can be used in a wide range of sizes. +

+

+ Latest upgrade from February 2023 expands the Latin script language coverage. +

+

+ To contribute, see + + github.com/SorkinType/Denk-One + + . +

diff --git a/ofl/devonshire/DESCRIPTION.en_us.html b/ofl/devonshire/DESCRIPTION.en_us.html index 24cb09c15b..4410bcebc0 100644 --- a/ofl/devonshire/DESCRIPTION.en_us.html +++ b/ofl/devonshire/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Devonshire is a non-connecting brush script typeface of medium weight. Its playful brush letterforms are reminiscent of old sign painter scripts, while being restricted to none of the rules of a connecting script font, allowing it to visually dance.

\ No newline at end of file +

+ Devonshire is a non-connecting brush script typeface of medium weight. + Its playful brush letterforms are reminiscent of old sign painter scripts, while being restricted to none of the rules of a connecting script font, allowing it to visually dance. +

diff --git a/ofl/dhurjati/DESCRIPTION.en_us.html b/ofl/dhurjati/DESCRIPTION.en_us.html index 915c66fe48..50c8e91710 100644 --- a/ofl/dhurjati/DESCRIPTION.en_us.html +++ b/ofl/dhurjati/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Dhurjati is a Telugu font with a square design and round corners. -It has ornamental vowel marks that evoke a traditional Indian feeling and is suitable for headlines, invitations, posters and other uses at large sizes. -Dhurjati is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. + Dhurjati is a Telugu font with a square design and round corners. + It has ornamental vowel marks that evoke a traditional Indian feeling and is suitable for headlines, invitations, posters and other uses at large sizes. + Dhurjati is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there.

-The Telugu and Latin is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Dhurjati project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/dhurjati

+ The Telugu and Latin is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Dhurjati project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/dhurjati +

diff --git a/ofl/dhyana/DESCRIPTION.en_us.html b/ofl/dhyana/DESCRIPTION.en_us.html index 3ef9c577fd..af886a0624 100644 --- a/ofl/dhyana/DESCRIPTION.en_us.html +++ b/ofl/dhyana/DESCRIPTION.en_us.html @@ -1,5 +1,10 @@ -

Dhyana is a new Lao typeface designed by Vern Adams.

- -

For more information, please see the project homepage on -GitHub.

+

+ Dhyana is a new Lao typeface designed by Vern Adams. +

+

+ For more information, please see the + + project homepage on GitHub + + . +

diff --git a/ofl/didactgothic/DESCRIPTION.en_us.html b/ofl/didactgothic/DESCRIPTION.en_us.html index 59e2b73a4d..3a65bbe54e 100644 --- a/ofl/didactgothic/DESCRIPTION.en_us.html +++ b/ofl/didactgothic/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. -This makes it suitable for literacy efforts. + Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. + This makes it suitable for literacy efforts.

-Initially designed by Daniel Johnson, the entire font was revised by Alexei Vanyashin at Cyreal in 2017. -To contribute, see github.com/ossobuffo/didact-gothic + Initially designed by Daniel Johnson, the entire font was revised by Alexei Vanyashin at Cyreal in 2017. + To contribute, see + + github.com/ossobuffo/didact-gothic +

diff --git a/ofl/digitalnumbers/DESCRIPTION.en_us.html b/ofl/digitalnumbers/DESCRIPTION.en_us.html index 140b2f6504..c3b1c42c35 100644 --- a/ofl/digitalnumbers/DESCRIPTION.en_us.html +++ b/ofl/digitalnumbers/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

-Digital Numbers is a fixed width font in a cool liquid-crystal display (LCD) style. + Digital Numbers is a fixed width font in a cool liquid-crystal display (LCD) style.

-

-More information about this font can be found at github.com/s-a/digital-numbers-font -

\ No newline at end of file + More information about this font can be found at + + github.com/s-a/digital-numbers-font + +

diff --git a/ofl/diphylleia/DESCRIPTION.en_us.html b/ofl/diphylleia/DESCRIPTION.en_us.html index a5426116aa..d9fae9e6ba 100644 --- a/ofl/diphylleia/DESCRIPTION.en_us.html +++ b/ofl/diphylleia/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@

- Diphylleia is a typeface based on the motif of the song "Diphylleia grayi" by singer Jonghyun of SHINee; designed to better convey his sentimental lyrics. The typeface was inspired by the affectionate expression of the song about how the flower becomes transparent and disappearing, and puts these impressions into the brush style strokes. Diphylleia grayi is a mysterious flower that gets transparent when the water touches its petals. + Diphylleia is a typeface based on the motif of the song "Diphylleia grayi" by singer Jonghyun of SHINee; designed to better convey his sentimental lyrics. + The typeface was inspired by the affectionate expression of the song about how the flower becomes transparent and disappearing, and puts these impressions into the brush style strokes. + Diphylleia grayi is a mysterious flower that gets transparent when the water touches its petals.

- To contribute, please visit github.com/JAMO-TYPEFACE/Diphylleia. + To contribute, please visit + + github.com/JAMO-TYPEFACE/Diphylleia + + .

diff --git a/ofl/diplomata/DESCRIPTION.en_us.html b/ofl/diplomata/DESCRIPTION.en_us.html index a981c88adc..9ee8a3f285 100644 --- a/ofl/diplomata/DESCRIPTION.en_us.html +++ b/ofl/diplomata/DESCRIPTION.en_us.html @@ -1,26 +1,29 @@ -

Diplomata started several years ago when a friend in the printing industry -who had an old metal typeface wanted it to be digitalized for offset printing. -He brought everything the original type offered as a start, a set of upper -case characters, numbers, and some punctuation marks.

- -

But what he brought in printed form was not enough to meet his needs, and -letterforms that did not exist had to be created. It is a fine job to -reinterpret a design, to make decisions on what already exists and also have -in mind the changes needed for the new technological context where Diplomata -will be used.

- -

Its style, similar to Bodoni, has a remarkable degree of horizontal -expansion; a weight which indicates verticality; areas between serif and stem -softened by a curve connecting them, and the light in the main stroke of each -glyph is a detail that lightens up and gives prominence to Diplomata. It is a -distinct typeface, ideal for composing headlines and small prestigious pieces -of text.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To improve and expand the use of Diplomata, it was necessary to create small caps and -a lower case, which ended up constituting this family that has two variables -today.

- -

To contribute, see github.com/etunni/diplomata.

+

+ Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. + He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. +

+

+ But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. + It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. +

+

+ Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. + It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To improve and expand the use of Diplomata, it was necessary to create + + small caps + + and a lower case, which ended up constituting this family that has two variables today. +

+

+ To contribute, see + + github.com/etunni/diplomata + + . +

diff --git a/ofl/diplomatasc/DESCRIPTION.en_us.html b/ofl/diplomatasc/DESCRIPTION.en_us.html index 895e7ac335..0b3d0f61d3 100644 --- a/ofl/diplomatasc/DESCRIPTION.en_us.html +++ b/ofl/diplomatasc/DESCRIPTION.en_us.html @@ -1,26 +1,29 @@ -

Diplomata started several years ago when a friend in the printing industry -who had an old metal typeface wanted it to be digitalized for offset printing. -He brought everything the original type offered as a start, a set of upper -case characters, numbers, and some punctuation marks.

- -

But what he brought in printed form was not enough to meet his needs, and -letterforms that did not exist had to be created. It is a fine job to -reinterpret a design, to make decisions on what already exists and also have -in mind the changes needed for the new technological context where Diplomata -will be used.

- -

Its style, similar to Bodoni, has a remarkable degree of horizontal -expansion; a weight which indicates verticality; areas between serif and stem -softened by a curve connecting them, and the light in the main stroke of each -glyph is a detail that lightens up and gives prominence to Diplomata. It is a -distinct typeface, ideal for composing headlines and small prestigious pieces -of text.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To improve and expand the use of Diplomata, it was necessary to create -small caps and a lower case, -which ended up constituting this family that has two variables today.

- -

To contribute, see github.com/etunni/diplomata.

+

+ Diplomata started several years ago when a friend in the printing industry who had an old metal typeface wanted it to be digitalized for offset printing. + He brought everything the original type offered as a start, a set of upper case characters, numbers, and some punctuation marks. +

+

+ But what he brought in printed form was not enough to meet his needs, and letterforms that did not exist had to be created. + It is a fine job to reinterpret a design, to make decisions on what already exists and also have in mind the changes needed for the new technological context where Diplomata will be used. +

+

+ Its style, similar to Bodoni, has a remarkable degree of horizontal expansion; a weight which indicates verticality; areas between serif and stem softened by a curve connecting them, and the light in the main stroke of each glyph is a detail that lightens up and gives prominence to Diplomata. + It is a distinct typeface, ideal for composing headlines and small prestigious pieces of text. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To improve and expand the use of Diplomata, it was necessary to create small caps and + + a lower case + + , which ended up constituting this family that has two variables today. +

+

+ To contribute, see + + github.com/etunni/diplomata + + . +

diff --git a/ofl/dmmono/DESCRIPTION.en_us.html b/ofl/dmmono/DESCRIPTION.en_us.html index 6351ddb1bf..83cecd24bc 100644 --- a/ofl/dmmono/DESCRIPTION.en_us.html +++ b/ofl/dmmono/DESCRIPTION.en_us.html @@ -1,9 +1,22 @@

-DM Mono is a three weight, three style family designed for DeepMind. DM Mono was loosely based off of DM Sans, with a reduction in contrast and less geometric proportions. + DM Mono is a three weight, three style family designed for DeepMind. + DM Mono was loosely based off of + + DM Sans + + , with a reduction in contrast and less geometric proportions.

-The type design and font development was commissioned from Colophon Foundry, with Creative Direction from the DeepMind team. + The type design and font development was commissioned from + + Colophon Foundry + + , with Creative Direction from the DeepMind team.

-To contribute, see github.com/googlefonts/dm-mono.

- + To contribute, see + + github.com/googlefonts/dm-mono + + . +

diff --git a/ofl/dmsans/DESCRIPTION.en_us.html b/ofl/dmsans/DESCRIPTION.en_us.html index ba59d2718a..544202478d 100644 --- a/ofl/dmsans/DESCRIPTION.en_us.html +++ b/ofl/dmsans/DESCRIPTION.en_us.html @@ -1,8 +1,20 @@ -

DM Sans is a low-contrast geometric sans serif design, intended for use at smaller text sizes.

- -

DM Sans supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. -It was designed by Colophon Foundry (UK), that started from the Latin portion of ITF Poppins, by Jonny Pinhorn.

- -

In May 2023 DM Sans is updated, expanding the coverage of the weight range to Thin & ExtraBlack (100–1000 weight range) along with a new optical size axis.

- -

To contribute, see github.com/googlefonts/dm-fonts

+

+ DM Sans is a low-contrast geometric sans serif design, intended for use at smaller text sizes. +

+

+ DM Sans supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. + It was designed by Colophon Foundry (UK), that started from the Latin portion of ITF + + Poppins + + , by Jonny Pinhorn. +

+

+ In May 2023 DM Sans is updated, expanding the coverage of the weight range to Thin & ExtraBlack (100–1000 weight range) along with a new optical size axis. +

+

+ To contribute, see + + github.com/googlefonts/dm-fonts + +

diff --git a/ofl/dmserifdisplay/DESCRIPTION.en_us.html b/ofl/dmserifdisplay/DESCRIPTION.en_us.html index f7e4e29de4..4fb6ae50bf 100644 --- a/ofl/dmserifdisplay/DESCRIPTION.en_us.html +++ b/ofl/dmserifdisplay/DESCRIPTION.en_us.html @@ -1,10 +1,23 @@

-DM Serif Display is a high-contrast transitional face. -With delicate serifs and fine detailing, the design has been shaped for use in super-sized poster settings. -It is accompanied by DM Serif Text, for use in smaller point ranges. + DM Serif Display is a high-contrast transitional face. + With delicate serifs and fine detailing, the design has been shaped for use in super-sized poster settings. + It is accompanied by + + DM Serif Text + + , for use in smaller point ranges.

-DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. -It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grießhammer. + DM Serif Display supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. + It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe + + Source Serif Pro + + , by Frank Grießhammer. +

+

+ To contribute, see + + github.com/googlefonts/dm-fonts +

-

To contribute, see github.com/googlefonts/dm-fonts

diff --git a/ofl/dmseriftext/DESCRIPTION.en_us.html b/ofl/dmseriftext/DESCRIPTION.en_us.html index 878787233a..4345a01097 100644 --- a/ofl/dmseriftext/DESCRIPTION.en_us.html +++ b/ofl/dmseriftext/DESCRIPTION.en_us.html @@ -1,9 +1,22 @@

-DM Serif Text is a lower-contrast counterpart to the high-contrast DM Serif Display. -While the serifs remain delicate, the DM Serif Text family is a more robust variant of the Display sibling, intended for smaller sub-headings and text sizes. + DM Serif Text is a lower-contrast counterpart to the high-contrast + + DM Serif Display + + . + While the serifs remain delicate, the DM Serif Text family is a more robust variant of the Display sibling, intended for smaller sub-headings and text sizes.

-DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. -It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe Source Serif Pro, by Frank Grießhammer. + DM Serif Text supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages. + It was designed by Colophon Foundry (UK), that started from the Latin portion of Adobe + + Source Serif Pro + + , by Frank Grießhammer. +

+

+ To contribute, see + + github.com/googlefonts/dm-fonts +

-

To contribute, see github.com/googlefonts/dm-fonts

diff --git a/ofl/dohyeon/DESCRIPTION.en_us.html b/ofl/dohyeon/DESCRIPTION.en_us.html index 6febff8271..a9427159ba 100644 --- a/ofl/dohyeon/DESCRIPTION.en_us.html +++ b/ofl/dohyeon/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Do Hyeon Is a Korean and Latin font

+

+ Do Hyeon Is a Korean and Latin font +

diff --git a/ofl/dokdo/DESCRIPTION.en_us.html b/ofl/dokdo/DESCRIPTION.en_us.html index 4aa5aa13ec..1f09019cf0 100644 --- a/ofl/dokdo/DESCRIPTION.en_us.html +++ b/ofl/dokdo/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Dokdo is a Korean and Latin font.

\ No newline at end of file +

+ Dokdo is a Korean and Latin font. +

diff --git a/ofl/domine/DESCRIPTION.en_us.html b/ofl/domine/DESCRIPTION.en_us.html index 7ba8f9ec5f..efc0a318b8 100644 --- a/ofl/domine/DESCRIPTION.en_us.html +++ b/ofl/domine/DESCRIPTION.en_us.html @@ -1 +1,41 @@ -

From the very first steps in the design process 'Domine' was designed, tested and optimized for body text on the web. It shines at 14 and 16 px. And can even be used as small as 11, 12 or 13px.

Harmless to the eyes when reading long texts.

Domine is a perfect choice for newspapers or magazines websites, where text is the main focus.

It's is friendly in appearance because it combines the classic elements of familiar typefaces that have been in use from more than 100 years like Clarendon, Century, Cheltenham and Clearface.

Join the project at www.impallari.com/projects/overview/domine.

\ No newline at end of file +

+ From the very first steps in the design process 'Domine' was designed, tested and optimized for body text on the web. + It shines at 14 and 16 px. + And can even be used as small as 11, 12 or 13px. +

+

+ Harmless to the eyes when reading long texts. +

+

+ Domine is a perfect choice for newspapers or magazines websites, where text is the main focus. +

+

+ It's is friendly in appearance because it combines the classic elements of familiar typefaces that have been in use from more than 100 years like Clarendon, Century, Cheltenham and Clearface. +

+ +

+ Join the project at + + www.impallari.com/projects/overview/domine + + . +

diff --git a/ofl/donegalone/DESCRIPTION.en_us.html b/ofl/donegalone/DESCRIPTION.en_us.html index 1c76748859..1935a78836 100644 --- a/ofl/donegalone/DESCRIPTION.en_us.html +++ b/ofl/donegalone/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Donegal One is a text typeface designed to be highly legible and comfortable -when reading on screen. Donegal's utility and personality consistently shows -from small text sizes to display. Donegal uses the cut interior curve -associated with W.A. Dwiggins. This feature is one of many that contribute to -Donegal's distinctive and pleasing character.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Donegal One is a text typeface designed to be highly legible and comfortable when reading on screen. + Donegal's utility and personality consistently shows from small text sizes to display. + Donegal uses the cut interior curve associated with W.A. + Dwiggins. + This feature is one of many that contribute to Donegal's distinctive and pleasing character. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/dongle/DESCRIPTION.en_us.html b/ofl/dongle/DESCRIPTION.en_us.html index d51ce52abe..28155ce0bd 100644 --- a/ofl/dongle/DESCRIPTION.en_us.html +++ b/ofl/dongle/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Dongle(동글) is a rounded sans-serif typeface for display. It is a modular Hangeul with the de-square frame, creating a playful and rhythmic movement. The name, Dongle(동글) comes from a Korean onomatopoeia, meaning 'rounded or curved shape(with adorable impression)’. + Dongle(동글) is a rounded sans-serif typeface for display. + It is a modular Hangeul with the de-square frame, creating a playful and rhythmic movement. + The name, Dongle(동글) comes from a Korean onomatopoeia, meaning 'rounded or curved shape(with adorable impression)’.

-To contribute to the project, visit https://github.com/yangheeryu/Dongle + To contribute to the project, visit + + https://github.com/yangheeryu/Dongle +

diff --git a/ofl/doppioone/DESCRIPTION.en_us.html b/ofl/doppioone/DESCRIPTION.en_us.html index 1bed891318..57f7fe8ff2 100644 --- a/ofl/doppioone/DESCRIPTION.en_us.html +++ b/ofl/doppioone/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Doppio One is a robust low contrast sans serif type with a contemporary feeling. Doppio One will work from small text sizes through large display sizes. Doppio's boxy style makes it especially suitable for screen use.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Doppio One is a robust low contrast sans serif type with a contemporary feeling. + Doppio One will work from small text sizes through large display sizes. + Doppio's boxy style makes it especially suitable for screen use. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/dorsa/DESCRIPTION.en_us.html b/ofl/dorsa/DESCRIPTION.en_us.html index 45b4802b56..0a3d6442da 100644 --- a/ofl/dorsa/DESCRIPTION.en_us.html +++ b/ofl/dorsa/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

I always been attracted to condensed typefaces, and one of the first I came across was Empire, designed by Morris Benton Fuller for ATF in 1937. I first spotted it in an architecture book at my college's library while doing homework.

Dorsa is a modern interpretation of Empire with some personal details. When I start sketching I knew it would be a little less condensed than the original Empire because I wanted it to be used for use in titles, and combined with positive letter spacing it gives an elegant look to text. Although the original hasn't got a lowercase, I studied a lot of skyline typefaces and drew a fully original lowercase.

I started with lowercase “o”, which isn't completely geometric, it is expanded to the outside, keeping the same whitespace through all weights. And this repeats all over the typeface, because the construction of all the characters was modular, based on that “o”; the “f” is designed to not meet any of the diacritics; and uppercase “A” has a traditional form, because I think this is more legible.

\ No newline at end of file +

+ I always been attracted to condensed typefaces, and one of the first I came across was Empire, designed by Morris Benton Fuller for ATF in 1937. + I first spotted it in an architecture book at my college's library while doing homework. +

+

+ Dorsa is a modern interpretation of Empire with some personal details. + When I start sketching I knew it would be a little less condensed than the original Empire because I wanted it to be used for use in titles, and combined with positive letter spacing it gives an elegant look to text. + Although the original hasn't got a lowercase, I studied a lot of skyline typefaces and drew a fully original lowercase. +

+

+ I started with lowercase “o”, which isn't completely geometric, it is expanded to the outside, keeping the same whitespace through all weights. + And this repeats all over the typeface, because the construction of all the characters was modular, based on that “o”; the “f” is designed to not meet any of the diacritics; and uppercase “A” has a traditional form, because I think this is more legible. +

diff --git a/ofl/dosis/DESCRIPTION.en_us.html b/ofl/dosis/DESCRIPTION.en_us.html index 3c11209859..c3e31efb8b 100644 --- a/ofl/dosis/DESCRIPTION.en_us.html +++ b/ofl/dosis/DESCRIPTION.en_us.html @@ -1,3 +1,15 @@ -

Dosis is a rounded sans-serif type family. It started with the Extra Light style, useful only at size 36pt or upm and the Extended Latin character set included many alternative characters, all designed by Edgar Tolentino and Pablo Impallari.

-

Dosis was expanded into a complete set of weights in September 2011.

-

Dosis was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/eliheuer/dosis-vf.

+

+ Dosis is a rounded sans-serif type family. + It started with the Extra Light style, useful only at size 36pt or upm and the Extended Latin character set included many alternative characters, all designed by Edgar Tolentino and Pablo Impallari. +

+

+ Dosis was expanded into a complete set of weights in September 2011. +

+

+ Dosis was remastered as a variable font in 2019. + To contribute updates or file issues, see + + https://github.com/eliheuer/dosis-vf + + . +

diff --git a/ofl/dotgothic16/DESCRIPTION.en_us.html b/ofl/dotgothic16/DESCRIPTION.en_us.html index e83ff2e9c7..6a8315710c 100644 --- a/ofl/dotgothic16/DESCRIPTION.en_us.html +++ b/ofl/dotgothic16/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Dotgothic 16 is based on the old 16x16 Gothic bitmap font that recreates the feel of pixel fonts from old video games, cell phones and computer screens on print. With its high readability, this font has become more popular in recent years due to the growing popularity of pixel art. + Dotgothic 16 is based on the old 16x16 Gothic bitmap font that recreates the feel of pixel fonts from old video games, cell phones and computer screens on print. + With its high readability, this font has become more popular in recent years due to the growing popularity of pixel art.

-To contribute to the project, visit github.com/fontworks-fonts/DotGothic16 + To contribute to the project, visit + + github.com/fontworks-fonts/DotGothic16 +

diff --git a/ofl/drsugiyama/DESCRIPTION.en_us.html b/ofl/drsugiyama/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/drsugiyama/DESCRIPTION.en_us.html +++ b/ofl/drsugiyama/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/durusans/DESCRIPTION.en_us.html b/ofl/durusans/DESCRIPTION.en_us.html index 3a49220f9c..12e6d2b28d 100644 --- a/ofl/durusans/DESCRIPTION.en_us.html +++ b/ofl/durusans/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Duru Sans is low contrast a classic 20th century style sans design. Duru Sans is a new take on mixing the humanist urge with the modernist one. Duru Sans also somehow manages to be elegant and a workhorse type at the same time. Duru Sans can be used at a wide range of sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Duru Sans is low contrast a classic 20th century style sans design. + Duru Sans is a new take on mixing the humanist urge with the modernist one. + Duru Sans also somehow manages to be elegant and a workhorse type at the same time. + Duru Sans can be used at a wide range of sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/dynalight/DESCRIPTION.en_us.html b/ofl/dynalight/DESCRIPTION.en_us.html index b38a3453f5..4ed1553160 100644 --- a/ofl/dynalight/DESCRIPTION.en_us.html +++ b/ofl/dynalight/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Dynalight is a dynamic high speed script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive. Loaded with curves and soft angles, this connecting script is an attention getter.

\ No newline at end of file +

+ Dynalight is a dynamic high speed script inspired by a vintage luggage tag for the Southern Pacific 4449 Daylight steam locomotive. + Loaded with curves and soft angles, this connecting script is an attention getter. +

diff --git a/ofl/dynapuff/DESCRIPTION.en_us.html b/ofl/dynapuff/DESCRIPTION.en_us.html index 6345c8983c..f6d049e210 100644 --- a/ofl/dynapuff/DESCRIPTION.en_us.html +++ b/ofl/dynapuff/DESCRIPTION.en_us.html @@ -1,16 +1,42 @@

-Dynapuff’s loveable demeanor and hand-drawn charm makes it well suited for your, “zomg’s” and “asdfajlskdfjalksdfjkj’s”. -😂😂😂😂😂 Dynapuff features OpenType code that alternates the vertical position of the letters to make those “noooooooooo waaaaaaay”s appear hand-drawn -and less like a robot texting on a typewriter. -Give it a whirl in Google’s keyboard (Gboard) -where you can transform text messages into typographic stickers. -Plain text “hahas” are a thing of the past after you’ve sent an “lol” in Dynapuff. + Dynapuff’s loveable demeanor and hand-drawn charm makes it well suited for your, + + “zomg’s” + + and + + “asdfajlskdfjalksdfjkj’s” + + . + 😂😂😂😂😂 Dynapuff features OpenType code that alternates the vertical position of the letters to make those + + “noooooooooo waaaaaaay” + + s appear hand-drawn and less like a robot texting on a typewriter. + Give it a whirl in Google’s keyboard ( + + Gboard + + ) where you can transform text messages into typographic stickers. + Plain text + + “hahas” + + are a thing of the past after you’ve sent an + + “lol” + + in Dynapuff.

-

-What Dynapuff might lack in subtlety, it makes up for it with its playful and flexible typographic energy. -Designed by Toshi Omagari, this casual typeface is optimized for legibility in small text environments like stickers or candy packaging. -It also manages to be large when displayed in children’s books to shop signage. + What Dynapuff might lack in subtlety, it makes up for it with its playful and flexible typographic energy. + Designed by Toshi Omagari, this casual typeface is optimized for legibility in small text environments like stickers or candy packaging. + It also manages to be large when displayed in children’s books to shop signage. +

+

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

- -

To contribute see github.com/googlefonts/dynapuff.

diff --git a/ofl/eaglelake/DESCRIPTION.en_us.html b/ofl/eaglelake/DESCRIPTION.en_us.html index 4d1e85a7a3..b2071bf181 100644 --- a/ofl/eaglelake/DESCRIPTION.en_us.html +++ b/ofl/eaglelake/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

The Eagle Lake typeface is a calligraphic lettering style based on the practical Running Book Hand. It has shorter capitals that create a visually taller x-height lending to high legibility and fluidity.

\ No newline at end of file +

+ The Eagle Lake typeface is a calligraphic lettering style based on the practical Running Book Hand. + It has shorter capitals that create a visually taller x-height lending to high legibility and fluidity. +

diff --git a/ofl/eastseadokdo/DESCRIPTION.en_us.html b/ofl/eastseadokdo/DESCRIPTION.en_us.html index 55af195ff3..53a40f995d 100644 --- a/ofl/eastseadokdo/DESCRIPTION.en_us.html +++ b/ofl/eastseadokdo/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

East Sea Dokdo is a Korean and Latin font

+

+ East Sea Dokdo is a Korean and Latin font +

diff --git a/ofl/eater/DESCRIPTION.en_us.html b/ofl/eater/DESCRIPTION.en_us.html index 6ea96dc7b8..7f40117a53 100644 --- a/ofl/eater/DESCRIPTION.en_us.html +++ b/ofl/eater/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Eater is a display font infected by the darkest of rare disease that slowly spreads at night while the webfont user sleeps.

\ No newline at end of file +

+ Eater is a display font infected by the darkest of rare disease that slowly spreads at night while the webfont user sleeps. +

diff --git a/ofl/ebgaramond/DESCRIPTION.en_us.html b/ofl/ebgaramond/DESCRIPTION.en_us.html index d966b0d528..31f9a7e851 100644 --- a/ofl/ebgaramond/DESCRIPTION.en_us.html +++ b/ofl/ebgaramond/DESCRIPTION.en_us.html @@ -1,20 +1,22 @@

-EB Garamond is intended to be an excellent, classical, Garamond. -It is a community project to create a revival of Claude Garamont’s famous humanist typefaces from the mid-16th century. -This digital version reproduces the original design by Claude Garamont closely: -The source for the letterforms is a scan of a specimen known as the “Berner specimen,” which was composed in 1592 by Conrad Berner, the son-in-law of Christian Egenolff and his successor at the Egenolff print office. -This specimen shows Garamont’s roman and Granjon’s italic types at different sizes. -Hence the name of this project: Egenolff-Berner Garamond. + EB Garamond is intended to be an excellent, classical, Garamond. + It is a community project to create a revival of Claude Garamont’s famous humanist typefaces from the mid-16th century. + This digital version reproduces the original design by Claude Garamont closely: The source for the letterforms is a scan of a specimen known as the “Berner specimen,” which was composed in 1592 by Conrad Berner, the son-in-law of Christian Egenolff and his successor at the Egenolff print office. + This specimen shows Garamont’s roman and Granjon’s italic types at different sizes. + Hence the name of this project: Egenolff-Berner Garamond.

-Why another Garamond? -That typeface is a key moment in the history of typography, and European type designers have been reacting to this work ever since. -It is probably the most revived typeface in the world and many are excellent. -In the world of free/libre culture, however, only a few Garamond-inspired types exist, and none share the scope of this project. + Why another Garamond? + That typeface is a key moment in the history of typography, and European type designers have been reacting to this work ever since. + It is probably the most revived typeface in the world and many are excellent. + In the world of free/libre culture, however, only a few Garamond-inspired types exist, and none share the scope of this project.

-In November 2019, the family has been updated to a variable font family. + In November 2019, the family has been updated to a variable font family.

-This project is led by Georg Duffner, and developed at github.com/georgd/EB-Garamond + This project is led by Georg Duffner, and developed at + + github.com/georgd/EB-Garamond +

diff --git a/ofl/economica/DESCRIPTION.en_us.html b/ofl/economica/DESCRIPTION.en_us.html index 13536c60d3..3b7ab00246 100644 --- a/ofl/economica/DESCRIPTION.en_us.html +++ b/ofl/economica/DESCRIPTION.en_us.html @@ -1 +1,25 @@ -

Economica is the first digital typeface created in Montevideo, Uruguay, to be distributed internationally. The development of the typeface took most of 2007 and received the assistance of type design colleagues from all over Latin America.

Economica has four basic styles: Regular, Bold, Italic and Bold Italic. It includes a comprehensive character set that lets you work with diverse European languages.

This typeface family was designed for the output of inkjet printers. It was inspired by the concept of saving space in publishing texts without loss of height. This means it is a very condensed type.

The visual advantage of Econ—omica is that accomplishes this horizontal compression while keeping a strong personality. It is not a typical, neutral, sans serif. The open forms and tendency towards flattened curves allow it to be used in very small spaces while retaining high legibility.

To contribute to the project contact Vicente Lamónaca.

\ No newline at end of file +

+ Economica is the first digital typeface created in Montevideo, Uruguay, to be distributed internationally. + The development of the typeface took most of 2007 and received the assistance of type design colleagues from all over Latin America. +

+

+ Economica has four basic styles: Regular, Bold, Italic and Bold Italic. + It includes a comprehensive character set that lets you work with diverse European languages. +

+

+ This typeface family was designed for the output of inkjet printers. + It was inspired by the concept of saving space in publishing texts without loss of height. + This means it is a very condensed type. +

+

+ The visual advantage of Econ—omica is that accomplishes this horizontal compression while keeping a strong personality. + It is not a typical, neutral, sans serif. + The open forms and tendency towards flattened curves allow it to be used in very small spaces while retaining high legibility. +

+

+ To contribute to the project contact + + Vicente Lamónaca + + . +

diff --git a/ofl/eczar/DESCRIPTION.en_us.html b/ofl/eczar/DESCRIPTION.en_us.html index 96d8ac8d6c..88674f1bca 100644 --- a/ofl/eczar/DESCRIPTION.en_us.html +++ b/ofl/eczar/DESCRIPTION.en_us.html @@ -1,12 +1,12 @@

- Eczar started as a student project in 2010–11 during Vaibhav Singh’s MA studies in Typeface Design at the University - of - Reading. Eczar was designed to bring liveliness and vigor to multi-script typesetting in Latin and Devanagari – with - the intention of providing an alternative to existing designs by imparting a strong mix of personality and - performance, both at text sizes and in display settings. The family offers a wide expressive range and the display - qualities of the design intensify with corresponding increase in weight, making the heaviest weights best suited for - headlines and display purposes. + Eczar started as a student project in 2010–11 during Vaibhav Singh’s MA studies in Typeface Design at the University of Reading. + Eczar was designed to bring liveliness and vigor to multi-script typesetting in Latin and Devanagari – with the intention of providing an alternative to existing designs by imparting a strong mix of personality and performance, both at text sizes and in display settings. + The family offers a wide expressive range and the display qualities of the design intensify with corresponding increase in weight, making the heaviest weights best suited for headlines and display purposes.

- To contribute, see github.com/rosettatype/eczar. -

\ No newline at end of file + To contribute, see + + github.com/rosettatype/eczar + + . +

diff --git a/ofl/edunswactfoundation/DESCRIPTION.en_us.html b/ofl/edunswactfoundation/DESCRIPTION.en_us.html index 0f592e7cbb..22990a12e6 100644 --- a/ofl/edunswactfoundation/DESCRIPTION.en_us.html +++ b/ofl/edunswactfoundation/DESCRIPTION.en_us.html @@ -1,22 +1,47 @@ -

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

- -

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

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

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

+

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

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

+

+ The + + NSW ACT School Fonts + + include both: +

+ Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3.

-

-The NSW ACT School Fonts include both: -

- -Students in New South Wales and Australian Capital Territory learn Foundation Print from years 1 to 2 and Beginner Cursive from year 3. + Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. + To download the full version, or to contribute, see + + github.com/MezMerrit/AU-School-Handwriting-Fonts + + .

- -

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

- diff --git a/ofl/eduqldbeginner/DESCRIPTION.en_us.html b/ofl/eduqldbeginner/DESCRIPTION.en_us.html index 8055782388..0074938573 100644 --- a/ofl/eduqldbeginner/DESCRIPTION.en_us.html +++ b/ofl/eduqldbeginner/DESCRIPTION.en_us.html @@ -1,21 +1,47 @@ -

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

- -

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

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

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

+

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

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

-

-The QLD School Fonts include both: -

- -Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. -

- -

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

+ The + + QLD School Fonts + + include both: + + Students in Queensland learn QBeginners from years 1 to 3 and QCursive from year 4. +

+

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

diff --git a/ofl/edusabeginner/DESCRIPTION.en_us.html b/ofl/edusabeginner/DESCRIPTION.en_us.html index fdb0942330..a780de586d 100644 --- a/ofl/edusabeginner/DESCRIPTION.en_us.html +++ b/ofl/edusabeginner/DESCRIPTION.en_us.html @@ -1,20 +1,44 @@ -

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

- -

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

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

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

+

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

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

+

+ The + + SA School Fonts + + include: +

+ Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3.

-

-The SA School Fonts include: -

- -Students in South Australia learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. + Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. + To download the full version, or to contribute, see + + github.com/MezMerrit/AU-School-Handwriting-Fonts + + .

- -

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

diff --git a/ofl/edutasbeginner/DESCRIPTION.en_us.html b/ofl/edutasbeginner/DESCRIPTION.en_us.html index b09cad3af3..39cfa25c64 100644 --- a/ofl/edutasbeginner/DESCRIPTION.en_us.html +++ b/ofl/edutasbeginner/DESCRIPTION.en_us.html @@ -1,20 +1,44 @@ -

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

- -

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

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

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

+

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

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

+

+ The + + TAS School Fonts + + include: +

+ Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3.

-

-The TAS School Fonts include: -

- -Students in Tasmania learn the Beginners Alphabet from years 1 and 2, moving on to Pre-Cursive from year 3. + Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. + To download the full version, or to contribute, see + + github.com/MezMerrit/AU-School-Handwriting-Fonts + + .

- -

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

diff --git a/ofl/eduvicwantbeginner/DESCRIPTION.en_us.html b/ofl/eduvicwantbeginner/DESCRIPTION.en_us.html index 3fc07798d1..145afba6eb 100644 --- a/ofl/eduvicwantbeginner/DESCRIPTION.en_us.html +++ b/ofl/eduvicwantbeginner/DESCRIPTION.en_us.html @@ -1,20 +1,44 @@ -

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

- -

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

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

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

+

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

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

+

+ The + + VIC WA NT School Fonts + + include: +

+ Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4.

-

-The VIC WA NT School Fonts include: -

- -Students in Victoria, Western Australia and Northern Territory learn Label Print from years 1 to 3 and Infant Cursive from year 4. + Google Workspace users are provided standard versions online, however they may download or build the complete OpenType versions from GitHub for local installations. + To download the full version, or to contribute, see + + github.com/MezMerrit/AU-School-Handwriting-Fonts + + .

- -

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

diff --git a/ofl/ekmukta/DESCRIPTION.en_us.html b/ofl/ekmukta/DESCRIPTION.en_us.html index 70b5c9083b..22c3767ded 100644 --- a/ofl/ekmukta/DESCRIPTION.en_us.html +++ b/ofl/ekmukta/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@

-This project was renamed Mukta + This project was renamed + + Mukta +

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Mukta + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Mukta +

diff --git a/ofl/electrolize/DESCRIPTION.en_us.html b/ofl/electrolize/DESCRIPTION.en_us.html index 51f70f72d4..b49601e5ca 100644 --- a/ofl/electrolize/DESCRIPTION.en_us.html +++ b/ofl/electrolize/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Lettering in a Russian commuter train inspired designer Valery Zaveryaev to create the Electrolize typeface with an accurate techno character. It came out solid enought to work well in any size from body copy to headlines.

Electrolize can be best described as a squarish geometric typeface with humanistic proportions. It has an accurate techno character, holds the baseline well because of its rectangular modular-based construction. At display sizes its detailing in terminals become noticeable.

It is optimized for screen, and will work well in print thank to its simple and straight outlines.

\ No newline at end of file +

+ Lettering in a Russian commuter train inspired designer Valery Zaveryaev to create the Electrolize typeface with an accurate techno character. + It came out solid enought to work well in any size from body copy to headlines. +

+

+ Electrolize can be best described as a squarish geometric typeface with humanistic proportions. + It has an accurate techno character, holds the baseline well because of its rectangular modular-based construction. + At display sizes its detailing in terminals become noticeable. +

+

+ It is optimized for screen, and will work well in print thank to its simple and straight outlines. +

diff --git a/ofl/elmessiri/DESCRIPTION.en_us.html b/ofl/elmessiri/DESCRIPTION.en_us.html index b4b58837dc..3dc08cc154 100644 --- a/ofl/elmessiri/DESCRIPTION.en_us.html +++ b/ofl/elmessiri/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-El Messiri is a modern Arabic typeface family designed by Mohamed Gaber (Arabic) that began with Jovanny Lemonad's Latin and Cyrillic typeface Philosopher. -The Arabic started with the concept of a curvy Arabic typeface inspired by the beauty of Naskh and drawn as if with a brush instead of the traditional bamboo pen. -The idea took form with wide counters that improve readability at smaller text sizes, and has subtle details that make it a great display face at larger sizes. -El Messiri current comes in 4 weights (Light, Regular, SemiBold and Bold) and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages. + El Messiri is a modern Arabic typeface family designed by Mohamed Gaber (Arabic) that began with Jovanny Lemonad's Latin and Cyrillic typeface + + Philosopher + + . + The Arabic started with the concept of a curvy Arabic typeface inspired by the beauty of Naskh and drawn as if with a brush instead of the traditional bamboo pen. + The idea took form with wide counters that improve readability at smaller text sizes, and has subtle details that make it a great display face at larger sizes. + El Messiri current comes in 4 weights (Light, Regular, SemiBold and Bold) and the Arabic component has a wide glyph set that supports the Arabic, Farsi and Urdu languages.

-The font has been upgraded to a variable font with a weight axis (Regular to Bold) in August 2021. + The font has been upgraded to a variable font with a weight axis (Regular to Bold) in August 2021.

-To contribute, see github.com/Gue3bara/El-Messiri + To contribute, see + + github.com/Gue3bara/El-Messiri +

diff --git a/ofl/elsie/DESCRIPTION.en_us.html b/ofl/elsie/DESCRIPTION.en_us.html index 2aab6c1b83..380c307b90 100644 --- a/ofl/elsie/DESCRIPTION.en_us.html +++ b/ofl/elsie/DESCRIPTION.en_us.html @@ -1,14 +1,18 @@

-Elsie is inspired by feminine energy. -This new typeface was created to celebrate the world of women, glamour and fashion. -It combines the strength of Bodoni with the softness of italics. -Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. -I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. -It provides an option to the type which readers often encounter. + Elsie is inspired by feminine energy. + This new typeface was created to celebrate the world of women, glamour and fashion. + It combines the strength of Bodoni with the softness of italics. + Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. + I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. + It provides an option to the type which readers often encounter.

-The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. + The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo.

-There are two Elsie families, this Regular family and a Swash Caps family, each with a regular weight and a black weight suitable for large display usage. + There are two Elsie families, this Regular family and a + + Swash Caps + + family, each with a regular weight and a black weight suitable for large display usage.

diff --git a/ofl/elsieswashcaps/DESCRIPTION.en_us.html b/ofl/elsieswashcaps/DESCRIPTION.en_us.html index 0d41db4873..43bc87c796 100644 --- a/ofl/elsieswashcaps/DESCRIPTION.en_us.html +++ b/ofl/elsieswashcaps/DESCRIPTION.en_us.html @@ -1,14 +1,18 @@

-Elsie is inspired by feminine energy. -This new typeface was created to celebrate the world of women, glamour and fashion. -It combines the strength of Bodoni with the softness of italics. -Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. -I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. -It provides an option to the type which readers often encounter. + Elsie is inspired by feminine energy. + This new typeface was created to celebrate the world of women, glamour and fashion. + It combines the strength of Bodoni with the softness of italics. + Sensitive, attractive, full of personality, innovative and subtle with both classic and new design features. + I aimed to add expressive features to the letters, providing nuances that make this a unique vision of Bodoni type. + It provides an option to the type which readers often encounter.

-The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo. + The font was developed by Alejandro Inler in conjunction with Ana Sanfelippo.

-There are two Elsie families, a Regular family and this Swash Caps family, each with a regular weight and a black weight suitable for large display usage. + There are two Elsie families, a + + Regular + + family and this Swash Caps family, each with a regular weight and a black weight suitable for large display usage.

diff --git a/ofl/emblemaone/DESCRIPTION.en_us.html b/ofl/emblemaone/DESCRIPTION.en_us.html index 16b53470f4..6fa42fe227 100644 --- a/ofl/emblemaone/DESCRIPTION.en_us.html +++ b/ofl/emblemaone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Emblema One is inspired by UK Victorian era bold italic display type. It breaks from tradition by using a stenciled kind of construction. The stencil style too is atypical and gives the font its distinctive feeling. Emblema One has been made for display purposes and should be used from medium to large sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Emblema One is inspired by UK Victorian era bold italic display type. + It breaks from tradition by using a stenciled kind of construction. + The stencil style too is atypical and gives the font its distinctive feeling. + Emblema One has been made for display purposes and should be used from medium to large sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/emilyscandy/DESCRIPTION.en_us.html b/ofl/emilyscandy/DESCRIPTION.en_us.html index 4199b99d71..2b12229844 100644 --- a/ofl/emilyscandy/DESCRIPTION.en_us.html +++ b/ofl/emilyscandy/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Sweet Emily got a quarter from her grandpa for being such a good girl! She took a walk downtown to the local dimestore for some penny candy and loaded up a heaping sackful she'd love to share with you! Enjoy!

Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact Font Diner.

\ No newline at end of file +

+ Sweet Emily got a quarter from her grandpa for being such a good girl! + She took a walk downtown to the local dimestore for some penny candy and loaded up a heaping sackful she'd love to share with you! + Enjoy! +

+

+ Designed by Crystal Kluge of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact + + Font Diner + + . +

diff --git a/ofl/encodesans/DESCRIPTION.en_us.html b/ofl/encodesans/DESCRIPTION.en_us.html index 68ee5d8cd3..14be70f1e3 100644 --- a/ofl/encodesans/DESCRIPTION.en_us.html +++ b/ofl/encodesans/DESCRIPTION.en_us.html @@ -1,17 +1,15 @@

- Encode Sans is a versatile workhorse sans-serif superfamily ready for - all kinds of typographic challenges, offering a unique blend of warmth and - practicality. Its humanist aspects of simple letterforms and open apertures keep it - crisp and legible, while its geometric approach of rounded letters with - partially-straightened sides delivers a friendly but precise tone. + Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. + Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone.

- It includes 5 widths from Condensed to Expanded, each with 9 weights from Light - to Black. To simplify the use of smallcaps in word processors, there are also - small-cap versions of each family. + It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. + To simplify the use of smallcaps in word processors, there are also small-cap versions of each family.

- This project was initially designed by Pablo Impallari and Andres Torresi, refined - by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. - To contribute, see github.com/thundernixon/Encode-Sans + This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. + To contribute, see + + github.com/thundernixon/Encode-Sans +

diff --git a/ofl/encodesanscondensed/DESCRIPTION.en_us.html b/ofl/encodesanscondensed/DESCRIPTION.en_us.html index cf983627df..4ea2d4b7f7 100644 --- a/ofl/encodesanscondensed/DESCRIPTION.en_us.html +++ b/ofl/encodesanscondensed/DESCRIPTION.en_us.html @@ -1,16 +1,30 @@

-Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. + Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Condensed family, which is part of the superfamily along with -Normal, -Semi Condensed, -Semi Expanded, and -Expanded families, -each with 9 weights. + This is the Condensed family, which is part of the superfamily along with + + Normal + + , + + Semi Condensed + + , + + Semi Expanded + + , and + + Expanded + + families, each with 9 weights.

-This project is led by Impallari Type, a foundry based in Rosario, Argentina. -It was initially designed by Pablo Impallari and Andres Torresi. -To contribute, see github.com/impallari/Encode-Sans + This project is led by Impallari Type, a foundry based in Rosario, Argentina. + It was initially designed by Pablo Impallari and Andres Torresi. + To contribute, see + + github.com/impallari/Encode-Sans +

diff --git a/ofl/encodesansexpanded/DESCRIPTION.en_us.html b/ofl/encodesansexpanded/DESCRIPTION.en_us.html index ecf506f4ce..be1cf50d15 100644 --- a/ofl/encodesansexpanded/DESCRIPTION.en_us.html +++ b/ofl/encodesansexpanded/DESCRIPTION.en_us.html @@ -1,16 +1,30 @@

-Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. + Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Expanded family, which is part of the superfamily along with -Normal, -Condensed, -Semi Condensed, and -Semi Expanded, families, -each with 9 weights. + This is the Expanded family, which is part of the superfamily along with + + Normal + + , + + Condensed + + , + + Semi Condensed + + , and + + Semi Expanded + + , families, each with 9 weights.

-This project is led by Impallari Type, a foundry based in Rosario, Argentina. -It was initially designed by Pablo Impallari and Andres Torresi. -To contribute, see github.com/impallari/Encode-Sans + This project is led by Impallari Type, a foundry based in Rosario, Argentina. + It was initially designed by Pablo Impallari and Andres Torresi. + To contribute, see + + github.com/impallari/Encode-Sans +

diff --git a/ofl/encodesanssc/DESCRIPTION.en_us.html b/ofl/encodesanssc/DESCRIPTION.en_us.html index 68ee5d8cd3..14be70f1e3 100644 --- a/ofl/encodesanssc/DESCRIPTION.en_us.html +++ b/ofl/encodesanssc/DESCRIPTION.en_us.html @@ -1,17 +1,15 @@

- Encode Sans is a versatile workhorse sans-serif superfamily ready for - all kinds of typographic challenges, offering a unique blend of warmth and - practicality. Its humanist aspects of simple letterforms and open apertures keep it - crisp and legible, while its geometric approach of rounded letters with - partially-straightened sides delivers a friendly but precise tone. + Encode Sans is a versatile workhorse sans-serif superfamily ready for all kinds of typographic challenges, offering a unique blend of warmth and practicality. + Its humanist aspects of simple letterforms and open apertures keep it crisp and legible, while its geometric approach of rounded letters with partially-straightened sides delivers a friendly but precise tone.

- It includes 5 widths from Condensed to Expanded, each with 9 weights from Light - to Black. To simplify the use of smallcaps in word processors, there are also - small-cap versions of each family. + It includes 5 widths from Condensed to Expanded, each with 9 weights from Light to Black. + To simplify the use of smallcaps in word processors, there are also small-cap versions of each family.

- This project was initially designed by Pablo Impallari and Andres Torresi, refined - by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. - To contribute, see github.com/thundernixon/Encode-Sans + This project was initially designed by Pablo Impallari and Andres Torresi, refined by Jacques Le Bailly, and upgraded as a variable font by Stephen Nixon and Marc Foley. + To contribute, see + + github.com/thundernixon/Encode-Sans +

diff --git a/ofl/encodesanssemicondensed/DESCRIPTION.en_us.html b/ofl/encodesanssemicondensed/DESCRIPTION.en_us.html index e6e7468895..3918781364 100644 --- a/ofl/encodesanssemicondensed/DESCRIPTION.en_us.html +++ b/ofl/encodesanssemicondensed/DESCRIPTION.en_us.html @@ -1,16 +1,30 @@

-Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. + Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Semi Condensed family, which is part of the superfamily along with -Normal, -Condensed, -Semi Expanded, and -Expanded families, -each with 9 weights. + This is the Semi Condensed family, which is part of the superfamily along with + + Normal + + , + + Condensed + + , + + Semi Expanded + + , and + + Expanded + + families, each with 9 weights.

-This project is led by Impallari Type, a foundry based in Rosario, Argentina. -It was initially designed by Pablo Impallari and Andres Torresi. -To contribute, see github.com/impallari/Encode-Sans + This project is led by Impallari Type, a foundry based in Rosario, Argentina. + It was initially designed by Pablo Impallari and Andres Torresi. + To contribute, see + + github.com/impallari/Encode-Sans +

diff --git a/ofl/encodesanssemiexpanded/DESCRIPTION.en_us.html b/ofl/encodesanssemiexpanded/DESCRIPTION.en_us.html index 3f4b0035e6..64f4bf6552 100644 --- a/ofl/encodesanssemiexpanded/DESCRIPTION.en_us.html +++ b/ofl/encodesanssemiexpanded/DESCRIPTION.en_us.html @@ -1,16 +1,30 @@

-Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges. + Encode Sans is a versatile workhorse sans serif design, featuring a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Semi Expanded family, which is part of the superfamily along with -Normal, -Condensed, -Semi Condensed, and -Expanded families, -each with 9 weights. + This is the Semi Expanded family, which is part of the superfamily along with + + Normal + + , + + Condensed + + , + + Semi Condensed + + , and + + Expanded + + families, each with 9 weights.

-This project is led by Impallari Type, a foundry based in Rosario, Argentina. -It was initially designed by Pablo Impallari and Andres Torresi. -To contribute, see github.com/impallari/Encode-Sans + This project is led by Impallari Type, a foundry based in Rosario, Argentina. + It was initially designed by Pablo Impallari and Andres Torresi. + To contribute, see + + github.com/impallari/Encode-Sans +

diff --git a/ofl/engagement/DESCRIPTION.en_us.html b/ofl/engagement/DESCRIPTION.en_us.html index 4a56b0091d..75c324fd05 100644 --- a/ofl/engagement/DESCRIPTION.en_us.html +++ b/ofl/engagement/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Semi-formal with a steady hand and soft contours, Engagement is a brush script that dances a line between vintage and modern flair.

\ No newline at end of file +

+ Semi-formal with a steady hand and soft contours, Engagement is a brush script that dances a line between vintage and modern flair. +

diff --git a/ofl/englebert/DESCRIPTION.en_us.html b/ofl/englebert/DESCRIPTION.en_us.html index b05d5edd7e..c6ce57fe98 100644 --- a/ofl/englebert/DESCRIPTION.en_us.html +++ b/ofl/englebert/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@ -

Englebert draws inspiration from the title screen of the 1930's film titled -Der blue Engel, starring Marlene Dietrich. It is casual and playful in a mild -manner, yet striking enough to catch the eye.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Englebert draws inspiration from the title screen of the 1930's film titled Der blue Engel, starring Marlene Dietrich. + It is casual and playful in a mild manner, yet striking enough to catch the eye. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/enriqueta/DESCRIPTION.en_us.html b/ofl/enriqueta/DESCRIPTION.en_us.html index 73da62ac8d..fac1490cd9 100644 --- a/ofl/enriqueta/DESCRIPTION.en_us.html +++ b/ofl/enriqueta/DESCRIPTION.en_us.html @@ -1 +1,20 @@ -

Enriqueta is a serif typeface designed to meet the technical demands of silkscreen printing. Since that is a grid system, this makes it an excellent candidate for digital display applications too since they are built in pixels.

Its a slab serif type with clear, direct and not so subtle features, that was conceived as a hybrid that takes from the Egyptian style some robustness and strong serifs, and from Roman fonts the proportions and soft humanist tones, resulting in a harmonic and legible typeface for texts.

Enriqueta was selected to be exhibit at Tipos Latinos 2010, fourth Latin-american tipography biennial and to be part of the German editorial project Typodarium 2012.

In July 2019, the family was updated to include Medium and SemiBold styles.

To contribute, see github.com/vv-monsalve/Enriqueta_2019.

+

+ Enriqueta is a serif typeface designed to meet the technical demands of silkscreen printing. + Since that is a grid system, this makes it an excellent candidate for digital display applications too since they are built in pixels. +

+

+ Its a slab serif type with clear, direct and not so subtle features, that was conceived as a hybrid that takes from the Egyptian style some robustness and strong serifs, and from Roman fonts the proportions and soft humanist tones, resulting in a harmonic and legible typeface for texts. +

+

+ Enriqueta was selected to be exhibit at Tipos Latinos 2010, fourth Latin-american tipography biennial and to be part of the German editorial project Typodarium 2012. +

+

+ In July 2019, the family was updated to include Medium and SemiBold styles. +

+

+ To contribute, see + + github.com/vv-monsalve/Enriqueta_2019 + + . +

diff --git a/ofl/ephesis/DESCRIPTION.en_us.html b/ofl/ephesis/DESCRIPTION.en_us.html index d9f4d3d9c0..e3d5e321a9 100644 --- a/ofl/ephesis/DESCRIPTION.en_us.html +++ b/ofl/ephesis/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Ephesis is a contemporary script great for casual invitations, cards, tubes, scrapbooking. + Ephesis is a contemporary script great for casual invitations, cards, tubes, scrapbooking.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/ephesis. + To contribute, see + + github.com/googlefonts/ephesis + + .

diff --git a/ofl/epilogue/DESCRIPTION.en_us.html b/ofl/epilogue/DESCRIPTION.en_us.html index 0fb31e280c..f0a17e25ee 100644 --- a/ofl/epilogue/DESCRIPTION.en_us.html +++ b/ofl/epilogue/DESCRIPTION.en_us.html @@ -1,7 +1,19 @@

-Epilogue is a sans serif variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. + + Epilogue + + is a sans serif variable font with a weight axis. + 9 weights, upright and italic. + It supports a wide range of languages in the latin script scope.

-The Epilogue project is led by Tyler Finck — type designer running Etcetera Type Co in Ithaca, New-York, USA. -To contribute, see github.com/Etcetera-Type-Co/Epilogue + The Epilogue project is led by Tyler Finck — type designer running + + Etcetera Type Co + + in Ithaca, New-York, USA. + To contribute, see + + github.com/Etcetera-Type-Co/Epilogue +

diff --git a/ofl/ericaone/DESCRIPTION.en_us.html b/ofl/ericaone/DESCRIPTION.en_us.html index fe279d7f74..1af9fa64a4 100644 --- a/ofl/ericaone/DESCRIPTION.en_us.html +++ b/ofl/ericaone/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Erica is a voluptuous contemporary tribute to the sans serif work of Eric Gill that is mixed with the painter Botero.

\ No newline at end of file +

+ Erica is a voluptuous contemporary tribute to the sans serif work of Eric Gill that is mixed with the painter Botero. +

diff --git a/ofl/esteban/DESCRIPTION.en_us.html b/ofl/esteban/DESCRIPTION.en_us.html index 4f99141a80..10ef72c2cc 100644 --- a/ofl/esteban/DESCRIPTION.en_us.html +++ b/ofl/esteban/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Esteban is a typeface intended to be used in texts, specially literature and poetry. Its a serif font with medium contrast, tall x height, medium compression, and robust serifs. It offers personality, readability and economy.

One of the most important features of Esteban is its stroke, that loses or gains weight in the stems. This feature was defined from the manuscripts of Jorge Alfredo Díaz Esteban, a writer who used a tool that can generate modulated strokes. This means the stroke width varies due to the pressure of the pen on the paper, and this quality allows the font to have a presence on the page that makes texts more dynamic. The precise level of contrast was decided by experimenting with various 'colors' of density that emerge in text settings. This allows Esteban to achieve good performance even in medium and low quality prints and as a web font.

\ No newline at end of file +

+ Esteban is a typeface intended to be used in texts, specially literature and poetry. + Its a serif font with medium contrast, tall x height, medium compression, and robust serifs. + It offers personality, readability and economy. +

+

+ One of the most important features of Esteban is its stroke, that loses or gains weight in the stems. + This feature was defined from the manuscripts of Jorge Alfredo Díaz Esteban, a writer who used a tool that can generate modulated strokes. + This means the stroke width varies due to the pressure of the pen on the paper, and this quality allows the font to have a presence on the page that makes texts more dynamic. + The precise level of contrast was decided by experimenting with various 'colors' of density that emerge in text settings. + This allows Esteban to achieve good performance even in medium and low quality prints and as a web font. +

diff --git a/ofl/estonia/DESCRIPTION.en_us.html b/ofl/estonia/DESCRIPTION.en_us.html index 389750d98d..5d0dfcdb96 100644 --- a/ofl/estonia/DESCRIPTION.en_us.html +++ b/ofl/estonia/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Estonia is based on the calligraphic style found in the east European country of Estonia. The swash stylistic sets are designed to be used in conjunction with the regular version. + Estonia is based on the calligraphic style found in the east European country of Estonia. + The swash stylistic sets are designed to be used in conjunction with the regular version.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/estonia. + To contribute, see + + github.com/googlefonts/estonia + + .

diff --git a/ofl/euphoriascript/DESCRIPTION.en_us.html b/ofl/euphoriascript/DESCRIPTION.en_us.html index f2e348c54e..51a785022b 100644 --- a/ofl/euphoriascript/DESCRIPTION.en_us.html +++ b/ofl/euphoriascript/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Euphoria Script is an informal script type. It began with letterform sketches made by hand with a copperplate nib, which were redrawn digitally with the stroke endings of a brush script. This makes the type seem playful, which is important in casual scripts.

It has very fast curves, thanks to the slight slant angle, but it remains highly legible. It will be perfect for titles and short phrases in branding, magazines, content about food, fashion, music - anything which is as lively as the font itself.

\ No newline at end of file +

+ Euphoria Script is an informal script type. + It began with letterform sketches made by hand with a copperplate nib, which were redrawn digitally with the stroke endings of a brush script. + This makes the type seem playful, which is important in casual scripts. +

+

+ It has very fast curves, thanks to the slight slant angle, but it remains highly legible. + It will be perfect for titles and short phrases in branding, magazines, content about food, fashion, music - anything which is as lively as the font itself. +

diff --git a/ofl/ewert/DESCRIPTION.en_us.html b/ofl/ewert/DESCRIPTION.en_us.html index 06ccb9ed0a..59c3e674b2 100644 --- a/ofl/ewert/DESCRIPTION.en_us.html +++ b/ofl/ewert/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Ewert is slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. Ewert has been higly simplified for screen usage yet still includes the characteristic "ornamental leg" of the letterform.

Ewert was designed by Johan Kallas and Mihkel Virkus.

\ No newline at end of file +

+ Ewert is slab serif wood type inspired by and loosely based on the collection of cultural infographic maps by Estonian graphic artist Olev Soans. + Ewert has been higly simplified for screen usage yet still includes the characteristic "ornamental leg" of the letterform. +

+

+ Ewert was designed by Johan Kallas and Mihkel Virkus. +

diff --git a/ofl/exo/DESCRIPTION.en_us.html b/ofl/exo/DESCRIPTION.en_us.html index c402c675ce..482cd9dc1b 100644 --- a/ofl/exo/DESCRIPTION.en_us.html +++ b/ofl/exo/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. It works great as a display face but it also works good for small to intermediate size texts.

- -

Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts.

-

Update April 2020: The family has been updated to a variable font family.

- -

To contribute, see github.com/NDISCOVER/Exo-1.0.

- +

+ Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. + Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. + It works great as a display face but it also works good for small to intermediate size texts. +

+

+ + Update December 2013: + + Exo was completely redrawn and published as + + Exo 2 + + , with a more organic look that will perform much better at small text sizes and in long texts. +

+

+ + Update April 2020: + + The family has been updated to a variable font family. +

+

+ To contribute, see + + github.com/NDISCOVER/Exo-1.0 + + . +

diff --git a/ofl/exo2/DESCRIPTION.en_us.html b/ofl/exo2/DESCRIPTION.en_us.html index be5465db7d..5b9817eaff 100644 --- a/ofl/exo2/DESCRIPTION.en_us.html +++ b/ofl/exo2/DESCRIPTION.en_us.html @@ -1,5 +1,19 @@ -

Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts.

- -

In March 2020, the family has been updated to a variable font family.

- -

To contribute, see github.com/NDISCOVER/Exo-2.0.

+

+ Exo 2 is a complete redrawing of + + Exo + + , a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. + Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. + Exo 2 has a more organic look that will perform much better at small text sizes and in long texts. +

+

+ In March 2020, the family has been updated to a variable font family. +

+

+ To contribute, see + + github.com/NDISCOVER/Exo-2.0 + + . +

diff --git a/ofl/expletussans/DESCRIPTION.en_us.html b/ofl/expletussans/DESCRIPTION.en_us.html index 4b3dcd7a14..1ea789de68 100644 --- a/ofl/expletussans/DESCRIPTION.en_us.html +++ b/ofl/expletussans/DESCRIPTION.en_us.html @@ -1,13 +1,23 @@

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

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

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

- To learn more, read Introducing Expletus Sans. -

\ No newline at end of file + To learn more, read + + Introducing Expletus Sans + + . +

diff --git a/ofl/explora/DESCRIPTION.en_us.html b/ofl/explora/DESCRIPTION.en_us.html index b16cd0be55..47e6c9890e 100644 --- a/ofl/explora/DESCRIPTION.en_us.html +++ b/ofl/explora/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Explora is a beautiful calligraphic typeface with swash forms. Its light and delicate strokes contribute to its elegance. In addition, it features one of the few fonts that contains the entire Cherokee Nation language glyphs. + Explora is a beautiful calligraphic typeface with swash forms. + Its light and delicate strokes contribute to its elegance. + In addition, it features one of the few fonts that contains the entire Cherokee Nation language glyphs.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/explora. + To contribute, see + + github.com/googlefonts/explora + + .

diff --git a/ofl/fahkwang/DESCRIPTION.en_us.html b/ofl/fahkwang/DESCRIPTION.en_us.html index 2c5a601873..220c09f13d 100644 --- a/ofl/fahkwang/DESCRIPTION.en_us.html +++ b/ofl/fahkwang/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Fahkwang is a Thai and Latin san serif family which features a high contrast. It has been inspired by headlines in old Thai newspapers.

\ No newline at end of file +

+ Fahkwang is a Thai and Latin san serif family which features a high contrast. + It has been inspired by headlines in old Thai newspapers. +

diff --git a/ofl/familjengrotesk/DESCRIPTION.en_us.html b/ofl/familjengrotesk/DESCRIPTION.en_us.html index 5e9156c7a8..ae2021548e 100644 --- a/ofl/familjengrotesk/DESCRIPTION.en_us.html +++ b/ofl/familjengrotesk/DESCRIPTION.en_us.html @@ -1,2 +1,12 @@ -

Familjen Grotesk is a sans serif typeface with a contemporary appearance intended for both text and display. Large notches known as "ink traps" add style to headlines and clarity to small size text. The large x-height, closed apertures and sturdy upper-case letters relate to the grotesque subgenre of sans serifs.

-

To contribute, see github.com/Familjen-Sthlm/Familjen-Grotesk.

+

+ Familjen Grotesk is a sans serif typeface with a contemporary appearance intended for both text and display. + Large notches known as "ink traps" add style to headlines and clarity to small size text. + The large x-height, closed apertures and sturdy upper-case letters relate to the grotesque subgenre of sans serifs. +

+

+ To contribute, see + + github.com/Familjen-Sthlm/Familjen-Grotesk + + . +

diff --git a/ofl/fanwoodtext/DESCRIPTION.en_us.html b/ofl/fanwoodtext/DESCRIPTION.en_us.html index 472c1ed4cc..09092c9a63 100644 --- a/ofl/fanwoodtext/DESCRIPTION.en_us.html +++ b/ofl/fanwoodtext/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@

-Fanwood Text is a revival of Fairfield, the typeface first published in 1940 and designed by Rudolph Ruzicka, a famous Czech-American type designer. -The roman and italic are slightly darker and reduced in contrast than the original; this was tailored for increased readability on the Amazon Kindle 3 e-book reader hardware. + Fanwood Text is a revival of + + Fairfield + + , the typeface first published in 1940 and designed by Rudolph Ruzicka, a famous Czech-American type designer. + The roman and italic are slightly darker and reduced in contrast than the original; this was tailored for increased readability on the Amazon Kindle 3 e-book reader hardware.

-To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and the theleagueofmoveabletype.com/fanwood + To learn more, see + + bitbucket.org/sortsmill/sortsmill-fonts + + and the + + theleagueofmoveabletype.com/fanwood +

diff --git a/ofl/farro/DESCRIPTION.en_us.html b/ofl/farro/DESCRIPTION.en_us.html index 6dc14fcb72..7e2f2c7f24 100644 --- a/ofl/farro/DESCRIPTION.en_us.html +++ b/ofl/farro/DESCRIPTION.en_us.html @@ -1,3 +1,10 @@ -

Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette.

-

To contribute, see github.com/grayscaleltd/farro>.

- +

+ Farro is an artsy, four-weighted, display typeface that has a peculiar personality flowing through its European humanist silhouette. +

+

+ To contribute, see + + github.com/grayscaleltd/farro> + + . +

diff --git a/ofl/farsan/DESCRIPTION.en_us.html b/ofl/farsan/DESCRIPTION.en_us.html index 361c154cd9..2105298f80 100644 --- a/ofl/farsan/DESCRIPTION.en_us.html +++ b/ofl/farsan/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

-Farsan is a single-weight typeface that supports the Gujarati and Latin scripts. + Farsan is a single-weight typeface that supports the Gujarati and Latin scripts.

-The Farsan project is led by Pooja Saxena, a type designer based in Bangalore, India. -To contribute, see github.com/anexasajoop/farsan -

\ No newline at end of file + The Farsan project is led by Pooja Saxena, a type designer based in Bangalore, India. + To contribute, see + + github.com/anexasajoop/farsan + +

diff --git a/ofl/fascinate/DESCRIPTION.en_us.html b/ofl/fascinate/DESCRIPTION.en_us.html index d4765152ab..48cbe21309 100644 --- a/ofl/fascinate/DESCRIPTION.en_us.html +++ b/ofl/fascinate/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.

Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.

\ No newline at end of file +

+ Fascinate and + + Fascinate Inline + + are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. +

+

+ Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes. +

diff --git a/ofl/fascinateinline/DESCRIPTION.en_us.html b/ofl/fascinateinline/DESCRIPTION.en_us.html index 4c7be46ba7..8937e09cfe 100644 --- a/ofl/fascinateinline/DESCRIPTION.en_us.html +++ b/ofl/fascinateinline/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.

Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.

\ No newline at end of file +

+ + Fascinate + + and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe. +

+

+ Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes. +

diff --git a/ofl/fasterone/DESCRIPTION.en_us.html b/ofl/fasterone/DESCRIPTION.en_us.html index 0cc75578f4..e51316e1a5 100644 --- a/ofl/fasterone/DESCRIPTION.en_us.html +++ b/ofl/fasterone/DESCRIPTION.en_us.html @@ -1,13 +1,21 @@

-Faster One was developed from a sans serif italics. -In order to create an impression of velocity, the horizontal and gradual lines generate the idea of the image of the wind. -Ideal for writing headlines where efficiency and speed are priorities. + Faster One was developed from a sans serif italics. + In order to create an impression of velocity, the horizontal and gradual lines generate the idea of the image of the wind. + Ideal for writing headlines where efficiency and speed are priorities.

-

-Updated September 2015: Internal metadata corrected. + + Updated September 2015: + + Internal metadata corrected. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/faster + + .

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/faster.

diff --git a/ofl/fasthand/DESCRIPTION.en_us.html b/ofl/fasthand/DESCRIPTION.en_us.html index 5219c36494..5b7304c905 100644 --- a/ofl/fasthand/DESCRIPTION.en_us.html +++ b/ofl/fasthand/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Fasthand is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms that are written quickly. + Fasthand is a Khmer font for body text. + The design is inspired by a popular style of Khmer handwriting letterforms that are written quickly.

-To contribute, see github.com/danhhong/Fasthand. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Fasthand + + . +

diff --git a/ofl/faunaone/DESCRIPTION.en_us.html b/ofl/faunaone/DESCRIPTION.en_us.html index 0f66823e39..08360cb163 100644 --- a/ofl/faunaone/DESCRIPTION.en_us.html +++ b/ofl/faunaone/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Fauna is a modern typeface with low contrast strokes and soft terminals that form traditional serifs. Its structure is soft and slightly condensed. It reads clearly in paragraph composition and looks beautiful in headlines.

- -

The January 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/fauna-one.

+

+ Fauna is a modern typeface with low contrast strokes and soft terminals that form traditional serifs. + Its structure is soft and slightly condensed. + It reads clearly in paragraph composition and looks beautiful in headlines. +

+

+ The January 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/fauna-one + + . +

diff --git a/ofl/faustina/DESCRIPTION.en_us.html b/ofl/faustina/DESCRIPTION.en_us.html index f548de8a28..9cbedb11f4 100644 --- a/ofl/faustina/DESCRIPTION.en_us.html +++ b/ofl/faustina/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Faustina is part of the Omnibus-Type Press Series, designed by Alfonso Garcia for editorial typography (books, newspapers and magazines) in print and online. In September 2019, the family has been converted into a variable font family. + Faustina is part of the Omnibus-Type Press Series, designed by Alfonso Garcia for editorial typography (books, newspapers and magazines) in print and online. + In September 2019, the family has been converted into a variable font family.

-To contribute to the project, visit github.com/Omnibus-Type + To contribute to the project, visit + + github.com/Omnibus-Type +

diff --git a/ofl/federant/DESCRIPTION.en_us.html b/ofl/federant/DESCRIPTION.en_us.html index 086478a6bb..d93aa60728 100644 --- a/ofl/federant/DESCRIPTION.en_us.html +++ b/ofl/federant/DESCRIPTION.en_us.html @@ -1,18 +1,24 @@

-Federant revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig Nägele (1911). -The main challenge of designing a modern interpretation was to balance between applying visual corrections for overall consistency and staying close to the original source. -In certain cases the historical authenticy was sacrificed in favour of an even typographic color. + Federant revives the Reklameschrift typeface Feder Antiqua by Otto Ludwig Nägele (1911). + The main challenge of designing a modern interpretation was to balance between applying visual corrections for overall consistency and staying close to the original source. + In certain cases the historical authenticy was sacrificed in favour of an even typographic color.

-This project required research of historic type specimens in search for the missing letterforms. -The unusual interpretation of the Yen currency symbol can be found in typefaces of that period. + This project required research of historic type specimens in search for the missing letterforms. + The unusual interpretation of the Yen currency symbol can be found in typefaces of that period.

-Designed by Olexa M.Volochay, Alexei Vanyashin for Cyreal. + Designed by Olexa M.Volochay, Alexei Vanyashin for Cyreal.

-To contribute to the project, visit github.com/cyrealtype/Federant + To contribute to the project, visit + + github.com/cyrealtype/Federant +

-Updated: February 2016 to Version 1.011, to correct the GPOS table (enabling kerning, so the horizontal metrics may change, causing some reflow in Firefox where kerning is used by default.) + + Updated: + + February 2016 to Version 1.011, to correct the GPOS table (enabling kerning, so the horizontal metrics may change, causing some reflow in Firefox where kerning is used by default.)

diff --git a/ofl/federo/DESCRIPTION.en_us.html b/ofl/federo/DESCRIPTION.en_us.html index 12f245b5a2..cfe1674a7b 100644 --- a/ofl/federo/DESCRIPTION.en_us.html +++ b/ofl/federo/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Federo is a display webfont that references Jakob Erbar's Feder Grotesk. The goal was to keep the typeface as close as possible to the original 1909 design while adapting it for crisp web typography. Details were refined and contrast was slightly reduced for consistency. Figures obtained regular proportions and counters were increased for better legibility.

Designed by Olexa Volochay in 2011.

\ No newline at end of file +

+ Federo is a display webfont that references Jakob Erbar's Feder Grotesk. + The goal was to keep the typeface as close as possible to the original 1909 design while adapting it for crisp web typography. + Details were refined and contrast was slightly reduced for consistency. + Figures obtained regular proportions and counters were increased for better legibility. +

+

+ Designed by Olexa Volochay in 2011. +

diff --git a/ofl/felipa/DESCRIPTION.en_us.html b/ofl/felipa/DESCRIPTION.en_us.html index ce20ad9c69..d13f94bbf2 100644 --- a/ofl/felipa/DESCRIPTION.en_us.html +++ b/ofl/felipa/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Felipa is a carefully written calligraphic font based on a traditional Italian chancery cursive, though reinterpreted with a contemporary feeling.

\ No newline at end of file +

+ Felipa is a carefully written calligraphic font based on a traditional Italian chancery cursive, though reinterpreted with a contemporary feeling. +

diff --git a/ofl/fenix/DESCRIPTION.en_us.html b/ofl/fenix/DESCRIPTION.en_us.html index 46b20cf53c..d4d42c1240 100644 --- a/ofl/fenix/DESCRIPTION.en_us.html +++ b/ofl/fenix/DESCRIPTION.en_us.html @@ -1,5 +1,6 @@ -

Fenix is a serif typeface designed for use in both display and long text. -Very inspired by calligraphy, it has strong serifs and rough strokes. Its -proportions are designed to gain space savings in text, both in height and -width. It is elegant at large sizes and legible at the same time, with a lot -of rhythm in small sizes.

\ No newline at end of file +

+ Fenix is a serif typeface designed for use in both display and long text. + Very inspired by calligraphy, it has strong serifs and rough strokes. + Its proportions are designed to gain space savings in text, both in height and width. + It is elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes. +

diff --git a/ofl/festive/DESCRIPTION.en_us.html b/ofl/festive/DESCRIPTION.en_us.html index 1d4a1e5dee..9404dcce66 100644 --- a/ofl/festive/DESCRIPTION.en_us.html +++ b/ofl/festive/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-It's Festive! But don't let the name fool you… It's a fun script font (that includes a Roman stylistic set) accompanied by an assortment of exciting ornamental dingbats suitable for any occasion where festivities abound from New Years to Graduation, Baby & Wedding Showers, Thanksgiving, and much more, even Sports. + It's Festive! + But don't let the name fool you… It's a fun script font (that includes a Roman stylistic set) accompanied by an assortment of exciting ornamental dingbats suitable for any occasion where festivities abound from New Years to Graduation, Baby & Wedding Showers, Thanksgiving, and much more, even Sports.

-

-The base font works well with bodies of copy, while the alternate glyphs can be used to swap out individual characters to give a custom, hand written look. Be sure to scroll thru to see all the stylistic sets. +

+ The base font works well with bodies of copy, while the alternate glyphs can be used to swap out individual characters to give a custom, hand written look. + Be sure to scroll thru to see all the stylistic sets.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/festive. + To contribute, see + + github.com/googlefonts/festive + + .

diff --git a/ofl/figtree/DESCRIPTION.en_us.html b/ofl/figtree/DESCRIPTION.en_us.html index 06776b0fc7..2152fb3282 100644 --- a/ofl/figtree/DESCRIPTION.en_us.html +++ b/ofl/figtree/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Figtree is a clean yet friendly geometric sans serif font for usage in web and mobile apps. It's light-hearted and crisp when used for text, yet still retains some punch when used in uppercase – perfect for buttons and short labels. The thicker weights have a distinctly friendlier character, great for headlines of more personable brands.

- -

Figtree comes as a variable font with 7 legacy weights, light through black, and supports 280+ Latin languages. In November 2022, the italic style is added to complete the family.

- -

To contribute, see github.com/erikdkennedy/figtree.

+

+ Figtree is a clean yet friendly geometric sans serif font for usage in web and mobile apps. + It's light-hearted and crisp when used for text, yet still retains some punch when used in uppercase – perfect for buttons and short labels. + The thicker weights have a distinctly friendlier character, great for headlines of more personable brands. +

+

+ Figtree comes as a variable font with 7 legacy weights, light through black, and supports 280+ Latin languages. + In November 2022, the italic style is added to complete the family. +

+

+ To contribute, see + + github.com/erikdkennedy/figtree + + . +

diff --git a/ofl/fingerpaint/DESCRIPTION.en_us.html b/ofl/fingerpaint/DESCRIPTION.en_us.html index 579594ee94..84356b2497 100644 --- a/ofl/fingerpaint/DESCRIPTION.en_us.html +++ b/ofl/fingerpaint/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

-Finger Paint began as an experiment with artistic brush effects and then became a real typeface. + Finger Paint began as an experiment with artistic brush effects and then became a real typeface.

-Learn more at carrois.com + Learn more at + + carrois.com +

diff --git a/ofl/finlandica/DESCRIPTION.en_us.html b/ofl/finlandica/DESCRIPTION.en_us.html index 7619a1ead6..fe903751ed 100644 --- a/ofl/finlandica/DESCRIPTION.en_us.html +++ b/ofl/finlandica/DESCRIPTION.en_us.html @@ -1,2 +1,13 @@ -

The official typeface of Finland commissioned by the Prime ministers office and Business Finland for the promotion of Finnish exports. Its strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination - "Sisu". Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it's a breed suitable both as riding horse and workhorse.

-

To contribute, see github.com/HelsinkiTypeStudio/Finlandica.

+

+ The official typeface of Finland commissioned by the Prime ministers office and Business Finland for the promotion of Finnish exports. + Its strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination - "Sisu". + Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. + Like the Finnhorse it's a breed suitable both as riding horse and workhorse. +

+

+ To contribute, see + + github.com/HelsinkiTypeStudio/Finlandica + + . +

diff --git a/ofl/firacode/DESCRIPTION.en_us.html b/ofl/firacode/DESCRIPTION.en_us.html index c53d8b7e0d..ec65409b1c 100644 --- a/ofl/firacode/DESCRIPTION.en_us.html +++ b/ofl/firacode/DESCRIPTION.en_us.html @@ -1,15 +1,39 @@ -

Programmers use a lot of symbols, often encoded with several characters. For the human brain, sequences like - ->, <= or := are single logical tokens, even if they take two or three - characters on the screen. Your eye spends a non-zero amount of energy to scan, parse and join multiple characters - into a single logical one. Ideally, all programming languages should be designed with full-fledged Unicode symbols - for operators, but that’s not the case yet. +

+ Programmers use a lot of symbols, often encoded with several characters. + For the human brain, sequences like + + -> + + , + + <= + + or + + := + + are single logical tokens, even if they take two or three characters on the screen. + Your eye spends a non-zero amount of energy to scan, parse and join multiple characters into a single logical one. + Ideally, all programming languages should be designed with full-fledged Unicode symbols for operators, but that’s not the case yet.

- Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character - combinations. This is just a font rendering feature: underlying code remains ASCII-compatible. This helps to read - and understand code faster. For some frequent sequences like .. or //, ligatures allow us - to correct spacing. + Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. + This is just a font rendering feature: underlying code remains ASCII-compatible. + This helps to read and understand code faster. + For some frequent sequences like + + .. + + or + + // + + , ligatures allow us to correct spacing.

-To contribute, see https://github.com/tonsky/FiraCode. + To contribute, see + + https://github.com/tonsky/FiraCode + + .

diff --git a/ofl/firamono/DESCRIPTION.en_us.html b/ofl/firamono/DESCRIPTION.en_us.html index d28d5ee752..aa6e2697fb 100644 --- a/ofl/firamono/DESCRIPTION.en_us.html +++ b/ofl/firamono/DESCRIPTION.en_us.html @@ -1,5 +1,18 @@ -

Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering.

- -

The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.)

- -

See the Mozilla FirefoxOS Style Guide for more details.

\ No newline at end of file +

+ Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. +

+

+ The Fira font family comes in a + + Sans Serif + + with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. + The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.) +

+

+ See the + + Mozilla FirefoxOS Style Guide + + for more details. +

diff --git a/ofl/firasans/DESCRIPTION.en_us.html b/ofl/firasans/DESCRIPTION.en_us.html index aa4500da78..d86f6d4fe3 100644 --- a/ofl/firasans/DESCRIPTION.en_us.html +++ b/ofl/firasans/DESCRIPTION.en_us.html @@ -1,11 +1,22 @@

-Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. + Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering.

-The Fira font family comes in 3 widths, all accompanied by italic styles. -The package also includes a Mono Spaced variant. + The Fira font family comes in 3 widths, all accompanied by italic styles. + The package also includes a + + Mono Spaced variant + + .

-This project is led by Carrois, a type foundry based in Berlin. -To contribute, see github.com/mozilla/Fira -

\ No newline at end of file + This project is led by + + Carrois + + , a type foundry based in Berlin. + To contribute, see + + github.com/mozilla/Fira + +

diff --git a/ofl/firasanscondensed/DESCRIPTION.en_us.html b/ofl/firasanscondensed/DESCRIPTION.en_us.html index aa4500da78..d86f6d4fe3 100644 --- a/ofl/firasanscondensed/DESCRIPTION.en_us.html +++ b/ofl/firasanscondensed/DESCRIPTION.en_us.html @@ -1,11 +1,22 @@

-Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. + Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering.

-The Fira font family comes in 3 widths, all accompanied by italic styles. -The package also includes a Mono Spaced variant. + The Fira font family comes in 3 widths, all accompanied by italic styles. + The package also includes a + + Mono Spaced variant + + .

-This project is led by Carrois, a type foundry based in Berlin. -To contribute, see github.com/mozilla/Fira -

\ No newline at end of file + This project is led by + + Carrois + + , a type foundry based in Berlin. + To contribute, see + + github.com/mozilla/Fira + +

diff --git a/ofl/firasansextracondensed/DESCRIPTION.en_us.html b/ofl/firasansextracondensed/DESCRIPTION.en_us.html index aa4500da78..d86f6d4fe3 100644 --- a/ofl/firasansextracondensed/DESCRIPTION.en_us.html +++ b/ofl/firasansextracondensed/DESCRIPTION.en_us.html @@ -1,11 +1,22 @@

-Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. + Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering.

-The Fira font family comes in 3 widths, all accompanied by italic styles. -The package also includes a Mono Spaced variant. + The Fira font family comes in 3 widths, all accompanied by italic styles. + The package also includes a + + Mono Spaced variant + + .

-This project is led by Carrois, a type foundry based in Berlin. -To contribute, see github.com/mozilla/Fira -

\ No newline at end of file + This project is led by + + Carrois + + , a type foundry based in Berlin. + To contribute, see + + github.com/mozilla/Fira + +

diff --git a/ofl/fjallaone/DESCRIPTION.en_us.html b/ofl/fjallaone/DESCRIPTION.en_us.html index bce9da75d1..a5d15ceaf1 100644 --- a/ofl/fjallaone/DESCRIPTION.en_us.html +++ b/ofl/fjallaone/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Fjalla One is a medium contrast display sans serif. Fjalla One has been -carefully adjusted to the restrictions of the screen. Despite having display -characteristics Fjalla One can be used in a wide range of sizes.

- -

Latest upgrade from March 2023 expands the Latin script language coverage and improves the overhall horizontal space for a better readability.

- - -

To contribute, see github.com/SorkinType/FjallaOne.

+

+ Fjalla One is a medium contrast display sans serif. + Fjalla One has been carefully adjusted to the restrictions of the screen. + Despite having display characteristics Fjalla One can be used in a wide range of sizes. +

+

+ Latest upgrade from March 2023 expands the Latin script language coverage and improves the overhall horizontal space for a better readability. +

+

+ To contribute, see + + github.com/SorkinType/FjallaOne + + . +

diff --git a/ofl/fjordone/DESCRIPTION.en_us.html b/ofl/fjordone/DESCRIPTION.en_us.html index c3dc23cb01..5391f9cab1 100644 --- a/ofl/fjordone/DESCRIPTION.en_us.html +++ b/ofl/fjordone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Fjord is a serif typeface, originally designed with printed books in mind, and particularly intended for long texts in small print sizes. Fjord features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the 'x' height. Fjord performs well in sizes form 12 px and higher but because of its original design and careful detailing Fjord can also be a distinctive font choice for larger text headlines and in corporate design. Fjord is inspired by the feeling found in both renaissance and contemporary typeface design.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Fjord is a serif typeface, originally designed with printed books in mind, and particularly intended for long texts in small print sizes. + Fjord features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the 'x' height. + Fjord performs well in sizes form 12 px and higher but because of its original design and careful detailing Fjord can also be a distinctive font choice for larger text headlines and in corporate design. + Fjord is inspired by the feeling found in both renaissance and contemporary typeface design. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/flamenco/DESCRIPTION.en_us.html b/ofl/flamenco/DESCRIPTION.en_us.html index 4696c3b9d6..a01c408970 100644 --- a/ofl/flamenco/DESCRIPTION.en_us.html +++ b/ofl/flamenco/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Flamenco is a semi-serif slab typeface. It is inspired by the bird of the same name; its long ascenders and descenders provide elegance and a classic touch, while it is monolinear humanist structure and rounded terminals give it a kind and smooth feeling.

\ No newline at end of file +

+ Flamenco is a semi-serif slab typeface. + It is inspired by the bird of the same name; its long ascenders and descenders provide elegance and a classic touch, while it is monolinear humanist structure and rounded terminals give it a kind and smooth feeling. +

diff --git a/ofl/flavors/DESCRIPTION.en_us.html b/ofl/flavors/DESCRIPTION.en_us.html index 40094e0059..f4bc8f57a1 100644 --- a/ofl/flavors/DESCRIPTION.en_us.html +++ b/ofl/flavors/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Does your blog taste bland? Is you website cooked up from the same old recipe? Ladies and gentlemen, we have the missing ingredient! With Flavors you'll get the zest and zing not found in those boring vanilla fonts. Another tasty typeface designed by Squid and brought to you by Dave 'Squid' Cohen of Sideshow

\ No newline at end of file +

+ Does your blog taste bland? + Is you website cooked up from the same old recipe? + Ladies and gentlemen, we have the missing ingredient! + With Flavors you'll get the zest and zing not found in those boring vanilla fonts. + Another tasty typeface designed by Squid and brought to you by Dave 'Squid' Cohen of Sideshow +

diff --git a/ofl/fleurdeleah/DESCRIPTION.en_us.html b/ofl/fleurdeleah/DESCRIPTION.en_us.html index 34dd2ac9ad..1f855333fb 100644 --- a/ofl/fleurdeleah/DESCRIPTION.en_us.html +++ b/ofl/fleurdeleah/DESCRIPTION.en_us.html @@ -1,12 +1,22 @@

-Fleur De Leah is a formal script with a floral flavour. One of the first fonts to incorporate embellishment design elements within the letterforms. + Fleur De Leah is a formal script with a floral flavour. + One of the first fonts to incorporate embellishment design elements within the letterforms.

-Use it sparingly for captions and short phrases and as with any script font, but never use it in all caps. Enjoy! + Use it sparingly for captions and short phrases and as with any script font, but + + never + + use it in all caps. + Enjoy!

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/fleurdeleah. + To contribute, see + + github.com/googlefonts/fleurdeleah + + .

diff --git a/ofl/flowblock/DESCRIPTION.en_us.html b/ofl/flowblock/DESCRIPTION.en_us.html index 13685a5d56..fa1f764d30 100644 --- a/ofl/flowblock/DESCRIPTION.en_us.html +++ b/ofl/flowblock/DESCRIPTION.en_us.html @@ -1,15 +1,37 @@

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

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

- Check out danross.co/flow/. + Check out + + danross.co/flow/ + + .

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

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

\ No newline at end of file + To learn more, read + + Flow and Redacted: Check out these new options for wireframes and other early-stage designs + + . +

diff --git a/ofl/flowcircular/DESCRIPTION.en_us.html b/ofl/flowcircular/DESCRIPTION.en_us.html index ce754a296b..aa75e329e5 100644 --- a/ofl/flowcircular/DESCRIPTION.en_us.html +++ b/ofl/flowcircular/DESCRIPTION.en_us.html @@ -1,15 +1,37 @@

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

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

- Check out danross.co/flow/. + Check out + + danross.co/flow/ + + .

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

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

\ No newline at end of file + To learn more, read + + Flow and Redacted: Check out these new options for wireframes and other early-stage designs + + . +

diff --git a/ofl/flowrounded/DESCRIPTION.en_us.html b/ofl/flowrounded/DESCRIPTION.en_us.html index 8a7477016a..04b21da599 100644 --- a/ofl/flowrounded/DESCRIPTION.en_us.html +++ b/ofl/flowrounded/DESCRIPTION.en_us.html @@ -1,15 +1,37 @@

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

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

- Check out danross.co/flow/. + Check out + + danross.co/flow/ + + .

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

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

\ No newline at end of file + To learn more, read + + Flow and Redacted: Check out these new options for wireframes and other early-stage designs + + . +

diff --git a/ofl/foldit/DESCRIPTION.en_us.html b/ofl/foldit/DESCRIPTION.en_us.html index 671f717128..1de08f165d 100644 --- a/ofl/foldit/DESCRIPTION.en_us.html +++ b/ofl/foldit/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Foldit is a variable-gradient COLRv1 font which uses gradients to play with dimensions and give a sense of space. The concept of this design was, as the name suggests, based on a folded paper strip. + Foldit is a variable-gradient COLRv1 font which uses gradients to play with dimensions and give a sense of space. + The concept of this design was, as the name suggests, based on a folded paper strip.

- To contribute, see https://github.com/SophiaDesign/Foldit.

-

\ No newline at end of file + To contribute, see + + https://github.com/SophiaDesign/Foldit + + . +

diff --git a/ofl/fondamento/DESCRIPTION.en_us.html b/ofl/fondamento/DESCRIPTION.en_us.html index 85971a7d3e..09114977b6 100644 --- a/ofl/fondamento/DESCRIPTION.en_us.html +++ b/ofl/fondamento/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Fondamento and Fondamento Italic are calligraphic lettering styles based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. The letterforms are clear and cleanly legible, basic and formal.

\ No newline at end of file +

+ Fondamento and Fondamento Italic are calligraphic lettering styles based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. + The letterforms are clear and cleanly legible, basic and formal. +

diff --git a/ofl/forum/DESCRIPTION.en_us.html b/ofl/forum/DESCRIPTION.en_us.html index 477c43887d..2276cca6d6 100644 --- a/ofl/forum/DESCRIPTION.en_us.html +++ b/ofl/forum/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Forum has antique, classic "Roman" proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.

\ No newline at end of file +

+ Forum has antique, classic "Roman" proportions. + It can be used to set body texts and works well in titles and headlines too. + It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities. +

diff --git a/ofl/fragmentmono/DESCRIPTION.en_us.html b/ofl/fragmentmono/DESCRIPTION.en_us.html index 17ee73b4b2..e92a2cbbcf 100644 --- a/ofl/fragmentmono/DESCRIPTION.en_us.html +++ b/ofl/fragmentmono/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending Nimbus Sans by URW Design Studio. + Fragment Mono is a monospaced coding version of Helvetica created by modifying and extending + + Nimbus Sans + + by URW Design Studio.

-

-Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. + Fragment Mono is designed by Wei Huang based on Nimbus Sans by URW Design Studio, based on Helvetica by Max Miedinger. +

+

+ To contribute, see + + github.com/weiweihuanghuang/fragment-mono/ +

- -

To contribute, see github.com/weiweihuanghuang/fragment-mono/

\ No newline at end of file diff --git a/ofl/francoisone/DESCRIPTION.en_us.html b/ofl/francoisone/DESCRIPTION.en_us.html index 59fe202713..9fa1715497 100644 --- a/ofl/francoisone/DESCRIPTION.en_us.html +++ b/ofl/francoisone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Francois One is a reworking of traditional sans serif gothic display typeface forms. In Francois One, the earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. Slanted stem terminals have been added to give the face added visual play.

\ No newline at end of file +

+ Francois One is a reworking of traditional sans serif gothic display typeface forms. + In Francois One, the earlier letter forms have been digitised and then reshaped for use as a webfont, the counters have been opened up a little and the stems optimised for use as bold display font in modern web browsers. + Slanted stem terminals have been added to give the face added visual play. +

diff --git a/ofl/frankruhllibre/DESCRIPTION.en_us.html b/ofl/frankruhllibre/DESCRIPTION.en_us.html index 5bc788f62a..6c50b18b73 100644 --- a/ofl/frankruhllibre/DESCRIPTION.en_us.html +++ b/ofl/frankruhllibre/DESCRIPTION.en_us.html @@ -1,14 +1,23 @@

-Frank Ruhl Libre is an open source version of the classic Hebrew typeface Frank Rühl, the most ubiquitous Hebrew typeface in print. -Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. F. Rühl foundry of Leipzig. -A final version was released in 1910. -Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface. + Frank Ruhl Libre is an open source version of the classic Hebrew typeface Frank Rühl, the most ubiquitous Hebrew typeface in print. + Frank Rühl was designed in 1908 by Rafael Frank in collaboration with Auto Rühl of the C. + F. + Rühl foundry of Leipzig. + A final version was released in 1910. + Many Israeli books, newspapers and magazines use Frank Rühl as their main body text typeface.

-Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in longform text, with and without vowel marks. -Frank Rühl has Sephardi proportions (mem-height is approximately 4½ stroke widths), and is based roughly on Venetian typefaces used by printer Daniel Bomberg. -Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the "pleasantness" of Fraktur, leading him to "quieten" the letterforms by reducing the contrast between its thin and thick strokes. + Made to accommodate the growing need for typefaces in secular Hebrew writings, the typeface was fitted to modern printing demands and designed to be readable in longform text, with and without vowel marks. + Frank Rühl has Sephardi proportions (mem-height is approximately 4½ stroke widths), and is based roughly on Venetian typefaces used by printer Daniel Bomberg. + Frank wrote of his design that he wishes to combine the simpleness of Antiqua with the "pleasantness" of Fraktur, leading him to "quieten" the letterforms by reducing the contrast between its thin and thick strokes. +

+

+ This newly designed revival by Yanek Iontef is a family of 7 weights, Light to Black (the original typeface had only one) and in November 2022, it became variable and offers a larger choice of weights. +

+

+ To contribute, see + + github.com/fontef/frankruhllibre + + .

-

This newly designed revival by Yanek Iontef is a family of 7 weights, Light to Black (the original typeface had only one) and in November 2022, it became variable and offers a larger choice of weights.

- -

To contribute, see github.com/fontef/frankruhllibre.

diff --git a/ofl/fraunces/DESCRIPTION.en_us.html b/ofl/fraunces/DESCRIPTION.en_us.html index fc52b32ecf..428a84286c 100644 --- a/ofl/fraunces/DESCRIPTION.en_us.html +++ b/ofl/fraunces/DESCRIPTION.en_us.html @@ -1,14 +1,31 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of "Old Style" typeface + + . +

diff --git a/ofl/freckleface/DESCRIPTION.en_us.html b/ofl/freckleface/DESCRIPTION.en_us.html index ffbf6ce263..a10b1f96d8 100644 --- a/ofl/freckleface/DESCRIPTION.en_us.html +++ b/ofl/freckleface/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Freckle Face draws its inspiration from Pillbury's Funny Face drink mix -packages. I loved these drink mixes when I was a kid, not only because of -the great flavors, but also the fun packaging. Who knew I'd renew the -love affair later by finding myself loving the lettering too!

- -

Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to -the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Freckle Face draws its inspiration from Pillbury's Funny Face drink mix packages. + I loved these drink mixes when I was a kid, not only because of the great flavors, but also the fun packaging. + Who knew I'd renew the love affair later by finding myself loving the lettering too! +

+

+ Designed by Brian J. + Bonislawsky for Astigmatic (AOETI). + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/frederickathegreat/DESCRIPTION.en_us.html b/ofl/frederickathegreat/DESCRIPTION.en_us.html index 7d82ab282c..4921cc6a7a 100644 --- a/ofl/frederickathegreat/DESCRIPTION.en_us.html +++ b/ofl/frederickathegreat/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Fredericka recalls my college days of nights spent creating handdrawn presentation boards, architectural sketches and student union posters. She's fun, she's casual, she's preppy, she's classic, she's Great! Designed by Crystal Kluge of Tart Workshop.

\ No newline at end of file +

+ Fredericka recalls my college days of nights spent creating handdrawn presentation boards, architectural sketches and student union posters. + She's fun, she's casual, she's preppy, she's classic, she's Great! + Designed by Crystal Kluge of Tart Workshop. +

diff --git a/ofl/fredoka/DESCRIPTION.en_us.html b/ofl/fredoka/DESCRIPTION.en_us.html index 4baeeb755e..caccba59bb 100644 --- a/ofl/fredoka/DESCRIPTION.en_us.html +++ b/ofl/fredoka/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-Fredoka is a big, round, bold font that is perfect for adding a little fun to any headline or large text. + Fredoka is a big, round, bold font that is perfect for adding a little fun to any headline or large text.

-The initial Latin component was designed by Milena Brandão. The later Hebrew component was designed by Ben Nathan. + The initial Latin component was designed by Milena Brandão. + The later Hebrew component was designed by Ben Nathan.

-Fredoka is a variable font with a width and weight axes. + Fredoka is a variable font with a width and weight axes.

-The Fredoka project is led by Ben Nathan, a type design foundry based in Israel. To contribute, see github.com/hafontia/Fredoka-One. + The Fredoka project is led by Ben Nathan, a type design foundry based in Israel. + To contribute, see + + github.com/hafontia/Fredoka-One + + .

diff --git a/ofl/freehand/DESCRIPTION.en_us.html b/ofl/freehand/DESCRIPTION.en_us.html index 763111fb8a..90f8acab95 100644 --- a/ofl/freehand/DESCRIPTION.en_us.html +++ b/ofl/freehand/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Freehand is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms. + Freehand is a Khmer font for body text. + The design is inspired by a popular style of Khmer handwriting letterforms.

-To contribute, see github.com/danhhong/Freehand. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Freehand + + . +

diff --git a/ofl/fresca/DESCRIPTION.en_us.html b/ofl/fresca/DESCRIPTION.en_us.html index 10abd04742..bd72590d4a 100644 --- a/ofl/fresca/DESCRIPTION.en_us.html +++ b/ofl/fresca/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

A very friendly font for display use with a fresh atmosphere, Fresca gives the text an alternative to comic settings.

\ No newline at end of file +

+ A very friendly font for display use with a fresh atmosphere, Fresca gives the text an alternative to comic settings. +

diff --git a/ofl/frijole/DESCRIPTION.en_us.html b/ofl/frijole/DESCRIPTION.en_us.html index f1b40c1067..8eb8a1fc53 100644 --- a/ofl/frijole/DESCRIPTION.en_us.html +++ b/ofl/frijole/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

What's on your font menu tonight? The same old boring beans? Then why not try Frijole! Its a fresh new face that's anything but re-fried. And it's sure to be a hit when you're cooking up something that needs to be bold, spicy and satisfying! Another fresh font from Squid and Sideshow.

\ No newline at end of file +

+ What's on your font menu tonight? + The same old boring beans? + Then why not try Frijole! + Its a fresh new face that's anything but re-fried. + And it's sure to be a hit when you're cooking up something that needs to be bold, spicy and satisfying! + Another fresh font from Squid and Sideshow. +

diff --git a/ofl/fruktur/DESCRIPTION.en_us.html b/ofl/fruktur/DESCRIPTION.en_us.html index b5a7d80275..85a65c98f9 100644 --- a/ofl/fruktur/DESCRIPTION.en_us.html +++ b/ofl/fruktur/DESCRIPTION.en_us.html @@ -1,14 +1,24 @@

-Fruktur initially appears to be a playful and powerful black letter type with a warm friendly feeling. -However its construction is closer to that of an upright italic. -Fruktur offers some of the feeling of a black letter but with higher legibility and greater utility than is typical of black letter type. -Fruktur will be most useful from medium to large sizes. + Fruktur initially appears to be a playful and powerful black letter type with a warm friendly feeling. + However its construction is closer to that of an upright italic. + Fruktur offers some of the feeling of a black letter but with higher legibility and greater utility than is typical of black letter type. + Fruktur will be most useful from medium to large sizes.

-To contribute to the project, visit github.com/EbenSorkin/Fruktur + To contribute to the project, visit + + github.com/EbenSorkin/Fruktur +

-Updated: -

January 2016, to v1.004 with additional language support, improved hinting (visible in Windows browsers at smaller font sizes) and other minor fixes.

-

August 2022, expanded glyph set, better language support. Italic style has been added to complement Roman.

+ + Updated: + +

+ January 2016, to v1.004 with additional language support, improved hinting (visible in Windows browsers at smaller font sizes) and other minor fixes. +

+

+ August 2022, expanded glyph set, better language support. + Italic style has been added to complement Roman. +

diff --git a/ofl/fugazone/DESCRIPTION.en_us.html b/ofl/fugazone/DESCRIPTION.en_us.html index 786aae6d35..63b21c886b 100644 --- a/ofl/fugazone/DESCRIPTION.en_us.html +++ b/ofl/fugazone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Fugaz One is a sans serif with very geometric features and gestural characteristics, which brings it away from its formal beginnings. Combined with its italic inclination, Fugaz One has become a very dynamic font.

\ No newline at end of file +

+ Fugaz One is a sans serif with very geometric features and gestural characteristics, which brings it away from its formal beginnings. + Combined with its italic inclination, Fugaz One has become a very dynamic font. +

diff --git a/ofl/fuggles/DESCRIPTION.en_us.html b/ofl/fuggles/DESCRIPTION.en_us.html index de3c4e18b7..2de463c01f 100644 --- a/ofl/fuggles/DESCRIPTION.en_us.html +++ b/ofl/fuggles/DESCRIPTION.en_us.html @@ -1,15 +1,21 @@

-Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile handwriting font. + Take a little Inspiration, mix in some Sassy Frass and a splash of Waterfall; add hundreds of alternate forms and you have the recipe for a versatile handwriting font.

-This fun, scribbly little font can fool you. At first glance it looks crude and simple. But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. Some characters are quirky, some are swashy, some are scribbly and others are elegant. + This fun, scribbly little font can fool you. + At first glance it looks crude and simple. + But, with over 1600 glyphs, combine the right character pairs and suddenly Fuggles is a powerful script that can be used for sophisticated commercial design. + Some characters are quirky, some are swashy, some are scribbly and others are elegant.

-Fuggles comes with Latin Character sets including Western, Central, and Vietnamese language support. + Fuggles comes with Latin Character sets including Western, Central, and Vietnamese language support.

-The name comes from classic English beer brewing, a kind of aroma hop cultivated in 1875 by Mr Richard Fuggle. + The name comes from classic English beer brewing, a kind of aroma hop cultivated in 1875 by Mr Richard Fuggle.

-To contribute, see github.com/googlefonts/fuggles + To contribute, see + + github.com/googlefonts/fuggles +

diff --git a/ofl/fuzzybubbles/DESCRIPTION.en_us.html b/ofl/fuzzybubbles/DESCRIPTION.en_us.html index 7e1c6222ac..982d3b704c 100644 --- a/ofl/fuzzybubbles/DESCRIPTION.en_us.html +++ b/ofl/fuzzybubbles/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Fuzzy Bubbles is a cute juvenile style. Playful and loose, its innocence is perfect for children's parties. + Fuzzy Bubbles is a cute juvenile style. + Playful and loose, its innocence is perfect for children's parties.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/fuzzy-bubbles. + To contribute, see + + github.com/googlefonts/fuzzy-bubbles + + .

diff --git a/ofl/gabarito/DESCRIPTION.en_us.html b/ofl/gabarito/DESCRIPTION.en_us.html index 175319e2f9..7549ab42a5 100644 --- a/ofl/gabarito/DESCRIPTION.en_us.html +++ b/ofl/gabarito/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@ -

Gabarito is a light-hearted geometric sans typeface with 6 weights ranging from Regular to Black originally designed for an online learning platform in Brazil.

- -

Named after the Brazilian Portuguese work for an answer sheet, Gabarito was made to help young people learn and overcome the university entry exams known as "vestibular", and it did that by packing lots of high-school level symbols and figures into a very friendly voice that was equal parts functional and engaging.

- -

Beyond the Google Fonts Latin Core Character set which supports over several latin alphabet languages, Gabarito also includes things like Logic and Set Theory symbols, scientific inferiors and superiors, extensive math operators, roman numerals and anything else a high-schooler may need for their homework.

- -

The initial design was comissioned in 2017, started by Leandro Assis and Álvaro Franca, it then got developed and improved further in 2020 by Álvaro Franca and Felipe Casaprima, and finally in 2023 it got a little bit of a makeover in order for it's debut in the commons, that last part with a lot of help from Henrique Beier of Harbor Type.

- -

To contribute, please see github.com/naipefoundry/gabarito.

+

+ Gabarito is a light-hearted geometric sans typeface with 6 weights ranging from Regular to Black originally designed for an online learning platform in Brazil. +

+

+ Named after the Brazilian Portuguese work for an answer sheet, Gabarito was made to help young people learn and overcome the university entry exams known as "vestibular", and it did that by packing lots of high-school level symbols and figures into a very friendly voice that was equal parts functional and engaging. +

+

+ Beyond the Google Fonts Latin Core Character set which supports over several latin alphabet languages, Gabarito also includes things like Logic and Set Theory symbols, scientific inferiors and superiors, extensive math operators, roman numerals and anything else a high-schooler may need for their homework. +

+

+ The initial design was comissioned in 2017, started by Leandro Assis and Álvaro Franca, it then got developed and improved further in 2020 by Álvaro Franca and Felipe Casaprima, and finally in 2023 it got a little bit of a makeover in order for it's debut in the commons, that last part with a lot of help from Henrique Beier of Harbor Type. +

+

+ To contribute, please see + + github.com/naipefoundry/gabarito + + . +

diff --git a/ofl/gabriela/DESCRIPTION.en_us.html b/ofl/gabriela/DESCRIPTION.en_us.html index 4aa72cb561..11efcb2e3f 100644 --- a/ofl/gabriela/DESCRIPTION.en_us.html +++ b/ofl/gabriela/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@ -

Gabriela is a serif typeface with soft shapes, and special terminal -forms which are shaped like curls. They connect each letter to create -attractive word shapes and text blocks with a fine texture. In small -bodies of text she works well for reading, and in headlines provides -interesting details to catch the eye.

- -

The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/Gabriela.

+

+ Gabriela is a serif typeface with soft shapes, and special terminal forms which are shaped like curls. + They connect each letter to create attractive word shapes and text blocks with a fine texture. + In small bodies of text she works well for reading, and in headlines provides interesting details to catch the eye. +

+

+ The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/Gabriela + + . +

diff --git a/ofl/gaegu/DESCRIPTION.en_us.html b/ofl/gaegu/DESCRIPTION.en_us.html index 45e1c39322..d237a83087 100644 --- a/ofl/gaegu/DESCRIPTION.en_us.html +++ b/ofl/gaegu/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Gaegu is a Korean and Latin font

+

+ Gaegu is a Korean and Latin font +

diff --git a/ofl/gafata/DESCRIPTION.en_us.html b/ofl/gafata/DESCRIPTION.en_us.html index 94c5a9ece4..29be0d99ae 100644 --- a/ofl/gafata/DESCRIPTION.en_us.html +++ b/ofl/gafata/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@ -

Gafata is a font designed for small sizes in medium-long text, mixing -elegance and readability which is why it has great applicability in books, -magazines and web pages. In the process of finding the finest legibility, -particular features emerged making this whimsical sans serif different from -the rest, creating an original mark to the text it's applied to.

- -

Updated in March 2013 with updated spacing.

- -

Updated in April 2013 with updated hinting.

- -

To contribute to the project contact -Lautaro Hourcade.

+

+ Gafata is a font designed for small sizes in medium-long text, mixing elegance and readability which is why it has great applicability in books, magazines and web pages. + In the process of finding the finest legibility, particular features emerged making this whimsical sans serif different from the rest, creating an original mark to the text it's applied to. +

+

+ Updated in March 2013 with updated spacing. +

+

+ Updated in April 2013 with updated hinting. +

+

+ To contribute to the project contact + + Lautaro Hourcade + + . +

diff --git a/ofl/gajrajone/DESCRIPTION.en_us.html b/ofl/gajrajone/DESCRIPTION.en_us.html index 4aaecce7d7..68422fbab3 100644 --- a/ofl/gajrajone/DESCRIPTION.en_us.html +++ b/ofl/gajrajone/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Gajraj (the king of elephants) is a Latin display typeface with Devanagari language support, designed for use in large hoardings, - signage, and print materials for branding and advertising. It is a single variant display typeface, created as the designer's - first attempt at designing in the Devanagari script. + Gajraj (the king of elephants) is a Latin display typeface with Devanagari language support, designed for use in large hoardings, signage, and print materials for branding and advertising. + It is a single variant display typeface, created as the designer's first attempt at designing in the Devanagari script. +

+

+ To contribute, see + + github.com/xconsau/GajrajOne + + .

-

To contribute, see github.com/xconsau/GajrajOne.

diff --git a/ofl/galada/DESCRIPTION.en_us.html b/ofl/galada/DESCRIPTION.en_us.html index f5daf61c4b..66f1df6e03 100644 --- a/ofl/galada/DESCRIPTION.en_us.html +++ b/ofl/galada/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@

-Galada is a Bengali and Latin font that started with the famous Latin Lobster font, and extended the design to Bengali. -The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce. + Galada is a Bengali and Latin font that started with the famous Latin + + Lobster + + font, and extended the design to Bengali. + The Bengali was developed as a studio collaboration by Jeremie Hornus, Yoann Minet, and Juan Bruce.

-The Galada project is led by Black Foundry, a type design foundry based in Paris, France. -To contribute, see github.com/TypefactoryNet/Galada -

\ No newline at end of file + The Galada project is led by Black Foundry, a type design foundry based in Paris, France. + To contribute, see + + github.com/TypefactoryNet/Galada + +

diff --git a/ofl/galdeano/DESCRIPTION.en_us.html b/ofl/galdeano/DESCRIPTION.en_us.html index 7a82494ed2..05c41e3e13 100644 --- a/ofl/galdeano/DESCRIPTION.en_us.html +++ b/ofl/galdeano/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Galdeano is a humanist san serif typeface with strong variation in its stroke weight. The general form is slightly condensed. It has soft variation in its contrast, diagonal stress and open forms to improve legibility. The relation between x-height, ascender and descenders gives the text a bright color on the screen. It has only the necessary curves and it is a little darker for better rasterization. The typeface works smooth at text sizes and shows strong personality in larger sizes too. It is best recommended for short text and headlines, but it is also comfortable for reading on screen.

Designed by Dario Muhafara for tipo foundry.

\ No newline at end of file +

+ Galdeano is a humanist san serif typeface with strong variation in its stroke weight. + The general form is slightly condensed. + It has soft variation in its contrast, diagonal stress and open forms to improve legibility. + The relation between x-height, ascender and descenders gives the text a bright color on the screen. + It has only the necessary curves and it is a little darker for better rasterization. + The typeface works smooth at text sizes and shows strong personality in larger sizes too. + It is best recommended for short text and headlines, but it is also comfortable for reading on screen. +

+

+ Designed by Dario Muhafara for + + tipo foundry + + . +

diff --git a/ofl/galindo/DESCRIPTION.en_us.html b/ofl/galindo/DESCRIPTION.en_us.html index 32b7def5fe..e076fa2b22 100644 --- a/ofl/galindo/DESCRIPTION.en_us.html +++ b/ofl/galindo/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

The Galindo typeface is an inspired spin off light-hearted animated fonts with geometric counters.

\ No newline at end of file +

+ The Galindo typeface is an inspired spin off light-hearted animated fonts with geometric counters. +

diff --git a/ofl/gamjaflower/DESCRIPTION.en_us.html b/ofl/gamjaflower/DESCRIPTION.en_us.html index dda67d7920..1593ba5bf9 100644 --- a/ofl/gamjaflower/DESCRIPTION.en_us.html +++ b/ofl/gamjaflower/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Gamja Flower is a Korean and Latin font.

\ No newline at end of file +

+ Gamja Flower is a Korean and Latin font. +

diff --git a/ofl/gantari/DESCRIPTION.en_us.html b/ofl/gantari/DESCRIPTION.en_us.html index 9de68875f1..4055cca95e 100644 --- a/ofl/gantari/DESCRIPTION.en_us.html +++ b/ofl/gantari/DESCRIPTION.en_us.html @@ -1,2 +1,12 @@ -

Gantari is a sans serif font with a geometric touch, designed by Anugrah Pasau from Lafontype. Gantari is not purely geometric, proportions have been designed so that all characters can look harmonious. The font was originally designed for large sizes, but it also reads well at small sizes.

-

To contribute, see github.com/Lafontype/Gantari.

+

+ Gantari is a sans serif font with a geometric touch, designed by Anugrah Pasau from Lafontype. + Gantari is not purely geometric, proportions have been designed so that all characters can look harmonious. + The font was originally designed for large sizes, but it also reads well at small sizes. +

+

+ To contribute, see + + github.com/Lafontype/Gantari + + . +

diff --git a/ofl/gasoekone/DESCRIPTION.en_us.html b/ofl/gasoekone/DESCRIPTION.en_us.html index a16490daa0..e9e0896679 100644 --- a/ofl/gasoekone/DESCRIPTION.en_us.html +++ b/ofl/gasoekone/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@

- When people mention "Soek" in South Korea, they will think of the Chinese character. This word gives the impression of being as thick and hard as a stone. Ga means "to add" in Korean. So this typeface, Gasoek, is a much thicker typeface than usual typefaces. The thick strokes fill up the embox, but by giving the right angle at the end of stroke to match with Hangeul characteristics, the font has natural counter spaces with good legibility. So, Gasoek is not just a thick font but a font that has a character and gives a unique impression. + When people mention "Soek" in South Korea, they will think of the Chinese character. + This word gives the impression of being as thick and hard as a stone. + Ga means "to add" in Korean. + So this typeface, Gasoek, is a much thicker typeface than usual typefaces. + The thick strokes fill up the embox, but by giving the right angle at the end of stroke to match with Hangeul characteristics, the font has natural counter spaces with good legibility. + So, Gasoek is not just a thick font but a font that has a character and gives a unique impression.

- To contribute, please visit github.com/JAMO-TYPEFACE/Gasoek. + To contribute, please visit + + github.com/JAMO-TYPEFACE/Gasoek + + .

diff --git a/ofl/gayathri/DESCRIPTION.en_us.html b/ofl/gayathri/DESCRIPTION.en_us.html index 592a699644..a3653ddc56 100644 --- a/ofl/gayathri/DESCRIPTION.en_us.html +++ b/ofl/gayathri/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

A gentle and modern Malayalam display typeface. Available in three weights, Gayathri is best suited for headlines, posters, titles and captions. Unicode compliant and libre licensed.

- -

To contribute, see gitlab.com/smc/fonts/gayathri.

- +

+ A gentle and modern Malayalam display typeface. + Available in three weights, Gayathri is best suited for headlines, posters, titles and captions. + Unicode compliant and libre licensed. +

+

+ To contribute, see + + gitlab.com/smc/fonts/gayathri + + . +

diff --git a/ofl/gelasio/DESCRIPTION.en_us.html b/ofl/gelasio/DESCRIPTION.en_us.html index a1464905cc..936c1800c8 100644 --- a/ofl/gelasio/DESCRIPTION.en_us.html +++ b/ofl/gelasio/DESCRIPTION.en_us.html @@ -1,8 +1,19 @@ -

Gelasio is an original typeface that is metrics compatible with Georgia in its Regular, Bold, Italic and Bold Italic weights. Its design was inspired by an original printed sample of a French Transitional typeface which follows the Romain Du Roi typeface introduced in 1702.

- -

As a transitional type, it is marked by an interest in rational planning and it has a tension between rigor and expression. It feels generally formal and rational but its rounded terminals make it more contemporary and friendly. It also offers an occasional flourish, especially in the italics.

- -

The last release in June 2022 offers an major language support update.

- -

To contribute, see github.com/SorkinType/Gelasio.

- +

+ Gelasio is an original typeface that is metrics compatible with Georgia in its Regular, Bold, Italic and Bold Italic weights. + Its design was inspired by an original printed sample of a French Transitional typeface which follows the Romain Du Roi typeface introduced in 1702. +

+

+ As a transitional type, it is marked by an interest in rational planning and it has a tension between rigor and expression. + It feels generally formal and rational but its rounded terminals make it more contemporary and friendly. + It also offers an occasional flourish, especially in the italics. +

+

+ The last release in June 2022 offers an major language support update. +

+

+ To contribute, see + + github.com/SorkinType/Gelasio + + . +

diff --git a/ofl/gemunulibre/DESCRIPTION.en_us.html b/ofl/gemunulibre/DESCRIPTION.en_us.html index 0a6054ae7c..52e865ecbe 100644 --- a/ofl/gemunulibre/DESCRIPTION.en_us.html +++ b/ofl/gemunulibre/DESCRIPTION.en_us.html @@ -1,18 +1,22 @@

- Gemunu Libre is the Unicode compliant version of the popular Sinhala typeface ‘FM Gemunu’ and includes Latin - support as well. This font family has been improved in many ways over FM Gemunu during the - Unicode adaptation process by acquiring more breathing space, bigger counters and smooth uniformity in curves. + Gemunu Libre is the Unicode compliant version of the popular Sinhala typeface ‘FM Gemunu’ and includes Latin support as well. + This font family has been improved in many ways over FM Gemunu during the Unicode adaptation process by acquiring more breathing space, bigger counters and smooth uniformity in curves.

- What sets Gemunu Libre apart from all the other Sinhala typefaces currently in use is the distinctive smooth and - square edge, which was perfected whilst completely redrawing the set of characters in order to cater to the - requirements of web and screens. Gemunu Libre comes in 7 weights from Extra Light to Extra Bold, and each weight - contains the complete Sinhala script and a matching Latin characters. + What sets Gemunu Libre apart from all the other Sinhala typefaces currently in use is the distinctive smooth and square edge, which was perfected whilst completely redrawing the set of characters in order to cater to the requirements of web and screens. + Gemunu Libre comes in 7 weights from Extra Light to Extra Bold, and each weight contains the complete Sinhala script and a matching Latin characters.

- The project is led by Mooniak in collaboration with Pushpananda Ekanayake. Latin - set is designed by Sol Matas. Initial development and release was funded by Google Fonts in 2015. Project sources - are - hosted and developed on Github and Mooniak welcomes - suggestions and contributions to the development. -

\ No newline at end of file + The project is led by + + Mooniak + + in collaboration with Pushpananda Ekanayake. + Latin set is designed by Sol Matas. + Initial development and release was funded by Google Fonts in 2015. + Project sources are hosted and developed on + + Github + + and Mooniak welcomes suggestions and contributions to the development. +

diff --git a/ofl/genos/DESCRIPTION.en_us.html b/ofl/genos/DESCRIPTION.en_us.html index 3d4629ab38..693ba10622 100644 --- a/ofl/genos/DESCRIPTION.en_us.html +++ b/ofl/genos/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Genos is a modern display font with a futuristic feel. Within the Genos family are fourteen variations ranging from Thin to Black. Whether it be futuristic, industrial, or technical, Genos may be what you're looking for. + Genos is a modern display font with a futuristic feel. + Within the Genos family are fourteen variations ranging from Thin to Black. + Whether it be futuristic, industrial, or technical, Genos may be what you're looking for.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/genos. + To contribute, see + + github.com/googlefonts/genos + + .

diff --git a/ofl/gentiumbookplus/DESCRIPTION.en_us.html b/ofl/gentiumbookplus/DESCRIPTION.en_us.html index b05099a1aa..496b405d55 100644 --- a/ofl/gentiumbookplus/DESCRIPTION.en_us.html +++ b/ofl/gentiumbookplus/DESCRIPTION.en_us.html @@ -1,9 +1,25 @@ -

Gentium Book Plus is the new version of the reduced character set families, Gentium Book Basic. This 'Basic' familie only cover a limited range of Latin, and none of Gentium Book Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient).

- -

Gentium Book Plus now extends the same 4 styles/weights of the previous Gentium Book Basic and to the full character set that complete Gentium Plus (also on github).

- -

This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users.

- -

You can find here the Gentium Plus, a very similar family that has a slightly lighter weight.

- -

To contribute, see github.com/silnrsi/font-gentium.

+

+ Gentium Book Plus is the new version of the reduced character set families, Gentium Book Basic. + This 'Basic' familie only cover a limited range of Latin, and none of Gentium Book Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). +

+

+ Gentium Book Plus now extends the same 4 styles/weights of the previous Gentium Book Basic and to the full character set that complete Gentium Plus (also on github). +

+

+ This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. + These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users. +

+

+ You can find here the + + Gentium Plus + + , a very similar family that has a slightly lighter weight. +

+

+ To contribute, see + + github.com/silnrsi/font-gentium + + . +

diff --git a/ofl/gentiumplus/DESCRIPTION.en_us.html b/ofl/gentiumplus/DESCRIPTION.en_us.html index fa3695c6d4..24bf605608 100644 --- a/ofl/gentiumplus/DESCRIPTION.en_us.html +++ b/ofl/gentiumplus/DESCRIPTION.en_us.html @@ -1,9 +1,25 @@ -

Gentium Plus is the new version of the two reduced character set families, Gentium Basic and Gentium Book Basic. Those 'Basic' families only cover a limited range of Latin, and none of Gentium Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient).

- -

Gentium Plus now extends the same 8 styles/weights of the previous Gentium Basic and to the full character set, packaged as two R B I BI families: Gentium Plus and Gentium Book Plus (also on github).

- -

This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users.

- -

The Gentium Book Plus family is very similar but has a slightly darker weight.

- -

To contribute, see github.com/silnrsi/font-gentium.

+

+ Gentium Plus is the new version of the two reduced character set families, Gentium Basic and Gentium Book Basic. + Those 'Basic' families only cover a limited range of Latin, and none of Gentium Plus's Ext Latin, Cyrillic, or Greek (both modern and ancient). +

+

+ Gentium Plus now extends the same 8 styles/weights of the previous Gentium Basic and to the full character set, packaged as two R B I BI families: Gentium Plus and Gentium Book Plus (also on github). +

+

+ This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. + These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users. +

+

+ The + + Gentium Book Plus + + family is very similar but has a slightly darker weight. +

+

+ To contribute, see + + github.com/silnrsi/font-gentium + + . +

diff --git a/ofl/geo/DESCRIPTION.en_us.html b/ofl/geo/DESCRIPTION.en_us.html index 904832535a..13e293cc53 100644 --- a/ofl/geo/DESCRIPTION.en_us.html +++ b/ofl/geo/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I was shown squared-off lettering on a record label and asked to draw something similar. Geo, the result, was substantially completed within four hours in July 1999. It’s a simple geometric typeface in the mould of some of the experimental faces designed during the 1920s by well-known modernist designers such as Theo van Doesberg and Herbert Bayer.

This style found a strong echo in designs of Neville Brody in the 1980s, which are now identified as an expression of the consumer culture of that decade. During the 1990s the magazine and font catalogue Emigre was at the public front of typeface design, and was a place where computer fonts with this same look appeared.

I think Geo expresses both the directness of some of the 1920s faces and the rather disingenuous consumerist thrust of the 1980s and 1990s descendants of theirs.

\ No newline at end of file +

+ I was shown squared-off lettering on a record label and asked to draw something similar. + Geo, the result, was substantially completed within four hours in July 1999. + It’s a simple geometric typeface in the mould of some of the experimental faces designed during the 1920s by well-known modernist designers such as Theo van Doesberg and Herbert Bayer. +

+

+ This style found a strong echo in designs of Neville Brody in the 1980s, which are now identified as an expression of the consumer culture of that decade. + During the 1990s the magazine and font catalogue Emigre was at the public front of typeface design, and was a place where computer fonts with this same look appeared. +

+

+ I think Geo expresses both the directness of some of the 1920s faces and the rather disingenuous consumerist thrust of the 1980s and 1990s descendants of theirs. +

diff --git a/ofl/geologica/DESCRIPTION.en_us.html b/ofl/geologica/DESCRIPTION.en_us.html index 909a5cfa8e..2855846b42 100644 --- a/ofl/geologica/DESCRIPTION.en_us.html +++ b/ofl/geologica/DESCRIPTION.en_us.html @@ -1,12 +1,29 @@ -

Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. The stylistic “Sharpness” axis adds a rational interpretation of calligraphic pen strokes - a modernist echo of the roots of writing.

- -

Variable axes:

+

+ Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. + The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. + The stylistic “Sharpness” axis adds a rational interpretation of calligraphic pen strokes - a modernist echo of the roots of writing. +

+

+ Variable axes: +

- -

To contribute, please see https://github.com/googlefonts/geologica.

- +

+ To contribute, please see + + https://github.com/googlefonts/geologica + + . +

diff --git a/ofl/georama/DESCRIPTION.en_us.html b/ofl/georama/DESCRIPTION.en_us.html index c52094a787..61630579e7 100644 --- a/ofl/georama/DESCRIPTION.en_us.html +++ b/ofl/georama/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

Georama is an original typeface available in several widths and weights.

- -

It supports Google Fonts Latin Plus glyph set, enabling the typesetting of English, Western European languages as - well as Vietnamese and 130+ other languages.

- -

To contribute, please see github.com/productiontype/Georama. -

\ No newline at end of file +

+ Georama is an original typeface available in several widths and weights. +

+

+ It supports Google Fonts Latin Plus glyph set, enabling the typesetting of English, Western European languages as well as Vietnamese and 130+ other languages. +

+

+ To contribute, please see + + github.com/productiontype/Georama + + . +

diff --git a/ofl/geostar/DESCRIPTION.en_us.html b/ofl/geostar/DESCRIPTION.en_us.html index b076d0de3b..e8ea1ee98c 100644 --- a/ofl/geostar/DESCRIPTION.en_us.html +++ b/ofl/geostar/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.

\ No newline at end of file +

+ Geostar is a great font for large headlines on websites. + Its single weight allows for easy legibility and captivates the audience at first glance. + Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page. +

diff --git a/ofl/geostarfill/DESCRIPTION.en_us.html b/ofl/geostarfill/DESCRIPTION.en_us.html index b076d0de3b..e8ea1ee98c 100644 --- a/ofl/geostarfill/DESCRIPTION.en_us.html +++ b/ofl/geostarfill/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Geostar is a great font for large headlines on websites. Its single weight allows for easy legibility and captivates the audience at first glance. Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page.

\ No newline at end of file +

+ Geostar is a great font for large headlines on websites. + Its single weight allows for easy legibility and captivates the audience at first glance. + Because Geostar is so symmetrical, it is a fantastic option to add charisma and sophistication to any web page. +

diff --git a/ofl/germaniaone/DESCRIPTION.en_us.html b/ofl/germaniaone/DESCRIPTION.en_us.html index ef0e74bdac..3397a967e3 100644 --- a/ofl/germaniaone/DESCRIPTION.en_us.html +++ b/ofl/germaniaone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Germania One is a hybrid between two historical and functional concepts found in German typography, the old fraktur and the simplified geometric sans serif forms from the Bauhaus. I sought to create a new font that mixes these two styles to provide a new and original typeface. Something modern and at the same time old, reworking the geometric forms in a contemporary and expressive way.

\ No newline at end of file +

+ Germania One is a hybrid between two historical and functional concepts found in German typography, the old fraktur and the simplified geometric sans serif forms from the Bauhaus. + I sought to create a new font that mixes these two styles to provide a new and original typeface. + Something modern and at the same time old, reworking the geometric forms in a contemporary and expressive way. +

diff --git a/ofl/gfsdidot/DESCRIPTION.en_us.html b/ofl/gfsdidot/DESCRIPTION.en_us.html index a41c79bdf8..3bed30bd1c 100644 --- a/ofl/gfsdidot/DESCRIPTION.en_us.html +++ b/ofl/gfsdidot/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korai, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enligntment. The typeface eventually arrived in Greece, with the field press which came with Didot’s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. Since then the typeface has enjoyed an unrivaled success as the type of choice for almost every kind of publication until the last decades of the 20th century. Didot’s type was the base for a new font, GFS Didot (1994) which was designed by Takis Katsoulidis, and digitised by George Matthiopoulos. The typeface is accompanied by a matching latin alphabet based on Hermann Zapf’s Palatino. \ No newline at end of file +Under the influence of the neoclassical ideals of the late 18th century, the famous French typecutter Firmin Didot in Paris designed a new Greek typeface (1805) which was immediately used in the publishing programme of Adamantios Korai, the prominent intellectual figure of the Greek diaspora and leading scholar of the Greek Enligntment. + The typeface eventually arrived in Greece, with the field press which came with Didot’s grandson Ambroise Firmin Didot, during the Greek Revolution in 1821. + Since then the typeface has enjoyed an unrivaled success as the type of choice for almost every kind of publication until the last decades of the 20th century. + Didot’s type was the base for a new font, GFS Didot (1994) which was designed by Takis Katsoulidis, and digitised by George Matthiopoulos. + The typeface is accompanied by a matching latin alphabet based on Hermann Zapf’s Palatino. diff --git a/ofl/gfsneohellenic/DESCRIPTION.en_us.html b/ofl/gfsneohellenic/DESCRIPTION.en_us.html index be4661d3ae..1ea6f18a6f 100644 --- a/ofl/gfsneohellenic/DESCRIPTION.en_us.html +++ b/ofl/gfsneohellenic/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -The design of new Greek typefaces always followed the growing needs of the Classical Studies in the major European Universities. Furthermore, by the end of the 19th century bibliology had become an established section of Historical Studies, and, as John Bowman commented, the prevailing attitude was that Greek types should adhere to a lost idealized, yet undefined, greekness of yore. Especially in Great Britain this tendency remained unchallenged in the first decades of the 20th century, both by Richard Proctor, curator of the incunabula section in the British Museum Library and his successor Victor Scholderer. In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. The type, since to 1930’s, was also well received in Greece, albeit with a different design for Ξ and Ω. GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. Later (2000) more weights were added (italic, bold and bold italic) as well as a latin version. \ No newline at end of file +The design of new Greek typefaces always followed the growing needs of the Classical Studies in the major European Universities. + Furthermore, by the end of the 19th century bibliology had become an established section of Historical Studies, and, as John Bowman commented, the prevailing attitude was that Greek types should adhere to a lost idealized, yet undefined, greekness of yore. + Especially in Great Britain this tendency remained unchallenged in the first decades of the 20th century, both by Richard Proctor, curator of the incunabula section in the British Museum Library and his successor Victor Scholderer. + In 1927, Scholderer, on behalf of the Society for the Promotion of Greek Studies, got involved in choosing and consulting the design and production of a Greek type called New Hellenic cut by the Lanston Monotype Corporation. + He chose the revival of a round, and almost monoline type which had first appeared in 1492 in the edition of Macrobius, ascribable to the printing shop of Giovanni Rosso (Joannes Rubeus) in Venice. + New Hellenic was the only successful typeface in Great Britain after the introduction of Porson Greek well over a century before. + The type, since to 1930’s, was also well received in Greece, albeit with a different design for Ξ and Ω. + GFS digitized the typeface (1993-1994) funded by the Athens Archeological Society with the addition of a new set of epigraphical symbols. + Later (2000) more weights were added (italic, bold and bold italic) as well as a latin version. diff --git a/ofl/gideonroman/DESCRIPTION.en_us.html b/ofl/gideonroman/DESCRIPTION.en_us.html index 992794eddf..b75b8aa553 100644 --- a/ofl/gideonroman/DESCRIPTION.en_us.html +++ b/ofl/gideonroman/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Based on a Roman character set, Gideon is a traditional typeface with classic forms. Perfect for uses from invitations, greeting cards and menus, to display advertising. + Based on a Roman character set, Gideon is a traditional typeface with classic forms. + Perfect for uses from invitations, greeting cards and menus, to display advertising.

-The upper case letters have a tradition Roman feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read. + The upper case letters have a tradition Roman feel that adds warmth and sophistication to text while the legibility allows for larger blocks of copy to be easily read.

-Gideon comes with Latin Character sets including Western, Central, and Vietnamese language support. + Gideon comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/gideon. + To contribute, see + + github.com/googlefonts/gideon + + .

diff --git a/ofl/gidugu/DESCRIPTION.en_us.html b/ofl/gidugu/DESCRIPTION.en_us.html index 1b9fe7ff35..7551fac402 100644 --- a/ofl/gidugu/DESCRIPTION.en_us.html +++ b/ofl/gidugu/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Gidugu is a Telugu font suitable for headlines, invitations and posters and is best used at large sizes. -Gidugu is named after Gidugu Venkata Ramamurthy, who championed using Telugu as a language for everyone, not only a scholastic language. + Gidugu is a Telugu font suitable for headlines, invitations and posters and is best used at large sizes. + Gidugu is named after Gidugu Venkata Ramamurthy, who championed using Telugu as a language for everyone, not only a scholastic language.

-The Telugu is designed and developed by Purushoth Kumar Guttula, and made available under the SIL Open Font License v1.1 by Silicon Andhra. -The Latin is newly designed for this project by Eduardo Tunni, a type designer in Buenos Aires, Argentina. -The Gidugu project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/gidugu

+ The Telugu is designed and developed by Purushoth Kumar Guttula, and made available under the SIL Open Font License v1.1 by Silicon Andhra. + The Latin is newly designed for this project by Eduardo Tunni, a type designer in Buenos Aires, Argentina. + The Gidugu project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/gidugu +

diff --git a/ofl/gildadisplay/DESCRIPTION.en_us.html b/ofl/gildadisplay/DESCRIPTION.en_us.html index 406abdc834..b272caeec9 100644 --- a/ofl/gildadisplay/DESCRIPTION.en_us.html +++ b/ofl/gildadisplay/DESCRIPTION.en_us.html @@ -1,10 +1,15 @@ -

Gilda Display is a font of classic proportions, in which we can see the -finest treatment of curves, strokes and serifs. The high stroke contrast has -especially smooth transitions, making this type perfect for the world of -fashion, jewelry and luxury items. Gilda Display typically contributes all its -glamor to headlines, but the considered design of this font gives it potential -for use in longer texts with a fine page texture.

- -

Since Junuary 2023, the glyphset is completed and and the font has a bigger language support

- -

To contribute, see github.com/etunni/gilda-display.

+

+ Gilda Display is a font of classic proportions, in which we can see the finest treatment of curves, strokes and serifs. + The high stroke contrast has especially smooth transitions, making this type perfect for the world of fashion, jewelry and luxury items. + Gilda Display typically contributes all its glamor to headlines, but the considered design of this font gives it potential for use in longer texts with a fine page texture. +

+

+ Since Junuary 2023, the glyphset is completed and and the font has a bigger language support +

+

+ To contribute, see + + github.com/etunni/gilda-display + + . +

diff --git a/ofl/girassol/DESCRIPTION.en_us.html b/ofl/girassol/DESCRIPTION.en_us.html index 36a70377eb..26fbea9c66 100644 --- a/ofl/girassol/DESCRIPTION.en_us.html +++ b/ofl/girassol/DESCRIPTION.en_us.html @@ -1,11 +1,16 @@ -

Girassol is a display typeface inspired by the hand-painted street signs in and around Carcavelos, Portugal. It attempts to collect, synthesize, and lovingly evoke the identity and spirit of the region in which the original forms were encountered, while acknowledging my own relationship to and presence in the place and the design.

- -

The primary characteristics that define Girassol include its condensed proportions, moderate contrast following the expansion model, a thorny, decorative serif construction that pierces the baseline and cap height, and playful flourishes that mimic the decoration possible in hand-painted signage.

- -

Numerous discretionary ligatures play on the typeface's angular and thorny construction to evoke a sense of improvisation in the signs on which the forms are based.

- -

The smallcaps are the result of my effort to capture the secondary style found in the Carcavelos signs. My approach to the smallcaps lead to a set of letters that perfectly complements the main caps but which simultaneously becomes softer and more gentle because of its more square proportion.

- -

Girassol feels at home set in large, striking titles and smaller graphical vignettes.

- -

To contribute, see github.com/liamspradlin/Girassol-Display.

\ No newline at end of file +

+ Girassol is a display typeface inspired by the hand-painted street signs in and around Carcavelos, Portugal. + It attempts to collect, synthesize, and lovingly evoke the identity and spirit of the region in which the original forms were encountered, while acknowledging my own relationship to and presence in the place and the design. +

+The primary characteristics that define Girassol include its condensed proportions, moderate contrast following the expansion model, a thorny, decorative serif construction that pierces the baseline and cap height, and playful flourishes that mimic the decoration possible in hand-painted signage. + Numerous discretionary ligatures play on the typeface's angular and thorny construction to evoke a sense of improvisation in the signs on which the forms are based. + The smallcaps are the result of my effort to capture the secondary style found in the Carcavelos signs. + My approach to the smallcaps lead to a set of letters that perfectly complements the main caps but which simultaneously becomes softer and more gentle because of its more square proportion. + Girassol feels at home set in large, striking titles and smaller graphical vignettes. +

+ To contribute, see + + github.com/liamspradlin/Girassol-Display + + . +

diff --git a/ofl/giveyouglory/DESCRIPTION.en_us.html b/ofl/giveyouglory/DESCRIPTION.en_us.html index aa51289232..1c485a4652 100644 --- a/ofl/giveyouglory/DESCRIPTION.en_us.html +++ b/ofl/giveyouglory/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

This mixed-case font is a quirky, fun font infused with that special “something” that makes it feel authentic. I love that it isn’t perfect or traditional but that it has the flow of real handwriting – complete with the mixed-case style so many of us use in our daily writing.

\ No newline at end of file +

+ This mixed-case font is a quirky, fun font infused with that special “something” that makes it feel authentic. + I love that it isn’t perfect or traditional but that it has the flow of real handwriting – complete with the mixed-case style so many of us use in our daily writing. +

diff --git a/ofl/glassantiqua/DESCRIPTION.en_us.html b/ofl/glassantiqua/DESCRIPTION.en_us.html index 7816d3512b..39a5bf9547 100644 --- a/ofl/glassantiqua/DESCRIPTION.en_us.html +++ b/ofl/glassantiqua/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

This is revival of the 1913 typeface "Glass Antiqua" by "Genzsch & Heyse" found in the Taschen book "Type: A Visual History of Typefaces and Graphic Styles, 1901-1938." A magnificent and unique design with a Jugenstile fleur, combining Slab Serif and Antiqua, plus elements of cursive calligraphy. It is suitable for any purpose, giving a text a retro feel and soft informal look. The character set is extended but the originals are carefully restored, and all are patiently spaced and kerned.

\ No newline at end of file +

+ This is revival of the 1913 typeface "Glass Antiqua" by "Genzsch & Heyse" found in the Taschen book "Type: A Visual History of Typefaces and Graphic Styles, 1901-1938." A magnificent and unique design with a Jugenstile fleur, combining Slab Serif and Antiqua, plus elements of cursive calligraphy. + It is suitable for any purpose, giving a text a retro feel and soft informal look. + The character set is extended but the originals are carefully restored, and all are patiently spaced and kerned. +

diff --git a/ofl/glegoo/DESCRIPTION.en_us.html b/ofl/glegoo/DESCRIPTION.en_us.html index d711c95b6f..9b854ba36e 100644 --- a/ofl/glegoo/DESCRIPTION.en_us.html +++ b/ofl/glegoo/DESCRIPTION.en_us.html @@ -1,6 +1,20 @@ -

Glegoo, a truly modern slab serif. It has a precise balance of shapes, counterforms and strokes. Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. These attributes all add up to help reading text, even in very small sizes. Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. Large usage will show off the delicate modulation of strokes that are in this font.

- -

Updated August 2014: A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included.

- -

Contribute to the project at -github.com/etunni/glegoo

\ No newline at end of file +

+ Glegoo, a truly modern slab serif. + It has a precise balance of shapes, counterforms and strokes. + Glegoo is slightly condensed, has a large x-height, short ascenders/descenders and large counterforms. + These attributes all add up to help reading text, even in very small sizes. + Its careful design and proper choice of weight generate a nice texture in paragraphs of text, but the design is also intended to work well when composing headlines with presence and elegance. + Large usage will show off the delicate modulation of strokes that are in this font. +

+

+ + Updated August 2014: + + A Bold style was added, the family was hinted with ttfautohint, and a Devanagari subset was included. +

+

+ Contribute to the project at + + github.com/etunni/glegoo + +

diff --git a/ofl/gloock/DESCRIPTION.en_us.html b/ofl/gloock/DESCRIPTION.en_us.html index b5b7d85957..0c18cdca4e 100644 --- a/ofl/gloock/DESCRIPTION.en_us.html +++ b/ofl/gloock/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Gloock is a contemporary high-contrast serif typeface intended for display use. It draws inspiration from newspaper's headlines but with a contemporary approach. Its main focus is the smooth relationship between the thin and thick strokes. It's a perfect typeface for headlines and has a great performance anywhere in big sizes.

- -

To contribute, see github.com/duartp/gloock.

+

+ Gloock is a contemporary high-contrast serif typeface intended for display use. + It draws inspiration from newspaper's headlines but with a contemporary approach. + Its main focus is the smooth relationship between the thin and thick strokes. + It's a perfect typeface for headlines and has a great performance anywhere in big sizes. +

+

+ To contribute, see + + github.com/duartp/gloock + + . +

diff --git a/ofl/gloriahallelujah/DESCRIPTION.en_us.html b/ofl/gloriahallelujah/DESCRIPTION.en_us.html index 06dc7b7013..d1c7caa85e 100644 --- a/ofl/gloriahallelujah/DESCRIPTION.en_us.html +++ b/ofl/gloriahallelujah/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

This font is based on the handwriting of a Korean high school student. It is fun and reminds me of a comic style writing. It looks great in all caps and is easy to read.

\ No newline at end of file +

+ This font is based on the handwriting of a Korean high school student. + It is fun and reminds me of a comic style writing. + It looks great in all caps and is easy to read. +

diff --git a/ofl/glory/DESCRIPTION.en_us.html b/ofl/glory/DESCRIPTION.en_us.html index de0700fd09..2c76fcb060 100644 --- a/ofl/glory/DESCRIPTION.en_us.html +++ b/ofl/glory/DESCRIPTION.en_us.html @@ -1,11 +1,21 @@

-Glory is a modern sans serif font. The rounded corners give it a soft, contemporary feel. While the characters are slightly condensed, this semi mono-weight sans features subtly curved vertical strokes. + Glory is a modern sans serif font. + The rounded corners give it a soft, contemporary feel. + While the characters are slightly condensed, this semi mono-weight sans features subtly curved vertical strokes.

-It was created with graphic design in mind. It is suitable for logos, headlines and body text with the available six weights. Combine Glory with other script styles to give your work warmth and contrast. - + It was created with graphic design in mind. + It is suitable for logos, headlines and body text with the available six weights. + Combine Glory with other script styles to give your work warmth and contrast. +

-Glory comes with Latin Character sets including Western, Central, and Vietnamese language support. + Glory comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/glory + + .

-

To contribute, see github.com/googlefonts/glory.

diff --git a/ofl/gluten/DESCRIPTION.en_us.html b/ofl/gluten/DESCRIPTION.en_us.html index 6ab84f5a72..750f76a10b 100644 --- a/ofl/gluten/DESCRIPTION.en_us.html +++ b/ofl/gluten/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Gluten is a delicious font! It's also slightly loud, very round, and 100% fun. Gluten is filling, we'll put it that way. Hope you're hungry.

- -

To contribute see github.com/Etcetera-Type-Co/Gluten.

+

+ Gluten is a delicious font! + It's also slightly loud, very round, and 100% fun. + Gluten is filling, we'll put it that way. + Hope you're hungry. +

+

+ To contribute see + + github.com/Etcetera-Type-Co/Gluten + + . +

diff --git a/ofl/goblinone/DESCRIPTION.en_us.html b/ofl/goblinone/DESCRIPTION.en_us.html index d1982bad88..b447ca732d 100644 --- a/ofl/goblinone/DESCRIPTION.en_us.html +++ b/ofl/goblinone/DESCRIPTION.en_us.html @@ -1,12 +1,31 @@ -

Foundry: Sorkin Type Co

- -

Goblin One belongs to the category of display types called "Latin". This is -because of its sharp triangular serifs. Goblin One was inspired by a hand -painted sign above a pub in the town of Reading (UK). Goblin One is a somewhat -wide medium contrast design with a large x-height. Goblin One is both -attention-getting and fun. Goblin is suitable for use in medium to large sizes -including headlines. This font was made specifically to be web type.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Goblin One belongs to the category of display types called "Latin". + This is because of its sharp triangular serifs. + Goblin One was inspired by a hand painted sign above a pub in the town of Reading (UK). + Goblin One is a somewhat wide medium contrast design with a large x-height. + Goblin One is both attention-getting and fun. + Goblin is suitable for use in medium to large sizes including headlines. + This font was made specifically to be web type. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/gochihand/DESCRIPTION.en_us.html b/ofl/gochihand/DESCRIPTION.en_us.html index bfb2ede135..b3ff987c03 100644 --- a/ofl/gochihand/DESCRIPTION.en_us.html +++ b/ofl/gochihand/DESCRIPTION.en_us.html @@ -1,5 +1,20 @@ -

Gochi Hand is a typographic interpretation of the handwriting of a teenager. The style is fresh, not like the letters made by a calligrapher, but those of an ordinary person. The text line is spontaneous but solid and consistent, expressive and works well on screen, even in small sizes. The glyphs were carefully designed with a good curve quality that makes it able to look good when printed too.

- -

Designed by Juan Pablo del Peral for Huerta Tipográfica.

- -

To contribute, see github.com/huertatipografica/gochi-hand.

+

+ Gochi Hand is a typographic interpretation of the handwriting of a teenager. + The style is fresh, not like the letters made by a calligrapher, but those of an ordinary person. + The text line is spontaneous but solid and consistent, expressive and works well on screen, even in small sizes. + The glyphs were carefully designed with a good curve quality that makes it able to look good when printed too. +

+

+ Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + . +

+

+ To contribute, see + + github.com/huertatipografica/gochi-hand + + . +

diff --git a/ofl/goldman/DESCRIPTION.en_us.html b/ofl/goldman/DESCRIPTION.en_us.html index bdad764de8..7031232a6b 100644 --- a/ofl/goldman/DESCRIPTION.en_us.html +++ b/ofl/goldman/DESCRIPTION.en_us.html @@ -1,4 +1,17 @@ -

Goldman is a Latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Passion, Science Fiction, Sports, Drama, Thriller genres.

-

The Goldman font family includes two weights. Regular, designed for the large headers or titles, and Bold, designed for heavyweight title designs.

-

Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese.

-

To contribute, see https://github.com/magictype/goldman

+

+ Goldman is a Latin display typeface designed by Jaikishan Patel. + It was exclusively designed for posters of Genre: Passion, Science Fiction, Sports, Drama, Thriller genres. +

+

+ The Goldman font family includes two weights. + Regular, designed for the large headers or titles, and Bold, designed for heavyweight title designs. +

+

+ Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. +

+

+ To contribute, see + + https://github.com/magictype/goldman + +

diff --git a/ofl/golostext/DESCRIPTION.en_us.html b/ofl/golostext/DESCRIPTION.en_us.html index 1f1a27cac0..e2fedf81b3 100644 --- a/ofl/golostext/DESCRIPTION.en_us.html +++ b/ofl/golostext/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Golos is a versatile closed sans-serif commissioned by Smena and AIC Media for state and social service websites. Golos Text suits perfectly for continuous reading on screen. It includes five weights from Regular to Black. Golos was designed by Alexandra Korolkova and Vitaly Kuzmin and released by Paratype in 2019.

- -

To contribute, see github.com/googlefonts/golos-text.

+

+ Golos is a versatile closed sans-serif commissioned by Smena and AIC Media for state and social service websites. + Golos Text suits perfectly for continuous reading on screen. + It includes five weights from Regular to Black. + Golos was designed by Alexandra Korolkova and Vitaly Kuzmin and released by Paratype in 2019. +

+

+ To contribute, see + + github.com/googlefonts/golos-text + + . +

diff --git a/ofl/gorditas/DESCRIPTION.en_us.html b/ofl/gorditas/DESCRIPTION.en_us.html index 134a56f704..184bdc4f34 100644 --- a/ofl/gorditas/DESCRIPTION.en_us.html +++ b/ofl/gorditas/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@ -

Gorditas is a fun and funky display slab serif typeface family, with heart -details - cute like a newborn puppy!

- -

Designed by Brenda -Gallo and Gustavo -Dipre.

\ No newline at end of file +

+ Gorditas is a fun and funky display slab serif typeface family, with heart details - cute like a newborn puppy! +

+

+ Designed by + + Brenda Gallo + + and + + Gustavo Dipre + + . +

diff --git a/ofl/gothica1/DESCRIPTION.en_us.html b/ofl/gothica1/DESCRIPTION.en_us.html index f038884c94..394011ccaa 100644 --- a/ofl/gothica1/DESCRIPTION.en_us.html +++ b/ofl/gothica1/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Gothic A1 is a Korean and Latin font.

\ No newline at end of file +

+ Gothic A1 is a Korean and Latin font. +

diff --git a/ofl/gotu/DESCRIPTION.en_us.html b/ofl/gotu/DESCRIPTION.en_us.html index 3452fa8685..a71fc155b0 100644 --- a/ofl/gotu/DESCRIPTION.en_us.html +++ b/ofl/gotu/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@

-Rotund curves, large loops and voluminous counters. Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand. + Rotund curves, large loops and voluminous counters. + Gotu reimagines Devanagari calligraphy while at the same time reinterprets what high contrast Latin typefaces can be. + Though the Devanagari is penned with a traditional canted nib, the structures are improvised with an expressive whim that belies conventions of structure and challenges notions of consistency. + Swooping calligraphic strokes inspire forms that are lyrical without being too opulent. + The same spirit resonates within a modulated sans serif style Latin as letters retain a calligraphic stress and keep the delicate typographic quirks. + Furnished with such typographic subtleties, Gotu can lend its distinct style to a quaint monograph, a striking headline, an ornate invite or even a chic brand.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Gotu + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Gotu +

diff --git a/ofl/goudybookletter1911/DESCRIPTION.en_us.html b/ofl/goudybookletter1911/DESCRIPTION.en_us.html index dac399e06e..fe99b467cd 100644 --- a/ofl/goudybookletter1911/DESCRIPTION.en_us.html +++ b/ofl/goudybookletter1911/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Based on Frederic Goudy’s Kennerley Oldstyle. A few words on why I think Kennerley Oldstyle is beautiful: In making this font, I discovered that Kennerley fits together tightly and evenly with almost no kerning. Thus the following words from Monotype specimen books are just: “[W]hen composed into words the characters appear to lock into one another with a closeness common in early types, but not so often seen in later-day creations.” These are letters that take command of the space around them; notice, for instance, the bowed shapes of the v and w.

\ No newline at end of file +

+ Based on Frederic Goudy’s Kennerley Oldstyle. + A few words on why I think Kennerley Oldstyle is beautiful: In making this font, I discovered that Kennerley fits together tightly and evenly with almost no kerning. + Thus the following words from Monotype specimen books are just: “[W]hen composed into words the characters appear to lock into one another with a closeness common in early types, but not so often seen in later-day creations.” These are letters that take command of the space around them; notice, for instance, the bowed shapes of the v and w. +

diff --git a/ofl/gowunbatang/DESCRIPTION.en_us.html b/ofl/gowunbatang/DESCRIPTION.en_us.html index ecc7da3453..2c6b6f190a 100644 --- a/ofl/gowunbatang/DESCRIPTION.en_us.html +++ b/ofl/gowunbatang/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Gowun Batang(고운바탕) is a serif text typeface inspired by neat, pencil-written handwriting letterforms. Gowun means ‘neat and delicate’ in Korean and this typeface has a warm and friendly impression. Batang is the style name for serif Hangeul text typeface. + Gowun Batang(고운바탕) is a serif text typeface inspired by neat, pencil-written handwriting letterforms. + Gowun means ‘neat and delicate’ in Korean and this typeface has a warm and friendly impression. + Batang is the style name for serif Hangeul text typeface.

-To contribute to the project, visit github.com/yangheeryu/Gowun-Batang + To contribute to the project, visit + + github.com/yangheeryu/Gowun-Batang +

diff --git a/ofl/gowundodum/DESCRIPTION.en_us.html b/ofl/gowundodum/DESCRIPTION.en_us.html index 0aea94bbd3..fcbb6ce8bf 100644 --- a/ofl/gowundodum/DESCRIPTION.en_us.html +++ b/ofl/gowundodum/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

- Gowun Dodum(고운돋움) is a humanist sans-serif typeface with a touch of hand movement. Gowun means ‘neat and delicate’ in Korean and this typeface has a warm and friendly impression. Dodum is the style name for sans-serif Hangeul text typeface. + Gowun Dodum(고운돋움) is a humanist sans-serif typeface with a touch of hand movement. + Gowun means ‘neat and delicate’ in Korean and this typeface has a warm and friendly impression. + Dodum is the style name for sans-serif Hangeul text typeface.

-To contribute to the project, visit https://github.com/yangheeryu/Gowun-Dodum + To contribute to the project, visit + + https://github.com/yangheeryu/Gowun-Dodum +

diff --git a/ofl/graduate/DESCRIPTION.en_us.html b/ofl/graduate/DESCRIPTION.en_us.html index 726f3196ed..11fc9a7c9b 100644 --- a/ofl/graduate/DESCRIPTION.en_us.html +++ b/ofl/graduate/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Graduate is a high quality example of the classic college block style of lettering used across very campus in the USA.

To contribute to the project contact Eduardo Tunni.

\ No newline at end of file +

+ Graduate is a high quality example of the classic college block style of lettering used across very campus in the USA. +

+

+ To contribute to the project contact + + Eduardo Tunni + + . +

diff --git a/ofl/grandhotel/DESCRIPTION.en_us.html b/ofl/grandhotel/DESCRIPTION.en_us.html index 66feac469d..56a78d2e46 100644 --- a/ofl/grandhotel/DESCRIPTION.en_us.html +++ b/ofl/grandhotel/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@ -

Grand Hotel finds its inspiration from the title screen of the 1937 film -"Cafe Metropole" starring Tyrone Power. This condensed upright connecting -script has a classic vibe to it.

- -

It has a wonderful weight to it that feels subtly tied to Holiday and -Bakery themed designs, even though it can work outside that genre.

- -

Designed by Brian J. Bonislawsky and Jim Lyles for Astigmatic (AOETI). -To contribute to the project contact -Brian J. Bonislawsky.

+

+ Grand Hotel finds its inspiration from the title screen of the 1937 film "Cafe Metropole" starring Tyrone Power. + This condensed upright connecting script has a classic vibe to it. +

+

+ It has a wonderful weight to it that feels subtly tied to Holiday and Bakery themed designs, even though it can work outside that genre. +

+

+ Designed by Brian J. + Bonislawsky and Jim Lyles for Astigmatic (AOETI). + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/grandifloraone/DESCRIPTION.en_us.html b/ofl/grandifloraone/DESCRIPTION.en_us.html index a3db67feec..a4db54e86d 100644 --- a/ofl/grandifloraone/DESCRIPTION.en_us.html +++ b/ofl/grandifloraone/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@

- Grandiflora, or in its original language, Neungsohwa is a decorative Hangeul typeface inspired by the Art Nouveau style of the 20th century. It is presented exclusively in hairline weight to highlight the elegant curves and ornamental characteristics of Hangeul. As Art Nouveau is commonly represented by vines and florals, the typeface was named after the most beloved summer vines of Korea, Campsis grandiflora (Neungsohwa). + Grandiflora, or in its original language, Neungsohwa is a decorative Hangeul typeface inspired by the Art Nouveau style of the 20th century. + It is presented exclusively in hairline weight to highlight the elegant curves and ornamental characteristics of Hangeul. + As Art Nouveau is commonly represented by vines and florals, the typeface was named after the most beloved summer vines of Korea, Campsis grandiflora (Neungsohwa).

- To contribute, please visit github.com/JAMO-TYPEFACE/Grandiflora. + To contribute, please visit + + github.com/JAMO-TYPEFACE/Grandiflora + + .

diff --git a/ofl/grandstander/DESCRIPTION.en_us.html b/ofl/grandstander/DESCRIPTION.en_us.html index eb1c58b823..8f9b73e9b0 100644 --- a/ofl/grandstander/DESCRIPTION.en_us.html +++ b/ofl/grandstander/DESCRIPTION.en_us.html @@ -1,7 +1,19 @@

-Grandstander is a display variable font with a weight axis. 9 weights, upright and italic. It supports a wide range of languages in the latin script scope. + + Grandstander + + is a display variable font with a weight axis. + 9 weights, upright and italic. + It supports a wide range of languages in the latin script scope.

-The Grandstander project is led by Tyler Finck — type designer running Etcetera Type Co in Ithaca, New-York, USA. -To contribute, see github.com/Etcetera-Type-Co/Grandstander + The Grandstander project is led by Tyler Finck — type designer running + + Etcetera Type Co + + in Ithaca, New-York, USA. + To contribute, see + + github.com/Etcetera-Type-Co/Grandstander +

diff --git a/ofl/grapenuts/DESCRIPTION.en_us.html b/ofl/grapenuts/DESCRIPTION.en_us.html index 823433e801..898f4a63af 100644 --- a/ofl/grapenuts/DESCRIPTION.en_us.html +++ b/ofl/grapenuts/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Grape Nuts is a simple handwritten casual font. The name is derived from a well-known breakfast cereal that dates back to the late 1800s. This cute style can be used for any casual or even humorous situation. + Grape Nuts is a simple handwritten casual font. + The name is derived from a well-known breakfast cereal that dates back to the late 1800s. + This cute style can be used for any casual or even humorous situation.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/grapenuts. + To contribute, see + + github.com/googlefonts/grapenuts + + .

diff --git a/ofl/gravitasone/DESCRIPTION.en_us.html b/ofl/gravitasone/DESCRIPTION.en_us.html index 9592e2be13..7eb6815fd9 100644 --- a/ofl/gravitasone/DESCRIPTION.en_us.html +++ b/ofl/gravitasone/DESCRIPTION.en_us.html @@ -1,12 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Gravitas One is modeled on the "UK fat face" which is a kind of very heavy -advertising type created during the industrial revolution in England. The -letter forms are characterized by an attention getting and strong contrast -between the very heavy vertical shapes and the thin horizontal ones. The -contrast of the design means that it will be most useful when set from medium -to large sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Gravitas One is modeled on the "UK fat face" which is a kind of very heavy advertising type created during the industrial revolution in England. + The letter forms are characterized by an attention getting and strong contrast between the very heavy vertical shapes and the thin horizontal ones. + The contrast of the design means that it will be most useful when set from medium to large sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/greatvibes/DESCRIPTION.en_us.html b/ofl/greatvibes/DESCRIPTION.en_us.html index 176db13d4d..b2ceb78e79 100644 --- a/ofl/greatvibes/DESCRIPTION.en_us.html +++ b/ofl/greatvibes/DESCRIPTION.en_us.html @@ -1,10 +1,16 @@

-Great Vibes is a beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. -

+ Great Vibes is a beautifully flowing script with casual uppercase forms combined with more formal lowercase letters. +

+

+ It has over 400 glyphs, with smooth connecting ligatures and alternate characters. +

-It has over 400 glyphs, with smooth connecting ligatures and alternate characters. + Great Vibes comes complete with Latin Character sets including Western, Central, and Vietnamese language support.

-Great Vibes comes complete with Latin Character sets including Western, Central, and Vietnamese language support. + To contribute, see + + github.com/googlefonts/great-vibes + + .

-

To contribute, see github.com/googlefonts/great-vibes.

diff --git a/ofl/grechenfuemen/DESCRIPTION.en_us.html b/ofl/grechenfuemen/DESCRIPTION.en_us.html index 7c08302b22..e1af856dd9 100644 --- a/ofl/grechenfuemen/DESCRIPTION.en_us.html +++ b/ofl/grechenfuemen/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Grechen Fuemen is a playful font with an unorthodox use of thick and thin weights. Don't take this font too seriously because there's not a serious stroke in the font. + Grechen Fuemen is a playful font with an unorthodox use of thick and thin weights. + Don't take this font too seriously because there's not a serious stroke in the font.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/grechen-fuemen. + To contribute, see + + github.com/googlefonts/grechen-fuemen + + .

diff --git a/ofl/grenze/DESCRIPTION.en_us.html b/ofl/grenze/DESCRIPTION.en_us.html index 8d44ede121..b87305f986 100644 --- a/ofl/grenze/DESCRIPTION.en_us.html +++ b/ofl/grenze/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

Grenze is a large text family which features nine weights with matching italics. It draws inspiration from Roman and Blackletter typefaces. It was originally designed to be used in magazines.

- -

To contribute, see github.com/Omnibus-Type/Grenze.

- +

+ Grenze is a large text family which features nine weights with matching italics. + It draws inspiration from Roman and Blackletter typefaces. + It was originally designed to be used in magazines. +

+

+ To contribute, see + + github.com/Omnibus-Type/Grenze + + . +

diff --git a/ofl/grenzegotisch/DESCRIPTION.en_us.html b/ofl/grenzegotisch/DESCRIPTION.en_us.html index 2f6d8dced6..06602416ff 100644 --- a/ofl/grenzegotisch/DESCRIPTION.en_us.html +++ b/ofl/grenzegotisch/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@

-Grenze Gotisch is a Blackletter version of Grenze, which has more dramatic details in certain letters. + Grenze Gotisch is a Blackletter version of + + Grenze + + , which has more dramatic details in certain letters.

-

-To contribute, see github.com/Omnibus-Type/Grenze-Gotisch. + To contribute, see + + github.com/Omnibus-Type/Grenze-Gotisch + + .

diff --git a/ofl/greyqo/DESCRIPTION.en_us.html b/ofl/greyqo/DESCRIPTION.en_us.html index def2b13beb..da05d56631 100644 --- a/ofl/greyqo/DESCRIPTION.en_us.html +++ b/ofl/greyqo/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-A contemporary calligraphic script, Grey Qo combines traditional uppercase calligraphics with more stylized script lowercase forms. + A contemporary calligraphic script, Grey Qo combines traditional uppercase calligraphics with more stylized script lowercase forms.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/grey-qo. + To contribute, see + + github.com/googlefonts/grey-qo + + .

diff --git a/ofl/griffy/DESCRIPTION.en_us.html b/ofl/griffy/DESCRIPTION.en_us.html index c0a4a61fab..abc946dec1 100644 --- a/ofl/griffy/DESCRIPTION.en_us.html +++ b/ofl/griffy/DESCRIPTION.en_us.html @@ -1,6 +1,8 @@ -

He's one cool customer with that crazy casual beatnik outfit, a long silky -goatee and a touch of spooky just to give you the creeps... They call him -Griffy! Dig this fun and wacky hip new font from Squid and Neapolitan and turn -your L7 designs into way out masterpieces!

- -

Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc)

\ No newline at end of file +

+ He's one cool customer with that crazy casual beatnik outfit, a long silky goatee and a touch of spooky just to give you the creeps... + They call him Griffy! + Dig this fun and wacky hip new font from Squid and Neapolitan and turn your L7 designs into way out masterpieces! +

+

+ Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc) +

diff --git a/ofl/gruppo/DESCRIPTION.en_us.html b/ofl/gruppo/DESCRIPTION.en_us.html index 7caea32d76..2df8894804 100644 --- a/ofl/gruppo/DESCRIPTION.en_us.html +++ b/ofl/gruppo/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Gruppo was conceived as a display typeface for style conscious, laid-back branding where 'little is more', or, in Jasper Morrison's words, "Special is generally less useful than normal".

- -

The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/GruppoFont.

+

+ Gruppo was conceived as a display typeface for style conscious, laid-back branding where 'little is more', or, in Jasper Morrison's words, "Special is generally less useful than normal". +

+

+ The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/GruppoFont + + . +

diff --git a/ofl/gudea/DESCRIPTION.en_us.html b/ofl/gudea/DESCRIPTION.en_us.html index 0c8daef5da..1ab03c0249 100644 --- a/ofl/gudea/DESCRIPTION.en_us.html +++ b/ofl/gudea/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Gudea is a readable, clear and functional typeface family, with a simple and condensed structure that brings a pleasant feeling when used at any size.

Inspired by engineering documentation, it expresses the technical feeling of graphic information enjoyed by those who are interested in areas such as engineering, land surveying and architecture.

Initially this type was developed for use in labels and maps, but it is now a versatile family that seamlessly suits any piece of design.

\ No newline at end of file +

+ Gudea is a readable, clear and functional typeface family, with a simple and condensed structure that brings a pleasant feeling when used at any size. +

+

+ Inspired by engineering documentation, it expresses the technical feeling of graphic information enjoyed by those who are interested in areas such as engineering, land surveying and architecture. +

+

+ Initially this type was developed for use in labels and maps, but it is now a versatile family that seamlessly suits any piece of design. +

diff --git a/ofl/gugi/DESCRIPTION.en_us.html b/ofl/gugi/DESCRIPTION.en_us.html index 2df7d90766..35d7b9373d 100644 --- a/ofl/gugi/DESCRIPTION.en_us.html +++ b/ofl/gugi/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Gugi is a Korean and Latin font.

\ No newline at end of file +

+ Gugi is a Korean and Latin font. +

diff --git a/ofl/gulzar/DESCRIPTION.en_us.html b/ofl/gulzar/DESCRIPTION.en_us.html index 6998379064..524ef2fe27 100644 --- a/ofl/gulzar/DESCRIPTION.en_us.html +++ b/ofl/gulzar/DESCRIPTION.en_us.html @@ -1,15 +1,29 @@

- Gulzar is a contemporary Urdu Nasta’liq typeface – and its Latin counterpart – designed and developed through a collaboration by Borna Izadpanah (Principal Designer and Project Leader), Simon Cozens (Font Engineering), Alice Savoie (Designer, Gulzar Latin), Fiona Ross (Consultant, Gulzar Urdu), Amir Mahdi Moslehi (Calligraphic adviser, Gulzar Urdu) and Martin Dodds (Consultant, Gulzar Urdu). This typeface was designed to provide an effective textual communication tool primarily for Urdu readers on digital platforms and in print. In Gulzar, the aim has been to produce a typeface which is legible at text sizes and suitable for sustained reading. The first phase of this project involved conducting research into the history of Urdu digital typefaces from the early 1980s. The design of Gulzar was inspired by carefully collected specimens of Urdu calligraphy and lettering which were closely studied to achieve an accurate representation of the Urdu flavour of the Nasta’liq style. + Gulzar is a contemporary Urdu Nasta’liq typeface – and its Latin counterpart – designed and developed through a collaboration by Borna Izadpanah (Principal Designer and Project Leader), Simon Cozens (Font Engineering), Alice Savoie (Designer, Gulzar Latin), Fiona Ross (Consultant, Gulzar Urdu), Amir Mahdi Moslehi (Calligraphic adviser, Gulzar Urdu) and Martin Dodds (Consultant, Gulzar Urdu). + This typeface was designed to provide an effective textual communication tool primarily for Urdu readers on digital platforms and in print. + In Gulzar, the aim has been to produce a typeface which is legible at text sizes and suitable for sustained reading. + The first phase of this project involved conducting research into the history of Urdu digital typefaces from the early 1980s. + The design of Gulzar was inspired by carefully collected specimens of Urdu calligraphy and lettering which were closely studied to achieve an accurate representation of the Urdu flavour of the Nasta’liq style.

- Once the Nasta’liq design was firmly established, a proposal was made for a Latin counterpart that took inspiration from two eminent humanistic references: the versatile and sturdy proportions of Robert Granjon’s types, coupled with the sharp and distinctive feel of Hendrik van den Keere’s work. The Latin letterforms thus feature some subtle references to their calligraphic roots and echo the contrast present in the Nasta’liq, while remaining embedded in their classical typographic proportions. + Once the Nasta’liq design was firmly established, a proposal was made for a Latin counterpart that took inspiration from two eminent humanistic references: the versatile and sturdy proportions of Robert Granjon’s types, coupled with the sharp and distinctive feel of Hendrik van den Keere’s work. + The Latin letterforms thus feature some subtle references to their calligraphic roots and echo the contrast present in the Nasta’liq, while remaining embedded in their classical typographic proportions.

- Gulzar is not the first OpenType Nasta’liq typeface, but it is the first Nasta’liq type for which an original Latin counterpart was designed. It covers all the required transliterations characters to transcribe Arabic, Persian and Urdu languages. + Gulzar is not the first OpenType Nasta’liq typeface, but it is the first Nasta’liq type for which an original Latin counterpart was designed. + It covers all the required transliterations characters to transcribe Arabic, Persian and Urdu languages.

- You can read more about the inspiration, design, and engineering of Gulzar at gulzarfont.org. + You can read more about the inspiration, design, and engineering of Gulzar at + + gulzarfont.org + + .

- To contribute, see github.com/googlefonts/Gulzar/. + To contribute, see + + github.com/googlefonts/Gulzar/ + + .

diff --git a/ofl/gupter/DESCRIPTION.en_us.html b/ofl/gupter/DESCRIPTION.en_us.html index 51c51773fc..5b1c1bf88d 100644 --- a/ofl/gupter/DESCRIPTION.en_us.html +++ b/ofl/gupter/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Gupter is a condensed serif font which takes inspiration from early 20th century English fonts such as Times New Roman.

- -

The family excels in small spaces, due to its large x-height and condensed letterforms. The light stems and subtle details give it a gentle personality and a nice color balance on the page.

- -

To contribute, see Gupter GitHub Repository

+

+ Gupter is a condensed serif font which takes inspiration from early 20th century English fonts such as Times New Roman. +

+

+ The family excels in small spaces, due to its large x-height and condensed letterforms. + The light stems and subtle details give it a gentle personality and a nice color balance on the page. +

+

+ To contribute, see + + Gupter GitHub Repository + +

diff --git a/ofl/gurajada/DESCRIPTION.en_us.html b/ofl/gurajada/DESCRIPTION.en_us.html index f510e54007..acfb222f20 100644 --- a/ofl/gurajada/DESCRIPTION.en_us.html +++ b/ofl/gurajada/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Gurajada is Telugu handwriting font, suitable for headings, posters, and invitations. + Gurajada is Telugu handwriting font, suitable for headings, posters, and invitations.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is developed by Juan Pablo del Peral at Huerta Tipografia, a type foundry in Argentina, and originally published as Alegreya Sans. -The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/gurajada

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is developed by Juan Pablo del Peral at Huerta Tipografia, a type foundry in Argentina, and originally published as + + Alegreya Sans + + . + The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/gurajada +

diff --git a/ofl/gwendolyn/DESCRIPTION.en_us.html b/ofl/gwendolyn/DESCRIPTION.en_us.html index 6170b4a451..24d053380c 100644 --- a/ofl/gwendolyn/DESCRIPTION.en_us.html +++ b/ofl/gwendolyn/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-This is a charming semi-formal script style. Need an enchanting look to go with a fantasy-like bedtime story? Gwendolyn will work beautifully. + This is a charming semi-formal script style. + Need an enchanting look to go with a fantasy-like bedtime story? + Gwendolyn will work beautifully.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/gwendolyn. + To contribute, see + + github.com/googlefonts/gwendolyn + + .

diff --git a/ofl/habibi/DESCRIPTION.en_us.html b/ofl/habibi/DESCRIPTION.en_us.html index 8d41b20705..1c65a97f55 100644 --- a/ofl/habibi/DESCRIPTION.en_us.html +++ b/ofl/habibi/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Habibi is a high contrast serifed text face. Habibi is easy to read and offers a certain elegance to go with this. Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. Habibi can be used from small sizes to larger display settings.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Habibi is a high contrast serifed text face. + Habibi is easy to read and offers a certain elegance to go with this. + Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. + Habibi can be used from small sizes to larger display settings. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/hachimarupop/DESCRIPTION.en_us.html b/ofl/hachimarupop/DESCRIPTION.en_us.html index 8fd8803d9b..9a2cf5612e 100644 --- a/ofl/hachimarupop/DESCRIPTION.en_us.html +++ b/ofl/hachimarupop/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-HachiMaruPop is a cute font that was popular among young Japanese girls in the 1970s and 1980s. It has an informal handwritten appearance which works well at larger sizes. + HachiMaruPop is a cute font that was popular among young Japanese girls in the 1970s and 1980s. + It has an informal handwritten appearance which works well at larger sizes.

-To contribute to the project, visit github.com/noriokanisawa/HachiMaruPop + To contribute to the project, visit + + github.com/noriokanisawa/HachiMaruPop +

diff --git a/ofl/hahmlet/DESCRIPTION.en_us.html b/ofl/hahmlet/DESCRIPTION.en_us.html index cc2d62d87d..8f23c19c54 100644 --- a/ofl/hahmlet/DESCRIPTION.en_us.html +++ b/ofl/hahmlet/DESCRIPTION.en_us.html @@ -1,6 +1,14 @@

- Hahmlet is inspired by a poster for the Korean ‘Hamlet’ movie from the 1940’s, created by an unknown letterer. The distinct and sharp, quirky and attention seeking details inspired Minjoo Ham to use it for a rather uncommon revival project and turn it into a robust, contemporary typeface. Once the Hangeul was finished, Mark Frömberg took on the challenge to translate the characteristics to the Latin design. A lively exploration into the possible and impossible began. Hahmlet is great for any kind of typesetting, print or screen but also a perfect eyecatcher for signage and poster designs. We highly recommend to use it for Hangeul and Latin bilingual typography. + Hahmlet is inspired by a poster for the Korean ‘Hamlet’ movie from the 1940’s, created by an unknown letterer. + The distinct and sharp, quirky and attention seeking details inspired Minjoo Ham to use it for a rather uncommon revival project and turn it into a robust, contemporary typeface. + Once the Hangeul was finished, Mark Frömberg took on the challenge to translate the characteristics to the Latin design. + A lively exploration into the possible and impossible began. + Hahmlet is great for any kind of typesetting, print or screen but also a perfect eyecatcher for signage and poster designs. + We highly recommend to use it for Hangeul and Latin bilingual typography.

-To contribute to the project, visit https://github.com/hyper-type/hahmlet/ + To contribute to the project, visit + + https://github.com/hyper-type/hahmlet/ +

diff --git a/ofl/halant/DESCRIPTION.en_us.html b/ofl/halant/DESCRIPTION.en_us.html index e45c3a933a..9a9ee0df51 100644 --- a/ofl/halant/DESCRIPTION.en_us.html +++ b/ofl/halant/DESCRIPTION.en_us.html @@ -1,9 +1,9 @@

-Halant is a typeface family supporting the Devanagari and Latin scripts. -This is an Open Source font family, first published by the Indian Type Foundry in 2014. + Halant is a typeface family supporting the Devanagari and Latin scripts. + This is an Open Source font family, first published by the Indian Type Foundry in 2014.

-The Devanagari glyphs in the Halant project were designed by Vivek Sadamate and Ninad Kale. -The Latin is by Jonny Pinhorn. -The Indian Type Foundry first published Halant in 2014. + The Devanagari glyphs in the Halant project were designed by Vivek Sadamate and Ninad Kale. + The Latin is by Jonny Pinhorn. + The Indian Type Foundry first published Halant in 2014.

diff --git a/ofl/hammersmithone/DESCRIPTION.en_us.html b/ofl/hammersmithone/DESCRIPTION.en_us.html index f213b441a9..a0d86bde2d 100644 --- a/ofl/hammersmithone/DESCRIPTION.en_us.html +++ b/ofl/hammersmithone/DESCRIPTION.en_us.html @@ -1,13 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Hammersmith One is a very low contrast typeface inspired by the Johnston UK -lettering tradition. Hammersmith One shows the quirks of a somewhat naive, -handmade, brush written letters including a wider than normal "e" and "s" as -well as dark joins between stroke which are normally compensated for in type. -The sources for this design have been adapted not just for type but -specifically for use as a web type. This font works well to even smaller sizes -than was originally expected.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Hammersmith One is a very low contrast typeface inspired by the Johnston UK lettering tradition. + Hammersmith One shows the quirks of a somewhat naive, handmade, brush written letters including a wider than normal "e" and "s" as well as dark joins between stroke which are normally compensated for in type. + The sources for this design have been adapted not just for type but specifically for use as a web type. + This font works well to even smaller sizes than was originally expected. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/hanalei/DESCRIPTION.en_us.html b/ofl/hanalei/DESCRIPTION.en_us.html index e49e6c5347..217332710b 100644 --- a/ofl/hanalei/DESCRIPTION.en_us.html +++ b/ofl/hanalei/DESCRIPTION.en_us.html @@ -1,10 +1,19 @@ -

Hanalei is for the Polynesian fan. Inspired by the bamboo lettering -of the iconic Mai Kai restaurant logo, Hanalei has all the flavor -of the genre without compromise. Great for titling and larger -typesetting. -Hanalei Fill -is a compliment to Hanalei.

- -

Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to -the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Hanalei is for the Polynesian fan. + Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei has all the flavor of the genre without compromise. + Great for titling and larger typesetting. + + Hanalei Fill + + is a compliment to Hanalei. +

+

+ Designed by Brian J. + Bonislawsky for Astigmatic (AOETI). + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/hanaleifill/DESCRIPTION.en_us.html b/ofl/hanaleifill/DESCRIPTION.en_us.html index 11f1aa6718..8f38300f06 100644 --- a/ofl/hanaleifill/DESCRIPTION.en_us.html +++ b/ofl/hanaleifill/DESCRIPTION.en_us.html @@ -1,10 +1,20 @@ -

Hanalei Fill is for the Polynesian fan. Inspired by the bamboo lettering -of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor -of the genre without compromise. Great for titling and larger -typesetting. Hanalei Fill is a compliment to -Hanalei -(the outline version.)

- -

Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to -the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Hanalei Fill is for the Polynesian fan. + Inspired by the bamboo lettering of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor of the genre without compromise. + Great for titling and larger typesetting. + Hanalei Fill is a compliment to + + Hanalei + + (the outline version.) +

+

+ Designed by Brian J. + Bonislawsky for Astigmatic (AOETI). + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/handjet/DESCRIPTION.en_us.html b/ofl/handjet/DESCRIPTION.en_us.html index 7758f729d7..05202aa20f 100644 --- a/ofl/handjet/DESCRIPTION.en_us.html +++ b/ofl/handjet/DESCRIPTION.en_us.html @@ -1,14 +1,16 @@

-Handjet is an element-based variable font (aka pixel font, modular font, …) where every glyph is composed using multiple copies of the same element. -Each element can take one of 23 shapes and transition smoothly between them while creating various effects. -The font currently supports these scripts: Arabic, Armenian, Cyrillic, Greek, Hebrew, and Latin. + Handjet is an element-based variable font (aka pixel font, modular font, …) where every glyph is composed using multiple copies of the same element. + Each element can take one of 23 shapes and transition smoothly between them while creating various effects. + The font currently supports these scripts: Arabic, Armenian, Cyrillic, Greek, Hebrew, and Latin.

- -

-Due to rendering issues specific to Mac OS, the font may show aberrations and visual artifacts, resulting in an unusual appearance. +

+ Due to rendering issues specific to Mac OS, the font may show aberrations and visual artifacts, resulting in an unusual appearance.

-

-Handjet is designed by David Březina with the contribution of Johannes Neumeier, Borna Izadpanah, Khajag Apelian and Meir Sadan. -To contribute see github.com/rosettatype/handjet. + Handjet is designed by David Březina with the contribution of Johannes Neumeier, Borna Izadpanah, Khajag Apelian and Meir Sadan. + To contribute see + + github.com/rosettatype/handjet + + .

diff --git a/ofl/handlee/DESCRIPTION.en_us.html b/ofl/handlee/DESCRIPTION.en_us.html index 13853cd10a..65be204a26 100644 --- a/ofl/handlee/DESCRIPTION.en_us.html +++ b/ofl/handlee/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Handlee is loosely based on the handwriting of typographer Joe Prince. Its inconsistent curves give it a nice, human-like quality that is reflected in the characters. Each glyph is stationed at a different position in respect to the baseline, and ascenders and descenders vary, which all contribute to the human-like qualities of the font.

Handlee is a great font for any web page looking to add some personality and charisma. There was careful attention to detail in removing unnecessary overlap between letters, which allows Handlee to be scaled down to very small sizes while still maintaining legibility.

The diaritics were purposefully designed at a slightly larger scale than normal to add to the ability to be scaled down. Also, the accents on the accented characters were not automatically generated but were rather hand placed individually to portray asymmetry and inconsistency that is typically found in handwriting.

All of the little details and careful considerations in Handlee make it the perfect font for any project.

\ No newline at end of file +

+ Handlee is loosely based on the handwriting of typographer Joe Prince. + Its inconsistent curves give it a nice, human-like quality that is reflected in the characters. + Each glyph is stationed at a different position in respect to the baseline, and ascenders and descenders vary, which all contribute to the human-like qualities of the font. +

+

+ Handlee is a great font for any web page looking to add some personality and charisma. + There was careful attention to detail in removing unnecessary overlap between letters, which allows Handlee to be scaled down to very small sizes while still maintaining legibility. +

+

+ The diaritics were purposefully designed at a slightly larger scale than normal to add to the ability to be scaled down. + Also, the accents on the accented characters were not automatically generated but were rather hand placed individually to portray asymmetry and inconsistency that is typically found in handwriting. +

+

+ All of the little details and careful considerations in Handlee make it the perfect font for any project. +

diff --git a/ofl/hankengrotesk/DESCRIPTION.en_us.html b/ofl/hankengrotesk/DESCRIPTION.en_us.html index af35112594..9ff7f295ad 100644 --- a/ofl/hankengrotesk/DESCRIPTION.en_us.html +++ b/ofl/hankengrotesk/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@

-Hanken Grotesk is a sans serif typeface inspired by the classic grotesques. Geometry, metrics, punctuations and OpenType features have been updated to support a wide range of projects such as environmental signage, textface for books and magazines, Interface, Websites and Mobile Applications. + Hanken Grotesk is a sans serif typeface inspired by the classic grotesques. + Geometry, metrics, punctuations and OpenType features have been updated to support a wide range of projects such as environmental signage, textface for books and magazines, Interface, Websites and Mobile Applications. +

+

+ The Hanken Grotesk project is led by Alfredo Marco Pradil. +

+

+ To contribute, see + + github.com/marcologous/hanken-grotesk +

- -

The Hanken Grotesk project is led by Alfredo Marco Pradil.

- -

To contribute, see github.com/marcologous/hanken-grotesk

diff --git a/ofl/hanna/DESCRIPTION.en_us.html b/ofl/hanna/DESCRIPTION.en_us.html index ea7d55f1fc..4c8066567f 100644 --- a/ofl/hanna/DESCRIPTION.en_us.html +++ b/ofl/hanna/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Woowa Brothers, a company dedicated to contributing to the world’s graceful progress by utilizing information technology, has created the ‘Hanna’ font for everyone to use. Hanna reflects Woowa Brothers’ kitsch and retro identity; it is reminiscent of our childhood memories of trying to draw something really nice, yet our drawing turns out to be a little rough and half-baked. Hanna is just like that kid’s drawing, and will bring you back to the time when you were little. Enjoy and share!

\ No newline at end of file +

+ Woowa Brothers, a company dedicated to contributing to the world’s graceful progress by utilizing information technology, has created the ‘Hanna’ font for everyone to use. + Hanna reflects Woowa Brothers’ kitsch and retro identity; it is reminiscent of our childhood memories of trying to draw something really nice, yet our drawing turns out to be a little rough and half-baked. + Hanna is just like that kid’s drawing, and will bring you back to the time when you were little. + Enjoy and share! +

diff --git a/ofl/hannari/DESCRIPTION.en_us.html b/ofl/hannari/DESCRIPTION.en_us.html index baa5aad74f..9b780e49bc 100644 --- a/ofl/hannari/DESCRIPTION.en_us.html +++ b/ofl/hannari/DESCRIPTION.en_us.html @@ -1,11 +1,15 @@

-Hannari, from typingart, is an original Kana design inspired by a historical design, Tsukiji. -The Kana have a soft and gentle appearence that is elegant and dynamic. -It is well balanced classical deign, with a feminine touch. -A classic design. + Hannari, from + + typingart + + , is an original Kana design inspired by a historical design, Tsukiji. + The Kana have a soft and gentle appearence that is elegant and dynamic. + It is well balanced classical deign, with a feminine touch. + A classic design.

-230 glyphs. -The upstream project includes Kanji, Latin and other glyphs from the IPA fonts, which are removed from this font. -Now released under the SIL Open Font License. + 230 glyphs. + The upstream project includes Kanji, Latin and other glyphs from the IPA fonts, which are removed from this font. + Now released under the SIL Open Font License.

diff --git a/ofl/hanuman/DESCRIPTION.en_us.html b/ofl/hanuman/DESCRIPTION.en_us.html index f40094ff31..d9285cd38f 100644 --- a/ofl/hanuman/DESCRIPTION.en_us.html +++ b/ofl/hanuman/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Hanuman is a Khmer font for body text, that pairs well with Latin serif fonts. + Hanuman is a Khmer font for body text, that pairs well with Latin serif fonts.

-To contribute, see github.com/danhhong/Hanuman. + To contribute, see + + github.com/danhhong/Hanuman + + .

diff --git a/ofl/happymonkey/DESCRIPTION.en_us.html b/ofl/happymonkey/DESCRIPTION.en_us.html index 09e448f4d4..8c2fcbbe5e 100644 --- a/ofl/happymonkey/DESCRIPTION.en_us.html +++ b/ofl/happymonkey/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Happy Monkey is a display sans serif typeface family, with thin and rounded -strokes. Suitable for informal headlines and all your fun typography!

- -

Designed by Brenda -Gallo and Gustavo -Dipre.

\ No newline at end of file +

+ Happy Monkey is a display sans serif typeface family, with thin and rounded strokes. + Suitable for informal headlines and all your fun typography! +

+

+ Designed by + + Brenda Gallo + + and + + Gustavo Dipre + + . +

diff --git a/ofl/harmattan/DESCRIPTION.en_us.html b/ofl/harmattan/DESCRIPTION.en_us.html index 1854044319..26673a2f06 100644 --- a/ofl/harmattan/DESCRIPTION.en_us.html +++ b/ofl/harmattan/DESCRIPTION.en_us.html @@ -1,24 +1,37 @@ -

Harmattan, named after the trade winds that blow during the winter in West Africa, - is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa.

- -

This font provides a simplified rendering of Arabic script, using basic connecting - glyphs but not including a wide variety of additional ligatures or contextual alternates - (only the required lam-alef ligatures.)

- -

Harmattan Version 2.000 (released in June 2020) now includes a Bold style and contains near - complete coverage of all the characters defined in Unicode 13.0 for Arabic script - (excluding the Arabic Presentation Forms blocks, which are not recommended for normal use). - It has full support for the Arabic and Arabic Supplement Unicode blocks, and the Arabic Extended-A - block with the exception of U+08D3..U+08E2.

- -

In 2023 an additional two weights for this typeface family were added for a total of four weights now. The glyphset was expanded to support all of the Unicode 15.0 character set. Support for the Kyrgyz language was added.

- -

Bob Hallissy does Graphite, OpenType, and TypeTuner code, and build support. - Becca Hirsbrunner is the Lead Designer. George W. Nuss is the Original Designer. - Iska Routamaa is a Contributing Designer. The Harmattan project is maintained by SIL International. - Harmattan is released under the SIL Open Font License. Harmattan is a trademark of SIL International.

- -

For further information about this font, including Unicode ranges supported, - Graphite and OpenType font features and how to use them, and licensing, please see the documentation - on the website software.sil.org/Harmattan. - To contribute, see github.com/silnrsi/font-harmattan.

+

+ Harmattan, named after the trade winds that blow during the winter in West Africa, is designed in a Warsh style to suit the needs of languages using the Arabic script in West Africa. +

+

+ This font provides a simplified rendering of Arabic script, using basic connecting glyphs but not including a wide variety of additional ligatures or contextual alternates (only the required lam-alef ligatures.) +

+

+ Harmattan Version 2.000 (released in June 2020) now includes a Bold style and contains near complete coverage of all the characters defined in Unicode 13.0 for Arabic script (excluding the Arabic Presentation Forms blocks, which are not recommended for normal use). + It has full support for the Arabic and Arabic Supplement Unicode blocks, and the Arabic Extended-A block with the exception of U+08D3..U+08E2. +

+

+ In 2023 an additional two weights for this typeface family were added for a total of four weights now. + The glyphset was expanded to support all of the Unicode 15.0 character set. + Support for the Kyrgyz language was added. +

+

+ Bob Hallissy does Graphite, OpenType, and TypeTuner code, and build support. + Becca Hirsbrunner is the Lead Designer. + George W. + Nuss is the Original Designer. + Iska Routamaa is a Contributing Designer. + The Harmattan project is maintained by SIL International. + Harmattan is released under the SIL Open Font License. + Harmattan is a trademark of SIL International. +

+

+ For further information about this font, including Unicode ranges supported, Graphite and OpenType font features and how to use them, and licensing, please see the documentation on the website + + software.sil.org/Harmattan + + . + To contribute, see + + github.com/silnrsi/font-harmattan + + . +

diff --git a/ofl/headlandone/DESCRIPTION.en_us.html b/ofl/headlandone/DESCRIPTION.en_us.html index 1200686ef8..4d0da4eef6 100644 --- a/ofl/headlandone/DESCRIPTION.en_us.html +++ b/ofl/headlandone/DESCRIPTION.en_us.html @@ -1,12 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Headland One is a text typeface designed to be highly legible and comfortable -when reading screens. Headland One is useful from very small sizes to headlines. -Headland One's personality recalls the geniality of the UK private press -movement types made at the turn of the 20th century. Headland One's eccentric -details contribute to the distinctive feeling of the type at smaller sizes but -do not become obvious until the type becomes much larger.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Headland One is a text typeface designed to be highly legible and comfortable when reading screens. + Headland One is useful from very small sizes to headlines. + Headland One's personality recalls the geniality of the UK private press movement types made at the turn of the 20th century. + Headland One's eccentric details contribute to the distinctive feeling of the type at smaller sizes but do not become obvious until the type becomes much larger. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/hedvigletterssans/DESCRIPTION.en_us.html b/ofl/hedvigletterssans/DESCRIPTION.en_us.html index d770638a67..5338b20c3b 100644 --- a/ofl/hedvigletterssans/DESCRIPTION.en_us.html +++ b/ofl/hedvigletterssans/DESCRIPTION.en_us.html @@ -1,15 +1,35 @@ -

Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience.

- -

The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig’s in-house design department. The typface reflects Hedvig’s brand philosophy “Stuff happens” – embracing all the things that happen in life, without worry or fear.

- -

- The typeface family Hedvig Letters consists of two fonts:
-

-

- -

The concept for the typeface was developed by approaching a “non-type-designer” point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig’s brand and design philosophy.

- -

To contribute, please see github.com/KanonFoundry/HedvigLetters.

+

+ Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. +

+

+ The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig’s in-house design department. + The typface reflects Hedvig’s brand philosophy “Stuff happens” – embracing all the things that happen in life, without worry or fear. +

+

+ The typeface family Hedvig Letters consists of two fonts: +
+

+

+

+ The concept for the typeface was developed by approaching a “non-type-designer” point of view. + Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. + For this typeface, the imperfections were embraced instead of corrected. + The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig’s brand and design philosophy. +

+

+ To contribute, please see + + github.com/KanonFoundry/HedvigLetters + + . +

diff --git a/ofl/hedviglettersserif/DESCRIPTION.en_us.html b/ofl/hedviglettersserif/DESCRIPTION.en_us.html index 4bb99f9e00..c0e1833d7f 100644 --- a/ofl/hedviglettersserif/DESCRIPTION.en_us.html +++ b/ofl/hedviglettersserif/DESCRIPTION.en_us.html @@ -1,15 +1,34 @@ -

Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience.

- -

The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig’s in-house design department. The typface reflects Hedvig’s brand philosophy “Stuff happens” – embracing all the things that happen in life, without worry or fear.

- -

- The typeface family Hedvig Letters consists of two fonts:
-

-

- -

The concept for the typeface was developed by approaching a “non-type-designer” point of view. Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. For this typeface, the imperfections were embraced instead of corrected. The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig’s brand and design philosophy.

- -

To contribute, please see github.com/KanonFoundry/HedvigLetters.

+

+ Hedvig is a digital insurance company that is challenging the traditional insurance industry by providing a predictable insurance experience. +

+

+ The Hedvig typeface family was created by Kanon Foundry in collaboration with Hedvig’s in-house design department. + The typface reflects Hedvig’s brand philosophy “Stuff happens” – embracing all the things that happen in life, without worry or fear. +

+

+ The typeface family Hedvig Letters consists of two fonts: +
+

+

+

+ The concept for the typeface was developed by approaching a “non-type-designer” point of view. + Optical corrections are usually applied to a typeface to fool the eye that certain shapes are balanced or aligned, when in reality they are not. + For this typeface, the imperfections were embraced instead of corrected. + The result is a typeface where some letters have a slightly odd, yet characteristic look that effectively communicates Hedvig’s brand and design philosophy. +

+

+ To contribute, please see + + github.com/KanonFoundry/HedvigLetters + + . +

diff --git a/ofl/heebo/DESCRIPTION.en_us.html b/ofl/heebo/DESCRIPTION.en_us.html index 1773c163ef..98c65be303 100644 --- a/ofl/heebo/DESCRIPTION.en_us.html +++ b/ofl/heebo/DESCRIPTION.en_us.html @@ -1,9 +1,21 @@ -

Heebo is a Hebrew and Latin typeface family, which extends Christian Roberton's Roboto Latin to Hebrew. The Hebrew was drawn by Oded Ezer and the font files were mastered by Meir Sadan.

- -

Since the Hebrew design of this family is primary, the vertical metrics are different to the original Roboto family. This family is auto-hinted, whereas Roboto is hand-hinted, so the rendering quality of Roboto may be better on older Windows machines.

- -

In May 2020, the family has been updated to a variable font family.

- -

The November 2023 update fixed some Hebrew bugs and improve the langage support.

- -

The Heebo project is led by Oded Ezer, a type designer based in Tel Aviv, Israel. To contribute, see github.com/OdedEzer/heebo

+

+ Heebo is a Hebrew and Latin typeface family, which extends Christian Roberton's Roboto Latin to Hebrew. + The Hebrew was drawn by Oded Ezer and the font files were mastered by Meir Sadan. +

+

+ Since the Hebrew design of this family is primary, the vertical metrics are different to the original Roboto family. + This family is auto-hinted, whereas Roboto is hand-hinted, so the rendering quality of Roboto may be better on older Windows machines. +

+

+ In May 2020, the family has been updated to a variable font family. +

+

+ The November 2023 update fixed some Hebrew bugs and improve the langage support. +

+

+ The Heebo project is led by Oded Ezer, a type designer based in Tel Aviv, Israel. + To contribute, see + + github.com/OdedEzer/heebo + +

diff --git a/ofl/hennypenny/DESCRIPTION.en_us.html b/ofl/hennypenny/DESCRIPTION.en_us.html index b419735fbb..31304d4390 100644 --- a/ofl/hennypenny/DESCRIPTION.en_us.html +++ b/ofl/hennypenny/DESCRIPTION.en_us.html @@ -1 +1,20 @@ -

Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites.

Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.

\ No newline at end of file +

+ Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. + It is a friendly and playful decorative typeface. + Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. + This makes the typeface very amusing. + HennyPenny is a headline typeface for use in large size fonts. + It may be used for childrens books, magazines and websites. +

+

+ Designed by + + Olga Umpeleva + + for Brownfox. + To contribute to the project contact + + Gayaneh Bagdasaryan + + . +

diff --git a/ofl/heptaslab/DESCRIPTION.en_us.html b/ofl/heptaslab/DESCRIPTION.en_us.html index 63cd8362ea..c0b637e31f 100644 --- a/ofl/heptaslab/DESCRIPTION.en_us.html +++ b/ofl/heptaslab/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Hepta Slab is a slab-serif revival based on specimens of antique genre types from Bruce and Co., primarily Antique 307. The family is a variable font which consists of 10 weights with the extremes intended for display use and the middle weights for setting text.

- -

To contribute, see github.com/mjlagattuta/Hepta-Slab.

+

+ Hepta Slab is a slab-serif revival based on specimens of antique genre types from Bruce and Co., primarily Antique 307. + The family is a variable font which consists of 10 weights with the extremes intended for display use and the middle weights for setting text. +

+

+ To contribute, see + + github.com/mjlagattuta/Hepta-Slab + + . +

diff --git a/ofl/hermeneusone/DESCRIPTION.en_us.html b/ofl/hermeneusone/DESCRIPTION.en_us.html index 0fd357905a..ae1abb09c9 100644 --- a/ofl/hermeneusone/DESCRIPTION.en_us.html +++ b/ofl/hermeneusone/DESCRIPTION.en_us.html @@ -1,4 +1,5 @@ -

Hermeneus is a grecian style font, inspired by the works of Jim Parkinson -and Ortiz Lopez. It condensation lets you put more characters into a line of -text giving your paragraphs more efficiency. It is intended to be read at small -size text, but also works on large headers and titles.

+

+ Hermeneus is a grecian style font, inspired by the works of Jim Parkinson and Ortiz Lopez. + It condensation lets you put more characters into a line of text giving your paragraphs more efficiency. + It is intended to be read at small size text, but also works on large headers and titles. +

diff --git a/ofl/herrvonmuellerhoff/DESCRIPTION.en_us.html b/ofl/herrvonmuellerhoff/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/herrvonmuellerhoff/DESCRIPTION.en_us.html +++ b/ofl/herrvonmuellerhoff/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/himelody/DESCRIPTION.en_us.html b/ofl/himelody/DESCRIPTION.en_us.html index eb3ff53f94..67b9369239 100644 --- a/ofl/himelody/DESCRIPTION.en_us.html +++ b/ofl/himelody/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Hi Melody is a Korean and Latin font.

\ No newline at end of file +

+ Hi Melody is a Korean and Latin font. +

diff --git a/ofl/hinamincho/DESCRIPTION.en_us.html b/ofl/hinamincho/DESCRIPTION.en_us.html index e9a9d1b759..af580667d3 100644 --- a/ofl/hinamincho/DESCRIPTION.en_us.html +++ b/ofl/hinamincho/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@ -

Hina Mincho is old-fashined and cute Japanese font.

- -

It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs.

- -

This font is licensed under the SIL Open Font License, Version 1.1.

- -

-To contribute to the project, visit github.com/satsuyako/Hina-Mincho +

+ Hina Mincho is old-fashined and cute Japanese font. +

+

+ It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. +

+

+ This font is licensed under the SIL Open Font License, Version 1.1. +

+

+ To contribute to the project, visit + + github.com/satsuyako/Hina-Mincho +

diff --git a/ofl/hind/DESCRIPTION.en_us.html b/ofl/hind/DESCRIPTION.en_us.html index 8945114c70..ebfc14ca9b 100644 --- a/ofl/hind/DESCRIPTION.en_us.html +++ b/ofl/hind/DESCRIPTION.en_us.html @@ -1,28 +1,31 @@

-Hind is an Open Source typeface supporting the Devanagari and Latin scripts. -Developed explicitly for use in User Interface design, the Hind font family includes five styles. -Hind’s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -In addition to this, Hind’s letterforms feature open apertures. -The entire typeface family feels very legible when used to set text. + Hind is an Open Source typeface supporting the Devanagari and Latin scripts. + Developed explicitly for use in User Interface design, the Hind font family includes five styles. + Hind’s letterforms have a humanist-style construction, which is paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + In addition to this, Hind’s letterforms feature open apertures. + The entire typeface family feels very legible when used to set text.

-The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. -In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. -Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. -Hind’s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary. + The Devanagari and Latin script components are scaled in relation to each other so that the Devanagari headline falls just below the Latin capital-height. + In other words, the Devanagari base characters are 94% as tall as the Latin uppercase. + Text set in the Devanagari script sits nicely alongside the Latin lowercase, too. + Hind’s Devanagari vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals inside of the base characters feature a treatment that appears more contemporary.

-Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. -These ensure full support for the major languages written with the Devanagari script. -The Latin component’s character set is a basic western one, which enables typesetting in English and the other Western European languages. -Hind is a solid choice for UI design, and a wise selection for electronic display embedding. + Each font in the Hind family has 1146 glyphs, which include hundreds of unique Devanagari conjuncts. + These ensure full support for the major languages written with the Devanagari script. + The Latin component’s character set is a basic western one, which enables typesetting in English and the other Western European languages. + Hind is a solid choice for UI design, and a wise selection for electronic display embedding.

-Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014. + Manushi Parikh designed Hind for the Indian Type Foundry, who first published the fonts in 2014.

-The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind + The Hind project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind +

diff --git a/ofl/hindcolombo/DESCRIPTION.en_us.html b/ofl/hindcolombo/DESCRIPTION.en_us.html index 0be0cf111a..1f3a89e0bf 100644 --- a/ofl/hindcolombo/DESCRIPTION.en_us.html +++ b/ofl/hindcolombo/DESCRIPTION.en_us.html @@ -1,20 +1,23 @@

-Hind Colombo is a family of five Sinhala fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Sinhala, the Hind Colombo fonts also include Latin-script characters. + Hind Colombo is a family of five Sinhala fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Sinhala, the Hind Colombo fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind Colombo’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind Colombo’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind Colombo’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind Colombo’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text.

-Hind Colombo is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Hind Colombo is named after Colombo, the capital city of Sri Lanka. + Hind Colombo is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Hind Colombo is named after Colombo, the capital city of Sri Lanka.

-The Hind Colombo project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-colombo + The Hind Colombo project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-colombo +

diff --git a/ofl/hindguntur/DESCRIPTION.en_us.html b/ofl/hindguntur/DESCRIPTION.en_us.html index aa0119a14d..ffef62cdc6 100644 --- a/ofl/hindguntur/DESCRIPTION.en_us.html +++ b/ofl/hindguntur/DESCRIPTION.en_us.html @@ -1,19 +1,22 @@

-Hind Guntur is a family of five Telugu fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -In addition to Telugu, the Hind Guntur fonts also include Latin-script characters. + Hind Guntur is a family of five Telugu fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + In addition to Telugu, the Hind Guntur fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind Guntur’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind Guntur’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind Guntur’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind Guntur’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text.

-Hind Guntur is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Hind Guntur is named after Guntur, a city where Telugu is used. + Hind Guntur is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Hind Guntur is named after Guntur, a city where Telugu is used.

-The Hind Guntur project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-guntur + The Hind Guntur project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-guntur +

diff --git a/ofl/hindjalandhar/DESCRIPTION.en_us.html b/ofl/hindjalandhar/DESCRIPTION.en_us.html index a39ebee133..7153de6a8e 100644 --- a/ofl/hindjalandhar/DESCRIPTION.en_us.html +++ b/ofl/hindjalandhar/DESCRIPTION.en_us.html @@ -1,28 +1,31 @@

-Hind Jalandhar is a family of five Gurmukhi fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Gurmukhi, the Hind Jalandhar fonts also include Latin-script characters. + Hind Jalandhar is a family of five Gurmukhi fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Gurmukhi, the Hind Jalandhar fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind Jalandhar’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes (quite a common feature in Gurmukhi typefaces.) -Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind Jalandhar’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind Jalandhar’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes (quite a common feature in Gurmukhi typefaces.) Most strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind Jalandhar’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text.

-The Gurmukhi and Latin script components are scaled in relation to each other so that the Gurmukhi headline is more or less at the same visual height as the Latin capital letters share. -The exact height of the Gurmukhi headline increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. -Hind Jalandhar’s Gurmukhi vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals, etc. inside of the base characters feature a treatment that appears more contemporary. -Each font in the Hind Jalandhar family has 475 glyphs, which includes all of the characters needed to write the Punjabi languages. -The fonts’ Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. + The Gurmukhi and Latin script components are scaled in relation to each other so that the Gurmukhi headline is more or less at the same visual height as the Latin capital letters share. + The exact height of the Gurmukhi headline increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. + Hind Jalandhar’s Gurmukhi vowel marks take forms that tends toward the traditional end of the design spectrum, while the knotted terminals, etc. + inside of the base characters feature a treatment that appears more contemporary. + Each font in the Hind Jalandhar family has 475 glyphs, which includes all of the characters needed to write the Punjabi languages. + The fonts’ Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages.

-Hind Jalandhar is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Namrata Goyal designed Hind Jalandhar for ITF, who first published the fonts in 2015. -Hind Jalandhar is named after Jalandhar, a city in Punjab, India. + Hind Jalandhar is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Namrata Goyal designed Hind Jalandhar for ITF, who first published the fonts in 2015. + Hind Jalandhar is named after Jalandhar, a city in Punjab, India.

-The Hind Jalandhar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-jalandhar + The Hind Jalandhar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-jalandhar +

diff --git a/ofl/hindkochi/DESCRIPTION.en_us.html b/ofl/hindkochi/DESCRIPTION.en_us.html index 5a36dc169c..b9792efb77 100644 --- a/ofl/hindkochi/DESCRIPTION.en_us.html +++ b/ofl/hindkochi/DESCRIPTION.en_us.html @@ -1,26 +1,29 @@

-Hind Kochi is a family of five Malayalam fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Malayalam, the Hind Kochi fonts also include Latin-script characters. + Hind Kochi is a family of five Malayalam fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Malayalam, the Hind Kochi fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind’s letterforms feature both open apertures and very open counterforms. -The entire family feels very legible when used to set text. -Hind Kochi’s Malayalam and Latin script components are scaled in relation to each other so that multi-script texts will sit nicely alongside each other. -Like many other Malayalam typefaces, Hind Kochi’s characters are monolinear. -But the specific design features added to Hind Kochi’s Malayalam features give text set in that language a nice, fresh feeling, with a very modern appearance. + Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind’s letterforms feature both open apertures and very open counterforms. + The entire family feels very legible when used to set text. + Hind Kochi’s Malayalam and Latin script components are scaled in relation to each other so that multi-script texts will sit nicely alongside each other. + Like many other Malayalam typefaces, Hind Kochi’s characters are monolinear. + But the specific design features added to Hind Kochi’s Malayalam features give text set in that language a nice, fresh feeling, with a very modern appearance.

-Each font in the Hind Kochi family has 530 glyphs, which includes all of the characters needed to write Malayalam. -The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. -Hind Kochi is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Dhruvi Tolia designed Hind Kochi for ITF, who first published the fonts in 2015. -Hind Kochi is named after Kochi, a city in Kerala, India. + Each font in the Hind Kochi family has 530 glyphs, which includes all of the characters needed to write Malayalam. + The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. + Hind Kochi is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Dhruvi Tolia designed Hind Kochi for ITF, who first published the fonts in 2015. + Hind Kochi is named after Kochi, a city in Kerala, India.

-The Hind Kochi project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-kochi + The Hind Kochi project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-kochi +

diff --git a/ofl/hindmadurai/DESCRIPTION.en_us.html b/ofl/hindmadurai/DESCRIPTION.en_us.html index 806f82d9e6..bacfbb5d20 100644 --- a/ofl/hindmadurai/DESCRIPTION.en_us.html +++ b/ofl/hindmadurai/DESCRIPTION.en_us.html @@ -1,28 +1,31 @@

-Hind Madurai is a family of five Tamil fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -In addition to Tamil, the Hind Madurai fonts also include Latin-script characters. + Hind Madurai is a family of five Tamil fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + In addition to Tamil, the Hind Madurai fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text.

-The Tamil and Latin script components are scaled in relation to each other so that the head of the Tamil characters falls just below the Latin capital-height. -Depending in the font weight, Tamil letters appear to be about 80–85% of the height of the Latin uppercase. -Text set in the Tamil script sits nicely alongside the Latin’s lowercase, too. -Although Hind Madurai is a “monolinear sans” face, much of its design features tends toward the traditional end of the design spectrum. -Each font in the Hind Madurai family has 552 glyphs, which includes all of the characters needed to write Tamil. -The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages. + The Tamil and Latin script components are scaled in relation to each other so that the head of the Tamil characters falls just below the Latin capital-height. + Depending in the font weight, Tamil letters appear to be about 80–85% of the height of the Latin uppercase. + Text set in the Tamil script sits nicely alongside the Latin’s lowercase, too. + Although Hind Madurai is a “monolinear sans” face, much of its design features tends toward the traditional end of the design spectrum. + Each font in the Hind Madurai family has 552 glyphs, which includes all of the characters needed to write Tamil. + The Latin character set is Adobe Latin 3, enabling typesetting for English and other Western European languages.

-Hind Madurai is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Jyotish Sonowal designed Hind Madurai for ITF, who first published the fonts in 2015. -Hind Madurai is named after Madurai, a city in Tamil Nadu, India. + Hind Madurai is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Jyotish Sonowal designed Hind Madurai for ITF, who first published the fonts in 2015. + Hind Madurai is named after Madurai, a city in Tamil Nadu, India.

-The Hind Madurai project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-madurai + The Hind Madurai project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-madurai +

diff --git a/ofl/hindmysuru/DESCRIPTION.en_us.html b/ofl/hindmysuru/DESCRIPTION.en_us.html index 8df30c28f0..adf1aebb91 100644 --- a/ofl/hindmysuru/DESCRIPTION.en_us.html +++ b/ofl/hindmysuru/DESCRIPTION.en_us.html @@ -1,28 +1,31 @@

-Hind Mysuru is a family of five Kannada fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Kannada, the Hind Mysuru fonts also include Latin-script characters. + Hind Mysuru is a family of five Kannada fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Kannada, the Hind Mysuru fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. -Hind Mysuru’s Kannada and Latin script components are scaled in relation to each other so that multi-script texts will sits nicely alongside each other. -Since Hind Mysuru’s Kannada characters are monolinear, they have a nice, fresh feeling, and appear very modern. + Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text. + Hind Mysuru’s Kannada and Latin script components are scaled in relation to each other so that multi-script texts will sits nicely alongside each other. + Since Hind Mysuru’s Kannada characters are monolinear, they have a nice, fresh feeling, and appear very modern.

-Aside from the Latin glyphs, each of the five Hind Mysuru fonts has 444 Kannada glyphs, including many unique conjuncts. -These ensure full support for the writing of the Kannada language. -The Latin script’s character set is Adobe Latin 3, enabling the typesetting of English and other Western European languages. + Aside from the Latin glyphs, each of the five Hind Mysuru fonts has 444 Kannada glyphs, including many unique conjuncts. + These ensure full support for the writing of the Kannada language. + The Latin script’s character set is Adobe Latin 3, enabling the typesetting of English and other Western European languages.

-Hind Mysuru is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Manushi Parikh designed Hind Mysuru for ITF, who first published the fonts in 2015. -Hind Mysuru is named after Mysuru, a city in Karnataka, India. + Hind Mysuru is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Manushi Parikh designed Hind Mysuru for ITF, who first published the fonts in 2015. + Hind Mysuru is named after Mysuru, a city in Karnataka, India.

-The Hind Mysuru project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-mysuru + The Hind Mysuru project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-mysuru +

diff --git a/ofl/hindsiliguri/DESCRIPTION.en_us.html b/ofl/hindsiliguri/DESCRIPTION.en_us.html index 162644afa9..332dd68091 100644 --- a/ofl/hindsiliguri/DESCRIPTION.en_us.html +++ b/ofl/hindsiliguri/DESCRIPTION.en_us.html @@ -1,27 +1,31 @@

-Hind Siliguri is a family of five Bengali fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Bengali, the Hind Siliguri fonts also include Latin-script characters. + Hind Siliguri is a family of five Bengali fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Bengali, the Hind Siliguri fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind’s letterforms feature open apertures. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind’s letterforms feature open apertures. + The entire family feels very legible when used to set text.

-The Bengali and Latin script components are scaled in relation to each other so that the Bengali headline is more or less at the same visual height as the Latin capital letters share. -The exact height of the Bengali headline increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. -Each font in the Hind Siliguri family has 820 glyphs, including many unique Bengali conjuncts. -These ensure support for the languages written with the Bengali script. -The Latin component’s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. + The Bengali and Latin script components are scaled in relation to each other so that the Bengali headline is more or less at the same visual height as the Latin capital letters share. + The exact height of the Bengali headline increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. + Each font in the Hind Siliguri family has 820 glyphs, including many unique Bengali conjuncts. + These ensure support for the languages written with the Bengali script. + The Latin component’s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages.

-Hind Siliguri is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Jyotish Sonowal designed Hind Siliguri for ITF, who first published the fonts in 2015. -Hind Siliguri is named after Siliguri, a city in West Bengal, India. -

-The Hind Siliguri project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-siliguri + Hind Siliguri is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Jyotish Sonowal designed Hind Siliguri for ITF, who first published the fonts in 2015. + Hind Siliguri is named after Siliguri, a city in West Bengal, India. +

+ The Hind Siliguri project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-siliguri + +

diff --git a/ofl/hindvadodara/DESCRIPTION.en_us.html b/ofl/hindvadodara/DESCRIPTION.en_us.html index 133facbf49..6a0552d867 100644 --- a/ofl/hindvadodara/DESCRIPTION.en_us.html +++ b/ofl/hindvadodara/DESCRIPTION.en_us.html @@ -1,28 +1,31 @@

-Hind Vadodara is a family of five Gujarati fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. -Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. -In addition to Gujarati, the Hind Vadodara fonts also include Latin-script characters. + Hind Vadodara is a family of five Gujarati fonts, which are part of the Indian Type Foundry’s larger Open Source Hind Multi-Script project. + Hind Multi-Script is a type system providing nine stylistically-matching font families – one for each of the following writing systems used in Bangladesh, India, Nepal, and Sri Lanka: Bengali, Devanagari, Gujarati, Gurmukhi, Kannada, Malayalam, Tamil, Telugu, and Sinhala. + In addition to Gujarati, the Hind Vadodara fonts also include Latin-script characters.

-Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. -Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. -This helps create clear-cut counter forms between the characters. -Additionally, Hind’s letterforms feature open apertures and counterforms. -The entire family feels very legible when used to set text. + Developed explicitly for use in User Interface design, Hind’s letterforms have a humanist-style construction, paired with seemingly monolinear strokes. + Most of these strokes have flat endings: they either terminate with a horizontal or a vertical shear, rather than on a diagonal. + This helps create clear-cut counter forms between the characters. + Additionally, Hind’s letterforms feature open apertures and counterforms. + The entire family feels very legible when used to set text.

-The Gujarati and Latin script components are scaled in relation to each other so that the height of the Gujarati base characters is more or less at the same visual height that the Latin capital letters share. -The exact height of the Gujarati characters increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. -Each font in the Hind Vadodara family has 851 glyphs, which include many unique Gujarati conjuncts. -These ensure full support for the writing of the Gujarati language. -The Latin component’s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages. + The Gujarati and Latin script components are scaled in relation to each other so that the height of the Gujarati base characters is more or less at the same visual height that the Latin capital letters share. + The exact height of the Gujarati characters increases vis à vis the capital height as the family increases in weight, just as the Latin lowercase does. + Each font in the Hind Vadodara family has 851 glyphs, which include many unique Gujarati conjuncts. + These ensure full support for the writing of the Gujarati language. + The Latin component’s character set is Adobe Latin 3, which enables typesetting in English and the other Western European languages.

-Hind Vadodara is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. -Hitesh Malaviya designed Hind Vadodara for ITF, who first published the fonts in 2015. -Hind Vadodara is named after Vadodara, a city in Gujarat, India. + Hind Vadodara is a solid alternate when choosing typefaces for UI design, and a wise selection for electronic display embedding. + Hitesh Malaviya designed Hind Vadodara for ITF, who first published the fonts in 2015. + Hind Vadodara is named after Vadodara, a city in Gujarat, India.

-The Hind Vadodara project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/hind-vadodara + The Hind Vadodara project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/hind-vadodara +

diff --git a/ofl/holtwoodonesc/DESCRIPTION.en_us.html b/ofl/holtwoodonesc/DESCRIPTION.en_us.html index ba3c414abb..2e40750c29 100644 --- a/ofl/holtwoodonesc/DESCRIPTION.en_us.html +++ b/ofl/holtwoodonesc/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Holtwood is a bold display font developed for use with modern web browsers. It has a lot of the look of some traditional woodblock poster typefaces of the Nineteenth Century but updated for the Twenty First. Holtwood was envisioned to be used in big and bold text sizes, but it still works well when running as smaller headlines too.

\ No newline at end of file +

+ Holtwood is a bold display font developed for use with modern web browsers. + It has a lot of the look of some traditional woodblock poster typefaces of the Nineteenth Century but updated for the Twenty First. + Holtwood was envisioned to be used in big and bold text sizes, but it still works well when running as smaller headlines too. +

diff --git a/ofl/homenaje/DESCRIPTION.en_us.html b/ofl/homenaje/DESCRIPTION.en_us.html index c1bc4e5699..55ae3f4670 100644 --- a/ofl/homenaje/DESCRIPTION.en_us.html +++ b/ofl/homenaje/DESCRIPTION.en_us.html @@ -1,8 +1,8 @@ -

Homenaje is inspired by the bronze cemetery art found in the Recoleta and -Chacaritas districts of Buenos Aires, Argentina. A grotesque and narrow type, -it provides economy in text setting without losing its strong, straight and -steady features. The name “Homenaje” means tribute in Spanish, a modest way to -honor the patient and accurate work of the lettering artists whose bronze -letters honor a lifetime.

- -

Designed by Constanza Artigas Preller and Agustina Mingote.

\ No newline at end of file +

+ Homenaje is inspired by the bronze cemetery art found in the Recoleta and Chacaritas districts of Buenos Aires, Argentina. + A grotesque and narrow type, it provides economy in text setting without losing its strong, straight and steady features. + The name “Homenaje” means tribute in Spanish, a modest way to honor the patient and accurate work of the lettering artists whose bronze letters honor a lifetime. +

+

+ Designed by Constanza Artigas Preller and Agustina Mingote. +

diff --git a/ofl/honk/DESCRIPTION.en_us.html b/ofl/honk/DESCRIPTION.en_us.html index 51190e149a..833f91a1da 100644 --- a/ofl/honk/DESCRIPTION.en_us.html +++ b/ofl/honk/DESCRIPTION.en_us.html @@ -1,14 +1,26 @@

-Loud, bright, and exuberantly fun! Honk is a variable colour font from Ek Type. It is a riotous digital interpretation of the bold and boisterous lettering seen on Indian trucks. + Loud, bright, and exuberantly fun! + Honk is a variable colour font from Ek Type. + It is a riotous digital interpretation of the bold and boisterous lettering seen on Indian trucks.

-An extravaganza of form and colour, Honk is a modular system with ten distinct styles, shadows, and colour palettes. An embodiment of India's colourful complexity, it effortlessly oscillates between simple and subtle to over-the-top and ornate. It's the kind of font that doesn't just speak; it shouts, honks, and sings with its varied styles, dynamic shape-shifting and use of colorv1 technology. + An extravaganza of form and colour, Honk is a modular system with ten distinct styles, shadows, and colour palettes. + An embodiment of India's colourful complexity, it effortlessly oscillates between simple and subtle to over-the-top and ornate. + It's the kind of font that doesn't just speak; it shouts, honks, and sings with its varied styles, dynamic shape-shifting and use of colorv1 technology.

-Honk reflects the essence of India's vibrant spirit, and it does so with an audacious flair. So, the next time you need a font that's as lively as an Indian street corner, give Honk a try. It is a typographic adventure you won't forget! + Honk reflects the essence of India's vibrant spirit, and it does so with an audacious flair. + So, the next time you need a font that's as lively as an Indian street corner, give Honk a try. + It is a typographic adventure you won't forget!

-This project is designed, engineered and maintained by Ek Type; a collective of type designers focused on designing contemporary Indian typefaces. Honk is designed by Noopur Datye and Yesha Goshar, and engineered by Sidharth Jaishankar and Girish Dalvi, emojis are designed by Athul Jayaraman and testing is done by Taresh Vohra and team Ek Type. A big honk to all the amazing designers who helped by open sourcing their color/element-based variable fonts. + This project is designed, engineered and maintained by Ek Type; a collective of type designers focused on designing contemporary Indian typefaces. + Honk is designed by Noopur Datye and Yesha Goshar, and engineered by Sidharth Jaishankar and Girish Dalvi, emojis are designed by Athul Jayaraman and testing is done by Taresh Vohra and team Ek Type. + A big honk to all the amazing designers who helped by open sourcing their color/element-based variable fonts. +

+

+ To contribute, see + + github.com/EkType/Honk +

- -

To contribute, see github.com/EkType/Honk

\ No newline at end of file diff --git a/ofl/hubballi/DESCRIPTION.en_us.html b/ofl/hubballi/DESCRIPTION.en_us.html index 7c60ea827a..977e7141a1 100644 --- a/ofl/hubballi/DESCRIPTION.en_us.html +++ b/ofl/hubballi/DESCRIPTION.en_us.html @@ -1,8 +1,10 @@

- Hubballi is a Kannada and Latin typeface designed by Erin McLaughlin. Hubballi is a monolinear typeface with an - informal, friendly appearance. + Hubballi is a Kannada and Latin typeface designed by Erin McLaughlin. + Hubballi is a monolinear typeface with an informal, friendly appearance.

- To contribute to the project, visit github.com/erinmclaughlin/Hubballi -

\ No newline at end of file + To contribute to the project, visit + + github.com/erinmclaughlin/Hubballi + +

diff --git a/ofl/hurricane/DESCRIPTION.en_us.html b/ofl/hurricane/DESCRIPTION.en_us.html index 29996cb1ab..84fba13fe9 100644 --- a/ofl/hurricane/DESCRIPTION.en_us.html +++ b/ofl/hurricane/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-A storm has been brewing. It’s Hurricane. Flair and excitement abounds with this fast moving spirited brush script. + A storm has been brewing. + It’s Hurricane. + Flair and excitement abounds with this fast moving spirited brush script.

-There are three regular styles incorporated into the PRO version of the this font, plus graphics to add an extra breeze to your work. The Script stylistic set swaps the caps out for the more flourished uppercase. + There are three regular styles incorporated into the PRO version of the this font, plus graphics to add an extra breeze to your work. + The Script stylistic set swaps the caps out for the more flourished uppercase.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/hurricane. + To contribute, see + + github.com/googlefonts/hurricane + + .

diff --git a/ofl/ibarrarealnova/DESCRIPTION.en_us.html b/ofl/ibarrarealnova/DESCRIPTION.en_us.html index 1c78e5a75c..1e4aa86c02 100644 --- a/ofl/ibarrarealnova/DESCRIPTION.en_us.html +++ b/ofl/ibarrarealnova/DESCRIPTION.en_us.html @@ -1,5 +1,20 @@ -

In 2007, The Calcografía Nacional Española organized a project directed by José María Ribagorda with the objective of divulging the invaluable typographic heritage produced in Spain in the 18th century through the "Imprenta Real".

-

This project included the recovery of the types designed by Geronimo Gil for the edition of the most beautiful "Quixote" never edited, printed by Joaquín Ibarra for the “Real Academia de la Lengua” in 1780. This font was called “Ibarra Real”.

-

José María Ribagorda decided in 2015 that Octavio Pardo would be the first collaborator to play the design. Octavio was the first student of the University of Reading MA Typeface Design program to study this project.

-

The Ornaments made by celebrated Latin American and Spanish designers would not be included until their authors allow them to be distributed under the SIL Open Source License.

-

To contribute, see Ibarra Real GitHub

\ No newline at end of file +

+ In 2007, The Calcografía Nacional Española organized a project directed by José María Ribagorda with the objective of divulging the invaluable typographic heritage produced in Spain in the 18th century through the "Imprenta Real". +

+

+ This project included the recovery of the types designed by Geronimo Gil for the edition of the most beautiful "Quixote" never edited, printed by Joaquín Ibarra for the “Real Academia de la Lengua” in 1780. + This font was called “Ibarra Real”. +

+

+ José María Ribagorda decided in 2015 that Octavio Pardo would be the first collaborator to play the design. + Octavio was the first student of the University of Reading MA Typeface Design program to study this project. +

+

+ The Ornaments made by celebrated Latin American and Spanish designers would not be included until their authors allow them to be distributed under the SIL Open Source License. +

+

+ To contribute, see + + Ibarra Real GitHub + +

diff --git a/ofl/ibmplexmono/DESCRIPTION.en_us.html b/ofl/ibmplexmono/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexmono/DESCRIPTION.en_us.html +++ b/ofl/ibmplexmono/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsans/DESCRIPTION.en_us.html b/ofl/ibmplexsans/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsans/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsans/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsansarabic/DESCRIPTION.en_us.html b/ofl/ibmplexsansarabic/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsansarabic/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsansarabic/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsanscondensed/DESCRIPTION.en_us.html b/ofl/ibmplexsanscondensed/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsanscondensed/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsanscondensed/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsansdevanagari/DESCRIPTION.en_us.html b/ofl/ibmplexsansdevanagari/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsansdevanagari/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsansdevanagari/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsanshebrew/DESCRIPTION.en_us.html b/ofl/ibmplexsanshebrew/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsanshebrew/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsanshebrew/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsansjp/DESCRIPTION.en_us.html b/ofl/ibmplexsansjp/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsansjp/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsansjp/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsanskr/DESCRIPTION.en_us.html b/ofl/ibmplexsanskr/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsanskr/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsanskr/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsansthai/DESCRIPTION.en_us.html b/ofl/ibmplexsansthai/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsansthai/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsansthai/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexsansthailooped/DESCRIPTION.en_us.html b/ofl/ibmplexsansthailooped/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexsansthailooped/DESCRIPTION.en_us.html +++ b/ofl/ibmplexsansthailooped/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/ibmplexserif/DESCRIPTION.en_us.html b/ofl/ibmplexserif/DESCRIPTION.en_us.html index 25d900f722..d831161e82 100644 --- a/ofl/ibmplexserif/DESCRIPTION.en_us.html +++ b/ofl/ibmplexserif/DESCRIPTION.en_us.html @@ -1,15 +1,14 @@

- IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & - Experience team (BX&D). Plex is an international typeface family designed to capture IBM’s brand spirit - and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since - the turn of the century. The result is a neutral yet friendly Grotesque style typeface that balances design with the - engineered details that make Plex distinctly IBM. The - family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile - interfaces. + IBM Plex® is the corporate typeface for IBM worldwide and an open-source project developed by the IBM Brand & Experience team (BX&D). + Plex is an international typeface family designed to capture IBM’s brand spirit and history and to illustrate the unique relationship between mankind and machine—a principal theme for IBM since the turn of the century. + The result is a neutral yet friendly Grotesque style typeface that balances design with the engineered details that make Plex distinctly IBM. + + + The family includes a Sans, Sans Condensed, Mono, and Serif and has excellent legibility in print, web, and mobile interfaces.

- Plex’s three designs work well independently and even better together. Use the Sans as a - contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. The unexpectedly - expressive nature of the italics gives you even more options for your designs. Currently, IBM Plex Sans supports - Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. -

\ No newline at end of file + Plex’s three designs work well independently and even better together. + Use the Sans as a contemporary compadre, the Serif for editorial storytelling, or the Mono to show code snippets. + The unexpectedly expressive nature of the italics gives you even more options for your designs. + Currently, IBM Plex Sans supports Extended Latin, Arabic, Cyrillic, Devanagari, Greek, Hebrew, Japanese, Korean and Thai. +

diff --git a/ofl/iceberg/DESCRIPTION.en_us.html b/ofl/iceberg/DESCRIPTION.en_us.html index 9f034fe348..6d67b69263 100644 --- a/ofl/iceberg/DESCRIPTION.en_us.html +++ b/ofl/iceberg/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Iceberg is a slim condensed decorative webfont by Victor Kharyk suitable for medium to large sizes. It is monolinear and mostly monospaced, has long ascenders and descenders, and a modular construction that builds a rhythm. These features improve overall readability. Its monolinear strokes and 45 degree cuts echo letters made from folded tape.

\ No newline at end of file +

+ Iceberg is a slim condensed decorative webfont by Victor Kharyk suitable for medium to large sizes. + It is monolinear and mostly monospaced, has long ascenders and descenders, and a modular construction that builds a rhythm. + These features improve overall readability. + Its monolinear strokes and 45 degree cuts echo letters made from folded tape. +

diff --git a/ofl/iceland/DESCRIPTION.en_us.html b/ofl/iceland/DESCRIPTION.en_us.html index f70aa4d39a..ad084dbcbe 100644 --- a/ofl/iceland/DESCRIPTION.en_us.html +++ b/ofl/iceland/DESCRIPTION.en_us.html @@ -1 +1,19 @@ -

The idea of geometric typefaces with a look reminiscent of the machinery, technology, and interior design of the 1950s originated in Eurostile family by Aldo Novarese and Alessandro Butti (1952).

Iceland is a modular square-shaped webfont by Victor Kharyk with a cold brutal character designed with the intention to perform well on screen starting from low resolutions. For this purpose the strokes are deliberatly kept vertical and diagonal cuts have a 45° angle, outlines are rounded.

Features like wide proportions and generous x-height are introduced for better legibility. Unconventional and simplified letterforms like k, f, r aid readability at small sizes. While at display sizes they add a crisp and sharp impression.

Uppercase letters are decently heavier compared to lowercase as a tribute to the old typographic tradition. This way uppercase is easily distinguished from lowercase, and allows scaling down to be used as Small Caps.

Because of its ascetic modular character and squarish proportions Iceland webfont is easily integrated in modular grids and logotypes.

\ No newline at end of file +

+ The idea of geometric typefaces with a look reminiscent of the machinery, technology, and interior design of the 1950s originated in Eurostile family by Aldo Novarese and Alessandro Butti (1952). +

+

+ Iceland is a modular square-shaped webfont by Victor Kharyk with a cold brutal character designed with the intention to perform well on screen starting from low resolutions. + For this purpose the strokes are deliberatly kept vertical and diagonal cuts have a 45° angle, outlines are rounded. +

+

+ Features like wide proportions and generous x-height are introduced for better legibility. + Unconventional and simplified letterforms like k, f, r aid readability at small sizes. + While at display sizes they add a crisp and sharp impression. +

+

+ Uppercase letters are decently heavier compared to lowercase as a tribute to the old typographic tradition. + This way uppercase is easily distinguished from lowercase, and allows scaling down to be used as Small Caps. +

+

+ Because of its ascetic modular character and squarish proportions Iceland webfont is easily integrated in modular grids and logotypes. +

diff --git a/ofl/imbue/DESCRIPTION.en_us.html b/ofl/imbue/DESCRIPTION.en_us.html index 1f0c80c0d0..25ed2cab3c 100644 --- a/ofl/imbue/DESCRIPTION.en_us.html +++ b/ofl/imbue/DESCRIPTION.en_us.html @@ -1,6 +1,14 @@

-Imbue is a variable condensed didone made for your special occasion. The result is something crisp and curvy with two variable axes: weight and optical size. + + Imbue + + is a variable condensed didone made for your special occasion. + The result is something crisp and curvy with two variable axes: weight and optical size.

-Imbue was designed by Tyler Finck. To contribute, see github.com/Etcetera-Type-Co/Imbue + Imbue was designed by Tyler Finck. + To contribute, see + + github.com/Etcetera-Type-Co/Imbue +

diff --git a/ofl/imfelldoublepica/DESCRIPTION.en_us.html b/ofl/imfelldoublepica/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfelldoublepica/DESCRIPTION.en_us.html +++ b/ofl/imfelldoublepica/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfelldoublepicasc/DESCRIPTION.en_us.html b/ofl/imfelldoublepicasc/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfelldoublepicasc/DESCRIPTION.en_us.html +++ b/ofl/imfelldoublepicasc/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfelldwpica/DESCRIPTION.en_us.html b/ofl/imfelldwpica/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfelldwpica/DESCRIPTION.en_us.html +++ b/ofl/imfelldwpica/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfelldwpicasc/DESCRIPTION.en_us.html b/ofl/imfelldwpicasc/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfelldwpicasc/DESCRIPTION.en_us.html +++ b/ofl/imfelldwpicasc/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellenglish/DESCRIPTION.en_us.html b/ofl/imfellenglish/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellenglish/DESCRIPTION.en_us.html +++ b/ofl/imfellenglish/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellenglishsc/DESCRIPTION.en_us.html b/ofl/imfellenglishsc/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellenglishsc/DESCRIPTION.en_us.html +++ b/ofl/imfellenglishsc/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellfrenchcanon/DESCRIPTION.en_us.html b/ofl/imfellfrenchcanon/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellfrenchcanon/DESCRIPTION.en_us.html +++ b/ofl/imfellfrenchcanon/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellfrenchcanonsc/DESCRIPTION.en_us.html b/ofl/imfellfrenchcanonsc/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellfrenchcanonsc/DESCRIPTION.en_us.html +++ b/ofl/imfellfrenchcanonsc/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellgreatprimer/DESCRIPTION.en_us.html b/ofl/imfellgreatprimer/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellgreatprimer/DESCRIPTION.en_us.html +++ b/ofl/imfellgreatprimer/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imfellgreatprimersc/DESCRIPTION.en_us.html b/ofl/imfellgreatprimersc/DESCRIPTION.en_us.html index 766c68a43b..051d7c368d 100644 --- a/ofl/imfellgreatprimersc/DESCRIPTION.en_us.html +++ b/ofl/imfellgreatprimersc/DESCRIPTION.en_us.html @@ -1 +1,35 @@ -

STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter."

It’s essentially the inheritance of the will of John Fell, D.D. who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing.

He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. 1672). So he collectected types available in the foreign market: mainly France, Holland and Germany. Fell decided to develop types in its own ‘workhouse’ too.

Peter De Walpergen became his personal type-founder. Says Harry Carter in “THE FELL TYPES. What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches."

John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable."

In 1686 John Fell died. In his “will” he bequeathed the entire collection of type to the University of Oxford. Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire."

\ No newline at end of file +

+ STANLEY MORISON, in his “THE ROMAN ITALIC & BLACK LETTER bequeathed to the University of Oxford by Dr. + JOHN FELL” (Oxford University Press, Oxford, 1951), began this way the description of the FELL TYPES: "The Oxford Printing house holds the oldest punches and matrices surviving in England, material not only treasured but used; types cast therefrom being employed for the composition of books and other printed matter." +

+

+ It’s essentially the inheritance of the will of John Fell, D.D. + who died on 10 July 1686, aged 61, Bishop of Oxford and Dean of Christ Church. + Since 1668 he spent his life creating a ‘learned press’ in Oxford, endowed with invaluable equipment, setting a high standard for the future of his publishing. +

+ He wrote: "The foundation of all successe must be layd in doing things well, and I am sure that will not be don with English letters" (to Jenkins, 2 Dec. + 1672). + So he collectected types available in the foreign market: mainly France, Holland and Germany. + Fell decided to develop types in its own ‘workhouse’ too. +

+

+ Peter De Walpergen became his personal type-founder. + Says Harry Carter in “THE FELL TYPES. + What has been done in and about them” (Oxford University Press, New York, 1968): "He was born at Frankfurt am Main, descended from a Protestant refugee from Antwerp. + He was engaged by the Dutch East India Company in 1671 to work as a type-founder and printer in Java. + The comparative crudity of his letter design makes it seems unlikely that he had been trained to cut punches." +

+

+ John Fell entrusted him with the cut of the larger bodies: Great Primer Roman and Italic; Double Pica Roman and Italic; French Canon Roman and Italic; Three Lines Pica Roman. + De Walpergen cut other types and letters for existing types to be harmonized with the larger bodies. + Commented Morison: "The design of these large Fell Types is difficult to characterize and impossible wholly to approve. + It has some affinity with the Dutch work of the second half of the seventeenth century, especially with the bigger size of type shown in the Widow Elsevier’s specimen-sheet of types attributed to Christoffel van Dyck; but De Walpergen went much further in the contrasting weight of thick and thin strokes and his design has crudities about it of which Van Dyck would not have been capable." +

+

+ In 1686 John Fell died. + In his “will” he bequeathed the entire collection of type to the University of Oxford. + Remembers Morison: "This entire collection of ‘founding Materialls of Punchions Matrices Moulds’ was ‘got together’ by John Fell ‘and others at great expense’. + Fell’s instructions that they ‘be carefully kept together’ by his executors were duly observed. + The Chancellor, Masters, and Scholars of the University of Oxford honourably played their part in sustaining the interests of ‘learning and printing’ and thus the collection was not dissipated but manteined entire." +

+

diff --git a/ofl/imperialscript/DESCRIPTION.en_us.html b/ofl/imperialscript/DESCRIPTION.en_us.html index b58c46569a..9f14c28022 100644 --- a/ofl/imperialscript/DESCRIPTION.en_us.html +++ b/ofl/imperialscript/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Imperial Script is a formal script font with clean connections and an elegant look. The thin connectors combined with the heavier shade strokes makes Imperial perfect for invitations, formal events and seasonal settings. + Imperial Script is a formal script font with clean connections and an elegant look. + The thin connectors combined with the heavier shade strokes makes Imperial perfect for invitations, formal events and seasonal settings.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/imperial-script. + To contribute, see + + github.com/googlefonts/imperial-script + + .

diff --git a/ofl/imprima/DESCRIPTION.en_us.html b/ofl/imprima/DESCRIPTION.en_us.html index 7be514cf8e..61c07072f1 100644 --- a/ofl/imprima/DESCRIPTION.en_us.html +++ b/ofl/imprima/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Imprima looks excellent even on cheap home printers because it has broad counters, strong joins between stems and inktraps that enable it to perform well in very small sizes. Professionally printed documents will make it look even better, especially in large sizes, because there the details of its design that are distinctive become clearly visible. The design of this typeface family is cared for as one cares for your own family. Each component has been treated humanely, by hand.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/imprima.

+

+ Imprima looks excellent even on cheap home printers because it has broad counters, strong joins between stems and inktraps that enable it to perform well in very small sizes. + Professionally printed documents will make it look even better, especially in large sizes, because there the details of its design that are distinctive become clearly visible. + The design of this typeface family is cared for as one cares for your own family. + Each component has been treated humanely, by hand. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/imprima + + . +

diff --git a/ofl/inclusivesans/DESCRIPTION.en_us.html b/ofl/inclusivesans/DESCRIPTION.en_us.html index e5f4b37548..2a8b3121dc 100644 --- a/ofl/inclusivesans/DESCRIPTION.en_us.html +++ b/ofl/inclusivesans/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Inclusive Sans is a text font designed for accessibility and readability. It is inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses.

- -

To contribute, see github.com/LivKing/Inclusive-Sans.

+

+ Inclusive Sans is a text font designed for accessibility and readability. + It is inspired by the friendly personality of contemporary neo-grotesques while incorporating key features to make it highly legible in all uses. +

+

+ To contribute, see + + github.com/LivKing/Inclusive-Sans + + . +

diff --git a/ofl/inconsolata/DESCRIPTION.en_us.html b/ofl/inconsolata/DESCRIPTION.en_us.html index cef41ea4db..5fb6448f77 100644 --- a/ofl/inconsolata/DESCRIPTION.en_us.html +++ b/ofl/inconsolata/DESCRIPTION.en_us.html @@ -1,21 +1,33 @@

-Inconsolata was Raph Levien's first serious original font release. -It is a monospace font, designed for printed code listings and the like. -There are a great many “programmer fonts,” designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering. + Inconsolata was Raph Levien's first serious original font release. + It is a monospace font, designed for printed code listings and the like. + There are a great many “programmer fonts,” designed primarily for use on the screen, but in most cases do not have the attention to detail for high resolution rendering.

-Inconsolata draws from many inspirations and sources. -I was particularly struck by the beauty of Luc(as) de Groot's Consolas, which is his monospaced design for Microsoft's Vista release. -This font, similar to his earlier TheSansMono, demonstrated clearly to me that monospaced fonts do not have to suck. + Inconsolata draws from many inspirations and sources. + I was particularly struck by the beauty of Luc(as) de Groot's Consolas, which is his monospaced design for Microsoft's Vista release. + This font, similar to his earlier TheSansMono, demonstrated clearly to me that monospaced fonts do not have to suck.

-The development of the Regular style by Raph Levien was started in 2006 using his own Spiro-based tools and FontForge. -The Bold style was designed by Kirill Tkachev and the Cyreal foundry in 2012. + The development of the Regular style by Raph Levien was started in 2006 using his own Spiro-based tools and FontForge. + The Bold style was designed by Kirill Tkachev and the Cyreal foundry in 2012.

-Updated September 2015: Internal metadata corrected. + + Updated September 2015: + + Internal metadata corrected.

-Updated April 2020: Family has been upgraded to a variable font family. + + Updated April 2020: + + Family has been upgraded to a variable font family. +

+

+ To contribute, see + + github.com/googlefonts/inconsolata + + .

-

To contribute, see github.com/googlefonts/inconsolata.

diff --git a/ofl/inder/DESCRIPTION.en_us.html b/ofl/inder/DESCRIPTION.en_us.html index 21266a3f9c..08bb5cc07a 100644 --- a/ofl/inder/DESCRIPTION.en_us.html +++ b/ofl/inder/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Inder is a low contrast workhorse sans serif text face design. It was inspired by German art noveau style lettering and the Amsterdam School of architecture. Inder has been carefully adjusted to the restrictions of the screen. Inder can be used in a wide range of sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Inder is a low contrast workhorse sans serif text face design. + It was inspired by German art noveau style lettering and the Amsterdam School of architecture. + Inder has been carefully adjusted to the restrictions of the screen. + Inder can be used in a wide range of sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/indieflower/DESCRIPTION.en_us.html b/ofl/indieflower/DESCRIPTION.en_us.html index b147d759b7..7c931d0162 100644 --- a/ofl/indieflower/DESCRIPTION.en_us.html +++ b/ofl/indieflower/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

This handwriting font feels carefree and open to me with the bubbly, rounded edges. It is easy to read and a bit bolder than some of my other fonts.

\ No newline at end of file +

+ This handwriting font feels carefree and open to me with the bubbly, rounded edges. + It is easy to read and a bit bolder than some of my other fonts. +

diff --git a/ofl/ingriddarling/DESCRIPTION.en_us.html b/ofl/ingriddarling/DESCRIPTION.en_us.html index 76d3fb845e..6d0744c08e 100644 --- a/ofl/ingriddarling/DESCRIPTION.en_us.html +++ b/ofl/ingriddarling/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Ingrid Darling is a cute script font originally created for greeting cards. It is based on a cursive hand writing style that has a playful, whimsical appeal. It would be best served as a display font and should be used sparingly rather than in larger bodies of type. + Ingrid Darling is a cute script font originally created for greeting cards. + It is based on a cursive hand writing style that has a playful, whimsical appeal. + It would be best served as a display font and should be used sparingly rather than in larger bodies of type.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/ingrid-darling. + To contribute, see + + github.com/googlefonts/ingrid-darling + + .

diff --git a/ofl/inika/DESCRIPTION.en_us.html b/ofl/inika/DESCRIPTION.en_us.html index 458a2bb6e2..e25591260b 100644 --- a/ofl/inika/DESCRIPTION.en_us.html +++ b/ofl/inika/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. “Inika” means “ink” in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. Inika is useful for both long text setting, document titles, and even large display sizes.

\ No newline at end of file +

+ Inspired by Easter Island and its Rapa Nui language and culture, this typeface captures the essence of an island located in Chile, South America, full of mystery, sacred places and stories of the past. + “Inika” means “ink” in the Rapa Nui language, and it represents the tradition of the rongo-rongo writing, used by people on the island thousands of years ago. + The tiki style was worked into the characters with a light touch while developing the upper and lowercase letters forms to evoke the spirit of the island. + Inika is useful for both long text setting, document titles, and even large display sizes. +

diff --git a/ofl/inknutantiqua/DESCRIPTION.en_us.html b/ofl/inknutantiqua/DESCRIPTION.en_us.html index aba1c4eb81..e6a110986e 100644 --- a/ofl/inknutantiqua/DESCRIPTION.en_us.html +++ b/ofl/inknutantiqua/DESCRIPTION.en_us.html @@ -1,19 +1,27 @@

-»Inknut Antiqua« is an Antiqua typeface for literature and long-form text. -Approaching the idea of web-publishing as a modern day private press, it is designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition. + »Inknut Antiqua« is an Antiqua typeface for literature and long-form text. + Approaching the idea of web-publishing as a modern day + + private press + + , it is designed to evoke Venetian incunabula and humanist manuscripts, but with the quirks and idiosyncrasies of the kinds of typefaces you find in this artisanal tradition.

-

-It comes with a complement of typographical sorts and OpenType features for the purpose. -The proportions of Inknut Antiqua make it well suited for low-resolution screens. + It comes with a complement of typographical sorts and OpenType features for the purpose. + The proportions of Inknut Antiqua make it well suited for low-resolution screens.

-

-The Inknut (Terminalia Chebula), called »harad« in Hindi, is a nut-like fruit that can be used for ink making and is purported to cure blindness. -The tree it grows from is native to the Indian sub-continent and south-east Asia. + The + + Inknut (Terminalia Chebula), + + called »harad« in Hindi, is a nut-like fruit that can be used for ink making and is purported to cure blindness. + The tree it grows from is native to the Indian sub-continent and south-east Asia.

-

-The Inknut Antiqua project is led by Claus Eggers Sørensen, a type designer based in Amsterdam. -To contribute, see github.com/clauseggers/Inknut-Antiqua + The Inknut Antiqua project is led by Claus Eggers Sørensen, a type designer based in Amsterdam. + To contribute, see + + github.com/clauseggers/Inknut-Antiqua +

diff --git a/ofl/inriasans/DESCRIPTION.en_us.html b/ofl/inriasans/DESCRIPTION.en_us.html index 7b2fb002ad..6595a77910 100644 --- a/ofl/inriasans/DESCRIPTION.en_us.html +++ b/ofl/inriasans/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics.

- -

To contribute, see github.com/BlackFoundryCom/InriaFonts.

\ No newline at end of file +

+ Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. + The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. + Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. + Both members come in 3 weights with matching Italics. +

+

+ To contribute, see + + github.com/BlackFoundryCom/InriaFonts + + . +

diff --git a/ofl/inriaserif/DESCRIPTION.en_us.html b/ofl/inriaserif/DESCRIPTION.en_us.html index fe28683ef7..6595a77910 100644 --- a/ofl/inriaserif/DESCRIPTION.en_us.html +++ b/ofl/inriaserif/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. Both members come in 3 weights with matching Italics.

- -

To contribute, see github.com/BlackFoundryCom/InriaFonts.

+

+ Inria Sans and Inria Serif are the two members of a type family design for the communication of Inria, a national institute dedicated to numeric research. + The Institute needed a font showing its values at the crossroad of humanity, technology, excellence and creativity. + Black[Foundry] created a humanist typeface with a unapologetically contemporary design as the Sans-Serif part and a more rational drawing for the Serif. + Both members come in 3 weights with matching Italics. +

+

+ To contribute, see + + github.com/BlackFoundryCom/InriaFonts + + . +

diff --git a/ofl/inspiration/DESCRIPTION.en_us.html b/ofl/inspiration/DESCRIPTION.en_us.html index 191b0c72f9..22d644e93d 100644 --- a/ofl/inspiration/DESCRIPTION.en_us.html +++ b/ofl/inspiration/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Have a party with Inspiration. A fun, script font with a less-than-serious bounce. You may have seen the use of Inspiration in the logo for Michaels craft stores. + Have a party with Inspiration. + A fun, script font with a less-than-serious bounce. + You may have seen the use of Inspiration in the logo for Michaels craft stores.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/inspiration. + To contribute, see + + github.com/googlefonts/inspiration + + .

diff --git a/ofl/instrumentsans/DESCRIPTION.en_us.html b/ofl/instrumentsans/DESCRIPTION.en_us.html index 11cb7f0255..c719e93197 100644 --- a/ofl/instrumentsans/DESCRIPTION.en_us.html +++ b/ofl/instrumentsans/DESCRIPTION.en_us.html @@ -1,5 +1,21 @@ -

Instrument Sans is a font designed for the Instrument brand. It's a variable sans-serif which balances an abundance of precision with subtle notes of playfulness. Inspiration was drawn from our enduring interest in neo-grotesques. In a way, this family of weights, widths, and italics represent an orchestration of all of our favorite qualities in a sans-serif while featuring contemporary characteristics that make this typeface distinctly our own.

- -

Featuring 12 unique stylistic sets, commonly-used characters can be replaced with alternate glyphs in a variety of combinations to tailor the appearance and legibility of messaging. This flexibility allows for a wide range of expressive styles, making it easy to mold it to perfectly suit whatever style of expression is needed.

- -

To contribute, see github.com/Instrument/instrument-sans.

+

+ Instrument Sans is a font designed for the + + Instrument + + brand. + It's a variable sans-serif which balances an abundance of precision with subtle notes of playfulness. + Inspiration was drawn from our enduring interest in neo-grotesques. + In a way, this family of weights, widths, and italics represent an orchestration of all of our favorite qualities in a sans-serif while featuring contemporary characteristics that make this typeface distinctly our own. +

+

+ Featuring 12 unique stylistic sets, commonly-used characters can be replaced with alternate glyphs in a variety of combinations to tailor the appearance and legibility of messaging. + This flexibility allows for a wide range of expressive styles, making it easy to mold it to perfectly suit whatever style of expression is needed. +

+

+ To contribute, see + + github.com/Instrument/instrument-sans + + . +

diff --git a/ofl/instrumentserif/DESCRIPTION.en_us.html b/ofl/instrumentserif/DESCRIPTION.en_us.html index d226b980fb..1b576d317b 100644 --- a/ofl/instrumentserif/DESCRIPTION.en_us.html +++ b/ofl/instrumentserif/DESCRIPTION.en_us.html @@ -1,3 +1,15 @@ -

Instrument Serif is a condensed display font designed for the Instrument brand. It is intended for use at large sizes and offers a contemporary take on some of the time-tested characteristics found in old-style serifs.

- -

To contribute, please see github.com/Instrument/instrument-serif.

+

+ Instrument Serif is a condensed display font designed for the + + Instrument + + brand. + It is intended for use at large sizes and offers a contemporary take on some of the time-tested characteristics found in old-style serifs. +

+

+ To contribute, please see + + github.com/Instrument/instrument-serif + + . +

diff --git a/ofl/inter/DESCRIPTION.en_us.html b/ofl/inter/DESCRIPTION.en_us.html index 18899a1565..038192be31 100644 --- a/ofl/inter/DESCRIPTION.en_us.html +++ b/ofl/inter/DESCRIPTION.en_us.html @@ -1,12 +1,14 @@

- Inter is a variable font family carefully crafted & designed for computer screens. + Inter is a variable font family carefully crafted & designed for computer screens.

- Inter features a tall x-height to aid in readability of mixed-case and lower-case text. Several OpenType features are provided as well, like - contextual alternates that adjusts punctuation depending on the shape of surrounding glyphs, slashed zero for when you need to disambiguate "0" from - "o", tabular numbers, etc. + Inter features a tall x-height to aid in readability of mixed-case and lower-case text. + Several OpenType features are provided as well, like contextual alternates that adjusts punctuation depending on the shape of surrounding glyphs, slashed zero for when you need to disambiguate "0" from "o", tabular numbers, etc.

- The Inter project is led by Rasmus Andersson, a Swedish maker–of–software living in San Francisco. To contribute, see - github.com/rsms/inter + The Inter project is led by Rasmus Andersson, a Swedish maker–of–software living in San Francisco. + To contribute, see + + github.com/rsms/inter +

diff --git a/ofl/intertight/DESCRIPTION.en_us.html b/ofl/intertight/DESCRIPTION.en_us.html index 3931b9e64a..3b83def60f 100644 --- a/ofl/intertight/DESCRIPTION.en_us.html +++ b/ofl/intertight/DESCRIPTION.en_us.html @@ -1,4 +1,15 @@ -

This is a specialized version of Inter with tighter spacing, for display usage. This version also has Roman and Italic styles. +

+ This is a specialized version of + + Inter + + with tighter spacing, for display usage. + This version also has Roman and Italic styles. +

+

+ To contribute, see + + github.com/rsms/inter-gf-tight + + .

- -

To contribute, see github.com/rsms/inter-gf-tight.

\ No newline at end of file diff --git a/ofl/islandmoments/DESCRIPTION.en_us.html b/ofl/islandmoments/DESCRIPTION.en_us.html index d180d3268c..7739663e26 100644 --- a/ofl/islandmoments/DESCRIPTION.en_us.html +++ b/ofl/islandmoments/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Take a trip to a tropical paradise. This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. This OpenType Pro version offers extra alternate characters. + Take a trip to a tropical paradise. + This brush style font has an exotic appeal with alternate uppercase characters borrowed from the font, Babylonica. + This OpenType Pro version offers extra alternate characters.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/island-moments. + To contribute, see + + github.com/googlefonts/island-moments + + .

diff --git a/ofl/istokweb/DESCRIPTION.en_us.html b/ofl/istokweb/DESCRIPTION.en_us.html index d9ca9c639a..3dab717224 100644 --- a/ofl/istokweb/DESCRIPTION.en_us.html +++ b/ofl/istokweb/DESCRIPTION.en_us.html @@ -1,19 +1,33 @@ -

Istok Web is an original typeface, in development since 2008. At first some -basic letters were based on specially modified METAFONT sources from the CM -Bright font family from the TeX community. (METAFONT is very flexible -technology.) But in fact Istok fonts are now very far from this origin. -Contours of the font are designed in the freely distributable font editor, -FontForge.

- -

Most glyphs are manually hinted with the aim to be rendered on LCD -displays. I used xgridfit as a -tool for programming truetype instructions. Less frequently utilized symbols -have automatic instructions produced by FontForge autohinting, until manual -hinting can be done. Manual and automatic instructions are intended to look -homogeneous.

- -

The original sources and truetype fonts are available at -code.google.com/p/istok and -this 'Web' version has modified vertical metrics.

- -

Updated: June 2014 to version 1.0.2g

\ No newline at end of file +

+ Istok Web is an original typeface, in development since 2008. + At first some basic letters were based on specially modified METAFONT sources from the CM Bright font family from the TeX community. + (METAFONT is very flexible technology.) But in fact Istok fonts are now very far from this origin. + Contours of the font are designed in the freely distributable font editor, + + FontForge + + . +

+

+ Most glyphs are manually hinted with the aim to be rendered on LCD displays. + I used + + xgridfit + + as a tool for programming truetype instructions. + Less frequently utilized symbols have automatic instructions produced by FontForge autohinting, until manual hinting can be done. + Manual and automatic instructions are intended to look homogeneous. +

+

+ The original sources and truetype fonts are available at + + code.google.com/p/istok + + and this 'Web' version has modified vertical metrics. +

+

+ + Updated: + + June 2014 to version 1.0.2g +

diff --git a/ofl/italiana/DESCRIPTION.en_us.html b/ofl/italiana/DESCRIPTION.en_us.html index 780a848fe4..60531b0eaa 100644 --- a/ofl/italiana/DESCRIPTION.en_us.html +++ b/ofl/italiana/DESCRIPTION.en_us.html @@ -1 +1,19 @@ -

Italiana was designed for use in the headlines of newspapers and magazines. Italiana is inspired by the calligraphy of the Italian masters. It is suitable for design solutions that require elegance and sophistication. It was conceived with modern proportions that make it great for economical typesetting both on paper and on screen.

The Italiana family is in progress and is being regularly improved. If you have a request, wish to contribute improvements or even fund specific features, simply contact Santiago Orozco. You can follow Santiago on Twitter, @Typemade.

\ No newline at end of file +

+ Italiana was designed for use in the headlines of newspapers and magazines. + Italiana is inspired by the calligraphy of the Italian masters. + It is suitable for design solutions that require elegance and sophistication. + It was conceived with modern proportions that make it great for economical typesetting both on paper and on screen. +

+

+ The Italiana family is in progress and is being regularly improved. + If you have a request, wish to contribute improvements or even fund specific features, simply contact + + Santiago Orozco + + . + You can follow Santiago on Twitter, + + @Typemade + + . +

diff --git a/ofl/italianno/DESCRIPTION.en_us.html b/ofl/italianno/DESCRIPTION.en_us.html index 06427521b9..ae9438a808 100644 --- a/ofl/italianno/DESCRIPTION.en_us.html +++ b/ofl/italianno/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@

-Italianno is an elegant, calligraphic script. It's clean connecting strokes distinguish itself from other classic forms which makes it perfect for invitations, scrap-booking, and packaging. + Italianno is an elegant, calligraphic script. + It's clean connecting strokes distinguish itself from other classic forms which makes it perfect for invitations, scrap-booking, and packaging.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/italianno + + .

-

To contribute, see github.com/googlefonts/italianno.

\ No newline at end of file diff --git a/ofl/itim/DESCRIPTION.en_us.html b/ofl/itim/DESCRIPTION.en_us.html index 3b32a68f69..c0a3bf55a3 100644 --- a/ofl/itim/DESCRIPTION.en_us.html +++ b/ofl/itim/DESCRIPTION.en_us.html @@ -1,13 +1,14 @@

-Itim is a new Thai + Latin handwriting typeface, with an informal looped + semiserif design. -It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. + Itim is a new Thai + Latin handwriting typeface, with an informal looped + semiserif design. + It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting.

-

-Thanks to Pablo Impallari for the initial OpenType handwriting feature development. + Thanks to Pablo Impallari for the initial OpenType handwriting feature development.

-

-The Itim project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/itim + The Itim project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/itim +

diff --git a/ofl/jacquardabastarda9/DESCRIPTION.en_us.html b/ofl/jacquardabastarda9/DESCRIPTION.en_us.html index 1635a61f72..ee733ab3c0 100644 --- a/ofl/jacquardabastarda9/DESCRIPTION.en_us.html +++ b/ofl/jacquardabastarda9/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

The Soft Type Collection is designed for knitters to chart out their typographic projects. Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880.

- -

Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Jacquarda Bastarda 9 Charted.

- -

In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface.

- -

To contribute, see github.com/scfried/soft-type-jacquarda-bastarda.

+

+ The Soft Type Collection is designed for knitters to chart out their typographic projects. + Jacquarda Bastarda is an expanded revival typeface from a bastarda-esque Victorian needlepoint alphabet designed in Berlin by Heinrich Kuehn circa 1880. +

+

+ Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. + Check out the charted version + + Jacquarda Bastarda 9 Charted + + . +

+

+ In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. +

+

+ To contribute, see + + github.com/scfried/soft-type-jacquarda-bastarda + + . +

diff --git a/ofl/jacquesfrancois/DESCRIPTION.en_us.html b/ofl/jacquesfrancois/DESCRIPTION.en_us.html index fa0e67c283..6d7ed80f1e 100644 --- a/ofl/jacquesfrancois/DESCRIPTION.en_us.html +++ b/ofl/jacquesfrancois/DESCRIPTION.en_us.html @@ -1,18 +1,27 @@ -

Jacques Francois revives the c. 1760 Enschedé no. 811 type specimen by Jacques -François Rosart (1714-1774), made for Enschedé Printing House. The concept was -to create a contemporary webfont with an even typographic color while -preserving the essential historic peculiarities and expanding the character -set. Compared to the historic specimen the x-height is generously increased -and contrast lowered.

- -

Jacques Francois is designed for medium to small sizes. For this purpose its -features were altered: contrast was lowered and x-height significantly -increased. Designed by Manvel Shmavonyan, Alexei Vanyashin. Jacques Francois -includes old style figures.

- -

There is also Jacques -Francois Shadow, an incised variant of the Jacques Francois font.

- -

To contribute to the project contact Alexei -Vanyashin.

\ No newline at end of file +

+ Jacques Francois revives the c. + 1760 Enschedé no. + 811 type specimen by Jacques François Rosart (1714-1774), made for Enschedé Printing House. + The concept was to create a contemporary webfont with an even typographic color while preserving the essential historic peculiarities and expanding the character set. + Compared to the historic specimen the x-height is generously increased and contrast lowered. +

+

+ Jacques Francois is designed for medium to small sizes. + For this purpose its features were altered: contrast was lowered and x-height significantly increased. + Designed by Manvel Shmavonyan, Alexei Vanyashin. + Jacques Francois includes old style figures. +

+

+ There is also + + Jacques Francois Shadow + + , an incised variant of the Jacques Francois font. +

+

+ To contribute to the project contact + + Alexei Vanyashin + + . +

diff --git a/ofl/jacquesfrancoisshadow/DESCRIPTION.en_us.html b/ofl/jacquesfrancoisshadow/DESCRIPTION.en_us.html index 25c8dc0014..659230c14c 100644 --- a/ofl/jacquesfrancoisshadow/DESCRIPTION.en_us.html +++ b/ofl/jacquesfrancoisshadow/DESCRIPTION.en_us.html @@ -1,18 +1,25 @@ -

Jacques Francois Shadow is an incised variant of the Jacques -Francois font.

- -

Jacques Francois revives the c. 1760 Enschedé no. 811 type specimen by Jacques -François Rosart (1714-1774), made for Enschedé Printing House. The concept was -to create a contemporary webfont with an even typographic color while -preserving the essential historic peculiarities and expanding the character -set. Compared to the historic specimen the x-height is generously increased -and contrast lowered.

- -

Jacques Francois Shadow is designed for large sizes and manually instructed -for better screen performance starting from 24 ppem. This means that on Window -machines it will work best from 18pt (at 96ppi) or 15pt (at 120ppi) and from -24pt on Mac (at 72ppi.)

- -

To contribute to the project contact Alexei -Vanyashin.

\ No newline at end of file +

+ Jacques Francois Shadow is an incised variant of the + + Jacques Francois + + font. +

+

+ Jacques Francois revives the c. + 1760 Enschedé no. + 811 type specimen by Jacques François Rosart (1714-1774), made for Enschedé Printing House. + The concept was to create a contemporary webfont with an even typographic color while preserving the essential historic peculiarities and expanding the character set. + Compared to the historic specimen the x-height is generously increased and contrast lowered. +

+

+ Jacques Francois Shadow is designed for large sizes and manually instructed for better screen performance starting from 24 ppem. + This means that on Window machines it will work best from 18pt (at 96ppi) or 15pt (at 120ppi) and from 24pt on Mac (at 72ppi.) +

+

+ To contribute to the project contact + + Alexei Vanyashin + + . +

diff --git a/ofl/jaldi/DESCRIPTION.en_us.html b/ofl/jaldi/DESCRIPTION.en_us.html index 76d3e934fc..7368ae5d14 100644 --- a/ofl/jaldi/DESCRIPTION.en_us.html +++ b/ofl/jaldi/DESCRIPTION.en_us.html @@ -1,16 +1,21 @@

-Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. -Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym "As Soon As Possible." + Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners. + Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the + + Asap family + + , named after the acronym "As Soon As Possible."

-

-This family is specially developed for screen reading and use as a webfont, and like Asap is has a special twist: -Jaldi offers a standardised character width on all styles, which means that lines of text always remain the same length. -This useful feature allows users to change type styles on-the-go without reflowing text bodies. + This family is specially developed for screen reading and use as a webfont, and like Asap is has a special twist: Jaldi offers a standardised character width on all styles, which means that lines of text always remain the same length. + This useful feature allows users to change type styles on-the-go without reflowing text bodies.

-

-Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi. -This project is led by Omnibus Type, a type foundry based in Argentina. -To contribute, visit github.com/Omnibus-Type/Jaldi. + Asap is based on Ancha, designed by Pablo Cosgaya and Hector Gatti in collaboration with Andres Torresi. + This project is led by Omnibus Type, a type foundry based in Argentina. + To contribute, visit + + github.com/Omnibus-Type/Jaldi + + .

diff --git a/ofl/jejugothic/DESCRIPTION.en_us.html b/ofl/jejugothic/DESCRIPTION.en_us.html index cb8b58fe61..6747d96d55 100644 --- a/ofl/jejugothic/DESCRIPTION.en_us.html +++ b/ofl/jejugothic/DESCRIPTION.en_us.html @@ -1,2 +1,4 @@ -

Jeju Gothic is simple and modern design. It feels young and fresh like -Jeju Island's purity.

\ No newline at end of file +

+ Jeju Gothic is simple and modern design. + It feels young and fresh like Jeju Island's purity. +

diff --git a/ofl/jejuhallasan/DESCRIPTION.en_us.html b/ofl/jejuhallasan/DESCRIPTION.en_us.html index 9a4fba3038..761d0d1c7f 100644 --- a/ofl/jejuhallasan/DESCRIPTION.en_us.html +++ b/ofl/jejuhallasan/DESCRIPTION.en_us.html @@ -1,3 +1,4 @@ -

Jeju Hallasan was designed to represent the beauty of Jeju Island, the -UNESCO world natural heritage site. It shows Jeju's special geographic -characteristics, basaltic rocks and volcanic islands.

\ No newline at end of file +

+ Jeju Hallasan was designed to represent the beauty of Jeju Island, the UNESCO world natural heritage site. + It shows Jeju's special geographic characteristics, basaltic rocks and volcanic islands. +

diff --git a/ofl/jejumyeongjo/DESCRIPTION.en_us.html b/ofl/jejumyeongjo/DESCRIPTION.en_us.html index ca9c85cb7c..ffd487b755 100644 --- a/ofl/jejumyeongjo/DESCRIPTION.en_us.html +++ b/ofl/jejumyeongjo/DESCRIPTION.en_us.html @@ -1,3 +1,4 @@ -

Jeju Myungjo was designed to have a modern look and improved -legibility through simplified shapes and a bigger optical size. It is -a polished serif type, to represent Jeju Island's bright future.

\ No newline at end of file +

+ Jeju Myungjo was designed to have a modern look and improved legibility through simplified shapes and a bigger optical size. + It is a polished serif type, to represent Jeju Island's bright future. +

diff --git a/ofl/jetbrainsmono/DESCRIPTION.en_us.html b/ofl/jetbrainsmono/DESCRIPTION.en_us.html index af2fd397e5..df1f15d94f 100644 --- a/ofl/jetbrainsmono/DESCRIPTION.en_us.html +++ b/ofl/jetbrainsmono/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@

- JetBrains Mono is a typeface made for the specific needs of developers. Find more informations about font features, design and language support on www.jetbrains.com/. + JetBrains Mono is a typeface made for the specific needs of developers. + Find more informations about font features, design and language support on + + www.jetbrains.com/ + + .

-

- JetBrains Mono is designed by Philipp Nurullin and Konstantin Bulenkov. To contribute, see github.com/JetBrains/JetBrainsMono -

\ No newline at end of file + JetBrains Mono is designed by Philipp Nurullin and Konstantin Bulenkov. + To contribute, see + + github.com/JetBrains/JetBrainsMono + +

diff --git a/ofl/jimnightshade/DESCRIPTION.en_us.html b/ofl/jimnightshade/DESCRIPTION.en_us.html index c5849d5cbe..f080f7278c 100644 --- a/ofl/jimnightshade/DESCRIPTION.en_us.html +++ b/ofl/jimnightshade/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Certain calligraphic pen styles have always had a mysterious and almost dark vibe to them from my viewpoint. Jim Nightshade is one of those styles.

Named after a character from the story, "Something Wicked This Way Comes", Jim Nightshade is a flat nib calligraphic typestyle with charisma and a dark flair. Letterforms follow that of a traditional italic hand but with more angular strokes to accentuate the look.

\ No newline at end of file +

+ Certain calligraphic pen styles have always had a mysterious and almost dark vibe to them from my viewpoint. + Jim Nightshade is one of those styles. +

+

+ Named after a character from the story, "Something Wicked This Way Comes", Jim Nightshade is a flat nib calligraphic typestyle with charisma and a dark flair. + Letterforms follow that of a traditional italic hand but with more angular strokes to accentuate the look. +

diff --git a/ofl/joan/DESCRIPTION.en_us.html b/ofl/joan/DESCRIPTION.en_us.html index ecc15127eb..55bb080843 100644 --- a/ofl/joan/DESCRIPTION.en_us.html +++ b/ofl/joan/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

Inspired by the roman cut by Francesco Griffo, it is a tribute to the Italian style, a model to follow even in the 15th century. -Joan is characterized by neat serifs as well as sharp terminals and is intended for books and magazines. -At the moment, only the roman is available. The italic variant is under development.

-

-To contribute, see github.com/PaoloBiagini/Joan. + Inspired by the roman cut by Francesco Griffo, it is a tribute to the Italian style, a model to follow even in the 15th century. + Joan is characterized by neat serifs as well as sharp terminals and is intended for books and magazines. + At the moment, only the roman is available. + The italic variant is under development. +

+

+ To contribute, see + + github.com/PaoloBiagini/Joan + + .

diff --git a/ofl/jockeyone/DESCRIPTION.en_us.html b/ofl/jockeyone/DESCRIPTION.en_us.html index c4ab14f79b..d083704d0f 100644 --- a/ofl/jockeyone/DESCRIPTION.en_us.html +++ b/ofl/jockeyone/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Jockey One is a new sans serif, designed by TypeTogether - Veronika Burian and José Scaglione.

\ No newline at end of file +

+ Jockey One is a new sans serif, designed by + + TypeTogether + + - Veronika Burian and José Scaglione. +

diff --git a/ofl/jollylodger/DESCRIPTION.en_us.html b/ofl/jollylodger/DESCRIPTION.en_us.html index d1ab04318c..00f8bb6976 100644 --- a/ofl/jollylodger/DESCRIPTION.en_us.html +++ b/ofl/jollylodger/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Wherever your travels may take you, you'll always find a confortable host off the interstate at the Jolly Lodger! Air conditioning, cable television and the freshest assortment of baked goods delivered fresh to your room each morning! So grab a roll of quarters and enjoy a relaxing Magic Fingers massage as you head into the mid-century with this nifty typeface!

Designed by Stuart Sandler of Font Diner, Inc. To contribute to the project contact the Font Diner.

\ No newline at end of file +

+ Wherever your travels may take you, you'll always find a confortable host off the interstate at the Jolly Lodger! + Air conditioning, cable television and the freshest assortment of baked goods delivered fresh to your room each morning! + So grab a roll of quarters and enjoy a relaxing Magic Fingers massage as you head into the mid-century with this nifty typeface! +

+

+ Designed by Stuart Sandler of Font Diner, Inc. + To contribute to the project contact the + + Font Diner + + . +

diff --git a/ofl/jomhuria/DESCRIPTION.en_us.html b/ofl/jomhuria/DESCRIPTION.en_us.html index 1b14e86039..3ac67b7bd0 100644 --- a/ofl/jomhuria/DESCRIPTION.en_us.html +++ b/ofl/jomhuria/DESCRIPTION.en_us.html @@ -1,25 +1,27 @@

-Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage. + Jomhuria is a dark Persian/Arabic and Latin display typeface, suitable for headline and other display usage.

-The name means 'republic,' and the spark of inspiration for the design was a stencil of “Shablon” showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. -Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. -While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. -The typeface designer Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design. + The name means 'republic,' and the spark of inspiration for the design was a stencil of “Shablon” showing just a limited character set just for the Persian language without any marks, vowels or Latin glyphs. + Shablon was designed 30 years ago in Iran, and is reinterpreted by Kourosh to incorporate contemporary techniques, aesthetics and of course some personal taste. + While inspired by the spirit of Shablon, Jomhuria is a new typeface that stands on its own. + The typeface designer Kourosh created an additional original Latin design that is tailored to harmonize with the aesthetics of the Persian/Arabic design.

-Being made for big sizes means details matter. -The positions of the dots remains faithful to their locations in Persian/Arabic calligraphy; -this is an important factor of beauty in the writing system and is key to readability. + Being made for big sizes means details matter. + The positions of the dots remains faithful to their locations in Persian/Arabic calligraphy; this is an important factor of beauty in the writing system and is key to readability.

-The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. -The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his “Amiri.” + The Arabic script was designed by Kourosh Beigpour, and the Latin was designed by Eben Sorkin. + The font is engineered by Lasse Fister, and the technicalities build upon those developed by Khaled Hosny for his “Amiri.”

-The Latin is scaled to work best with the Arabic component. + The Latin is scaled to work best with the Arabic component.

-The Jomhuria project is led by KB Studio, a type design foundry based in Los Angelese, USA. -To contribute, see github.com/Tarobish/Jomhuria -

\ No newline at end of file + The Jomhuria project is led by KB Studio, a type design foundry based in Los Angelese, USA. + To contribute, see + + github.com/Tarobish/Jomhuria + +

diff --git a/ofl/jomolhari/DESCRIPTION.en_us.html b/ofl/jomolhari/DESCRIPTION.en_us.html index 06b59c00a2..bac9052560 100644 --- a/ofl/jomolhari/DESCRIPTION.en_us.html +++ b/ofl/jomolhari/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Jomolhari is a free, Unicode compatible, Tibetan script font named after Mt Jomolhari on the border of Bhutan and Tibet. This font can be used for Tibetan and Dzongkha text. It was inspired by Bhutanese manuscript examples and was originally designed for use in publishing traditional Buddhist texts.

+

+ Jomolhari is a free, Unicode compatible, Tibetan script font named after Mt Jomolhari on the border of Bhutan and Tibet. + This font can be used for Tibetan and Dzongkha text. + It was inspired by Bhutanese manuscript examples and was originally designed for use in publishing traditional Buddhist texts. +

diff --git a/ofl/josefinsans/DESCRIPTION.en_us.html b/ofl/josefinsans/DESCRIPTION.en_us.html index 66b05d5143..d69ae0bcf2 100644 --- a/ofl/josefinsans/DESCRIPTION.en_us.html +++ b/ofl/josefinsans/DESCRIPTION.en_us.html @@ -1,15 +1,21 @@

-The idea of this typeface is to be geometric, elegant, with a vintage feeling, for use at larger sizes. -It is inspired by geometric sans serif designs from the 1920s. -The x-height is half way from baseline to cap height, an unusual proportion. + The idea of this typeface is to be geometric, elegant, with a vintage feeling, for use at larger sizes. + It is inspired by geometric sans serif designs from the 1920s. + The x-height is half way from baseline to cap height, an unusual proportion.

-There is a sister family, Josefin Slab + There is a sister family, + + Josefin Slab +

-In December 2019, it was updated with a Variable Font "Weight" axis. + In December 2019, it was updated with a Variable Font "Weight" axis.

-To contribute, see github.com/googlefonts/josefinsans. + To contribute, see + + github.com/googlefonts/josefinsans + + .

- diff --git a/ofl/josefinslab/DESCRIPTION.en_us.html b/ofl/josefinslab/DESCRIPTION.en_us.html index 5e38f0f93a..a935ba55c0 100644 --- a/ofl/josefinslab/DESCRIPTION.en_us.html +++ b/ofl/josefinslab/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Josefin Slab was the first typeface–at least in my mind–I designed! But I decided to start simple with Josefin Sans. Following the 1930s trend for geometric typefaces, it just came to me that something between Kabel and Memphis with modern details will look great.

I wanted to stick to the idea of Scandinavian style, so I put a lot of attention to the diacritics, especially to "æ" which has loops connecting in a continuous way, so the "e" slope was determined by this character.

It also has some typewriter style attributes, because I've liked the Letter Gothic typeface since I was in high school, and that's why I decided to make a Slab version of Josefin Sans.

\ No newline at end of file +

+ Josefin Slab was the first typeface–at least in my mind–I designed! + But I decided to start simple with Josefin Sans. + Following the 1930s trend for geometric typefaces, it just came to me that something between Kabel and Memphis with modern details will look great. +

+

+ I wanted to stick to the idea of Scandinavian style, so I put a lot of attention to the diacritics, especially to "æ" which has loops connecting in a continuous way, so the "e" slope was determined by this character. +

+

+ It also has some typewriter style attributes, because I've liked the Letter Gothic typeface since I was in high school, and that's why I decided to make a Slab version of Josefin Sans. +

diff --git a/ofl/jost/DESCRIPTION.en_us.html b/ofl/jost/DESCRIPTION.en_us.html index e532c3d4b0..61afd94c7e 100644 --- a/ofl/jost/DESCRIPTION.en_us.html +++ b/ofl/jost/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@ -

Jost is an original font created by indestructible type*. It is inspired by 1920s German sans-serifs. This is version 3.7. - -Jost is designed and maintained by Owen Earl, who is the creator of the font foundry indestructible type*. - -in 2020 Owen Earl, and Mirko Velimirovic worked together to make Jost a variable font.

- -

If you have questions or want to help out, please contribute at -github.com/indestructible-type/Jost.

+

+ Jost is an original font created by indestructible type*. + It is inspired by 1920s German sans-serifs. + This is version 3.7. + Jost is designed and maintained by Owen Earl, who is the creator of the font foundry indestructible type*. + in 2020 Owen Earl, and Mirko Velimirovic worked together to make Jost a variable font. +

+

+ If you have questions or want to help out, please contribute at + + github.com/indestructible-type/Jost + + . +

diff --git a/ofl/jotione/DESCRIPTION.en_us.html b/ofl/jotione/DESCRIPTION.en_us.html index d2035e8619..4e24aa5b62 100644 --- a/ofl/jotione/DESCRIPTION.en_us.html +++ b/ofl/jotione/DESCRIPTION.en_us.html @@ -1,10 +1,15 @@ -

I enjoyed designing this typeface because it was inspired by my little son -"Jonah," who is called by his friends "Joti." The type has the informality and -style of the cartoons which children watch. Its primary concept is top-heavy -stems with a slight sense of movement to further enhance the style. Joti is -ideal for composing headlines and short texts in sizes larger than 14 -points.

- -

The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/joti.

+

+ I enjoyed designing this typeface because it was inspired by my little son "Jonah," who is called by his friends "Joti." The type has the informality and style of the cartoons which children watch. + Its primary concept is top-heavy stems with a slight sense of movement to further enhance the style. + Joti is ideal for composing headlines and short texts in sizes larger than 14 points. +

+

+ The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/joti + + . +

diff --git a/ofl/jua/DESCRIPTION.en_us.html b/ofl/jua/DESCRIPTION.en_us.html index 381f495a3f..3b9f3db78a 100644 --- a/ofl/jua/DESCRIPTION.en_us.html +++ b/ofl/jua/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Jua is a Korean and Latin font

+

+ Jua is a Korean and Latin font +

diff --git a/ofl/judson/DESCRIPTION.en_us.html b/ofl/judson/DESCRIPTION.en_us.html index ab6c166511..c44360a523 100644 --- a/ofl/judson/DESCRIPTION.en_us.html +++ b/ofl/judson/DESCRIPTION.en_us.html @@ -1,11 +1,10 @@

-Judson is a serif font designed for African literacy. -It contains as many glyphs and precomposed combinations that I know of for all African languages written in Latin-derived alphabets. -It uses OpenType tables for correct placement of diacritical marks, including stacked marks. -Care has been taken so that all characters are easily distinguished, even in the italic face. -The medium roman face has support for the International Phonetic Alphabet (IPA.) + Judson is a serif font designed for African literacy. + It contains as many glyphs and precomposed combinations that I know of for all African languages written in Latin-derived alphabets. + It uses OpenType tables for correct placement of diacritical marks, including stacked marks. + Care has been taken so that all characters are easily distinguished, even in the italic face. + The medium roman face has support for the International Phonetic Alphabet (IPA.)

-

-Currently Judson is only available in medium roman, italic and bold roman faces; at this time there is no bold italic. + Currently Judson is only available in medium roman, italic and bold roman faces; at this time there is no bold italic.

diff --git a/ofl/julee/DESCRIPTION.en_us.html b/ofl/julee/DESCRIPTION.en_us.html index a9c754980a..778c419aa1 100644 --- a/ofl/julee/DESCRIPTION.en_us.html +++ b/ofl/julee/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

The peculiarity of this typography lies in its curved structures and strokes, which are developed on it by getting thinner and sharper as if they were being typed using a metallic and bevel-edged point.

The visual mark characteristic of Julee is a casual cursive-like type, yet balanced due to the tidy proportions of its signs.

- -

The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

More documentation can be found at www.tipo.net.ar

- -

To contribute, see github.com/etunni/julee.

+

+ The peculiarity of this typography lies in its curved structures and strokes, which are developed on it by getting thinner and sharper as if they were being typed using a metallic and bevel-edged point. +

+

+ The visual mark characteristic of Julee is a casual cursive-like type, yet balanced due to the tidy proportions of its signs. +

+

+ The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ More documentation can be found at + + www.tipo.net.ar + +

+

+ To contribute, see + + github.com/etunni/julee + + . +

diff --git a/ofl/juliussansone/DESCRIPTION.en_us.html b/ofl/juliussansone/DESCRIPTION.en_us.html index c897b57d5f..2e6781f6fc 100644 --- a/ofl/juliussansone/DESCRIPTION.en_us.html +++ b/ofl/juliussansone/DESCRIPTION.en_us.html @@ -1,8 +1,13 @@

-Julius Sans One is a sans serif typeface family from Chilean type foundry LatinoType. + Julius Sans One is a sans serif typeface family from Chilean type foundry + + LatinoType + + .

-

-Updated, April 2015: -hinting was applied (with ttfautohint) and the non-breaking space glyph was adjusted to be the same width as space. -

\ No newline at end of file + + Updated, April 2015: + + hinting was applied (with ttfautohint) and the non-breaking space glyph was adjusted to be the same width as space. +

diff --git a/ofl/junge/DESCRIPTION.en_us.html b/ofl/junge/DESCRIPTION.en_us.html index 87e93f3b48..8fd0efa4c1 100644 --- a/ofl/junge/DESCRIPTION.en_us.html +++ b/ofl/junge/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Junge is an elegant and slim text typeface inspired by the calligraphy of Günther Junge. Thanks to a combination of features it performs equally well in most ranges. At small sizes it builds the impression of flittering strokes. In large headlines its refined detailing become visible. It is not as strictly structured as a text typeface, and has subtle irregularities reminiscent of its calligraphic origin. Junge is designed by Alexei Vanyashin (@avanyashin)

\ No newline at end of file +

+ Junge is an elegant and slim text typeface inspired by the calligraphy of Günther Junge. + Thanks to a combination of features it performs equally well in most ranges. + At small sizes it builds the impression of flittering strokes. + In large headlines its refined detailing become visible. + It is not as strictly structured as a text typeface, and has subtle irregularities reminiscent of its calligraphic origin. + Junge is designed by Alexei Vanyashin ( + + @avanyashin + + ) +

diff --git a/ofl/jura/DESCRIPTION.en_us.html b/ofl/jura/DESCRIPTION.en_us.html index c5cd005702..dcdf931289 100644 --- a/ofl/jura/DESCRIPTION.en_us.html +++ b/ofl/jura/DESCRIPTION.en_us.html @@ -1,4 +1,22 @@ -

Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. -The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well.

-

The original Kayah Li glyphs have been included in this font. Note that glyphs for writing mainstream Burmese are not and never have been a part of this font.

-

The Jura family has an unfortunate name clash with Ed Merritt’s Jura serif font. To contribute, see github.com/ossobuffo/jura.

+

+ Jura is a family of sans-serif fonts in the Eurostile vein. + It was originally inspired by some work I was doing for the + + FreeFont + + project in designing a Kayah Li range for FreeMono. + The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. + It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well. +

+

+ The original Kayah Li glyphs have been included in this font. + Note that glyphs for writing mainstream Burmese are not and never have been a part of this font. +

+

+ The Jura family has an unfortunate name clash with Ed Merritt’s Jura serif font. + To contribute, see + + github.com/ossobuffo/jura + + . +

diff --git a/ofl/justmeagaindownhere/DESCRIPTION.en_us.html b/ofl/justmeagaindownhere/DESCRIPTION.en_us.html index 7809926dbe..69962b96e3 100644 --- a/ofl/justmeagaindownhere/DESCRIPTION.en_us.html +++ b/ofl/justmeagaindownhere/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Just Me Again Down Here was created a few weeks after my family and I moved to China, using a Wacom Tablet and Adobe Illustrator.

This is my “messy” handwriting with mixed capitals and irregularities. After moving to China and finding myself without the ability to communicate in my new home country’s language, creating a font was something that reminded me that I did know how to do something and I would survive those first confusing weeks abroad.

\ No newline at end of file +

+ Just Me Again Down Here was created a few weeks after my family and I moved to China, using a Wacom Tablet and Adobe Illustrator. +

+

+ This is my “messy” handwriting with mixed capitals and irregularities. + After moving to China and finding myself without the ability to communicate in my new home country’s language, creating a font was something that reminded me that I did know how to do + + something + + and I would survive those first confusing weeks abroad. +

diff --git a/ofl/k2d/DESCRIPTION.en_us.html b/ofl/k2d/DESCRIPTION.en_us.html index f66b486ffa..9b788ec8ea 100644 --- a/ofl/k2d/DESCRIPTION.en_us.html +++ b/ofl/k2d/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

K2D is a Thai and Latin family which has a modern appearance but features Thai's traditional looped letterforms.

\ No newline at end of file +

+ K2D is a Thai and Latin family which has a modern appearance but features Thai's traditional looped letterforms. +

diff --git a/ofl/kablammo/DESCRIPTION.en_us.html b/ofl/kablammo/DESCRIPTION.en_us.html index e7c295ec9f..e171061c87 100644 --- a/ofl/kablammo/DESCRIPTION.en_us.html +++ b/ofl/kablammo/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@ -

Kablammo is an experimental variable font, taking inspiration from maximalist curly doodad designs from the ’90s, the Memphis Design movement, as well as cartoons and toys from those eras.

- -

Kablammo has one variable axis, Morph(MORF), which makes the glyphs dance. The decorative elements fly all over the place, along with shifting weight and contrast. This lends itself particularly well to animations.

- -

Each glyph has four primary states that be morphed between, and can be considered the most stable and considered forms. Each of these are accessible as instances (styles) in font menus that properly support variable fonts. This offers a quick alternative for accessing the alternate forms, and can be handy if you don’t need all the variety, and in-between states of the full variable font.

- -

Kablammo was designed by Vectro Type Foundry and released in 2023.

- -

To contribute, please see github.com/Vectro-Type-Foundry/kablammo.

+

+ Kablammo is an experimental variable font, taking inspiration from maximalist curly doodad designs from the ’90s, the Memphis Design movement, as well as cartoons and toys from those eras. +

+

+ Kablammo has one variable axis, Morph(MORF), which makes the glyphs dance. + The decorative elements fly all over the place, along with shifting weight and contrast. + This lends itself particularly well to animations. +

+

+ Each glyph has four primary states that be morphed between, and can be considered the most stable and considered forms. + Each of these are accessible as instances (styles) in font menus that properly support variable fonts. + This offers a quick alternative for accessing the alternate forms, and can be handy if you don’t need all the variety, and in-between states of the full variable font. +

+

+ Kablammo was designed by + + Vectro Type Foundry + + and released in 2023. +

+

+ To contribute, please see + + github.com/Vectro-Type-Foundry/kablammo + + . +

diff --git a/ofl/kadwa/DESCRIPTION.en_us.html b/ofl/kadwa/DESCRIPTION.en_us.html index 72dc08cba0..a11b7da6a4 100644 --- a/ofl/kadwa/DESCRIPTION.en_us.html +++ b/ofl/kadwa/DESCRIPTION.en_us.html @@ -1,32 +1,34 @@

-Kadwa is a Devanagari typeface family designed by Sol Matas. -It is based on the original Latin typeface Bitter, a slab serif typeface for text. + Kadwa is a Devanagari typeface family designed by Sol Matas. + It is based on the original Latin typeface + + Bitter + + , a slab serif typeface for text.

-

-People read and interact with text on screens more and more each day. -What happens on screen ends up being more important than what comes out of the printer. -With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen. + People read and interact with text on screens more and more each day. + What happens on screen ends up being more important than what comes out of the printer. + With the accelerating popularity of electronic books, type designers are working hard to seek out the ideal designs for reading on screen.

-

-Motivated by Sol's love for the pixel she designed Bitter, and later Kadwa. -A "contemporary" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. -The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. -It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts. + Motivated by Sol's love for the pixel she designed Bitter, and later Kadwa. + A "contemporary" slab serif typeface for text, it is specially designed for comfortably reading on any computer or device. + The robust design started from the austerity of the pixel grid, based on rational rather than emotional principles. + It combines the large x-heights and legibility of the humanistic tradition with subtle characteristics in the characters that inject a certain rhythm to flowing texts.

-

-It has little variation in stroke weight and the Regular is darker than a typical typeface intended for use in print. -This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes, with square terminals. + It has little variation in stroke weight and the Regular is darker than a typical typeface intended for use in print. + This generates an intense color in paragraphs, accentuated by the serifs that are as thick as strokes, with square terminals.

-

-Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. -The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature. + Each glyph is carefully designed with an excellent curve quality added to the first stage of the design, that was entirely made in a pixel grid. + The typeface is balanced and manually spaced to use very few kerning pairs, especially important for web font use since most browsers do not currently support this feature.

-

-The Kadwa project is led by Sol Matas, a type designer based in Berlin, Germany. -To contribute, see github.com/solmatas/Kadwa + The Kadwa project is led by Sol Matas, a type designer based in Berlin, Germany. + To contribute, see + + github.com/solmatas/Kadwa +

diff --git a/ofl/kaiseidecol/DESCRIPTION.en_us.html b/ofl/kaiseidecol/DESCRIPTION.en_us.html index 9b8cc806d7..556b0e0ee8 100644 --- a/ofl/kaiseidecol/DESCRIPTION.en_us.html +++ b/ofl/kaiseidecol/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@

-Kaisei Decol is designed with the same element in Kanji, the little dot at the end of the stroke. When typesetted, because of this dot elements, it makes less stimulus to eyes and also gives a cute and fun impression. Best suited for a short sentence, preferably title. Good to use together with Kaisei Opti. + Kaisei Decol is designed with the same element in Kanji, the little dot at the end of the stroke. + When typesetted, because of this dot elements, it makes less stimulus to eyes and also gives a cute and fun impression. + Best suited for a short sentence, preferably title. + Good to use together with Kaisei Opti.

-To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei + To contribute to the project, visit + + https://github.com/FontKai-Kaisei/Kaisei +

diff --git a/ofl/kaiseiharunoumi/DESCRIPTION.en_us.html b/ofl/kaiseiharunoumi/DESCRIPTION.en_us.html index 62c1a5f1b5..4f2094d6c2 100644 --- a/ofl/kaiseiharunoumi/DESCRIPTION.en_us.html +++ b/ofl/kaiseiharunoumi/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Kaisei Haru No Umi's Kana is an organic wavy design that gives natural and friendly look. Katakana is designed slightly smaller to give more old-style typesetting impression. Better when set in text size. + Kaisei Haru No Umi's Kana is an organic wavy design that gives natural and friendly look. + Katakana is designed slightly smaller to give more old-style typesetting impression. + Better when set in text size.

-To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei + To contribute to the project, visit + + https://github.com/FontKai-Kaisei/Kaisei +

diff --git a/ofl/kaiseiopti/DESCRIPTION.en_us.html b/ofl/kaiseiopti/DESCRIPTION.en_us.html index fac4b6f9c9..433b237227 100644 --- a/ofl/kaiseiopti/DESCRIPTION.en_us.html +++ b/ofl/kaiseiopti/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Kaisei Opti is a modern style Japanese typeface. When typesetted, it gives a cheerful and breezy impression. + Kaisei Opti is a modern style Japanese typeface. + When typesetted, it gives a cheerful and breezy impression.

-To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei + To contribute to the project, visit + + https://github.com/FontKai-Kaisei/Kaisei +

diff --git a/ofl/kaiseitokumin/DESCRIPTION.en_us.html b/ofl/kaiseitokumin/DESCRIPTION.en_us.html index 7eaa23c18b..0b3ec8b4d1 100644 --- a/ofl/kaiseitokumin/DESCRIPTION.en_us.html +++ b/ofl/kaiseitokumin/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Kaisei Tokumin is a shorten word for Tokudai Mincho Kana, meaning "Extra Bold Serif Kana," intended for the strong title usage. Extra bold typefaces sometimes become unbalanced when having heavier density in the glyph, and loses the breathe of words. Kaisei Tokumin is designed to keep the legibility and still have power as an extra bold typeface. + Kaisei Tokumin is a shorten word for Tokudai Mincho Kana, meaning "Extra Bold Serif Kana," intended for the strong title usage. + Extra bold typefaces sometimes become unbalanced when having heavier density in the glyph, and loses the breathe of words. + Kaisei Tokumin is designed to keep the legibility and still have power as an extra bold typeface.

-To contribute to the project, visit https://github.com/FontKai-Kaisei/Kaisei + To contribute to the project, visit + + https://github.com/FontKai-Kaisei/Kaisei +

diff --git a/ofl/kalam/DESCRIPTION.en_us.html b/ofl/kalam/DESCRIPTION.en_us.html index 8613b09942..5d9e90ff6c 100644 --- a/ofl/kalam/DESCRIPTION.en_us.html +++ b/ofl/kalam/DESCRIPTION.en_us.html @@ -1,26 +1,33 @@

-Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. -This is an Open Source font family first published by the Indian Type Foundry in 2014. + Kalam is a handwriting-style typeface supporting the Devanagari and Latin scripts. + This is an Open Source font family first published by the Indian Type Foundry in 2014.

-Even though Kalam's letterforms derive from handwriting, the fonts have each been optimised for text on screen. -All in all, the typeface is a design that feels very personal. -Like many informal handwriting-style fonts, it appears rather fresh and new when seen on screen or printed on the page. -Kalam's letterforms feature a very steep slant from the top right to the bottom left. -They are similar to letters used in everyday handwriting, and look like they might have been written with either a thin felt-tip pen, or a ball-point pen. -In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. -Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner. + Even though Kalam's letterforms derive from handwriting, the fonts have each been optimised for text on screen. + All in all, the typeface is a design that feels very personal. + Like many informal handwriting-style fonts, it appears rather fresh and new when seen on screen or printed on the page. + Kalam's letterforms feature a very steep slant from the top right to the bottom left. + They are similar to letters used in everyday handwriting, and look like they might have been written with either a thin felt-tip pen, or a ball-point pen. + In the Devanagari letterforms, the knotted-terminals are open, but some other counter forms are closed. + Features like these strengthen the feeling that text set in this typeface has been written very quickly, in a rapid manner.

-Kalam is available in three weights: Light, Regular and Bold. -Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. -These ensure full support for the major languages written with the Devanagari script. -The Latin component's character set is a basic western one, which enables typesetting in English and the other Western European languages. -Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin. + Kalam is available in three weights: Light, Regular and Bold. + Each font contains 1,025 glyphs, which includes many unique Devanagari conjuncts. + These ensure full support for the major languages written with the Devanagari script. + The Latin component's character set is a basic western one, which enables typesetting in English and the other Western European languages. + Lipi Raval and Jonny Pinhorn developed the family for ITF; Raval designed the Devanagari component while she and Pinhorn worked together on the Latin.

-The Kalam project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/kalam + The Kalam project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/kalam +

-Updated July 2015: Updated to v2.001 with improved OpenType features. -

\ No newline at end of file + + Updated July 2015: + + Updated to v2.001 with improved OpenType features. +

diff --git a/ofl/kameron/DESCRIPTION.en_us.html b/ofl/kameron/DESCRIPTION.en_us.html index 3001f6c950..3b45eb8c82 100644 --- a/ofl/kameron/DESCRIPTION.en_us.html +++ b/ofl/kameron/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Kameron is a reworking and fusing of several classic Slab Serif and Egyptian type forms from the early to mid Twentieth Century.

- -

The September 2023 update features a bigger glyphset, some minor aesthetic modifications and a variable replacement.

- -

To contribute, see github.com/googlefonts/kameronFont.

+

+ Kameron is a reworking and fusing of several classic Slab Serif and Egyptian type forms from the early to mid Twentieth Century. +

+

+ The September 2023 update features a bigger glyphset, some minor aesthetic modifications and a variable replacement. +

+

+ To contribute, see + + github.com/googlefonts/kameronFont + + . +

diff --git a/ofl/kanit/DESCRIPTION.en_us.html b/ofl/kanit/DESCRIPTION.en_us.html index a6a799390b..01460c12c6 100644 --- a/ofl/kanit/DESCRIPTION.en_us.html +++ b/ofl/kanit/DESCRIPTION.en_us.html @@ -1,17 +1,24 @@

-Kanit means mathematics in Thai, and the Kanit typeface family is a formal Loopless Thai and Sans Latin design. -It is a combination of concepts, mixing a Humanist Sans Serif motif with the curves of Capsulated Geometric styles that makes it suitable for various uses, contemporary and futuristic. -A notable detail is that the stroke terminals have flat angles, which allows the design to enjoy decreased spacing between letters while preserving readability and legibility at smaller point sizes. + Kanit means mathematics in Thai, and the Kanit typeface family is a formal Loopless Thai and Sans Latin design. + It is a combination of concepts, mixing a Humanist Sans Serif motif with the curves of Capsulated Geometric styles that makes it suitable for various uses, contemporary and futuristic. + A notable detail is that the stroke terminals have flat angles, which allows the design to enjoy decreased spacing between letters while preserving readability and legibility at smaller point sizes.

-In Thai typeface design the formal loopless Thai typefaces have more simple forms than the conservative looped Thai designs, and this simplification has to be done properly in order to preserve the essential character of each letter. -Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall textures. -When designing Kanit, special care was taken with some groups of letters such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, and ข ช to ensure they are distinct and legible, because it might lead to confusion if each glyph is not clear enough. + In Thai typeface design the formal loopless Thai typefaces have more simple forms than the conservative looped Thai designs, and this simplification has to be done properly in order to preserve the essential character of each letter. + Sizes and positions of vowels and tone marks need to be managed carefully because they are all relevant to readability, legibility, and overall textures. + When designing Kanit, special care was taken with some groups of letters such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, and ข ช to ensure they are distinct and legible, because it might lead to confusion if each glyph is not clear enough.

-Kanit is the first Thai font family to be hinted with TTFAutohint, an easy-to-use hinting tool that is highly recommended. + Kanit is the first Thai font family to be hinted with + + TTFAutohint + + , an easy-to-use hinting tool that is highly recommended.

-The Kanit project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/kanit + The Kanit project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/kanit +

diff --git a/ofl/kantumruypro/DESCRIPTION.en_us.html b/ofl/kantumruypro/DESCRIPTION.en_us.html index 076611e018..a4cb992405 100644 --- a/ofl/kantumruypro/DESCRIPTION.en_us.html +++ b/ofl/kantumruypro/DESCRIPTION.en_us.html @@ -1,3 +1,15 @@ -

Kantumruy Pro is a newly redrawn design of the first Kantumruy (published in 2013) which is a modern display Khmer typeface that is being used by small and big brands in Cambodia, as well as many non-profit organizations for their visual identities. In the new version, the design direction mostly remains the same, however, there are major changes in vertical metrics and proportions, some letterforms, and the Italic set is also included. The Latin set in Kantumruy Pro is from Work Sans, with modified width and weight.

- -

To contribute, see github.com/sovichet/kantumruy-pro

+

+ Kantumruy Pro is a newly redrawn design of the first Kantumruy (published in 2013) which is a modern display Khmer typeface that is being used by small and big brands in Cambodia, as well as many non-profit organizations for their visual identities. + In the new version, the design direction mostly remains the same, however, there are major changes in vertical metrics and proportions, some letterforms, and the Italic set is also included. + The Latin set in Kantumruy Pro is from + + Work Sans + + , with modified width and weight. +

+

+ To contribute, see + + github.com/sovichet/kantumruy-pro + +

diff --git a/ofl/kapakana/DESCRIPTION.en_us.html b/ofl/kapakana/DESCRIPTION.en_us.html index b378f0824d..7b3e9db563 100644 --- a/ofl/kapakana/DESCRIPTION.en_us.html +++ b/ofl/kapakana/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

- Kapakana is a Kana typeface designed with the concept of a copperplate script, including Hiragana, Katakana, and Latin glyphs (for pinyin use). It is a two weight font and available both as static instances and as a variable font. + Kapakana is a Kana typeface designed with the concept of a copperplate script, including Hiragana, Katakana, and Latin glyphs (for pinyin use). + It is a two weight font and available both as static instances and as a variable font.

-To contribute to the project, visit github.com/nagamaki008/kapakana + To contribute to the project, visit + + github.com/nagamaki008/kapakana +

diff --git a/ofl/karantina/DESCRIPTION.en_us.html b/ofl/karantina/DESCRIPTION.en_us.html index b4d322031a..d1e6abfe93 100644 --- a/ofl/karantina/DESCRIPTION.en_us.html +++ b/ofl/karantina/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

- Karantina is a Hebrew and Latin typeface family. It was created by Rony Koch during the long days of COVID-19 - quarantine. - Karantina is a three weight family that includes - Light, Regular and Bold. + Karantina is a Hebrew and Latin typeface family. + It was created by Rony Koch during the long days of COVID-19 quarantine. + Karantina is a three weight family that includes - Light, Regular and Bold.

- To contribute, see github.com/ronykoch/Karantina -

\ No newline at end of file + To contribute, see + + github.com/ronykoch/Karantina + +

diff --git a/ofl/karla/DESCRIPTION.en_us.html b/ofl/karla/DESCRIPTION.en_us.html index 3871651d9b..16fd4457eb 100644 --- a/ofl/karla/DESCRIPTION.en_us.html +++ b/ofl/karla/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

-Karla is a grotesque sans serif family which has been expanded now to a variable font with a weight axis ranging from ExtraLight to ExtraBold plus full support of Western, Central, and South-Eastern European languages. + Karla is a grotesque sans serif family which has been expanded now to a variable font with a weight axis ranging from ExtraLight to ExtraBold plus full support of Western, Central, and South-Eastern European languages.

-

-To contribute, see github.com/googlefonts/karla. + To contribute, see + + github.com/googlefonts/karla + + .

diff --git a/ofl/karlatamilinclined/DESCRIPTION.en_us.html b/ofl/karlatamilinclined/DESCRIPTION.en_us.html index 28cabf70bc..1beb73cdf6 100644 --- a/ofl/karlatamilinclined/DESCRIPTION.en_us.html +++ b/ofl/karlatamilinclined/DESCRIPTION.en_us.html @@ -1,15 +1,23 @@ -

Karla is a grotesque sans serif typeface family that supports languages -that use the Latin script and the Tamil script. This is the Tamil script -part of the family, with Inclined styles in two weights, Regular and Bold.

- -

The Latin part is available from the -Karla specimen page.

- -

Karla Tamil does not currently work on iPhones and iPads, because iOS -doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows -and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not -have AAT shaping, so they won't render correctly, but the iOS system font -does.

- -

To contribute to the project contact -Jonathan Pinhorn.

\ No newline at end of file +

+ Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. + This is the Tamil script part of the family, with Inclined styles in two weights, Regular and Bold. +

+

+ The Latin part is available from the + + Karla specimen + + page. +

+

+ Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. + Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. + These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. +

+

+ To contribute to the project contact + + Jonathan Pinhorn + + . +

diff --git a/ofl/karlatamilupright/DESCRIPTION.en_us.html b/ofl/karlatamilupright/DESCRIPTION.en_us.html index 5bb6b00bd4..67d2799f73 100644 --- a/ofl/karlatamilupright/DESCRIPTION.en_us.html +++ b/ofl/karlatamilupright/DESCRIPTION.en_us.html @@ -1,15 +1,23 @@ -

Karla is a grotesque sans serif typeface family that supports languages -that use the Latin script and the Tamil script. This is the Tamil script -part of the family, with Upright styles in two weights, Regular and Bold.

- -

The Latin part is available from the -Karla specimen page.

- -

Karla Tamil does not currently work on iPhones and iPads, because iOS -doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows -and GNU+Linux all render OpenType Layout shaping. These Tamil fonts do not -have AAT shaping, so they won't render correctly, but the iOS system font -does.

- -

To contribute to the project contact -Jonathan Pinhorn.

\ No newline at end of file +

+ Karla is a grotesque sans serif typeface family that supports languages that use the Latin script and the Tamil script. + This is the Tamil script part of the family, with Upright styles in two weights, Regular and Bold. +

+

+ The Latin part is available from the + + Karla specimen + + page. +

+

+ Karla Tamil does not currently work on iPhones and iPads, because iOS doesn't render OpenType Layout shaping, only AAT shaping. + Mac OS X, Windows and GNU+Linux all render OpenType Layout shaping. + These Tamil fonts do not have AAT shaping, so they won't render correctly, but the iOS system font does. +

+

+ To contribute to the project contact + + Jonathan Pinhorn + + . +

diff --git a/ofl/karma/DESCRIPTION.en_us.html b/ofl/karma/DESCRIPTION.en_us.html index 010618834c..98e9565d0c 100644 --- a/ofl/karma/DESCRIPTION.en_us.html +++ b/ofl/karma/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. The family was developed for use in body text on screen, and five fonts are available. The characters for both scripts feature a construction style that tends toward the monolinear. The Latin script component has serif letters. Both these, and the stroke terminals in the Devanagari letterforms are generally rounded in Karma’s design.

- -

Karma’s characters are economic in width, and the Latin sports a tall x-height. Although the knotted terminals in the Devanagari letterforms are closed, the general feeling of the Devanagari character set is open and airy. See the design of the ख (kha), छ (cha) and ध (dha), for example.

- -

Joana Correia designed Karma for the Indian Type Foundry, who first published the fonts in 2014.

\ No newline at end of file +

+ Karma is an Open Source multi-script typeface supporting both the Devanagari and the Latin script. + The family was developed for use in body text on screen, and five fonts are available. + The characters for both scripts feature a construction style that tends toward the monolinear. + The Latin script component has serif letters. + Both these, and the stroke terminals in the Devanagari letterforms are generally rounded in Karma’s design. +

+

+ Karma’s characters are economic in width, and the Latin sports a tall x-height. + Although the knotted terminals in the Devanagari letterforms are closed, the general feeling of the Devanagari character set is open and airy. + See the design of the ख (kha), छ (cha) and ध (dha), for example. +

+

+ Joana Correia designed Karma for the Indian Type Foundry, who first published the fonts in 2014. +

diff --git a/ofl/katibeh/DESCRIPTION.en_us.html b/ofl/katibeh/DESCRIPTION.en_us.html index 4099af775e..85af1c7b22 100644 --- a/ofl/katibeh/DESCRIPTION.en_us.html +++ b/ofl/katibeh/DESCRIPTION.en_us.html @@ -1,14 +1,17 @@

-Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. -The small serif-like outstrokes make Katibeh remind us of archaic designs, but other aspects of the design are very contemporary touches. -The result is something between tradition and today. -Katibeh has ligatures that Arabic and Persian readers are familiar with, to make it comfortable for reading longer texts. -Unlike many other Arabic fonts, Katibeh includes a Latin typeface designed for harmony with the Arabic to make it useful for multilingual texts. + Katibeh is a headline font based on the Naskh script, infused with some qualities of the Thuluth script. + The small serif-like outstrokes make Katibeh remind us of archaic designs, but other aspects of the design are very contemporary touches. + The result is something between tradition and today. + Katibeh has ligatures that Arabic and Persian readers are familiar with, to make it comfortable for reading longer texts. + Unlike many other Arabic fonts, Katibeh includes a Latin typeface designed for harmony with the Arabic to make it useful for multilingual texts.

-The Latin is scaled to work best with the Arabic component. + The Latin is scaled to work best with the Arabic component.

-The Katibeh project is led by KB Studio, a design studio in Los Angeles. -To contribute, see github.com/Tarobish/Katibeh -

\ No newline at end of file + The Katibeh project is led by KB Studio, a design studio in Los Angeles. + To contribute, see + + github.com/Tarobish/Katibeh + +

diff --git a/ofl/kaushanscript/DESCRIPTION.en_us.html b/ofl/kaushanscript/DESCRIPTION.en_us.html index c8b5bda7e8..c34ead55de 100644 --- a/ofl/kaushanscript/DESCRIPTION.en_us.html +++ b/ofl/kaushanscript/DESCRIPTION.en_us.html @@ -1 +1,43 @@ -

When making digital typefaces, the more you refine the shapes of the letters, the more energy you take away from them. Because of that, Kaushan Script is unrefined - and carries a lot of energy.

By avoiding typographical perfection, it stays more natural. The angles of the vertical strokes vary a little, and the positioning along the baseline jumps around, giving it a more rustic and natural feeling.

Most script fonts have long ascenders and descenders, and this means they look too small when used at normal sizes on the web. This font is optimized in such details to be very readable as a web font, even when used as small as 16 pixels.

It was funded by people like you, via Kickstarter. Special thanks to the project backers! They are all listed on the font's website. The name "Kaushan" was suggested by Vyacheslav Kaushan, one of the project backers.

TTF hinting was done using TTF-Autohint v0.5 by Werner Lemberg. Please support his efforts at www.freetype.org/ttfautohint

Documentation can be found at www.impallari.com/fastbrush

To contribute to the project contact Pablo Impallari at impallari@gmail.com

\ No newline at end of file +

+ When making digital typefaces, the more you refine the shapes of the letters, the more energy you take away from them. + Because of that, Kaushan Script is unrefined - and carries a lot of energy. +

+

+ By avoiding typographical perfection, it stays more natural. + The angles of the vertical strokes vary a little, and the positioning along the baseline jumps around, giving it a more rustic and natural feeling. +

+

+ Most script fonts have long ascenders and descenders, and this means they look too small when used at normal sizes on the web. + This font is optimized in such details to be very readable as a web font, even when used as small as 16 pixels. +

+

+ It was funded by people like you, + + via Kickstarter. + + Special thanks to the project backers! + They are all listed on + + the font's website. + + The name "Kaushan" was suggested by Vyacheslav Kaushan, one of the project backers. +

+

+ TTF hinting was done using TTF-Autohint v0.5 by Werner Lemberg. + Please support his efforts at + + www.freetype.org/ttfautohint + +

+

+ Documentation can be found at + + www.impallari.com/fastbrush + +

+

+ To contribute to the project contact Pablo Impallari at + + impallari@gmail.com + +

diff --git a/ofl/kavivanar/DESCRIPTION.en_us.html b/ofl/kavivanar/DESCRIPTION.en_us.html index 2490d768fc..9bfe79c07c 100644 --- a/ofl/kavivanar/DESCRIPTION.en_us.html +++ b/ofl/kavivanar/DESCRIPTION.en_us.html @@ -1,13 +1,18 @@

-Kavivanar is a unique handwriting font that supports the Tamil and Latin scripts. -It is somewhat bold, and slightly slanted, a typical Tamil handwriting style where an incline is popular. -The letterforms show a calligraphic pen stress that brings an aliveliness to the letters, and provides texture in body text settings. -It works well with both body text and display text because of the intriguing rhythm. + Kavivanar is a unique handwriting font that supports the Tamil and Latin scripts. + It is somewhat bold, and slightly slanted, a typical Tamil handwriting style where an incline is popular. + The letterforms show a calligraphic pen stress that brings an aliveliness to the letters, and provides texture in body text settings. + It works well with both body text and display text because of the intriguing rhythm.

-The slanted letterforms for Tamil are inspired from a manuscript by Kavivanar M. A. Azeez (1948-2002), a Tamil poet and educator who lived in the east coast of Sri Lanka. + The slanted letterforms for Tamil are inspired from a manuscript by Kavivanar M. + A. + Azeez (1948-2002), a Tamil poet and educator who lived in the east coast of Sri Lanka.

-The Kavivanar project is led by Tharique Azeez, a type designer based in Sri Lanka. -To contribute, see github.com/enathu/kavivanar -

\ No newline at end of file + The Kavivanar project is led by Tharique Azeez, a type designer based in Sri Lanka. + To contribute, see + + github.com/enathu/kavivanar + +

diff --git a/ofl/kavoon/DESCRIPTION.en_us.html b/ofl/kavoon/DESCRIPTION.en_us.html index 9b9b5b4c38..05ae830c5b 100644 --- a/ofl/kavoon/DESCRIPTION.en_us.html +++ b/ofl/kavoon/DESCRIPTION.en_us.html @@ -1,14 +1,25 @@

-Foundry: Sorkin Type Co + + Foundry: + + Sorkin Type Co + +

-Kavoon is a display face based on experiments with brush and ink. -Kavoon's expressive features make words vivid and powerfully draw the reader in. -Kavoon may be used from medium to large sizes. + Kavoon is a display face based on experiments with brush and ink. + Kavoon's expressive features make words vivid and powerfully draw the reader in. + Kavoon may be used from medium to large sizes.

-To contribute to the project, visit github.com/EbenSorkin/Kavoon + To contribute to the project, visit + + github.com/EbenSorkin/Kavoon +

-Updated: February 2016, to v1.004 with additional language support, improved hinting, and other minor fixes. + + Updated: + + February 2016, to v1.004 with additional language support, improved hinting, and other minor fixes.

diff --git a/ofl/kayphodu/DESCRIPTION.en_us.html b/ofl/kayphodu/DESCRIPTION.en_us.html index 331abf0ae5..fdba93d604 100644 --- a/ofl/kayphodu/DESCRIPTION.en_us.html +++ b/ofl/kayphodu/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Kay Pho Du is a font family for the Kayah Li script, based initially on the design of Karenni, although the glyphs have been redrawn and a new Latin set has been added. It supports the full Kayah Li range of Unicode characters.

- -

To contribute, please see github.com/silnrsi/font-kayphodu.

+

+ Kay Pho Du is a font family for the Kayah Li script, based initially on the design of Karenni, although the glyphs have been redrawn and a new Latin set has been added. + It supports the full Kayah Li range of Unicode characters. +

+

+ To contribute, please see + + github.com/silnrsi/font-kayphodu + + . +

diff --git a/ofl/kdamthmorpro/DESCRIPTION.en_us.html b/ofl/kdamthmorpro/DESCRIPTION.en_us.html index 386ef7bba7..697651f227 100644 --- a/ofl/kdamthmorpro/DESCRIPTION.en_us.html +++ b/ofl/kdamthmorpro/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Kdam Thmor Pro is a revised design of "Kdam Thmor" which is one of Sovichet Tep's typefaces designed and published back in 2013 on Google Fonts.

- -

Kdam Thmor Pro is a modern display Khmer typeface based on the writing style of a brush used on a wall. It has an edgy style, a medium size and is suitable for headings and large typography. Gemunu Libre's Latin is used as the Latin counterpart in the project.

- -

To contribute, see github.com/sovichet/kdam-thmor-pro

\ No newline at end of file +

+ Kdam Thmor Pro is a revised design of "Kdam Thmor" which is one of Sovichet Tep's typefaces designed and published back in 2013 on Google Fonts. +

+

+ Kdam Thmor Pro is a modern display Khmer typeface based on the writing style of a brush used on a wall. + It has an edgy style, a medium size and is suitable for headings and large typography. + Gemunu Libre's Latin is used as the Latin counterpart in the project. +

+

+ To contribute, see + + github.com/sovichet/kdam-thmor-pro + +

diff --git a/ofl/keaniaone/DESCRIPTION.en_us.html b/ofl/keaniaone/DESCRIPTION.en_us.html index 13fde8edd8..8b956e4572 100644 --- a/ofl/keaniaone/DESCRIPTION.en_us.html +++ b/ofl/keaniaone/DESCRIPTION.en_us.html @@ -1,11 +1,19 @@ -

Keania is a re-development of -Kenia. As a -stencil font its idea stems from experiences of travel and life in Kenya, -especially from the large lettering seen on shop fronts and market stands.

- -

The shapes play with sharp and soft corners and create a rhythmic pattern -of black and white. This font is great for magazine headings, adverts and -sporty content.

- -

To contribute to the project contact -Julia Petretta.

\ No newline at end of file +

+ Keania is a re-development of + + Kenia + + . + As a stencil font its idea stems from experiences of travel and life in Kenya, especially from the large lettering seen on shop fronts and market stands. +

+

+ The shapes play with sharp and soft corners and create a rhythmic pattern of black and white. + This font is great for magazine headings, adverts and sporty content. +

+

+ To contribute to the project contact + + Julia Petretta + + . +

diff --git a/ofl/kellyslab/DESCRIPTION.en_us.html b/ofl/kellyslab/DESCRIPTION.en_us.html index 635e85de7b..fcc36782d9 100644 --- a/ofl/kellyslab/DESCRIPTION.en_us.html +++ b/ofl/kellyslab/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Kelly Slab is a new geometric, modern-looking slab-serif font. Created under the influence of popular geometric fonts from the 1930s with square slabserifs, such as "City" by Georg Trump.

It is designed for attention and impact in advertising, headings, major labels and logotypes. It can also work well in larger point size text blocks. Its unusual shapes provide an interesting rhythm to the textline, a distinctive, rectangular design that can give a sporty, urban feeling.

\ No newline at end of file +

+ Kelly Slab is a new geometric, modern-looking slab-serif font. + Created under the influence of popular geometric fonts from the 1930s with square slabserifs, such as "City" by Georg Trump. +

+

+ It is designed for attention and impact in advertising, headings, major labels and logotypes. + It can also work well in larger point size text blocks. + Its unusual shapes provide an interesting rhythm to the textline, a distinctive, rectangular design that can give a sporty, urban feeling. +

diff --git a/ofl/kenia/DESCRIPTION.en_us.html b/ofl/kenia/DESCRIPTION.en_us.html index 7ac973027e..5e769c8e20 100644 --- a/ofl/kenia/DESCRIPTION.en_us.html +++ b/ofl/kenia/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Inspired by travel and my stay in Kenya, I would fill my days with sketches and lettering. From there Kenia evolved as a stencil display font. With its text appearance in small point sizes resembling an old German gothic sort of font, modern-feel Kenia works for headlines, introductory paragraphs, and in small text setting. Its playful and friendly character makes it suitable for happy typography in magazines, blogs, online games and other on-screen and print-based text.

\ No newline at end of file +

+ Inspired by travel and my stay in Kenya, I would fill my days with sketches and lettering. + From there Kenia evolved as a stencil display font. + With its text appearance in small point sizes resembling an old German gothic sort of font, modern-feel Kenia works for headlines, introductory paragraphs, and in small text setting. + Its playful and friendly character makes it suitable for happy typography in magazines, blogs, online games and other on-screen and print-based text. +

diff --git a/ofl/khand/DESCRIPTION.en_us.html b/ofl/khand/DESCRIPTION.en_us.html index 6991ce1527..37be0282a5 100644 --- a/ofl/khand/DESCRIPTION.en_us.html +++ b/ofl/khand/DESCRIPTION.en_us.html @@ -1,19 +1,22 @@

-Khand is a family of compact mono-linear fonts with very open counter forms. Developed for display typography, the family is primarily intended for headline usage. -Its letterforms are dynamic, and everything is designed according to a modular system. -All of its shapes bear a strong commonality to one another, but the typeface strikes a good balancing act and avoids too much repetitiveness. -The lighter styles are suitable for short paragraphs of running text, while the heavier styles have been optimized for headlines or single word settings. + Khand is a family of compact mono-linear fonts with very open counter forms. + Developed for display typography, the family is primarily intended for headline usage. + Its letterforms are dynamic, and everything is designed according to a modular system. + All of its shapes bear a strong commonality to one another, but the typeface strikes a good balancing act and avoids too much repetitiveness. + The lighter styles are suitable for short paragraphs of running text, while the heavier styles have been optimized for headlines or single word settings.

-The base character height in the Khand fonts is ‘big on the body.’ -Across a line of text, the consonantal forms take up the majority of vertical space. -Vowel marks above and below have been shortened – keeping these to a minimum allows for lines of text to be set more closely together vertically. -The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks. -Because of their reduced height, the typeface’s vowel mark forms have been simplified somewhat out of necessity, but this stylistic reduction is in-keeping with the modular feeling of the typeface’s overall design. -Dot-shaped marks appear rounded in order to help maintain their differentiation from other marks. + The base character height in the Khand fonts is ‘big on the body.’ Across a line of text, the consonantal forms take up the majority of vertical space. + Vowel marks above and below have been shortened – keeping these to a minimum allows for lines of text to be set more closely together vertically. + The reduction of interlinear space is paramount for successful headline typesetting, and Khand performs much better in display applications than similar fonts with more elongated vowel marks. + Because of their reduced height, the typeface’s vowel mark forms have been simplified somewhat out of necessity, but this stylistic reduction is in-keeping with the modular feeling of the typeface’s overall design. + Dot-shaped marks appear rounded in order to help maintain their differentiation from other marks.

-Khand’s Devanagari component was designed by Sanchit Sawaria and Jyotish Sonowal. -The Latin component was designed by Satya Rajpurohit. -To contribute, see github.com/itfoundry/khand + Khand’s Devanagari component was designed by Sanchit Sawaria and Jyotish Sonowal. + The Latin component was designed by Satya Rajpurohit. + To contribute, see + + github.com/itfoundry/khand +

diff --git a/ofl/khmer/DESCRIPTION.en_us.html b/ofl/khmer/DESCRIPTION.en_us.html index 1f95862caa..4a395e2efb 100644 --- a/ofl/khmer/DESCRIPTION.en_us.html +++ b/ofl/khmer/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Khmer fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.

\ No newline at end of file +

+ The Khmer fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. + The designer, + + Danh Hong + + , has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the + + KhmerOS + + project, dedicated to a vision where Cambodians can learn and use computers in their own language. +

diff --git a/ofl/khula/DESCRIPTION.en_us.html b/ofl/khula/DESCRIPTION.en_us.html index 3717866440..4f9bcda57a 100644 --- a/ofl/khula/DESCRIPTION.en_us.html +++ b/ofl/khula/DESCRIPTION.en_us.html @@ -1,16 +1,22 @@

-Khula (खुला) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson. -Currently it has 5 weights and supports Hindi. + Khula (खुला) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to + + Open Sans + + , a Latin family designed by Steve Matteson. + Currently it has 5 weights and supports Hindi.

-

-Thank you to Dave Crossland, Liang Hai, Vaishnavi Murthy, Sarang Kulkarni, Pablo Impallari, and all of the other Google Web Fonts contributors for your help with this project. -Continued thanks to Fiona Ross and Tobias Frere-Jones for your guidance and training. -Thanks to Miguel Sousa, Tal Leming, the RoboFont team, and the other font tool-makers who made this possible. -Thank you to AM, Cailin, and my family for their support. + Thank you to Dave Crossland, Liang Hai, Vaishnavi Murthy, Sarang Kulkarni, Pablo Impallari, and all of the other Google Web Fonts contributors for your help with this project. + Continued thanks to Fiona Ross and Tobias Frere-Jones for your guidance and training. + Thanks to Miguel Sousa, Tal Leming, the RoboFont team, and the other font tool-makers who made this possible. + Thank you to AM, Cailin, and my family for their support.

-

-This project is led by Erin McLaughlin, a type designed based in Wichita, USA. -To contribute, see Khula on GitHub. + This project is led by Erin McLaughlin, a type designed based in Wichita, USA. + To contribute, see + + Khula on GitHub + + .

diff --git a/ofl/khyay/DESCRIPTION.en_us.html b/ofl/khyay/DESCRIPTION.en_us.html index 4d54ed212f..2560a2fc21 100644 --- a/ofl/khyay/DESCRIPTION.en_us.html +++ b/ofl/khyay/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-Khyay is a display Myanmar typeface and Unicode font. -It is recommend for use in larger sizes, such as Myanmar headlines and titles. -The regular style is harmonized with the latin typeface Montserrat, which is included inline. -Khyay is designed by Danh Hong. + Khyay is a display Myanmar typeface and Unicode font. + It is recommend for use in larger sizes, such as Myanmar headlines and titles. + The regular style is harmonized with the latin typeface Montserrat, which is included inline. + Khyay is designed by Danh Hong.

diff --git a/ofl/kings/DESCRIPTION.en_us.html b/ofl/kings/DESCRIPTION.en_us.html index 4f86f33f1b..7fde0096f1 100644 --- a/ofl/kings/DESCRIPTION.en_us.html +++ b/ofl/kings/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

-Imagine a damsel in distress. The only hope is for the Kings Knights to rescue her from certain death. Kings Family is based on the three set font family (Kings Honor, Kings Quest and Kings Dominion). Combined to make a pro font, use this blackletter font with enchantment. + Imagine a damsel in distress. + The only hope is for the Kings Knights to rescue her from certain death. + Kings Family is based on the three set font family (Kings Honor, Kings Quest and Kings Dominion). + Combined to make a pro font, use this blackletter font with enchantment.

-To contribute, see github.com/googlefonts/kings. + To contribute, see + + github.com/googlefonts/kings + + .

diff --git a/ofl/kiranghaerang/DESCRIPTION.en_us.html b/ofl/kiranghaerang/DESCRIPTION.en_us.html index 1034b0ca60..25cc57e7f6 100644 --- a/ofl/kiranghaerang/DESCRIPTION.en_us.html +++ b/ofl/kiranghaerang/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Kirang Haerang is a Korean and Latin font

+

+ Kirang Haerang is a Korean and Latin font +

diff --git a/ofl/kiteone/DESCRIPTION.en_us.html b/ofl/kiteone/DESCRIPTION.en_us.html index f6934a0cc3..430b68c326 100644 --- a/ofl/kiteone/DESCRIPTION.en_us.html +++ b/ofl/kiteone/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@ -

Kite One is a rounded, monoline, humanist sans serif typeface. With an -inclination of 7 degrees, it gives a fluid reading experience. Long ascenders -and descenders, soft shapes, open counterforms and soft terminals, make Kite -One a typeface that is very suitable for long texts, especially those -associated with the natural world or children’s tales.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/Kite-One.

+

+ Kite One is a rounded, monoline, humanist sans serif typeface. + With an inclination of 7 degrees, it gives a fluid reading experience. + Long ascenders and descenders, soft shapes, open counterforms and soft terminals, make Kite One a typeface that is very suitable for long texts, especially those associated with the natural world or children’s tales. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/Kite-One + + . +

diff --git a/ofl/kiwimaru/DESCRIPTION.en_us.html b/ofl/kiwimaru/DESCRIPTION.en_us.html index 12c72f34b7..4009d795c2 100644 --- a/ofl/kiwimaru/DESCRIPTION.en_us.html +++ b/ofl/kiwimaru/DESCRIPTION.en_us.html @@ -1,15 +1,21 @@

-Kiwi Maru was created mainly for use in digital devices, and I hope you will use it experimentally in your papers and reports. + Kiwi Maru was created mainly for use in digital devices, and I hope you will use it experimentally in your papers and reports.

-The basic vocabulary of the Japanese language is divided into three categories: "everyday words", which are used freely in everyday conversation, articles and novels, "written words", which are used in official situations and sentences, and "slang", which is more informal in style. + The basic vocabulary of the Japanese language is divided into three categories: "everyday words", which are used freely in everyday conversation, articles and novels, "written words", which are used in official situations and sentences, and "slang", which is more informal in style.

-

　 -Kiwi Maru Regular is a typeface for visualization and sharing of everyday and slang expressions in the digital age. Nowadays, in 2020, Mincho and Gothic typefaces are exclusively used in smart phones, tablets and PC environment. We hope that the introduction of a round font will change the way people express their emotions and feelings, which have been missing from the analog and digital worlds, and the painful feeling of having too many Chinese characters in a font. +

+ Kiwi Maru Regular is a typeface for visualization and sharing of everyday and slang expressions in the digital age. + Nowadays, in 2020, Mincho and Gothic typefaces are exclusively used in smart phones, tablets and PC environment. + We hope that the introduction of a round font will change the way people express their emotions and feelings, which have been missing from the analog and digital worlds, and the painful feeling of having too many Chinese characters in a font.

-There are three weights, L, R and M. These vary only slightly in weight as we wanted to provide you with the ability to account for the difference in weight between different OS, browsers, and devices. + There are three weights, L, R and M. + These vary only slightly in weight as we wanted to provide you with the ability to account for the difference in weight between different OS, browsers, and devices.

-To contribute to the project, visit github.com/Kiwi-KawagotoKajiru/Kiwi-Maru + To contribute to the project, visit + + github.com/Kiwi-KawagotoKajiru/Kiwi-Maru +

diff --git a/ofl/kleeone/DESCRIPTION.en_us.html b/ofl/kleeone/DESCRIPTION.en_us.html index 9e8dc43ed7..e33e162891 100644 --- a/ofl/kleeone/DESCRIPTION.en_us.html +++ b/ofl/kleeone/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Klee is a script font handwritten by pencil or pen. Its quiet design has an elegant look that sets itself apart from traditional script and textbook fonts. Ideal for body text. + Klee is a script font handwritten by pencil or pen. + Its quiet design has an elegant look that sets itself apart from traditional script and textbook fonts. + Ideal for body text.

-To contribute to the project, visit github.com/fontworks-fonts/Klee + To contribute to the project, visit + + github.com/fontworks-fonts/Klee +

diff --git a/ofl/knewave/DESCRIPTION.en_us.html b/ofl/knewave/DESCRIPTION.en_us.html index 8737001a1c..f1ab07cb2b 100644 --- a/ofl/knewave/DESCRIPTION.en_us.html +++ b/ofl/knewave/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Knewave is a new font by Tyler Finck.

\ No newline at end of file +

+ Knewave is a new font by Tyler Finck. +

diff --git a/ofl/kodchasan/DESCRIPTION.en_us.html b/ofl/kodchasan/DESCRIPTION.en_us.html index aa70c4950c..f913e03ad1 100644 --- a/ofl/kodchasan/DESCRIPTION.en_us.html +++ b/ofl/kodchasan/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Kodchasan is a Thai and Latin family inspired by teenage handwriting. It has a casual appearance which works well for content aimed at adolescents.

\ No newline at end of file +

+ Kodchasan is a Thai and Latin family inspired by teenage handwriting. + It has a casual appearance which works well for content aimed at adolescents. +

diff --git a/ofl/kodemono/DESCRIPTION.en_us.html b/ofl/kodemono/DESCRIPTION.en_us.html index d63ab54330..8318450699 100644 --- a/ofl/kodemono/DESCRIPTION.en_us.html +++ b/ofl/kodemono/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

- A custom-designed typeface explicitly created for the developer community. + A custom-designed typeface explicitly created for the developer community.

- This typeface is designed to enhance the user experience and reflect our principles of functionality and - timelessness. + This typeface is designed to enhance the user experience and reflect our principles of functionality and timelessness.

- To contribute, see github.com/isaozler/kode-mono. + To contribute, see + + github.com/isaozler/kode-mono + + .

diff --git a/ofl/koho/DESCRIPTION.en_us.html b/ofl/koho/DESCRIPTION.en_us.html index 408cddea13..7653e23be5 100644 --- a/ofl/koho/DESCRIPTION.en_us.html +++ b/ofl/koho/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

KoHo is a Thai and Latin family inspired by geometric and humanist san serifs. The letterforms appear neither too mechanical or too calligraphic. Such a juxtaposition has resulted in a unique family which works well for both text and display purposes.

\ No newline at end of file +

+ KoHo is a Thai and Latin family inspired by geometric and humanist san serifs. + The letterforms appear neither too mechanical or too calligraphic. + Such a juxtaposition has resulted in a unique family which works well for both text and display purposes. +

diff --git a/ofl/kohsantepheap/DESCRIPTION.en_us.html b/ofl/kohsantepheap/DESCRIPTION.en_us.html index 75e842575f..28450d6288 100644 --- a/ofl/kohsantepheap/DESCRIPTION.en_us.html +++ b/ofl/kohsantepheap/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Koh Santepheap is a Khmer font for body text, that pairs well with Latin serif fonts and for bilingual (English - Khmer) text. + Koh Santepheap is a Khmer font for body text, that pairs well with Latin serif fonts and for bilingual (English - Khmer) text.

-To contribute, see github.com/danhhong/KohSantepheap. + To contribute, see + + github.com/danhhong/KohSantepheap + + .

diff --git a/ofl/kokoro/DESCRIPTION.en_us.html b/ofl/kokoro/DESCRIPTION.en_us.html index f060d5ad9d..1e27336427 100644 --- a/ofl/kokoro/DESCRIPTION.en_us.html +++ b/ofl/kokoro/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Kokoro Mincho (こころ明朝), from typingart, has the subtle touch of handwriting. -With long and low-contrast strokes, round terminals, and wide spacing, it has a gentle and calm appearence. + Kokoro Mincho (こころ明朝), from + + typingart + + , has the subtle touch of handwriting. + With long and low-contrast strokes, round terminals, and wide spacing, it has a gentle and calm appearence.

-231 glyphs. -The upstream project includes Kanji, Latin and other glyphs from the IPA fonts, which are removed from this font. -Now released under the SIL Open Font License. + 231 glyphs. + The upstream project includes Kanji, Latin and other glyphs from the IPA fonts, which are removed from this font. + Now released under the SIL Open Font License.

diff --git a/ofl/kolkerbrush/DESCRIPTION.en_us.html b/ofl/kolkerbrush/DESCRIPTION.en_us.html index 483b643e30..57c85e5cf6 100644 --- a/ofl/kolkerbrush/DESCRIPTION.en_us.html +++ b/ofl/kolkerbrush/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Kolker Brush is a weighty hand lettered brush script. As with any script, it is never recommended to use all caps when editing copy. Use Kolker Brush for situations that require a bit of punch. + Kolker Brush is a weighty hand lettered brush script. + As with any script, it is never recommended to use all caps when editing copy. + Use Kolker Brush for situations that require a bit of punch.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/kolker-brush. + To contribute, see + + github.com/googlefonts/kolker-brush + + .

diff --git a/ofl/konkhmersleokchher/DESCRIPTION.en_us.html b/ofl/konkhmersleokchher/DESCRIPTION.en_us.html index 85fad1df82..bf1e57677c 100644 --- a/ofl/konkhmersleokchher/DESCRIPTION.en_us.html +++ b/ofl/konkhmersleokchher/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

- Konkhmer Sleokchher is created and released in 2015 by Suon May Sophanith. It is a modern - display Khmer font, inspired by the brush strokes used for writing on walls, but expressed as leaves. With a medium - size, it is ideal for use as headings or in large typography. + Konkhmer Sleokchher is created and released in 2015 by Suon May Sophanith. + It is a modern display Khmer font, inspired by the brush strokes used for writing on walls, but expressed as leaves. + With a medium size, it is ideal for use as headings or in large typography.

- To contribute, see github.com/suonmaysophanith7/KonKhmer_SleokChher. -

\ No newline at end of file + To contribute, see + + github.com/suonmaysophanith7/KonKhmer_SleokChher + + . +

diff --git a/ofl/kopubbatang/DESCRIPTION.en_us.html b/ofl/kopubbatang/DESCRIPTION.en_us.html index 27d06d94b9..6fd4b72cb7 100644 --- a/ofl/kopubbatang/DESCRIPTION.en_us.html +++ b/ofl/kopubbatang/DESCRIPTION.en_us.html @@ -1,11 +1,6 @@ -

KoPub Batang is a serif unicode font designed by -Fontrix, with sponsorship from Korea's government -(Ministry of Culture, Sports and Tourism) and published -by the Korea Publishers Society. It supports 11,172 -Hangul glyphs, 94 English glyphs, 986 KS symbols and -4,888 Chinese glyphs. It is intended for reading at text -sizes, and it has good legibility: It has passed many -legibility tests and has been positively reviewed by -publication professionals. Its serifs are restrained and -smooth, and it has excellent kerning and other -refinements.

\ No newline at end of file +

+ KoPub Batang is a serif unicode font designed by Fontrix, with sponsorship from Korea's government (Ministry of Culture, Sports and Tourism) and published by the Korea Publishers Society. + It supports 11,172 Hangul glyphs, 94 English glyphs, 986 KS symbols and 4,888 Chinese glyphs. + It is intended for reading at text sizes, and it has good legibility: It has passed many legibility tests and has been positively reviewed by publication professionals. + Its serifs are restrained and smooth, and it has excellent kerning and other refinements. +

diff --git a/ofl/kottaone/DESCRIPTION.en_us.html b/ofl/kottaone/DESCRIPTION.en_us.html index ad7d93981e..5f4a025b5f 100644 --- a/ofl/kottaone/DESCRIPTION.en_us.html +++ b/ofl/kottaone/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Kotta One is a new and unusual text typeface that mixes the characteristics of an italic with legibility of a roman. Kotta uses a true calligraphic construction, with a structure based on a real italic hand, not simple mechanical slanted forms.

Like Renaissance typefaces it is an independent style, not merely an accompaniment for a roman. Kotta One is also a modern style, angular and geometric, exploring the ideas of American typographer Williams Addison Dwiggins and his M-Formula. Sharp lines and strong horizontal strokes give it a rhythm that reads well in long texts.

\ No newline at end of file +

+ Kotta One is a new and unusual text typeface that mixes the characteristics of an italic with legibility of a roman. + Kotta uses a true calligraphic construction, with a structure based on a real italic hand, not simple mechanical slanted forms. +

+

+ Like Renaissance typefaces it is an independent style, not merely an accompaniment for a roman. + Kotta One is also a modern style, angular and geometric, exploring the ideas of American typographer Williams Addison Dwiggins and his M-Formula. + Sharp lines and strong horizontal strokes give it a rhythm that reads well in long texts. +

diff --git a/ofl/koulen/DESCRIPTION.en_us.html b/ofl/koulen/DESCRIPTION.en_us.html index edabe7db9e..995889ffd6 100644 --- a/ofl/koulen/DESCRIPTION.en_us.html +++ b/ofl/koulen/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Koulen is a Khmer font for headlines, titles and subtitles, and even banner designs. + Koulen is a Khmer font for headlines, titles and subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Koulen. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Koulen + + . +

diff --git a/ofl/kreon/DESCRIPTION.en_us.html b/ofl/kreon/DESCRIPTION.en_us.html index 3d8a336b3f..cb207b9a5d 100644 --- a/ofl/kreon/DESCRIPTION.en_us.html +++ b/ofl/kreon/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Kreon targets text typesetting for magazines and news sites. With a slight slab-serif look and the low contrast design, it is a sturdy typeface for your website, blog or online magazine. Its friendly feel will soon be accompanied by a sans serif as well as italics. Enjoy.

\ No newline at end of file +

+ Kreon targets text typesetting for magazines and news sites. + With a slight slab-serif look and the low contrast design, it is a sturdy typeface for your website, blog or online magazine. + Its friendly feel will soon be accompanied by a sans serif as well as italics. + Enjoy. +

diff --git a/ofl/kristi/DESCRIPTION.en_us.html b/ofl/kristi/DESCRIPTION.en_us.html index 35bf934a49..e6b2267e47 100644 --- a/ofl/kristi/DESCRIPTION.en_us.html +++ b/ofl/kristi/DESCRIPTION.en_us.html @@ -1,9 +1,9 @@

-Kristi is a calligraphy font inspired by old chancery typefaces. -It is made with a basic felt-pen by using bold and quick moves while writing. -The name of the font is a common Estonian girls name. + Kristi is a calligraphy font inspired by old chancery typefaces. + It is made with a basic felt-pen by using bold and quick moves while writing. + The name of the font is a common Estonian girls name.

-The most distinctive characteristics of this type are tall ascenders and descenders, slim vertical lines and little twists like the letter "g" in the text. -Kristi can be used large size, for example as in logotype or headlines. + The most distinctive characteristics of this type are tall ascenders and descenders, slim vertical lines and little twists like the letter "g" in the text. + Kristi can be used large size, for example as in logotype or headlines.

diff --git a/ofl/kronaone/DESCRIPTION.en_us.html b/ofl/kronaone/DESCRIPTION.en_us.html index fdf4ad636b..5a2895ff0a 100644 --- a/ofl/kronaone/DESCRIPTION.en_us.html +++ b/ofl/kronaone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Krona is a low contrast semi-extended style sans serif. Krona is both readable and full of personality. Krona can be used from small sizes to larger display settings. Krona was inspired by hand lettering on early 20th century Swedish posters.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Krona is a low contrast semi-extended style sans serif. + Krona is both readable and full of personality. + Krona can be used from small sizes to larger display settings. + Krona was inspired by hand lettering on early 20th century Swedish posters. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/krub/DESCRIPTION.en_us.html b/ofl/krub/DESCRIPTION.en_us.html index 1aac94840e..a2e72a98ce 100644 --- a/ofl/krub/DESCRIPTION.en_us.html +++ b/ofl/krub/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Krub is a Thai and Latin text face with a twist. It uses the modern structure of Thai's traditional looped letterforms and blends it seamlessly with elements taken from the metal type era. It's one of the most popular choices among graphic designers who are looking for a less dusty traditional Thai typeface.

+

+ Krub is a Thai and Latin text face with a twist. + It uses the modern structure of Thai's traditional looped letterforms and blends it seamlessly with elements taken from the metal type era. + It's one of the most popular choices among graphic designers who are looking for a less dusty traditional Thai typeface. +

diff --git a/ofl/kufam/DESCRIPTION.en_us.html b/ofl/kufam/DESCRIPTION.en_us.html index 25096087c4..cecbfc6522 100644 --- a/ofl/kufam/DESCRIPTION.en_us.html +++ b/ofl/kufam/DESCRIPTION.en_us.html @@ -1,12 +1,16 @@

-Kufam is an Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. -Kufam Arabic is inspired by 7th-century Kufi inscriptions. -The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam's Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century. -All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media. + Kufam is an Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. + Kufam Arabic is inspired by 7th-century Kufi inscriptions. + The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam's Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century. + All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media.

-Kufam Arabic is designed by Wael Morcos and Kufam Latin by Artur Schmal and originally conceived within the framework of The Khatt Foundations’ Typographic Matchmaking in the City project. + Kufam Arabic is designed by Wael Morcos and Kufam Latin by Artur Schmal and originally conceived within the framework of The Khatt Foundations’ Typographic Matchmaking in the City project.

-To contribute or to read more about the design and history of Kufam, see github.com/originaltype/kufam. + To contribute or to read more about the design and history of Kufam, see + + github.com/originaltype/kufam + + .

diff --git a/ofl/kulimpark/DESCRIPTION.en_us.html b/ofl/kulimpark/DESCRIPTION.en_us.html index f3e91df3ce..98ed6da128 100644 --- a/ofl/kulimpark/DESCRIPTION.en_us.html +++ b/ofl/kulimpark/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Kulim Park is a sans serif typeface, with high x-height, open counter 'a', minimal degrees of contrast in stem width, inviting bowls and a design language aimed at encapsulating openness. + Kulim Park is a sans serif typeface, with high x-height, open counter 'a', minimal degrees of contrast in stem width, inviting bowls and a design language aimed at encapsulating openness.

-This typeface is the result of an exploration of how a local park redevelopment can inform a typographic design. + This typeface is the result of an exploration of how a local park redevelopment can inform a typographic design.

-The Kulim Park project is led by Dale Sattler, a type designer based in New Zealand. -To contribute, see github.com/noponies/Kulim-Park -

\ No newline at end of file + The Kulim Park project is led by Dale Sattler, a type designer based in New Zealand. + To contribute, see + + github.com/noponies/Kulim-Park + +

diff --git a/ofl/kumarone/DESCRIPTION.en_us.html b/ofl/kumarone/DESCRIPTION.en_us.html index b5c4da5337..6c9180f964 100644 --- a/ofl/kumarone/DESCRIPTION.en_us.html +++ b/ofl/kumarone/DESCRIPTION.en_us.html @@ -1,31 +1,37 @@

-Kumar is a series of matching Open Source display fonts. -They each support the Gujarati and Latin scripts. -The two Kumar fonts may be used together, or entirely on their own. + Kumar is a series of matching Open Source display fonts. + They each support the Gujarati and Latin scripts. + The two Kumar fonts may be used together, or entirely on their own.

-Kumar One Outline is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. -The upstrokes and typeface’s horizontals are just thin, single lines. + + Kumar One Outline + + is a vertical-contrast design, in which both the downstrokes as well as the left and right-hand sides of each letterform are built up out of two parallel lines and the whites space in-between them. + The upstrokes and typeface’s horizontals are just thin, single lines.

-Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast. + Kumar One itself fills in all of the thicker empty spaces in the downstrokes/horizontals, offering letterforms that are very dark and full of contrast.

-The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. -Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative. + The Kumar design is made entirely out of straight lines; all elements that would usually be drawn with soft curves are faceted, built up out of several shorter straightened-out elements. + Text in either Kumar font shimmers like a jewel; the effect of both fonts is quite decorative.

-The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. -Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. -Kumar’s Gujarati vowel marks are all single-line, rather than double-line. -Indeed, Kumar’s Gujarati is a very unique design; there are simply no other options like it currently available! + The Gujarati and Latin script components are scaled in relation to each other so that the Gujarati base characters are 85% as tall as the Latin uppercase. + Text set in the Gujarati script sits nicely alongside the Latin lowercase, too. + Kumar’s Gujarati vowel marks are all single-line, rather than double-line. + Indeed, Kumar’s Gujarati is a very unique design; there are simply no other options like it currently available!

-Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. -The Latin component’s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. -Parimal Parmar designed Kumar for Indian Type Foundry in 2016. + Each of the Kumar fonts has 870 glyphs, including hundreds of unique Gujarati conjuncts. + The Latin component’s character set is an extended one, which enables typesetting in English and the other Western, Central, and Eastern European languages. + Parimal Parmar designed Kumar for Indian Type Foundry in 2016.

-The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. -To contribute, see github.com/itfoundry/kumar -

\ No newline at end of file + The Kumar project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/kumar + +

diff --git a/ofl/kumbhsans/DESCRIPTION.en_us.html b/ofl/kumbhsans/DESCRIPTION.en_us.html index 2e07d6374f..3ff449b094 100644 --- a/ofl/kumbhsans/DESCRIPTION.en_us.html +++ b/ofl/kumbhsans/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Kumbh Sans is a Geometric Sans Serif font envisioned to serve as a multi-purpose and workhorse font in modern web and mobile applications. The anatomy is geometric with slight contrast. The font's cap-height vs x-height ratio is kept as 3:2 for optimum legibility at any point size.

- -

After initial release in three weights, the typeface has been converted into a variable font in June 2021 with a weight axis (100 to 900).

- -

To contribute, see github.com/xconsau/KumbhSans

+

+ Kumbh Sans is a Geometric Sans Serif font envisioned to serve as a multi-purpose and workhorse font in modern web and mobile applications. + The anatomy is geometric with slight contrast. + The font's cap-height vs x-height ratio is kept as 3:2 for optimum legibility at any point size. +

+

+ After initial release in three weights, the typeface has been converted into a variable font in June 2021 with a weight axis (100 to 900). +

+

+ To contribute, see + + github.com/xconsau/KumbhSans + +

diff --git a/ofl/kurale/DESCRIPTION.en_us.html b/ofl/kurale/DESCRIPTION.en_us.html index b061f2032f..a0483f18ae 100644 --- a/ofl/kurale/DESCRIPTION.en_us.html +++ b/ofl/kurale/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-Kurale is a Latin, Cyrillic and Devanagari typeface derived from -Gabriela. -The Latin and Cyrillic is a serif typeface with soft shapes, and special terminal forms which are shaped like curls. -They connect each letter to create attractive word shapes and text blocks with a fine texture. -The Devanagari is a modulated design that harmonises with the Latin original. -In small bodies of text she works well for reading, and in headlines provides interesting details to catch the eye. + Kurale is a Latin, Cyrillic and Devanagari typeface derived from + + Gabriela + + . + The Latin and Cyrillic is a serif typeface with soft shapes, and special terminal forms which are shaped like curls. + They connect each letter to create attractive word shapes and text blocks with a fine texture. + The Devanagari is a modulated design that harmonises with the Latin original. + In small bodies of text she works well for reading, and in headlines provides interesting details to catch the eye.

-This project is led by Eduardo Tunni, a type designer based in Buenos Aires. -To contribute, see github.com/etunni/kurale -

\ No newline at end of file + This project is led by Eduardo Tunni, a type designer based in Buenos Aires. + To contribute, see + + github.com/etunni/kurale + +

diff --git a/ofl/labelleaurore/DESCRIPTION.en_us.html b/ofl/labelleaurore/DESCRIPTION.en_us.html index 55181e8b8a..4b72d29937 100644 --- a/ofl/labelleaurore/DESCRIPTION.en_us.html +++ b/ofl/labelleaurore/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

This whimsical, romantic handwriting is inspired by the romance of Casablanca. It is not a true script, but has many curls and tendrils similar to a script font.

\ No newline at end of file +

+ This whimsical, romantic handwriting is inspired by the romance of Casablanca. + It is not a true script, but has many curls and tendrils similar to a script font. +

diff --git a/ofl/labrada/DESCRIPTION.en_us.html b/ofl/labrada/DESCRIPTION.en_us.html index 463a7fe8bb..89f1906c86 100644 --- a/ofl/labrada/DESCRIPTION.en_us.html +++ b/ofl/labrada/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Labrada is a typeface family designed by Mercedes Jáuregui that expresses the communicative richness of the conversations and discourses of the indigenous cultures of oral tradition, at the same time that it dialogues with the classic forms to function in immersive reading texts. This project began in the Master of Typeface Design, MT-UBA, at the Universidad of Buenos Aires, Argentina.

- -

To contribute, see github.com/Omnibus-Type/Labrada.

+

+ Labrada is a typeface family designed by Mercedes Jáuregui that expresses the communicative richness of the conversations and discourses of the indigenous cultures of oral tradition, at the same time that it dialogues with the classic forms to function in immersive reading texts. + This project began in the Master of Typeface Design, MT-UBA, at the Universidad of Buenos Aires, Argentina. +

+

+ To contribute, see + + github.com/Omnibus-Type/Labrada + + . +

diff --git a/ofl/lacquer/DESCRIPTION.en_us.html b/ofl/lacquer/DESCRIPTION.en_us.html index af26562030..692f0fabba 100644 --- a/ofl/lacquer/DESCRIPTION.en_us.html +++ b/ofl/lacquer/DESCRIPTION.en_us.html @@ -1,5 +1,24 @@

-Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer’s glyphs on the font’s web specimen. + Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. + Lacquer was hand drawn using a paint pen by + + Niki Polyocan + + and was extrapolated and finished by + + Eli Block + + at Google Creative Lab. + You can see all of Lacquer’s glyphs on the font’s + + web specimen + + . +

+

+ To contribute, see + + github.com/Lacquer-Font/Lacquer + + .

- -

To contribute, see github.com/Lacquer-Font/Lacquer.

diff --git a/ofl/laila/DESCRIPTION.en_us.html b/ofl/laila/DESCRIPTION.en_us.html index 6657a69bc5..1f224ca1f2 100644 --- a/ofl/laila/DESCRIPTION.en_us.html +++ b/ofl/laila/DESCRIPTION.en_us.html @@ -1,19 +1,21 @@

-Laila is an informal sans serif design with brush terminals. -It has a very contemporary, 21st century appearance. -Text set in Laila appears friendly, or even cute! -Laila looks especially good in headlines. -It is a display typeface, but it may also be used to set shorter passages of text, too. + Laila is an informal sans serif design with brush terminals. + It has a very contemporary, 21st century appearance. + Text set in Laila appears friendly, or even cute! + Laila looks especially good in headlines. + It is a display typeface, but it may also be used to set shorter passages of text, too.

-Laila’s Latin component has a high x-height and open counter forms. -In terms of the thickness of its strokes, everything is mostly monolinear. -The Devanagari component is even more fluid, appearing lively and graceful. -The height is between the Latin x-height and capital height. -The strokes thickness is a little lighter than in the Latin; -in text blocks, texts set in each script will have similar color. + Laila’s Latin component has a high x-height and open counter forms. + In terms of the thickness of its strokes, everything is mostly monolinear. + The Devanagari component is even more fluid, appearing lively and graceful. + The height is between the Latin x-height and capital height. + The strokes thickness is a little lighter than in the Latin; in text blocks, texts set in each script will have similar color.

-Hitesh Malaviya designed the Devanagari, and the Latin is by Jonny Pinhorn. -To contribute, see github.com/itfoundry/laila + Hitesh Malaviya designed the Devanagari, and the Latin is by Jonny Pinhorn. + To contribute, see + + github.com/itfoundry/laila +

diff --git a/ofl/lakkireddy/DESCRIPTION.en_us.html b/ofl/lakkireddy/DESCRIPTION.en_us.html index ff9bdfe2f0..722b4ab60d 100644 --- a/ofl/lakkireddy/DESCRIPTION.en_us.html +++ b/ofl/lakkireddy/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Lakki Reddy is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. -Use it anywhere you want to use a handwriting style to add informality and personality to your text. + Lakki Reddy is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. + Use it anywhere you want to use a handwriting style to add informality and personality to your text.

-The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover. -The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/lakkireddy

+ The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Font Diner, a type foundry in the USA, and originally published as + + Irish Grover + + . + The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/lakkireddy +

diff --git a/ofl/lalezar/DESCRIPTION.en_us.html b/ofl/lalezar/DESCRIPTION.en_us.html index 5c19c7bf38..0c304d4143 100644 --- a/ofl/lalezar/DESCRIPTION.en_us.html +++ b/ofl/lalezar/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Lalezar is an Arabic and Latin display typeface for popular culture. + Lalezar is an Arabic and Latin display typeface for popular culture.

-During the 1960s and 1970s a genre of filmmaking emerged in Iran which was commonly known as Film-Farsi. -The main focus of the films produced in this period was on popular subjects such as romances, musicals and unrealistic heroic characters. -The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. -These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period. + During the 1960s and 1970s a genre of filmmaking emerged in Iran which was commonly known as Film-Farsi. + The main focus of the films produced in this period was on popular subjects such as romances, musicals and unrealistic heroic characters. + The movie posters designed to represent these films were also intended to exaggerate these elements by the use of provocative imagery and a particular type of display lettering. + These bold and dynamic letterforms were so popular and widely used that perhaps one can consider them the most significant component of film posters in that period.

-Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a suitable Latin companion. -Although the main inspiration comes from a style of lettering that was used to represent the Persian language, here the objective is to design a typeface that can be used for most of the languages that use the Arabic script for their written communication. + Lalezar is an attempt to revive the appealing qualities in this genre of lettering and transform them into a modern Arabic display typeface and a suitable Latin companion. + Although the main inspiration comes from a style of lettering that was used to represent the Persian language, here the objective is to design a typeface that can be used for most of the languages that use the Arabic script for their written communication.

-The Lalezar project is led by Borna Izadpanah, a type designer based in London, UK. -To contribute, see github.com/BornaIz/Lalezar -

\ No newline at end of file + The Lalezar project is led by Borna Izadpanah, a type designer based in London, UK. + To contribute, see + + github.com/BornaIz/Lalezar + +

diff --git a/ofl/lancelot/DESCRIPTION.en_us.html b/ofl/lancelot/DESCRIPTION.en_us.html index bfaa18c539..53055657f9 100644 --- a/ofl/lancelot/DESCRIPTION.en_us.html +++ b/ofl/lancelot/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Lancelot is a new ornate serif type based on French traditions. It has two sets of capitals, swash and classical.

\ No newline at end of file +

+ Lancelot is a new ornate serif type based on French traditions. + It has two sets of capitals, swash and classical. +

diff --git a/ofl/langar/DESCRIPTION.en_us.html b/ofl/langar/DESCRIPTION.en_us.html index 9785df7456..4ed79f6a50 100644 --- a/ofl/langar/DESCRIPTION.en_us.html +++ b/ofl/langar/DESCRIPTION.en_us.html @@ -1,9 +1,17 @@ -

Langar is a one-weight Latin/Gurmukhi display font based on informal, playful letterforms. It broadly follows the - ‘upright-italic’ style of Latin fonts, experimenting with and introducing a similar style for the Gurmukhi script. -

-

Langar’s harmonised Latin/Gurmukhi design aims to expand the possibilities for both the general user and the - specialised designer working with bilingual texts by providing a good quality display option.

-

The design specifically caters to characterful display at larger sizes, providing a contrasting secondary style to - most text typefaces generally available for Latin/Gurmukhi texts.

- -

To contribute, please see github.com/typeland/Langar.

\ No newline at end of file +

+ Langar is a one-weight Latin/Gurmukhi display font based on informal, playful letterforms. + It broadly follows the ‘upright-italic’ style of Latin fonts, experimenting with and introducing a similar style for the Gurmukhi script. +

+

+ Langar’s harmonised Latin/Gurmukhi design aims to expand the possibilities for both the general user and the specialised designer working with bilingual texts by providing a good quality display option. +

+

+ The design specifically caters to characterful display at larger sizes, providing a contrasting secondary style to most text typefaces generally available for Latin/Gurmukhi texts. +

+

+ To contribute, please see + + github.com/typeland/Langar + + . +

diff --git a/ofl/lateef/DESCRIPTION.en_us.html b/ofl/lateef/DESCRIPTION.en_us.html index 8b7143e727..156f23f143 100644 --- a/ofl/lateef/DESCRIPTION.en_us.html +++ b/ofl/lateef/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. -It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region. + Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. + It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region.

- -

The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold.

-

-This font was developed by SIL, and you can learn more about it at scripts.sil.org/Lateef + The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold. +

+

+ This font was developed by SIL, and you can learn more about it at + + scripts.sil.org/Lateef +

diff --git a/ofl/lato/DESCRIPTION.en_us.html b/ofl/lato/DESCRIPTION.en_us.html index 11fab345cb..a2b026e619 100644 --- a/ofl/lato/DESCRIPTION.en_us.html +++ b/ofl/lato/DESCRIPTION.en_us.html @@ -1,14 +1,16 @@

-Lato means “Summer” in Polish, and it is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer Łukasz Dziedzic. -Originally conceived as part of a corporate identity for a large client, the family became available for a public release when they decided to go in different stylistic direction. + Lato means “Summer” in Polish, and it is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer Łukasz Dziedzic. + Originally conceived as part of a corporate identity for a large client, the family became available for a public release when they decided to go in different stylistic direction.

-Łukasz tried to carefully balance some potentially conflicting priorities in the design; -to create a typeface that seems “transparent” when used in body text but also displays original traits in larger size use. -Classical proportions, particularly in the uppercase, give the letterforms familiar harmony and elegance, and combine with a sleek treatement that feels contemporary without being trendy. -Semi-rounded details feel warm, while the underlying structure provides stability and seriousness. -“Serious but friendly, with the feeling of the Summer,” said Łukasz. + Łukasz tried to carefully balance some potentially conflicting priorities in the design; to create a typeface that seems “transparent” when used in body text but also displays original traits in larger size use. + Classical proportions, particularly in the uppercase, give the letterforms familiar harmony and elegance, and combine with a sleek treatement that feels contemporary without being trendy. + Semi-rounded details feel warm, while the underlying structure provides stability and seriousness. + “Serious but friendly, with the feeling of the Summer,” said Łukasz.

-Learn more at latofonts.com + Learn more at + + latofonts.com +

diff --git a/ofl/lavishlyyours/DESCRIPTION.en_us.html b/ofl/lavishlyyours/DESCRIPTION.en_us.html index 4b9d393a49..a9d4a09c61 100644 --- a/ofl/lavishlyyours/DESCRIPTION.en_us.html +++ b/ofl/lavishlyyours/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-One of the first fonts to use ornately embellished capital forms, Lavishly Yours is a charming calligraphic script. Its nearly upright style along with looped lowercase miniscules gives this font a fairly tale look. + One of the first fonts to use ornately embellished capital forms, Lavishly Yours is a charming calligraphic script. + Its nearly upright style along with looped lowercase miniscules gives this font a fairly tale look.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/lavishly-yours. + To contribute, see + + github.com/googlefonts/lavishly-yours + + .

diff --git a/ofl/leaguegothic/DESCRIPTION.en_us.html b/ofl/leaguegothic/DESCRIPTION.en_us.html index 57f18b14f2..877b957c87 100644 --- a/ofl/leaguegothic/DESCRIPTION.en_us.html +++ b/ofl/leaguegothic/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-League Gothic is a revival of an old classic: Alternate Gothic. It was originally designed by Morris Fuller Bentonfor the American Type Founders Company in 1903. -The League Of Moveable Type decided to make their own version, and contribute it to the Open Source Type Movement. -Thanks to a commission from the fine & patient folks over at WND.com, it’s been revised and updated with contributions from Micah Rich, Tyler Finck, Dannci and Mirko Velimirovic. -

- -

-To contribute, see github.com/sursly/league-gothic. + League Gothic is a revival of an old classic: Alternate Gothic. + It was originally designed by Morris Fuller Bentonfor the American Type Founders Company in 1903. + The League Of Moveable Type decided to make their own version, and contribute it to the Open Source Type Movement. + Thanks to a commission from the fine & patient folks over at WND.com, it’s been revised and updated with contributions from Micah Rich, Tyler Finck, Dannci and Mirko Velimirovic. +

+

+ To contribute, see + + github.com/sursly/league-gothic + + . +

+

diff --git a/ofl/leaguescript/DESCRIPTION.en_us.html b/ofl/leaguescript/DESCRIPTION.en_us.html index 2a9277a9f7..cb0a1de29c 100644 --- a/ofl/leaguescript/DESCRIPTION.en_us.html +++ b/ofl/leaguescript/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

This ain’t no Lucida. League Script is a modern, coquettish script font that sits somewhere between your high school girlfriend’s love notes and handwritten letters from the ’20s. Designed for the League of Moveable Type, it includes ligatures and will act as the framework for future script designs.

\ No newline at end of file +

+ This ain’t no Lucida. + League Script is a modern, coquettish script font that sits somewhere between your high school girlfriend’s love notes and handwritten letters from the ’20s. + Designed for + + the League of Moveable Type + + , it includes ligatures and will act as the framework for future script designs. +

diff --git a/ofl/leaguespartan/DESCRIPTION.en_us.html b/ofl/leaguespartan/DESCRIPTION.en_us.html index 75a0afbfb0..840ee5aecc 100644 --- a/ofl/leaguespartan/DESCRIPTION.en_us.html +++ b/ofl/leaguespartan/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@

-League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs. + League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's + + Spartan + + , a typeface based on early 20th century American geometric sans serifs. +

+

+ To contribute, see + + github.com/theleagueof/league-spartan + + .

- -

To contribute, see github.com/theleagueof/league-spartan.

diff --git a/ofl/leckerlione/DESCRIPTION.en_us.html b/ofl/leckerlione/DESCRIPTION.en_us.html index 8b515a941d..a1c2e3249e 100644 --- a/ofl/leckerlione/DESCRIPTION.en_us.html +++ b/ofl/leckerlione/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Leckerli is your new fat friend for any display-fun! Its irregular brush shapes indulge you with their sweet character and cheering loops. It is also useful for shorter texts.

\ No newline at end of file +

+ Leckerli is your new fat friend for any display-fun! + Its irregular brush shapes indulge you with their sweet character and cheering loops. + It is also useful for shorter texts. +

diff --git a/ofl/ledger/DESCRIPTION.en_us.html b/ofl/ledger/DESCRIPTION.en_us.html index 203bab0f15..008362fa62 100644 --- a/ofl/ledger/DESCRIPTION.en_us.html +++ b/ofl/ledger/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

The austere and concise personality and flexibility make it a real multiple-purpose typeface. The letter forms are distinguished by a large x-height, sufficient stroke contrast, robust but elegant wedge-like serifs and terminals. These features have been specially designed to reach maximum of quality and readability when used in unfavorable print and display processes - such as in newspapers, laser printed documents and on low resolution screens. The typeface can be qualified as matched to modern trends of type design and of enhanced legibility. These characteristics provide an undeniable distinction to the typeface, making it suitable for editorial use in newspapers and magazines, corporate ID, advertising and display typography.

\ No newline at end of file +

+ The austere and concise personality and flexibility make it a real multiple-purpose typeface. + The letter forms are distinguished by a large x-height, sufficient stroke contrast, robust but elegant wedge-like serifs and terminals. + These features have been specially designed to reach maximum of quality and readability when used in unfavorable print and display processes - such as in newspapers, laser printed documents and on low resolution screens. + The typeface can be qualified as matched to modern trends of type design and of enhanced legibility. + These characteristics provide an undeniable distinction to the typeface, making it suitable for editorial use in newspapers and magazines, corporate ID, advertising and display typography. +

diff --git a/ofl/lekton/DESCRIPTION.en_us.html b/ofl/lekton/DESCRIPTION.en_us.html index 22ac150565..76251e4c38 100644 --- a/ofl/lekton/DESCRIPTION.en_us.html +++ b/ofl/lekton/DESCRIPTION.en_us.html @@ -1,13 +1,33 @@ -

Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters.

- -

It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Flaùto, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold.

- -

The typeface has been initially designed at ISIA Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis).

- -

This typeface has been designed in 8 hours, and was inspired by some of the typefaces used on the Olivetti typewriters.

- -

The glyphs are 'trispaced.' It means that the space are modular, 250, 500, 750, this allow a better spacing between characters, but allow also a vertical alignment similar to the one possible with a monospaced font. We were thinking it was a bright new idea, but we discovered that was usual for Olivetti typewriters working with 'Margherita.'

- -

Find out more at lektongroups.blogspot.co.uk.

- -

Updated in November 2012: As one of the earlier families published in Google Web Fonts, Lekton lacked proper subsetting, so this update introduces a default 'latin' subset that contains less characters but loads faster. To use the full character set, update your API link to include the latin-ext subset.

+

+ Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters. +

+

+ It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Flaùto, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold. +

+

+ The typeface has been initially designed at ISIA Urbino by the students Luna Castroni, Stefano Faoro, Emilio Macchia, Elena Papassissa, Michela Povoleri, Tobias Seemiller, and the teacher Luciano Perondi (aka galacticus ineffabilis). +

+

+ This typeface has been designed in 8 hours, and was inspired by some of the typefaces used on the Olivetti typewriters. +

+

+ The glyphs are 'trispaced.' It means that the space are modular, 250, 500, 750, this allow a better spacing between characters, but allow also a vertical alignment similar to the one possible with a monospaced font. + We were thinking it was a bright new idea, but we discovered that was usual for Olivetti typewriters working with 'Margherita.' +

+

+ Find out more at + + lektongroups.blogspot.co.uk + + . +

+

+ Updated in November 2012: As one of the earlier families published in Google Web Fonts, Lekton lacked proper subsetting, so this update introduces a default 'latin' subset that contains less characters but loads faster. + + To use the full character set, update your API link to include the + + latin-ext subset + + . + +

diff --git a/ofl/lemon/DESCRIPTION.en_us.html b/ofl/lemon/DESCRIPTION.en_us.html index 79807b6f3c..b4c3033fad 100644 --- a/ofl/lemon/DESCRIPTION.en_us.html +++ b/ofl/lemon/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Lemon is a display typeface with soft and fluid shapes that come from painted street shop signage. The dark weight is ideal for headlines and short texts, and a future release of a lighter weight could be useful for longer text. The uppercase letters are very carefully drawn, making an attractive and unique design for text in all caps, compound words in capital letters, and acronyms. The same dynamic is inherent in the lowercase and numbers!

- -

The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/lemon.

+

+ Lemon is a display typeface with soft and fluid shapes that come from painted street shop signage. + The dark weight is ideal for headlines and short texts, and a future release of a lighter weight could be useful for longer text. + The uppercase letters are very carefully drawn, making an attractive and unique design for text in all caps, compound words in capital letters, and acronyms. + The same dynamic is inherent in the lowercase and numbers! +

+

+ The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/lemon + + . +

diff --git a/ofl/lemonada/DESCRIPTION.en_us.html b/ofl/lemonada/DESCRIPTION.en_us.html index 6403bf331a..20a25e3199 100644 --- a/ofl/lemonada/DESCRIPTION.en_us.html +++ b/ofl/lemonada/DESCRIPTION.en_us.html @@ -1,15 +1,23 @@

-Lemonada is a modern Arabic and Latin typeface family designed by Mohamed Gaber and Eduardo Tunni. -It started with the Latin design Lemon, which Eduardo Tunni expanded to four weights. The Arabic was designed by Mohamed Gaber. + Lemonada is a modern Arabic and Latin typeface family designed by Mohamed Gaber and Eduardo Tunni. + It started with the Latin design + + Lemon + + , which Eduardo Tunni expanded to four weights. + The Arabic was designed by Mohamed Gaber.

-The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. -It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes. + The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. + It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes.

-Lemonada is currently available as a variable font with a weight axis, four static fonts (Light, Regular, SemiBold, Bold), and a wide character set that supports the Arabic, Farsi, and Urdu languages. + Lemonada is currently available as a variable font with a weight axis, four static fonts (Light, Regular, SemiBold, Bold), and a wide character set that supports the Arabic, Farsi, and Urdu languages.

-The Lemonada project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. -To contribute, see github.com/Gue3bara/Lemonada + The Lemonada project is led by Mohamed Gaber, a type designer based in Cairo, Egypt. + To contribute, see + + github.com/Gue3bara/Lemonada +

diff --git a/ofl/lexend/DESCRIPTION.en_us.html b/ofl/lexend/DESCRIPTION.en_us.html index e80c106a3e..5505c9bdc8 100644 --- a/ofl/lexend/DESCRIPTION.en_us.html +++ b/ofl/lexend/DESCRIPTION.en_us.html @@ -1,27 +1,72 @@

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

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

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

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

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

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

- To learn more, read Clean and clear: making reading easier with Lexend(English), Partnering to change how the world reads(English), - and Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu verändern(Germany). -

\ No newline at end of file + To learn more, read + + Clean and clear: making reading easier with Lexend + + (English), + + Partnering to change how the world reads + + (English), and + + Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu verändern + + (Germany). +

diff --git a/ofl/lexenddeca/DESCRIPTION.en_us.html b/ofl/lexenddeca/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexenddeca/DESCRIPTION.en_us.html +++ b/ofl/lexenddeca/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendexa/DESCRIPTION.en_us.html b/ofl/lexendexa/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendexa/DESCRIPTION.en_us.html +++ b/ofl/lexendexa/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendgiga/DESCRIPTION.en_us.html b/ofl/lexendgiga/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendgiga/DESCRIPTION.en_us.html +++ b/ofl/lexendgiga/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendmega/DESCRIPTION.en_us.html b/ofl/lexendmega/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendmega/DESCRIPTION.en_us.html +++ b/ofl/lexendmega/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendpeta/DESCRIPTION.en_us.html b/ofl/lexendpeta/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendpeta/DESCRIPTION.en_us.html +++ b/ofl/lexendpeta/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendtera/DESCRIPTION.en_us.html b/ofl/lexendtera/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendtera/DESCRIPTION.en_us.html +++ b/ofl/lexendtera/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/lexendzetta/DESCRIPTION.en_us.html b/ofl/lexendzetta/DESCRIPTION.en_us.html index ce0c8cc10e..ddd4a0c766 100644 --- a/ofl/lexendzetta/DESCRIPTION.en_us.html +++ b/ofl/lexendzetta/DESCRIPTION.en_us.html @@ -1,9 +1,27 @@

- Lexend is a collection of seven font families intended to improve reading proficiency. - As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using Shaver-Troup Formulations. + Lexend is a collection of + + seven font families + + intended to improve reading proficiency. + As prescription eyeglasses achieve proficiency for persons with short-sightedness, Lexend's families were developed using + + Shaver-Troup Formulations + + .

-

All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau.

- To contribute, see github.com/googlefonts/lexend. - For more information, see lexend.com. + All the Lexend fonts have been upgraded to variable fonts with a weight axis (from Thin to Black) in June 2021, thanks to the efforts of Font Bureau. +

+

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

diff --git a/ofl/librebarcode128/DESCRIPTION.en_us.html b/ofl/librebarcode128/DESCRIPTION.en_us.html index 3563827f54..34619b2755 100644 --- a/ofl/librebarcode128/DESCRIPTION.en_us.html +++ b/ofl/librebarcode128/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 128 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 128 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcode128text/DESCRIPTION.en_us.html b/ofl/librebarcode128text/DESCRIPTION.en_us.html index 3563827f54..34619b2755 100644 --- a/ofl/librebarcode128text/DESCRIPTION.en_us.html +++ b/ofl/librebarcode128text/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 128 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 128 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcode39/DESCRIPTION.en_us.html b/ofl/librebarcode39/DESCRIPTION.en_us.html index 22299031de..d52c6fe63c 100644 --- a/ofl/librebarcode39/DESCRIPTION.en_us.html +++ b/ofl/librebarcode39/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 39 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 39 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcode39extended/DESCRIPTION.en_us.html b/ofl/librebarcode39extended/DESCRIPTION.en_us.html index 22299031de..d52c6fe63c 100644 --- a/ofl/librebarcode39extended/DESCRIPTION.en_us.html +++ b/ofl/librebarcode39extended/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 39 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 39 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcode39extendedtext/DESCRIPTION.en_us.html b/ofl/librebarcode39extendedtext/DESCRIPTION.en_us.html index 22299031de..d52c6fe63c 100644 --- a/ofl/librebarcode39extendedtext/DESCRIPTION.en_us.html +++ b/ofl/librebarcode39extendedtext/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 39 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 39 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcode39text/DESCRIPTION.en_us.html b/ofl/librebarcode39text/DESCRIPTION.en_us.html index 22299031de..d52c6fe63c 100644 --- a/ofl/librebarcode39text/DESCRIPTION.en_us.html +++ b/ofl/librebarcode39text/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the Code 39 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the Code 39 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebarcodeean13text/DESCRIPTION.en_us.html b/ofl/librebarcodeean13text/DESCRIPTION.en_us.html index 7336185a47..fedea1af32 100644 --- a/ofl/librebarcodeean13text/DESCRIPTION.en_us.html +++ b/ofl/librebarcodeean13text/DESCRIPTION.en_us.html @@ -1,8 +1,35 @@

-Libre Barcode fonts enable you to write barcodes in the Code 39, Code 128 and EAN-13/UPC-12 formats, with or without text below the code. A number of fonts are available. + Libre Barcode fonts enable you to write barcodes in the + + Code 39 + + , + + Code 128 + + and + + EAN-13/UPC-12 + + formats, with or without text below the code. + A number of fonts are + + available + + .

-

For usage instructions and further information vist the documentation of the EAN-13 format.

-The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. -To contribute, see github.com/graphicore/librebarcode. + For usage instructions and further information vist the + + documentation of the EAN-13 format + + . +

+

+ The Libre Barcode project is led by Lasse Fister, a font and web developer based in Nuremberg, Germany. + To contribute, see + + github.com/graphicore/librebarcode + + .

diff --git a/ofl/librebaskerville/DESCRIPTION.en_us.html b/ofl/librebaskerville/DESCRIPTION.en_us.html index a16314c6f1..897211efcc 100644 --- a/ofl/librebaskerville/DESCRIPTION.en_us.html +++ b/ofl/librebaskerville/DESCRIPTION.en_us.html @@ -1,9 +1,9 @@

-Libre Baskerville is a web font optimized for body text (typically 16px.) -It is based on the American Type Founder's Baskerville from 1941, but it has a taller x-height, wider counters and a little less contrast, that allow it -to work well for reading on-screen. + Libre Baskerville is a web font optimized for body text (typically 16px.) It is based on the American Type Founder's Baskerville from 1941, but it has a taller x-height, wider counters and a little less contrast, that allow it to work well for reading on-screen.

-Join the project at -github.com/impallari/Libre-Baskerville + Join the project at + + github.com/impallari/Libre-Baskerville +

diff --git a/ofl/librebodoni/DESCRIPTION.en_us.html b/ofl/librebodoni/DESCRIPTION.en_us.html index 052e19b4e3..165ed413f8 100644 --- a/ofl/librebodoni/DESCRIPTION.en_us.html +++ b/ofl/librebodoni/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

The Libre Bodoni fonts are based on the 19th century Morris Fuller Benton's ATF design, but specifically adapted for today's web requirements. They are a perfect choice for everything related to elegance, style, luxury and fashion. Libre Bodoni currently features four styles: Regular, Italic, Bold and Bold Italic.

- -

To contribute, see github.com/googlefonts/Libre-Bodoni.

+

+ The Libre Bodoni fonts are based on the 19th century Morris Fuller Benton's ATF design, but specifically adapted for today's web requirements. + They are a perfect choice for everything related to elegance, style, luxury and fashion. + Libre Bodoni currently features four styles: Regular, Italic, Bold and Bold Italic. +

+

+ To contribute, see + + github.com/googlefonts/Libre-Bodoni + + . +

diff --git a/ofl/librecaslondisplay/DESCRIPTION.en_us.html b/ofl/librecaslondisplay/DESCRIPTION.en_us.html index e14fefef12..19a4e00c88 100644 --- a/ofl/librecaslondisplay/DESCRIPTION.en_us.html +++ b/ofl/librecaslondisplay/DESCRIPTION.en_us.html @@ -1,9 +1,24 @@ -

Libre Caslon Display is the display version of Libre Caslon Text. The family is optimized for web headlines.

- -

There are already lots of digital Caslon's revivals, and lots of Caslon-esque fonts. Some are very good. But none of them was truly made for the web. While they look very good when printed on paper, they render very small when used for web body text on the screen.

- -

Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising.

- -

Kerning by Igino Marini with iKern.

- -

Libre Caslon Display also include some nice, extra Open Type features (available in the downloadable files), and a big Pro character-set covering 103 Latin languages: Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish/Manx/Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic, Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Marshallese, Moldovan/Moldovian/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana/Sitswana/Tswana, Seychellois_Creole, SiSwati/Swati/Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok_Pisin, Tongan, Tsonga, Tswana, Tuareg/Berber, Turkish, Turkmen, Tuvaluan, Uzbek/Usbek, Wallisian, Walloon, Welsh, Xhosa, Yoruba, Zulu.

\ No newline at end of file +

+ Libre Caslon Display is the display version of + + Libre Caslon Text + + . + The family is optimized for web headlines. +

+

+ There are already lots of digital Caslon's revivals, and lots of Caslon-esque fonts. + Some are very good. + But none of them was truly made for the web. + While they look very good when printed on paper, they render very small when used for web body text on the screen. +

+

+ Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. + Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. +

+

+ Kerning by Igino Marini with iKern. +

+

+ Libre Caslon Display also include some nice, extra Open Type features (available in the downloadable files), and a big Pro character-set covering 103 Latin languages: Afar, Afrikaans, Albanian, Azerbaijani, Basque, Belarusian, Bislama, Bosnian, Breton, Catalan, Chamorro, Chichewa, Comorian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Fijian, Filipino/Tagalog, Finnish, Flemish, French, Gaelic (Irish/Manx/Scottish), Gagauz, German, Gikuyu, Gilbertese/Kiribati, Greenlandic, Guarani, Haitian_Creole, Hawaiian, Hungarian, Icelandic, Igo/Igbo, Indonesian, Irish, Italian, Javanese, Kashubian, Kinyarwanda, Kirundi, Latin, Latvian, Lithuanian, Luba/Ciluba/Kasai, Luxembourgish, Malagasy, Malay, Maltese, Maori, Marquesan, Marshallese, Moldovan/Moldovian/Romanian, Montenegrin, Nauruan, Ndebele, Norwegian, Oromo, Palauan/Belauan, Polish, Portuguese, Quechua, Romanian, Romansh, Sami, Samoan, Sango, Serbian, Sesotho, Setswana/Sitswana/Tswana, Seychellois_Creole, SiSwati/Swati/Swazi, Silesian, Slovak, Slovenian, Somali, Sorbian, Sotho, Spanish, Swahili, Swedish, Tahitian, Tetum, Tok_Pisin, Tongan, Tsonga, Tswana, Tuareg/Berber, Turkish, Turkmen, Tuvaluan, Uzbek/Usbek, Wallisian, Walloon, Welsh, Xhosa, Yoruba, Zulu. +

diff --git a/ofl/librecaslontext/DESCRIPTION.en_us.html b/ofl/librecaslontext/DESCRIPTION.en_us.html index 7a1a1d9595..c97fd4e814 100644 --- a/ofl/librecaslontext/DESCRIPTION.en_us.html +++ b/ofl/librecaslontext/DESCRIPTION.en_us.html @@ -1,20 +1,24 @@

- Libre Caslon Text is optimized for web body text (typically set at 16px), whilst the companion family - Libre Caslon Display is optimized for web headlines. + Libre Caslon Text is optimized for web body text (typically set at 16px), whilst the companion family + + Libre Caslon Display + + is optimized for web headlines.

-

- Libre Caslon Text was specifically tailored to be used for web body text (typically set at 16px). It can be used at very small sizes and will still be readable on your website. + Libre Caslon Text was specifically tailored to be used for web body text (typically set at 16px). + It can be used at very small sizes and will still be readable on your website.

-

- Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising. + Another big difference is that pretty much all other digital Caslons revivals are based on 18th Century specimens by William Caslon I and William Caslon II. + Libre Caslon, instead, is based on hand lettering artist Caslon interpretations typical of 1950s advertising.

-

- This font was upgraded in early 2020 and is now available as a variable font. + This font was upgraded in early 2020 and is now available as a variable font.

-

- To contribute, see github.com/thundernixon/Libre-Caslon + To contribute, see + + github.com/thundernixon/Libre-Caslon +

diff --git a/ofl/librefranklin/DESCRIPTION.en_us.html b/ofl/librefranklin/DESCRIPTION.en_us.html index 006ae1ea84..282d4dd0b5 100644 --- a/ofl/librefranklin/DESCRIPTION.en_us.html +++ b/ofl/librefranklin/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

-Libre Franklin is an interpretation and expansion of the 1912 Morris Fuller Benton classic. + Libre Franklin is an interpretation and expansion of the 1912 Morris Fuller Benton classic.

-The Libre Franklin project is led by Impallari Type, a type design foundry based in Rosario, Argentina. -To contribute, see github.com/impallari/Libre-Franklin -

\ No newline at end of file + The Libre Franklin project is led by Impallari Type, a type design foundry based in Rosario, Argentina. + To contribute, see + + github.com/impallari/Libre-Franklin + +

diff --git a/ofl/licorice/DESCRIPTION.en_us.html b/ofl/licorice/DESCRIPTION.en_us.html index 346ec477f2..f368a1cb61 100644 --- a/ofl/licorice/DESCRIPTION.en_us.html +++ b/ofl/licorice/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Licorice is a playful handwritten font that is perfect scrapbooking, cards, invitations and fun events. + Licorice is a playful handwritten font that is perfect scrapbooking, cards, invitations and fun events.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/licorice. + To contribute, see + + github.com/googlefonts/licorice + + .

diff --git a/ofl/lifesavers/DESCRIPTION.en_us.html b/ofl/lifesavers/DESCRIPTION.en_us.html index f583742ab4..fd7e9dc9ef 100644 --- a/ofl/lifesavers/DESCRIPTION.en_us.html +++ b/ofl/lifesavers/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Do you remember the "Life Savers" candies adds from the 50s? That was a time when Ad Agencies actually hired Lettering Artist for they advertising text. Before the advent of Photo Typesetting, all the text was beautifully drawn by hand.

We are going to put some love to work and bring back the Life Savers hand-lettered Typewriter/Stymie mix. Probably drawn originally by Frazier Purdy for the Sam Marsh Studio.

Updated June 2019 to v3.001. The Bold weight was drawn in 2012 and added in December, and the ExtraBold weight was drawn in August 2013, and finally added to Google Fonts in June 2019 with minor technical adjustments.

\ No newline at end of file +

+ Do you remember the "Life Savers" candies adds from the 50s? + That was a time when Ad Agencies actually hired Lettering Artist for they advertising text. + Before the advent of Photo Typesetting, all the text was beautifully drawn by hand. +

+

+ We are going to put some love to work and bring back the Life Savers hand-lettered Typewriter/Stymie mix. + Probably drawn originally by Frazier Purdy for the Sam Marsh Studio. +

+

+ Updated June 2019 to v3.001. + The Bold weight was drawn in 2012 and added in December, and the ExtraBold weight was drawn in August 2013, and finally added to Google Fonts in June 2019 with minor technical adjustments. +

diff --git a/ofl/lilitaone/DESCRIPTION.en_us.html b/ofl/lilitaone/DESCRIPTION.en_us.html index c56718f13f..424cb65315 100644 --- a/ofl/lilitaone/DESCRIPTION.en_us.html +++ b/ofl/lilitaone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Lilita One is a display typeface with a fat look, ideal for headlines and short texts. With a slightly condensed structure and some eye-catching details, it adds personal and soft looks to any page.

\ No newline at end of file +

+ Lilita One is a display typeface with a fat look, ideal for headlines and short texts. + With a slightly condensed structure and some eye-catching details, it adds personal and soft looks to any page. +

diff --git a/ofl/lilyscriptone/DESCRIPTION.en_us.html b/ofl/lilyscriptone/DESCRIPTION.en_us.html index 9355411249..850e89825c 100644 --- a/ofl/lilyscriptone/DESCRIPTION.en_us.html +++ b/ofl/lilyscriptone/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

Lily script is a sturdy display script with a playful, bold texture. It's soft, but clear shapes come with romantic connotations. Still its bold personality make it well-suited for charming looking headlines and texts.

- -

To contribute to the project contact -Julia Petretta.

\ No newline at end of file +

+ Lily script is a sturdy display script with a playful, bold texture. + It's soft, but clear shapes come with romantic connotations. + Still its bold personality make it well-suited for charming looking headlines and texts. +

+

+ To contribute to the project contact + + Julia Petretta + + . +

diff --git a/ofl/limelight/DESCRIPTION.en_us.html b/ofl/limelight/DESCRIPTION.en_us.html index bdf593abd1..da19dda19d 100644 --- a/ofl/limelight/DESCRIPTION.en_us.html +++ b/ofl/limelight/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

Limelight is a sensitive rendition of the classic high contrast art deco -style geometric sans serif. This style is often used to suggest the 1920's -time period as well as the theatre generally and hollywood filmmaking in -particular. Because of the extreme contrast of the design it will perform most -reliably on web pages at medium and large font sizes.

+

+ Limelight is a sensitive rendition of the classic high contrast art deco style geometric sans serif. + This style is often used to suggest the 1920's time period as well as the theatre generally and hollywood filmmaking in particular. + Because of the extreme contrast of the design it will perform most reliably on web pages at medium and large font sizes. +

diff --git a/ofl/lindenhill/DESCRIPTION.en_us.html b/ofl/lindenhill/DESCRIPTION.en_us.html index a4f64d5fb3..cea70dd631 100644 --- a/ofl/lindenhill/DESCRIPTION.en_us.html +++ b/ofl/lindenhill/DESCRIPTION.en_us.html @@ -1,4 +1,15 @@

-Linden Hill is a revival of Frederic Goudy’s Deepdene with roman and italic styles. -To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/linden-hill + Linden Hill is a revival of Frederic Goudy’s + + Deepdene + + with roman and italic styles. + To learn more, see + + bitbucket.org/sortsmill/sortsmill-fonts + + and + + theleagueofmoveabletype.com/linden-hill +

diff --git a/ofl/linefont/DESCRIPTION.en_us.html b/ofl/linefont/DESCRIPTION.en_us.html index 6a40bdd8c3..e0ccf919d2 100644 --- a/ofl/linefont/DESCRIPTION.en_us.html +++ b/ofl/linefont/DESCRIPTION.en_us.html @@ -1,13 +1,31 @@ -

Linefont is a variable font with Weight and Width axes for rendering small to medium-scale line charts.

- -

Linefont values span from 0 to 100, assigned to different characters: -

-

- -

The axis range values are compatible with Wavefont by the same author, so the families can be used together with visual coherency.

- -

To contribute, see github.com/dy/linefont.

+

+ Linefont is a variable font with Weight and Width axes for rendering small to medium-scale line charts. +

+

+ Linefont values span from 0 to 100, assigned to different characters: +

+

+

+ The axis range values are compatible with + + Wavefont + + by the same author, so the families can be used together with visual coherency. +

+

+ To contribute, see + + github.com/dy/linefont + + . +

diff --git a/ofl/lisubosa/DESCRIPTION.en_us.html b/ofl/lisubosa/DESCRIPTION.en_us.html index 33e9faee59..7444c48eca 100644 --- a/ofl/lisubosa/DESCRIPTION.en_us.html +++ b/ofl/lisubosa/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

This project is intended to provide a libre and open font family for all current languages and writing systems that use the Lisu (Fraser) script. The design is based on LisuTzimu, designed by David Morse.

- -

To contribute, please see github.com/silnrsi/font-lisu-bosa.

+

+ This project is intended to provide a libre and open font family for all current languages and writing systems that use the Lisu (Fraser) script. + The design is based on LisuTzimu, designed by David Morse. +

+

+ To contribute, please see + + github.com/silnrsi/font-lisu-bosa + + . +

diff --git a/ofl/literata/DESCRIPTION.en_us.html b/ofl/literata/DESCRIPTION.en_us.html index 6275e723e8..24b9d7f50b 100644 --- a/ofl/literata/DESCRIPTION.en_us.html +++ b/ofl/literata/DESCRIPTION.en_us.html @@ -1,12 +1,23 @@

- Now in its third version, Literata is a distinct variable font family for digital text. Originally created as the brand typeface for Google Play Books, it exceeds the strict needs of a comfortable reading experience on any device, screen resolution, or font size. The family has matured into a full-fledged digital publishing toolbox — headline, paragraph, and caption text. Type Together redesigned it from the ground up as a variable font. Its tiny file size and infinite adjustability make it perfect for developers, mobile apps, and every screen imaginable. It’s the “every-device font”. Get the entire type family for FREE! + Now in its third version, Literata is a distinct variable font family for digital text. + Originally created as the brand typeface for Google Play Books, it exceeds the strict needs of a comfortable reading experience on any device, screen resolution, or font size. + The family has matured into a full-fledged digital publishing toolbox — headline, paragraph, and caption text. + Type Together redesigned it from the ground up as a variable font. + Its tiny file size and infinite adjustability make it perfect for developers, mobile apps, and every screen imaginable. + It’s the “every-device font”. + Get the entire type family for FREE!

- Literata was designed by TypeTogether: Veronika Burian & José Scaglione (Latin), Irene Vlachou (Greek), Vera Evstafieva (Cyrillic) and Elena Novoselova (Cyrillic). + Literata was designed by TypeTogether: Veronika Burian & José Scaglione (Latin), Irene Vlachou (Greek), Vera Evstafieva (Cyrillic) and Elena Novoselova (Cyrillic).

-

- The family won the GOLD Indigo Awards in 2021 and is the Modern Cyrillic 2021 winner. Two versions of the family exist, one for print and the other for Ebooks. This is the print version of the family. +

+ The family won the GOLD Indigo Awards in 2021 and is the Modern Cyrillic 2021 winner. + Two versions of the family exist, one for print and the other for Ebooks. + This is the print version of the family.

-To contribute, see github.com/googlefonts/literata -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/literata + +

diff --git a/ofl/liujianmaocao/DESCRIPTION.en_us.html b/ofl/liujianmaocao/DESCRIPTION.en_us.html index 830bbadf44..a2790d7e2c 100644 --- a/ofl/liujianmaocao/DESCRIPTION.en_us.html +++ b/ofl/liujianmaocao/DESCRIPTION.en_us.html @@ -1,10 +1,15 @@

-Liu Jian Mao Cao is a grass script font based on the work of calligrapher Liu Zhengjiang. Like most grass scripts, LiuJian is boundless and expressive, but is also tempered with mellow approachability. -Like water, its flow is full and gentle, restoring a still image to movement. + Liu Jian Mao Cao is a grass script font based on the work of calligrapher Liu Zhengjiang. + Like most grass scripts, LiuJian is boundless and expressive, but is also tempered with mellow approachability. + Like water, its flow is full and gentle, restoring a still image to movement.

-The latin script included in the font was designed by Kimberly Geswein. + The latin script included in the font was designed by Kimberly Geswein.

-To contribute, see github.com/googlefonts/liujianmaocao. + To contribute, see + + github.com/googlefonts/liujianmaocao + + .

diff --git a/ofl/livvic/DESCRIPTION.en_us.html b/ofl/livvic/DESCRIPTION.en_us.html index fe64ac1307..d2f9613821 100644 --- a/ofl/livvic/DESCRIPTION.en_us.html +++ b/ofl/livvic/DESCRIPTION.en_us.html @@ -1,10 +1,25 @@ -

Livvic is a custom corporate typeface designed by Jacques Le Bailly for LV=, an insurance company based in the UK. The typeface is part of a brand redesign.

- -

Livvic was designed to capture LV=’s brand values and uniqueness. It is an open, friendly and somewhat quirky design. Corporate, yet still fresh and personal.

- -

The Roman is an upright Italic, with some inspirations from handwriting. This gives livvic a strong, yet accessible character.

- -

The Italic has matching metrics to the Roman. Although the Italic and Roman share a lot of similarities, the construction is different. It is gives the Italic some more panache.

- -

To contribute, see github.com/Fonthausen/Livvic.

- +

+ Livvic is a custom corporate typeface designed by Jacques Le Bailly for LV=, an insurance company based in the UK. + The typeface is part of a brand redesign. +

+

+ Livvic was designed to capture LV=’s brand values and uniqueness. + It is an open, friendly and somewhat quirky design. + Corporate, yet still fresh and personal. +

+

+ The Roman is an upright Italic, with some inspirations from handwriting. + This gives livvic a strong, yet accessible character. +

+

+ The Italic has matching metrics to the Roman. + Although the Italic and Roman share a lot of similarities, the construction is different. + It is gives the Italic some more panache. +

+

+ To contribute, see + + github.com/Fonthausen/Livvic + + . +

diff --git a/ofl/lobster/DESCRIPTION.en_us.html b/ofl/lobster/DESCRIPTION.en_us.html index 61063141a6..ec80f0372f 100644 --- a/ofl/lobster/DESCRIPTION.en_us.html +++ b/ofl/lobster/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-The Lobster font took a different approach. -The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. -We draw many versions of each letter and a lot of different letter-pairs (aka "ligatures") so we always use the best possible variation of each letter depending of the context of the letter inside each word. -All this happens automatically in any browser that supports ligatures. -

\ No newline at end of file + The Lobster font took a different approach. + The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. + We draw many versions of each letter and a lot of different letter-pairs (aka "ligatures") so we always use the best possible variation of each letter depending of the context of the letter inside each word. + All this happens automatically in any browser that supports ligatures. +

diff --git a/ofl/lobstertwo/DESCRIPTION.en_us.html b/ofl/lobstertwo/DESCRIPTION.en_us.html index 03d4574896..ddd3cce7a8 100644 --- a/ofl/lobstertwo/DESCRIPTION.en_us.html +++ b/ofl/lobstertwo/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

Lobster Two is a family version of the original Lobster.

\ No newline at end of file +

+ Lobster Two is a family version of the original + + Lobster + + . +

diff --git a/ofl/lohitbengali/DESCRIPTION.en_us.html b/ofl/lohitbengali/DESCRIPTION.en_us.html index d68208cae0..2943ab06ab 100644 --- a/ofl/lohitbengali/DESCRIPTION.en_us.html +++ b/ofl/lohitbengali/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

The Lohit Bengali font is from the Fedora Project.

+

+ The Lohit Bengali font is from the Fedora Project. +

diff --git a/ofl/lohitdevanagari/DESCRIPTION.en_us.html b/ofl/lohitdevanagari/DESCRIPTION.en_us.html index b698e92897..caa3766fa6 100644 --- a/ofl/lohitdevanagari/DESCRIPTION.en_us.html +++ b/ofl/lohitdevanagari/DESCRIPTION.en_us.html @@ -1,2 +1,7 @@ -

The Lohit Devanagari font is from the Fedora Project.

\ No newline at end of file +

+ The Lohit Devanagari font is from the + + Fedora Project + + . +

diff --git a/ofl/lohittamil/DESCRIPTION.en_us.html b/ofl/lohittamil/DESCRIPTION.en_us.html index b843ce47a8..00c9a0afa3 100644 --- a/ofl/lohittamil/DESCRIPTION.en_us.html +++ b/ofl/lohittamil/DESCRIPTION.en_us.html @@ -1,2 +1,7 @@ -

The Lohit Tamil font is from the Fedora Project.

\ No newline at end of file +

+ The Lohit Tamil font is from the + + Fedora Project + + . +

diff --git a/ofl/londrinaoutline/DESCRIPTION.en_us.html b/ofl/londrinaoutline/DESCRIPTION.en_us.html index b93903c677..e681e74e8e 100644 --- a/ofl/londrinaoutline/DESCRIPTION.en_us.html +++ b/ofl/londrinaoutline/DESCRIPTION.en_us.html @@ -1,16 +1,26 @@

-The Londrina super family is composed of 4 family styles: -Londrina Solid, -Londrina Shadow, -Londrina Outline, -and Londrina Sketch. -You can combine the main style, Solid, with the others to create different effects. -The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: -Urban confusion. -Initially I designed the "New Folk" for use in a poster, with only uppercase letters. -I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. -This is the Londrina Outline member of the Londrina family. + The Londrina super family is composed of 4 family styles: + + Londrina Solid + + , + + Londrina Shadow + + , Londrina Outline, and + + Londrina Sketch + + . + You can combine the main style, Solid, with the others to create different effects. + The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. + Initially I designed the "New Folk" for use in a poster, with only uppercase letters. + I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. + This is the Londrina Outline member of the Londrina family.

-To contribute to the project contact Marcelo Magalhães + To contribute to the project contact + + Marcelo Magalhães +

diff --git a/ofl/londrinashadow/DESCRIPTION.en_us.html b/ofl/londrinashadow/DESCRIPTION.en_us.html index dce52602f7..33d1e93345 100644 --- a/ofl/londrinashadow/DESCRIPTION.en_us.html +++ b/ofl/londrinashadow/DESCRIPTION.en_us.html @@ -1,16 +1,26 @@

-The Londrina super family is composed of 4 family styles: -Londrina Solid, -Londrina Shadow, -Londrina Outline, -and Londrina Sketch. -You can combine the main style, Solid, with the others to create different effects. -The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: -Urban confusion. -Initially I designed the "New Folk" for use in a poster, with only uppercase letters. -I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. -This is the Londrina Outline member of the Londrina family. + The Londrina super family is composed of 4 family styles: + + Londrina Solid + + , Londrina Shadow, + + Londrina Outline + + , and + + Londrina Sketch + + . + You can combine the main style, Solid, with the others to create different effects. + The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. + Initially I designed the "New Folk" for use in a poster, with only uppercase letters. + I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. + This is the Londrina Outline member of the Londrina family.

-To contribute to the project contact Marcelo Magalhães + To contribute to the project contact + + Marcelo Magalhães +

diff --git a/ofl/londrinasketch/DESCRIPTION.en_us.html b/ofl/londrinasketch/DESCRIPTION.en_us.html index 9d21b7e823..c23bc886fc 100644 --- a/ofl/londrinasketch/DESCRIPTION.en_us.html +++ b/ofl/londrinasketch/DESCRIPTION.en_us.html @@ -1,16 +1,26 @@

-The Londrina super family is composed of 4 family styles: -Londrina Solid, -Londrina Shadow, -Londrina Outline, -and Londrina Sketch. -You can combine the main style, Solid, with the others to create different effects. -The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: -Urban confusion. -Initially I designed the "New Folk" for use in a poster, with only uppercase letters. -I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. -This is the Londrina Outline member of the Londrina family. + The Londrina super family is composed of 4 family styles: + + Londrina Solid + + , + + Londrina Shadow + + , + + Londrina Outline + + , and Londrina Sketch. + You can combine the main style, Solid, with the others to create different effects. + The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. + Initially I designed the "New Folk" for use in a poster, with only uppercase letters. + I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. + This is the Londrina Outline member of the Londrina family.

-To contribute to the project contact Marcelo Magalhães + To contribute to the project contact + + Marcelo Magalhães +

diff --git a/ofl/londrinasolid/DESCRIPTION.en_us.html b/ofl/londrinasolid/DESCRIPTION.en_us.html index c60b3ba858..25c3e5477a 100644 --- a/ofl/londrinasolid/DESCRIPTION.en_us.html +++ b/ofl/londrinasolid/DESCRIPTION.en_us.html @@ -1,16 +1,26 @@

-The Londrina super family is composed of 4 family styles: -Londrina Solid, -Londrina Shadow, -Londrina Outline, -and Londrina Sketch. -You can combine the main style, Solid, with the others to create different effects. -The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: -Urban confusion. -Initially I designed the "New Folk" for use in a poster, with only uppercase letters. -I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. -This is the Londrina Outline member of the Londrina family. + The Londrina super family is composed of 4 family styles: Londrina Solid, + + Londrina Shadow + + , + + Londrina Outline + + , and + + Londrina Sketch + + . + You can combine the main style, Solid, with the others to create different effects. + The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil: Urban confusion. + Initially I designed the "New Folk" for use in a poster, with only uppercase letters. + I saw at the start some potential for a typeface that could recall the feelings of the writing used day-to-day in my city's informal communication, and developed it into a typeface family with lowercases too. + This is the Londrina Outline member of the Londrina family.

-To contribute to the project contact Marcelo Magalhães + To contribute to the project contact + + Marcelo Magalhães +

diff --git a/ofl/longcang/DESCRIPTION.en_us.html b/ofl/longcang/DESCRIPTION.en_us.html index 8b2477e134..0370121b28 100644 --- a/ofl/longcang/DESCRIPTION.en_us.html +++ b/ofl/longcang/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Based on modern calligrapher Chen Xiaomin's handwritten script. -LongCang features textured strokes of middling thickness that are raw and primal, yet refined. + Based on modern calligrapher Chen Xiaomin's handwritten script. + LongCang features textured strokes of middling thickness that are raw and primal, yet refined.

diff --git a/ofl/lora/DESCRIPTION.en_us.html b/ofl/lora/DESCRIPTION.en_us.html index 13ea2a2b8a..8c17453abc 100644 --- a/ofl/lora/DESCRIPTION.en_us.html +++ b/ofl/lora/DESCRIPTION.en_us.html @@ -1,5 +1,21 @@ -

Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text.

-

A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay.

-

Technically Lora is optimised for screen appearance, and works equally well in print.

-

In March 2019, the family has been updated to a variable font family.

-

To contribute, see github.com/cyrealtype/Lora-Cyrillic.

+

+ Lora is a well-balanced contemporary serif with roots in calligraphy. + It is a text typeface with moderate contrast well suited for body text. +

+

+ A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. + The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay. +

+

+ Technically Lora is optimised for screen appearance, and works equally well in print. +

+

+ In March 2019, the family has been updated to a variable font family. +

+

+ To contribute, see + + github.com/cyrealtype/Lora-Cyrillic + + . +

diff --git a/ofl/lovedbytheking/DESCRIPTION.en_us.html b/ofl/lovedbytheking/DESCRIPTION.en_us.html index c6e43bd6e3..528f6a9b02 100644 --- a/ofl/lovedbytheking/DESCRIPTION.en_us.html +++ b/ofl/lovedbytheking/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

A skinny font that fits in little places. This is one of my first fonts I released online.

\ No newline at end of file +

+ A skinny font that fits in little places. + This is one of my first fonts I released online. +

diff --git a/ofl/lovelight/DESCRIPTION.en_us.html b/ofl/lovelight/DESCRIPTION.en_us.html index 9541098306..03917102f3 100644 --- a/ofl/lovelight/DESCRIPTION.en_us.html +++ b/ofl/lovelight/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Adopted from an original hand lettered work, Love Light is an adaptation of another font. Its heart embellishments add a bit of romantic fantasy to this beautiful calligraphic script. + Adopted from an original hand lettered work, Love Light is an adaptation of another font. + Its heart embellishments add a bit of romantic fantasy to this beautiful calligraphic script.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/love-light. + To contribute, see + + github.com/googlefonts/love-light + + .

diff --git a/ofl/loversquarrel/DESCRIPTION.en_us.html b/ofl/loversquarrel/DESCRIPTION.en_us.html index dab3055acc..a90361902d 100644 --- a/ofl/loversquarrel/DESCRIPTION.en_us.html +++ b/ofl/loversquarrel/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@

-A playful calligraphic style, Lovers Quarrel is great for scrapbooking, cards, invitations and other fun things. Lovers Quarrel has exceptionally clean lowercase forms and beautifully ornate capital letters. + A playful calligraphic style, Lovers Quarrel is great for scrapbooking, cards, invitations and other fun things. + Lovers Quarrel has exceptionally clean lowercase forms and beautifully ornate capital letters.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/lovers-quarrel + + .

-

To contribute, see github.com/googlefonts/lovers-quarrel.

diff --git a/ofl/loveyalikeasister/DESCRIPTION.en_us.html b/ofl/loveyalikeasister/DESCRIPTION.en_us.html index c40a8a0f2d..331ef27a16 100644 --- a/ofl/loveyalikeasister/DESCRIPTION.en_us.html +++ b/ofl/loveyalikeasister/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

My older sister Emily and I have been inseparable best friends for years. As children, we signed notes to each other with 'Love Ya Like a Sister' and then giggled at the irony of writing that when we were, in actuality, sisters. This nerdy habit has continued for years. I created this font to honor my friendship with Emily and the many ways she has inspired me and taught me in life.

\ No newline at end of file +

+ My older sister Emily and I have been inseparable best friends for years. + As children, we signed notes to each other with 'Love Ya Like a Sister' and then giggled at the irony of writing that when we were, in actuality, sisters. + This nerdy habit has continued for years. + I created this font to honor my friendship with Emily and the many ways she has inspired me and taught me in life. +

diff --git a/ofl/lugrasimo/DESCRIPTION.en_us.html b/ofl/lugrasimo/DESCRIPTION.en_us.html index 02c128861b..9ebfcfa766 100644 --- a/ofl/lugrasimo/DESCRIPTION.en_us.html +++ b/ofl/lugrasimo/DESCRIPTION.en_us.html @@ -1,12 +1,12 @@

- Lugrasimo is a DocRepair font, intended to improve compliance with the ISO/IEC - 29500 standard by providing fallback for Lucida Calligraphy that minimizes text reflow in Office Open - XML documents. Lugrasimo is based on Fondamento, a typeface in calligraphic - lettering style based on the traditional Foundational Hand, a basic teaching - style created by Edward Johnston in the early 20th century. The letterforms - are clear and cleanly legible, basic and formal. + Lugrasimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Calligraphy that minimizes text reflow in Office Open XML documents. + Lugrasimo is based on Fondamento, a typeface in calligraphic lettering style based on the traditional Foundational Hand, a basic teaching style created by Edward Johnston in the early 20th century. + The letterforms are clear and cleanly legible, basic and formal.

- To contribute, please visit github.com/docrepair-fonts/lugrasimo-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/lugrasimo-fonts + + . +

diff --git a/ofl/lumanosimo/DESCRIPTION.en_us.html b/ofl/lumanosimo/DESCRIPTION.en_us.html index b423891046..1acea8debc 100644 --- a/ofl/lumanosimo/DESCRIPTION.en_us.html +++ b/ofl/lumanosimo/DESCRIPTION.en_us.html @@ -1,10 +1,11 @@

- Lumanosimo is a DocRepair font, intended to improve compliance with the - ISO/IEC 29500 standard by providing fallback for Lucida Handwriting that minimizes text reflow in - Office Open XML documents. Lumanosimo is based on Paprika, which is an - expressive typeface. + Lumanosimo is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Handwriting that minimizes text reflow in Office Open XML documents. + Lumanosimo is based on Paprika, which is an expressive typeface.

- To contribute, please visit github.com/docrepair-fonts/lumanosimo-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/lumanosimo-fonts + + . +

diff --git a/ofl/lunasima/DESCRIPTION.en_us.html b/ofl/lunasima/DESCRIPTION.en_us.html index c9d3635b01..53af8509a4 100644 --- a/ofl/lunasima/DESCRIPTION.en_us.html +++ b/ofl/lunasima/DESCRIPTION.en_us.html @@ -1,10 +1,11 @@

- Lunasima is a DocRepair font, intended to improve compliance with the ISO/IEC - 29500 standard by providing fallback for Lucida Grande that minimizes text reflow in Office Open - XML documents. Lunasima is based on Noto Sans, which is an unmodulated (“sans - serif”) design. + Lunasima is a DocRepair font, intended to improve compliance with the ISO/IEC 29500 standard by providing fallback for Lucida Grande that minimizes text reflow in Office Open XML documents. + Lunasima is based on Noto Sans, which is an unmodulated (“sans serif”) design.

- To contribute, please visit github.com/docrepair-fonts/lunasima-fonts. -

\ No newline at end of file + To contribute, please visit + + github.com/docrepair-fonts/lunasima-fonts + + . +

diff --git a/ofl/lusitana/DESCRIPTION.en_us.html b/ofl/lusitana/DESCRIPTION.en_us.html index 010995c0c5..fd9ea89f42 100644 --- a/ofl/lusitana/DESCRIPTION.en_us.html +++ b/ofl/lusitana/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Lusitana is inspired by the type found in the 1572 first edition of "The Lusiads", a Portuguese epic poem by Luís Vaz de Camões. This typeface is made for long texts at small sizes.

\ No newline at end of file +

+ Lusitana is inspired by the type found in the 1572 first edition of "The Lusiads", a Portuguese epic poem by Luís Vaz de Camões. + This typeface is made for long texts at small sizes. +

diff --git a/ofl/lustria/DESCRIPTION.en_us.html b/ofl/lustria/DESCRIPTION.en_us.html index 8f78eaa70f..c5f2aedf66 100644 --- a/ofl/lustria/DESCRIPTION.en_us.html +++ b/ofl/lustria/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Lustria is a rounded-serif text typeface with details that make it interesting to use at larger display sizes as well. Started in 1999, this typeface has been aged to perfection and is finally ready for public consumption.

\ No newline at end of file +

+ Lustria is a rounded-serif text typeface with details that make it interesting to use at larger display sizes as well. + Started in 1999, this typeface has been aged to perfection and is finally ready for public consumption. +

diff --git a/ofl/luxuriousroman/DESCRIPTION.en_us.html b/ofl/luxuriousroman/DESCRIPTION.en_us.html index 7a0caed6bc..a62d95f767 100644 --- a/ofl/luxuriousroman/DESCRIPTION.en_us.html +++ b/ofl/luxuriousroman/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Luxurious Roman is a semi-hand lettered font with inconsistent serifs and a subtle bouncy look to create that 'imperfect' hand calligraphed feel. + Luxurious Roman is a semi-hand lettered font with inconsistent serifs and a subtle bouncy look to create that 'imperfect' hand calligraphed feel.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/luxurious-roman. + To contribute, see + + github.com/googlefonts/luxurious-roman + + .

diff --git a/ofl/luxuriousscript/DESCRIPTION.en_us.html b/ofl/luxuriousscript/DESCRIPTION.en_us.html index 298b993ec2..ef10bcb414 100644 --- a/ofl/luxuriousscript/DESCRIPTION.en_us.html +++ b/ofl/luxuriousscript/DESCRIPTION.en_us.html @@ -1,11 +1,17 @@

-Luxurious — the perfect description for this stunning formal script. It has cursive forms, with highly slanted and condensed characters, giving continuity to the over all feel of bodies of text. -

-

The added flourishing available enhances the beauty of the forms, making display images exude the richness of royalty. + Luxurious — the perfect description for this stunning formal script. + It has cursive forms, with highly slanted and condensed characters, giving continuity to the over all feel of bodies of text.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + The added flourishing available enhances the beauty of the forms, making display images exude the richness of royalty.

-To contribute, see github.com/googlefonts/luxurious. + It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/luxurious + + .

diff --git a/ofl/macondo/DESCRIPTION.en_us.html b/ofl/macondo/DESCRIPTION.en_us.html index 633379d31b..36f5950da2 100644 --- a/ofl/macondo/DESCRIPTION.en_us.html +++ b/ofl/macondo/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.

\ No newline at end of file +

+ Macondo. + The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. + The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». + Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. + Macondo includes several cap swashes and other stylish alternates, and a sister family + + Macondo Swash Caps + + is also available. +

diff --git a/ofl/macondoswashcaps/DESCRIPTION.en_us.html b/ofl/macondoswashcaps/DESCRIPTION.en_us.html index 8eca1a7e7f..70be25b1a2 100644 --- a/ofl/macondoswashcaps/DESCRIPTION.en_us.html +++ b/ofl/macondoswashcaps/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.

\ No newline at end of file +

+ Macondo. + The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. + The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». + Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. + + Macondo + + includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps. +

diff --git a/ofl/mada/DESCRIPTION.en_us.html b/ofl/mada/DESCRIPTION.en_us.html index 67dfc25703..22fe34e891 100644 --- a/ofl/mada/DESCRIPTION.en_us.html +++ b/ofl/mada/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Mada is a modernist, unmodulted Arabic typeface inspired by road signage seen around Cairo, Egypt, by Khaled Hosny. -The Arabic component is characterized by low descenders, open contours, and low contrast forms, making it suitable for signage, small point sizes, and user interfaces. -However Mada can work also as a display typeface, with a modernist and simplistic feeling. -The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type. + Mada is a modernist, unmodulted Arabic typeface inspired by road signage seen around Cairo, Egypt, by Khaled Hosny. + The Arabic component is characterized by low descenders, open contours, and low contrast forms, making it suitable for signage, small point sizes, and user interfaces. + However Mada can work also as a display typeface, with a modernist and simplistic feeling. + The Latin component is a slightly modified version of Source Sans Pro, led by Paul Hunt at Adobe Type.

-To contribute, see github.com/aliftype/mada -

\ No newline at end of file + To contribute, see + + github.com/aliftype/mada + +

diff --git a/ofl/madimione/DESCRIPTION.en_us.html b/ofl/madimione/DESCRIPTION.en_us.html index 32a59fe3d5..14b913b058 100644 --- a/ofl/madimione/DESCRIPTION.en_us.html +++ b/ofl/madimione/DESCRIPTION.en_us.html @@ -1,3 +1,15 @@ -

Madimi is a rounded sans with a mixed geometric and organic design. The design covers all of Google Latin Core. Madimi takes inspiration from the gentle curved geometry of certain Southern Afrikan graphic symbols. Circles are a main feature, the circle being a shape that represents the womb of a woman in KiNtu symbologies. The idea behind Madimi is to enact the subtle visual subtext of Afrikan visual traditions. Madimi is simple, clean and round edged but still remains clear and easy to read.

- -

To contribute, see github.com/TaVaTake/madimi.

+

+ Madimi is a rounded sans with a mixed geometric and organic design. + The design covers all of Google Latin Core. + Madimi takes inspiration from the gentle curved geometry of certain Southern Afrikan graphic symbols. + Circles are a main feature, the circle being a shape that represents the womb of a woman in KiNtu symbologies. + The idea behind Madimi is to enact the subtle visual subtext of Afrikan visual traditions. + Madimi is simple, clean and round edged but still remains clear and easy to read. +

+

+ To contribute, see + + github.com/TaVaTake/madimi + + . +

diff --git a/ofl/magra/DESCRIPTION.en_us.html b/ofl/magra/DESCRIPTION.en_us.html index 6772e695d0..d76211df86 100644 --- a/ofl/magra/DESCRIPTION.en_us.html +++ b/ofl/magra/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Magra is a sans serif typeface designed for contexts in which both spatial economy and multiple composition styles are required. Its neutral personality and humanist features makes it a perfect candidate for corporate uses too. Its large x-height and robust stems provide good legibility and economy, plus great behavior in smaller sizes. Magra was selected to be part of the German editorial project Typodarium 2012.

\ No newline at end of file +

+ Magra is a sans serif typeface designed for contexts in which both spatial economy and multiple composition styles are required. + Its neutral personality and humanist features makes it a perfect candidate for corporate uses too. + Its large x-height and robust stems provide good legibility and economy, plus great behavior in smaller sizes. + Magra was selected to be part of the German editorial project Typodarium 2012. +

diff --git a/ofl/maitree/DESCRIPTION.en_us.html b/ofl/maitree/DESCRIPTION.en_us.html index 687fa44bd0..5c5b95eea6 100644 --- a/ofl/maitree/DESCRIPTION.en_us.html +++ b/ofl/maitree/DESCRIPTION.en_us.html @@ -1,14 +1,17 @@

-Maitree means “friendliness” in Thai. -Maitree is a serif Latin and looped Thai typeface with wide proportions. -It is characterized by its bigger-than-usual looped terminal in Thai, and long serifs in Latin, that balance out the whole structure. -Maitree offers 6 weights, and its asymmetrically curved terminals are well-suited for both formal and casual usage, especially for works that require an antique and historical manner. + Maitree means “friendliness” in Thai. + Maitree is a serif Latin and looped Thai typeface with wide proportions. + It is characterized by its bigger-than-usual looped terminal in Thai, and long serifs in Latin, that balance out the whole structure. + Maitree offers 6 weights, and its asymmetrically curved terminals are well-suited for both formal and casual usage, especially for works that require an antique and historical manner.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -Sizes and positions of Thai vowels and tone marks have been managed carefully, because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + Sizes and positions of Thai vowels and tone marks have been managed carefully, because they are all relevant to readability, legibility, and overall texture.

-The Maitree project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/maitree -

\ No newline at end of file + The Maitree project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/maitree + +

diff --git a/ofl/majormonodisplay/DESCRIPTION.en_us.html b/ofl/majormonodisplay/DESCRIPTION.en_us.html index e25f1d16d2..d6081b24d7 100644 --- a/ofl/majormonodisplay/DESCRIPTION.en_us.html +++ b/ofl/majormonodisplay/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Majör Mono Display is a monospaced geometric sans serif all-uppercase typeface which also has a complete set of constructivist display characters with a playful attitude. -It has many OpenType features, but the basic stylistic sets, serious sans serif, and playful display designs, are encoded as lowercase and uppercase characters. -This makes it a great choice for playful web typography, especially at large point-sizes. + Majör Mono Display is a monospaced geometric sans serif all-uppercase typeface which also has a complete set of constructivist display characters with a playful attitude. + It has many OpenType features, but the basic stylistic sets, serious sans serif, and playful display designs, are encoded as lowercase and uppercase characters. + This makes it a great choice for playful web typography, especially at large point-sizes.

-To contribute, see github.com/googlefonts/majormono + To contribute, see + + github.com/googlefonts/majormono +

diff --git a/ofl/mako/DESCRIPTION.en_us.html b/ofl/mako/DESCRIPTION.en_us.html index 40e6faacb3..7f3b72b269 100644 --- a/ofl/mako/DESCRIPTION.en_us.html +++ b/ofl/mako/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Mako is a minimal sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

- -

The July 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/MakoFont.

+

+ Mako is a minimal sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ The July 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/MakoFont + + . +

diff --git a/ofl/mali/DESCRIPTION.en_us.html b/ofl/mali/DESCRIPTION.en_us.html index 201250abd9..1e1085d52b 100644 --- a/ofl/mali/DESCRIPTION.en_us.html +++ b/ofl/mali/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Mali is a Thai and Latin family which was inspired by a 6th graders' handwriting. It exudes a carefree and naive appearance.

\ No newline at end of file +

+ Mali is a Thai and Latin family which was inspired by a 6th graders' handwriting. + It exudes a carefree and naive appearance. +

diff --git a/ofl/mallanna/DESCRIPTION.en_us.html b/ofl/mallanna/DESCRIPTION.en_us.html index 7a5bdf4bfd..d2654927d4 100644 --- a/ofl/mallanna/DESCRIPTION.en_us.html +++ b/ofl/mallanna/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Mallanna is a Telugu font with round letterforms and a uniform thickness that reminds us of the round pearls Hyderabad is famous for. -It looks very crisp even at small point sizes, which helps publishers make beautiful designs, and includes complex Telugu conjunct letters. -Mallanna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. + Mallanna is a Telugu font with round letterforms and a uniform thickness that reminds us of the round pearls Hyderabad is famous for. + It looks very crisp even at small point sizes, which helps publishers make beautiful designs, and includes complex Telugu conjunct letters. + Mallanna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Vernon Adams and originally published as Nunito. -The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/mallanna

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Vernon Adams and originally published as + + Nunito + + . + The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/mallanna +

diff --git a/ofl/mandali/DESCRIPTION.en_us.html b/ofl/mandali/DESCRIPTION.en_us.html index b192fafc82..0d43f72840 100644 --- a/ofl/mandali/DESCRIPTION.en_us.html +++ b/ofl/mandali/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Mandali is a Telugu font developed for use in news publications and has many unique Telugu conjunct letters. -It is named after Mandali Venkata Krishna Rao, who successfully organised the first World Telugu Conference in 1975. -He and his family have worked for the well being of Telugu people. + Mandali is a Telugu font developed for use in news publications and has many unique Telugu conjunct letters. + It is named after Mandali Venkata Krishna Rao, who successfully organised the first World Telugu Conference in 1975. + He and his family have worked for the well being of Telugu people.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Vernon Adams and originally published as Nunito. -The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/mandali

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Vernon Adams and originally published as + + Nunito + + . + The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/mandali +

diff --git a/ofl/manjari/DESCRIPTION.en_us.html b/ofl/manjari/DESCRIPTION.en_us.html index c2dbc53091..62f558a2f7 100644 --- a/ofl/manjari/DESCRIPTION.en_us.html +++ b/ofl/manjari/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Manjari is a Malayalam and Latin family whose name means pearl in Malayalam. It's also the name of a poetic metre. This family is suitable for body text and titles.

- -

To contribute, see github.com/smc/manjari

+

+ Manjari is a Malayalam and Latin family whose name means pearl in Malayalam. + It's also the name of a poetic metre. + This family is suitable for body text and titles. +

+

+ To contribute, see + + github.com/smc/manjari + +

diff --git a/ofl/manrope/DESCRIPTION.en_us.html b/ofl/manrope/DESCRIPTION.en_us.html index c94c23606a..c14657dc04 100644 --- a/ofl/manrope/DESCRIPTION.en_us.html +++ b/ofl/manrope/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Manrope is an open-source modern sans-serif font family, designed by Mikhail Sharanda in 2018. In 2019, Mirko Velimirovic worked with Mikhail Sharanda to convert Manrope into a variable font.

- -

To contribute, see github.com/sharanda/manrope.

+

+ Manrope is an open-source modern sans-serif font family, designed by Mikhail Sharanda in 2018. + In 2019, Mirko Velimirovic worked with Mikhail Sharanda to convert Manrope into a variable font. +

+

+ To contribute, see + + github.com/sharanda/manrope + + . +

diff --git a/ofl/mansalva/DESCRIPTION.en_us.html b/ofl/mansalva/DESCRIPTION.en_us.html index 50e44559a1..540723c72c 100644 --- a/ofl/mansalva/DESCRIPTION.en_us.html +++ b/ofl/mansalva/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Mansalva is a script font that works well for notes and informal text passages. It presents two alternates for each letter and number to provide a natural, handwritten, less mechanical look. It also features good legibility for a handwriting typeface and is perfect for a casual-looking annotation.

- -

Latest upgrade from October 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. The vertical metrics have been harmonised for a better cross-platform experience; as a result existing users may notice a visible increase of the line spacing in webpages and documents on Mac.

- -

To contribute, see github.com/carolinashort/mansalva.

+

+ Mansalva is a script font that works well for notes and informal text passages. + It presents two alternates for each letter and number to provide a natural, handwritten, less mechanical look. + It also features good legibility for a handwriting typeface and is perfect for a casual-looking annotation. +

+

+ Latest upgrade from October 2022 includes a Latin Plus language coverage currently supporting most Latin-based languages. + The vertical metrics have been harmonised for a better cross-platform experience; as a result existing users may notice a visible increase of the line spacing in webpages and documents on Mac. +

+

+ To contribute, see + + github.com/carolinashort/mansalva + + . +

diff --git a/ofl/manuale/DESCRIPTION.en_us.html b/ofl/manuale/DESCRIPTION.en_us.html index 680ad9d340..180e040374 100644 --- a/ofl/manuale/DESCRIPTION.en_us.html +++ b/ofl/manuale/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Manuale is part of the Omnibus-Type Press Series, designed by Pablo Cosgaya and Eduardo Tunni for editorial typography (books, newspapers and magazines) in print and online. + Manuale is part of the Omnibus-Type Press Series, designed by Pablo Cosgaya and Eduardo Tunni for editorial typography (books, newspapers and magazines) in print and online.

-In September 2019, the family has been converted into a variable font family. + In September 2019, the family has been converted into a variable font family.

-To contribute to the project, visit github.com/omnibus-Type/Manuale. + To contribute to the project, visit + + github.com/omnibus-Type/Manuale + + .

diff --git a/ofl/marcellus/DESCRIPTION.en_us.html b/ofl/marcellus/DESCRIPTION.en_us.html index 755d2795c9..1151fae012 100644 --- a/ofl/marcellus/DESCRIPTION.en_us.html +++ b/ofl/marcellus/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@ -

Marcellus and -Marcellus SC -(small caps) are a set of flared serif typeface families, inspired by classic -Roman inscription letterforms. While the SC family leans more towards the -titling style of Trajan, the Regular version lends itself to a wider range of -usage. These elegant typefaces, when combined in use, exude clarity and beauty -for both on screen and printed materials.

- -

Marcellus is a Unicode typeface family that supports languages that use the -Latin script and its variants, and could be expanded to support other scripts. -More specifically, this release supports the following Unicode ranges: -Latin-1, Latin-2, Turkish, and Windows Baltic. To contribute to the project -contact Brian J. Bonislawsky.

+

+ Marcellus and + + Marcellus SC + + (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. + While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. + These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. +

+

+ Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/marcellussc/DESCRIPTION.en_us.html b/ofl/marcellussc/DESCRIPTION.en_us.html index b0e1a50c11..9cbf1b6858 100644 --- a/ofl/marcellussc/DESCRIPTION.en_us.html +++ b/ofl/marcellussc/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@ -

Marcellus -and Marcellus SC (small caps) are a set of flared serif typeface families, -inspired by classic Roman inscription letterforms. While the SC family leans -more towards the titling style of Trajan, the Regular version lends itself to a -wider range of usage. These elegant typefaces, when combined in use, exude -clarity and beauty for both on screen and printed materials.

-

Marcellus is a Unicode typeface family that supports languages that use the -Latin script and its variants, and could be expanded to support other scripts. -More specifically, this release supports the following Unicode ranges: Latin-1, -Latin-2, Turkish, and Windows Baltic. To contribute to the project contact -Brian J. Bonislawsky.

+

+ + Marcellus + + and Marcellus SC (small caps) are a set of flared serif typeface families, inspired by classic Roman inscription letterforms. + While the SC family leans more towards the titling style of Trajan, the Regular version lends itself to a wider range of usage. + These elegant typefaces, when combined in use, exude clarity and beauty for both on screen and printed materials. +

+

+ Marcellus is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2, Turkish, and Windows Baltic. + To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/marckscript/DESCRIPTION.en_us.html b/ofl/marckscript/DESCRIPTION.en_us.html index 2d75de1da2..ffcf698b99 100644 --- a/ofl/marckscript/DESCRIPTION.en_us.html +++ b/ofl/marckscript/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Marck Script is based on freehand lettering with felt-tip pen by Marck Fogel. The main advantage over other similar fonts is the lack of connections between characters, that allows wide variety of spacing between letters. It can be used for logotypes, headlines and for short pieces of text, wherever you want to create an informal, confident relationship - it is readable, comfortable and welcoming.

\ No newline at end of file +

+ Marck Script is based on freehand lettering with felt-tip pen by Marck Fogel. + The main advantage over other similar fonts is the lack of connections between characters, that allows wide variety of spacing between letters. + It can be used for logotypes, headlines and for short pieces of text, wherever you want to create an informal, confident relationship - it is readable, comfortable and welcoming. +

diff --git a/ofl/margarine/DESCRIPTION.en_us.html b/ofl/margarine/DESCRIPTION.en_us.html index 6fb4f5f9d7..c54d355772 100644 --- a/ofl/margarine/DESCRIPTION.en_us.html +++ b/ofl/margarine/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@ -

Margarine draws its roots loosely from various inspirations, with a thick -marker weight and deliberate carrying of rounds into regularly straightened -lowercase characters, this typeface has that warm and fuzzy feeling to it.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Margarine draws its roots loosely from various inspirations, with a thick marker weight and deliberate carrying of rounds into regularly straightened lowercase characters, this typeface has that warm and fuzzy feeling to it. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/marhey/DESCRIPTION.en_us.html b/ofl/marhey/DESCRIPTION.en_us.html index 410a14d6eb..2d4dfd7038 100644 --- a/ofl/marhey/DESCRIPTION.en_us.html +++ b/ofl/marhey/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

- Marhey is a playful Display typeface, custom hand lettering with contrast strokes that makes dynamic and expressive impression. + Marhey is a playful Display typeface, custom hand lettering with contrast strokes that makes dynamic and expressive impression.

- It comes with Latin Character sets including Western, Central, and Arabic language support (Kurdish, Persian, Urdu and Jawi). + It comes with Latin Character sets including Western, Central, and Arabic language support (Kurdish, Persian, Urdu and Jawi).

- To contribute, see github.com/namelatype/Marhey. + To contribute, see + + github.com/namelatype/Marhey + + .

diff --git a/ofl/markazitext/DESCRIPTION.en_us.html b/ofl/markazitext/DESCRIPTION.en_us.html index acb4cbc3ee..4117e7adcf 100644 --- a/ofl/markazitext/DESCRIPTION.en_us.html +++ b/ofl/markazitext/DESCRIPTION.en_us.html @@ -1,15 +1,22 @@

-This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project. + This typeface design was inspired by Tim Holloway's Markazi typeface, with his encouragement, and initiated by Gerry Leonidas as a joint University of Reading and Google project.

-The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface. + The Arabic glyphs were designed by Borna Izadpanah and design directed by Fiona Ross, they feature a moderate contrast. + It takes its cues from the award-winning Markazi typeface, affording a contemporary and highly readable typeface.

-The complementary Latin glyphs were designed by Florian Runge. It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. It is an open and clear design with a compact stance and an evenly flowing rhythm. + The complementary Latin glyphs were designed by Florian Runge. + It keeps in spirit with its Arabic counterpart, echoing key design characteristics while being rooted in established Latin traditions. + It is an open and clear design with a compact stance and an evenly flowing rhythm.

-The family is available in four weights with extended language support suited for print and screen. + The family is available in four weights with extended language support suited for print and screen.

-To contribute, see github.com/BornaIz/markazitext. + To contribute, see + + github.com/BornaIz/markazitext + + .

diff --git a/ofl/markoone/DESCRIPTION.en_us.html b/ofl/markoone/DESCRIPTION.en_us.html index 9127837c8b..9596643b03 100644 --- a/ofl/markoone/DESCRIPTION.en_us.html +++ b/ofl/markoone/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi.

Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.

\ No newline at end of file +

+ Marko One is a typeface designed for children's literature. + The initial idea was to create a typeface-companion for + + Marko the Sparrow + + - a cartoon character by illustrator and type designer Zhenya Spizhovyi. +

+

+ Marko One is simple and smooth, has special inner tension and eye-catchy detailing. + The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. + Marko One typeface will work best in medium to large sizes and captivating headlines. + It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too. +

diff --git a/ofl/marmelad/DESCRIPTION.en_us.html b/ofl/marmelad/DESCRIPTION.en_us.html index 31a8c52100..8d9c5b31ab 100644 --- a/ofl/marmelad/DESCRIPTION.en_us.html +++ b/ofl/marmelad/DESCRIPTION.en_us.html @@ -1,5 +1,22 @@ -

Marmelad is designed specifically for medium to large-size headlines and remains well-balanced for long text setting because of its regular proportions and medium contrast. Ascenders and descenders are elegant and details refined. The name and overall feel refers to marmalade sweets - soft and ductile.

-

All vertical strokes are rounded towards the baseline, which is why technically there is no sense for overshoots in rounded letters like O. Marmelad performs well on screen because of its soft rounded features and generous x-height.

-

The font supports Latin and Cyrillic. In 2022, the kerning is improved and the Latin language coverage expanded.

- -

To contribute, see github.com/cyrealtype/Marmelad-Cyrillic.

+

+ Marmelad is designed specifically for medium to large-size headlines and remains well-balanced for long text setting because of its regular proportions and medium contrast. + Ascenders and descenders are elegant and details refined. + The name and overall feel refers to marmalade sweets - soft and ductile. +

+

+ All vertical strokes are rounded towards the baseline, which is why technically there is no sense for overshoots in rounded letters like O. + Marmelad performs well on screen because of its soft rounded features and generous x-height. +

+

+ The font supports Latin and Cyrillic. + In 2022, the kerning is improved and the Latin language coverage expanded. +

+

+ To contribute, see + + github.com/cyrealtype/Marmelad-Cyrillic + + . +

+

+

diff --git a/ofl/martel/DESCRIPTION.en_us.html b/ofl/martel/DESCRIPTION.en_us.html index 686a5a8e56..3d33df7fab 100644 --- a/ofl/martel/DESCRIPTION.en_us.html +++ b/ofl/martel/DESCRIPTION.en_us.html @@ -1,21 +1,29 @@

-Martel is a libre font development project. -Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. -The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script’s glyphs are based on the Merriweather fonts. + Martel is a libre font development project. + Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014. + The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script’s glyphs are based on the + + Merriweather + + fonts.

-

-Check out the Martel Sans project, too. + Check out the + + Martel Sans + + project, too.

-

-The Martel Devanagari typeface is designed for typesetting immersive-style documents. -It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. -Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. -Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. + The Martel Devanagari typeface is designed for typesetting immersive-style documents. + It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, etc. + Martel Devanagari is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. + Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system.

-

-The Martel project is led by Dan Reynolds, a type designer in Berlin. -To contribute, visit github.com/typeoff/martel + The Martel project is led by Dan Reynolds, a type designer in Berlin. + To contribute, visit + + github.com/typeoff/martel +

diff --git a/ofl/martelsans/DESCRIPTION.en_us.html b/ofl/martelsans/DESCRIPTION.en_us.html index 82145bce73..b1b2dd6403 100644 --- a/ofl/martelsans/DESCRIPTION.en_us.html +++ b/ofl/martelsans/DESCRIPTION.en_us.html @@ -1,17 +1,24 @@

-The Martel Sans typeface is designed for typesetting immersive documents. -It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, and others. + The Martel Sans typeface is designed for typesetting immersive documents. + It may be be used to set long passages of text in languages that are written in the Devanagari script, including Hindi, Marathi, Nepali, Sanskrit, and others.

-The Martel Devanagari design is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. -Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. -This Sans design is a low contrast design based on the initial Martel Devanagari. -The Latin character set is an original design. Both character sets are the work of Dan Reynolds and Mathieu Réguer. + The Martel Devanagari design is a readable typeface whose glyph proportions are inspired by traditional writing and calligraphic styles. + Its high-contrast strokes have a diagonal axis, in keeping with the pen-angle most often used for the Devanagari writing system. + This Sans design is a low contrast design based on the initial Martel Devanagari. + The Latin character set is an original design. + Both character sets are the work of Dan Reynolds and Mathieu Réguer.

-The Martel Sans project is led by Dan Reynolds, a type designer based in Berlin, Germany. -To contribute, see github.com/typeoff/martel_sans + The Martel Sans project is led by Dan Reynolds, a type designer based in Berlin, Germany. + To contribute, see + + github.com/typeoff/martel_sans +

-Updated November 2015: Internal metadata corrected. -

\ No newline at end of file + + Updated November 2015: + + Internal metadata corrected. +

diff --git a/ofl/martianmono/DESCRIPTION.en_us.html b/ofl/martianmono/DESCRIPTION.en_us.html index 5a63dd5c4e..ab00c2aac9 100644 --- a/ofl/martianmono/DESCRIPTION.en_us.html +++ b/ofl/martianmono/DESCRIPTION.en_us.html @@ -1,6 +1,17 @@ -

Martian Mono is a monospaced version of the Martian Grotesk font for code style design. It inherits Grotesk's brutal and eye-catching aesthetics as well as all of its benefits-metrics equilibrium, readability and intelligibility, and convenience for web developers and designers who believe in a systematic approach to design.

-

Martian Mono consists of a variable font with a width (Condensed to SemiExpanded) and weight axes (Thin to ExtraBold).

- -

In January 2023, the basic Cyrillic script is added and the font supports now Ukrainian, Belarusian, and Russian languages.

- -

To contribute, see github.com/evilmartians/mono.

+

+ Martian Mono is a monospaced version of the Martian Grotesk font for code style design. + It inherits Grotesk's brutal and eye-catching aesthetics as well as all of its benefits-metrics equilibrium, readability and intelligibility, and convenience for web developers and designers who believe in a systematic approach to design. +

+

+ Martian Mono consists of a variable font with a width (Condensed to SemiExpanded) and weight axes (Thin to ExtraBold). +

+

+ In January 2023, the basic Cyrillic script is added and the font supports now Ukrainian, Belarusian, and Russian languages. +

+

+ To contribute, see + + github.com/evilmartians/mono + + . +

diff --git a/ofl/marvel/DESCRIPTION.en_us.html b/ofl/marvel/DESCRIPTION.en_us.html index 4c778f3253..de046650f1 100644 --- a/ofl/marvel/DESCRIPTION.en_us.html +++ b/ofl/marvel/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Marvel is a contemporary and multipurpose sans serif typeface family. It can be used in headlines as well as text settings in websites, books and magazines. It was designed to look sharp, modern and even technical while keeping a unique personality. Typography has always been very important in my graphic design work, and some time ago I started working on experimental type, designing typefaces for use in my own projects so that I could give more personality to them.

\ No newline at end of file +

+ Marvel is a contemporary and multipurpose sans serif typeface family. + It can be used in headlines as well as text settings in websites, books and magazines. + It was designed to look sharp, modern and even technical while keeping a unique personality. + Typography has always been very important in my graphic design work, and some time ago I started working on experimental type, designing typefaces for use in my own projects so that I could give more personality to them. +

diff --git a/ofl/mashanzheng/DESCRIPTION.en_us.html b/ofl/mashanzheng/DESCRIPTION.en_us.html index dd285a7e1c..23e487bfc3 100644 --- a/ofl/mashanzheng/DESCRIPTION.en_us.html +++ b/ofl/mashanzheng/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-This script is reminiscent of fonts used to display "yinglian," the short poems and blessings traditionally posted on either side of the entryway to a home or temple. -MaShanZheng is heavy and majestic, vital and expansive. + This script is reminiscent of fonts used to display "yinglian," the short poems and blessings traditionally posted on either side of the entryway to a home or temple. + MaShanZheng is heavy and majestic, vital and expansive.

diff --git a/ofl/mate/DESCRIPTION.en_us.html b/ofl/mate/DESCRIPTION.en_us.html index a8aaa60bcc..dc8365fd86 100644 --- a/ofl/mate/DESCRIPTION.en_us.html +++ b/ofl/mate/DESCRIPTION.en_us.html @@ -1,5 +1,22 @@ -

Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate.

The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm.

The Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles.

The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/mate.

+

+ Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. +

+

+ The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. +

+

+ The Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. +

+

+ The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/mate + + . +

diff --git a/ofl/matesc/DESCRIPTION.en_us.html b/ofl/matesc/DESCRIPTION.en_us.html index 37080539eb..eabfcb629f 100644 --- a/ofl/matesc/DESCRIPTION.en_us.html +++ b/ofl/matesc/DESCRIPTION.en_us.html @@ -1,5 +1,22 @@ -

Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate.

The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm.

This is the Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles.

The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/mate.

+

+ Simple in its structure; sharp and generous counter-shapes which create a medium texture that calls for good page color, in addition to offering a more relaxed reading experience for each line of text: Mate. +

+

+ The italics that accompany the regular style show their quality in the shading of strokes, in the counters and the unusual shapes for this style as well as the calligraphic reminiscences that give this style a different and pleasant visual rhythm. +

+

+ This is the Small Caps (SC) style, featuring traditional proportions, completes this initial release with its medium height numbers in all styles. +

+

+ The primary use for the family is in text, yet due to the constructive details of letterforms, this family can be used in larger sizes for display typography. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/mate + + . +

diff --git a/ofl/mavenpro/DESCRIPTION.en_us.html b/ofl/mavenpro/DESCRIPTION.en_us.html index d82d9104e0..893cd53590 100644 --- a/ofl/mavenpro/DESCRIPTION.en_us.html +++ b/ofl/mavenpro/DESCRIPTION.en_us.html @@ -1,13 +1,16 @@

-Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. -Its forms make it very distinguishable and legible when in context. -It blends styles of many great typefaces and is suitable for any design medium. -Maven Pro’s modern design is great for the web and fits in any environment. + Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. + Its forms make it very distinguishable and legible when in context. + It blends styles of many great typefaces and is suitable for any design medium. + Maven Pro’s modern design is great for the web and fits in any environment.

-Updated in January 2019 with a Variable Font "Weight" axis. + Updated in January 2019 with a Variable Font "Weight" axis.

-The Maven Pro project was initiated by Joe Price, a type designer based in the USA. -To contribute, see github.com/googlefonts/mavenproFont + The Maven Pro project was initiated by Joe Price, a type designer based in the USA. + To contribute, see + + github.com/googlefonts/mavenproFont +

diff --git a/ofl/mavenprovfbeta/DESCRIPTION.en_us.html b/ofl/mavenprovfbeta/DESCRIPTION.en_us.html index 4128150b8b..9079e1ce0c 100644 --- a/ofl/mavenprovfbeta/DESCRIPTION.en_us.html +++ b/ofl/mavenprovfbeta/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-A Sans Serif variable font, by Joe Prince. + A Sans Serif variable font, by Joe Prince.

-To learn more about this project, visit http://www.vissol.co.uk/mavenpro/. + To learn more about this project, visit + + http://www.vissol.co.uk/mavenpro/ + + .

diff --git a/ofl/mclaren/DESCRIPTION.en_us.html b/ofl/mclaren/DESCRIPTION.en_us.html index af76f2e98b..84b6aa4a89 100644 --- a/ofl/mclaren/DESCRIPTION.en_us.html +++ b/ofl/mclaren/DESCRIPTION.en_us.html @@ -1,3 +1,7 @@ -

The McLaren typeface was created to act as a generic go-to comic style lettering. It has simple clean letterforms with a mild bounce and offbeat quality to it without going too far.

- -

It is cleanly legible for small bursts of copy to larger bodies of text, perfect for books for children, comics, and anything requiring a mildly playful yet clearly readable font.

\ No newline at end of file +

+ The McLaren typeface was created to act as a generic go-to comic style lettering. + It has simple clean letterforms with a mild bounce and offbeat quality to it without going too far. +

+

+ It is cleanly legible for small bursts of copy to larger bodies of text, perfect for books for children, comics, and anything requiring a mildly playful yet clearly readable font. +

diff --git a/ofl/meaculpa/DESCRIPTION.en_us.html b/ofl/meaculpa/DESCRIPTION.en_us.html index 9cebfa9dc3..04bb167b1b 100644 --- a/ofl/meaculpa/DESCRIPTION.en_us.html +++ b/ofl/meaculpa/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Mea Culpa is a beautiful formal script with flourished capitals. + Mea Culpa is a beautiful formal script with flourished capitals.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/mea-culpa. + To contribute, see + + github.com/googlefonts/mea-culpa + + .

diff --git a/ofl/meddon/DESCRIPTION.en_us.html b/ofl/meddon/DESCRIPTION.en_us.html index 76b8ae4fd2..d1bdb948ed 100644 --- a/ofl/meddon/DESCRIPTION.en_us.html +++ b/ofl/meddon/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Meddon is a handwriting font created from the handwritten script of an Eighteenth century legal document. A further version is being developed with many alternate characters and swashes to work with new web browsers that support Opentype font shaping.

\ No newline at end of file +

+ Meddon is a handwriting font created from the handwritten script of an Eighteenth century legal document. + A further version is being developed with many alternate characters and swashes to work with new web browsers that support Opentype font shaping. +

diff --git a/ofl/medievalsharp/DESCRIPTION.en_us.html b/ofl/medievalsharp/DESCRIPTION.en_us.html index 97eecef91f..8554c49017 100644 --- a/ofl/medievalsharp/DESCRIPTION.en_us.html +++ b/ofl/medievalsharp/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

This is another of my old fonts used to make inscriptions on stone. I created the MedievalSharp font in around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. It's based on gothic letters. Initially the font contained only capitals and digits, and later I made missing small fonts and some basical signs. In 2010 I started convert my typeface designs into digital fonts. The first was NovaCut and all the Nova family, and here's another...

\ No newline at end of file +

+ This is another of my old fonts used to make inscriptions on stone. + I created the MedievalSharp font in around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. + It's based on gothic letters. + Initially the font contained only capitals and digits, and later I made missing small fonts and some basical signs. + In 2010 I started convert my typeface designs into digital fonts. + The first was NovaCut and all the Nova family, and here's another... +

diff --git a/ofl/medulaone/DESCRIPTION.en_us.html b/ofl/medulaone/DESCRIPTION.en_us.html index 2f0eb7241c..e406cbb5a0 100644 --- a/ofl/medulaone/DESCRIPTION.en_us.html +++ b/ofl/medulaone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Medula One is a friendly rhythmic sans serif with brush-like end strokes. Economical and capable of straightforward display work, Medula One remixes the old and the new, the organic and the modern into a fresh and versatile condensed typeface.

\ No newline at end of file +

+ Medula One is a friendly rhythmic sans serif with brush-like end strokes. + Economical and capable of straightforward display work, Medula One remixes the old and the new, the organic and the modern into a fresh and versatile condensed typeface. +

diff --git a/ofl/meerainimai/DESCRIPTION.en_us.html b/ofl/meerainimai/DESCRIPTION.en_us.html index 4620ab828c..4a564df1ea 100644 --- a/ofl/meerainimai/DESCRIPTION.en_us.html +++ b/ofl/meerainimai/DESCRIPTION.en_us.html @@ -1,16 +1,26 @@

-Meera Inimai is a san-serif typeface. -It is best used as a screen font for body text. -It is also useful for body text of printed pamphlets or single page designs. -Usage of Meera Inimai can be thought of similar to Latin grotesque sans serif typefaces. -The Tamil characters are inherently vertically-elliptical and the Latin is naturally based on this characteristic to smoothly sit with the Tamil component. + Meera Inimai is a san-serif typeface. + It is best used as a screen font for body text. + It is also useful for body text of printed pamphlets or single page designs. + Usage of Meera Inimai can be thought of similar to Latin grotesque sans serif typefaces. + The Tamil characters are inherently vertically-elliptical and the Latin is naturally based on this characteristic to smoothly sit with the Tamil component.

-Meera Inimai is a free licensed unicode font for Tamil Script. -This is designed by Anilan N. G. with typography guidance from Hussain K. H. and linguistic guidance from A. K. M. Kutty. -The OpenType features of the font is compiled by Santhosh Thottingal. + Meera Inimai is a free licensed unicode font for Tamil Script. + This is designed by Anilan N. + G. + with typography guidance from Hussain K. + H. + and linguistic guidance from A. + K. + M. + Kutty. + The OpenType features of the font is compiled by Santhosh Thottingal.

-The Meera Inimai project is led by Swathanthra Malayalam Computing, a free software community in Kerala, India. -To contribute, see gitlab.com/smc/meera-tamil -

\ No newline at end of file + The Meera Inimai project is led by Swathanthra Malayalam Computing, a free software community in Kerala, India. + To contribute, see + + gitlab.com/smc/meera-tamil + +

diff --git a/ofl/megrim/DESCRIPTION.en_us.html b/ofl/megrim/DESCRIPTION.en_us.html index f75f0180b0..8b3df9a1d3 100644 --- a/ofl/megrim/DESCRIPTION.en_us.html +++ b/ofl/megrim/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Megrim is an experimental font covering most of the basic Western Latin character set. It has stylistic alternates.

\ No newline at end of file +

+ Megrim is an experimental font covering most of the basic Western Latin character set. + It has stylistic alternates. +

diff --git a/ofl/meiescript/DESCRIPTION.en_us.html b/ofl/meiescript/DESCRIPTION.en_us.html index 62133c8417..a763ca7f12 100644 --- a/ofl/meiescript/DESCRIPTION.en_us.html +++ b/ofl/meiescript/DESCRIPTION.en_us.html @@ -1,2 +1,8 @@ -

Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. It is less flamboyant then its Western European contemporaries. Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles.

-

Designed by Johan Kallas and Mihkel Virkus.

\ No newline at end of file +

+ Meie Script is a typeface, which is based on the original 1910 Estonian handwriting standard. + It is less flamboyant then its Western European contemporaries. + Estonian handwriting has been influenced greatly by German and Russian handwriting styles and Meie Script embodies a mixture of those two styles. +

+

+ Designed by Johan Kallas and Mihkel Virkus. +

diff --git a/ofl/meowscript/DESCRIPTION.en_us.html b/ofl/meowscript/DESCRIPTION.en_us.html index 4484e51fa8..dd912bf2e9 100644 --- a/ofl/meowscript/DESCRIPTION.en_us.html +++ b/ofl/meowscript/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Meow Script is a monoline font with a number of alternate forms in six stylistic sets. It works eclectically and harmoniously to add a fun, whimsy look to your posters, ads, invitations and similar designs. + Meow Script is a monoline font with a number of alternate forms in six stylistic sets. + It works eclectically and harmoniously to add a fun, whimsy look to your posters, ads, invitations and similar designs.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/meow-script. + To contribute, see + + github.com/googlefonts/meow-script + + .

diff --git a/ofl/mergeone/DESCRIPTION.en_us.html b/ofl/mergeone/DESCRIPTION.en_us.html index 9c9df4e1ae..f025f69150 100644 --- a/ofl/mergeone/DESCRIPTION.en_us.html +++ b/ofl/mergeone/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@ -

Merge One is a single light weight from a soft, rounded sans-serif typeface -family, Merge. Readable at small sizes, text set with Merge One is open and -wide. At display sizes, the softness makes for a friendlier, more casual -feeling than other rounded sans-serif typefaces.

- -

To contribute to the project contact PhilaType.

\ No newline at end of file +

+ Merge One is a single light weight from a soft, rounded sans-serif typeface family, Merge. + Readable at small sizes, text set with Merge One is open and wide. + At display sizes, the softness makes for a friendlier, more casual feeling than other rounded sans-serif typefaces. +

+

+ To contribute to the project contact + + PhilaType + + . +

diff --git a/ofl/merienda/DESCRIPTION.en_us.html b/ofl/merienda/DESCRIPTION.en_us.html index 7592dab3e4..5b9a02bd3d 100644 --- a/ofl/merienda/DESCRIPTION.en_us.html +++ b/ofl/merienda/DESCRIPTION.en_us.html @@ -1,10 +1,24 @@ -

'Merienda' is a Spanish term for "afternoon snack", and this pleasant time -of the day was worth its own typography.

- -

Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words.

- -

Merienda One is the initial publication of this typeface family in a single boldstyle.

- -

In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. The glyphset has also been extended, offering a larger number of supported languages.

- -

To contribute, see github.com/etunni/merienda.

+

+ 'Merienda' is a Spanish term for "afternoon snack", and this pleasant time of the day was worth its own typography. +

+

+ Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. + It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words. +

+

+ + Merienda One + + is the initial publication of this typeface family in a single boldstyle. +

+

+ In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. + The glyphset has also been extended, offering a larger number of supported languages. +

+

+ To contribute, see + + github.com/etunni/merienda + + . +

diff --git a/ofl/merriweather/DESCRIPTION.en_us.html b/ofl/merriweather/DESCRIPTION.en_us.html index c080bf851a..25badd2af3 100644 --- a/ofl/merriweather/DESCRIPTION.en_us.html +++ b/ofl/merriweather/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Merriweather was designed to be a text face that is pleasant to read on screens. -It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms. + Merriweather was designed to be a text face that is pleasant to read on screens. + It features a very large x height, slightly condensed letterforms, a mild diagonal stress, sturdy serifs and open forms.

-There is also Merriweather Sans, a sans-serif version which closely harmonizes with the weights and styles of this serif family. + There is also + + Merriweather Sans + + , a sans-serif version which closely harmonizes with the weights and styles of this serif family.

-The Merriweather project is led by Sorkin Type, a type design foundry based in Western Massachaussets, USA. -To contribute, see github.com/SorkinType/Merriweather + The Merriweather project is led by Sorkin Type, a type design foundry based in Western Massachaussets, USA. + To contribute, see + + github.com/SorkinType/Merriweather +

diff --git a/ofl/merriweathersans/DESCRIPTION.en_us.html b/ofl/merriweathersans/DESCRIPTION.en_us.html index 9a2109f358..7956e937ec 100644 --- a/ofl/merriweathersans/DESCRIPTION.en_us.html +++ b/ofl/merriweathersans/DESCRIPTION.en_us.html @@ -1,36 +1,55 @@ -

Merriweather Sans is a low-contrast semi-condensed sans-serif text typeface -family designed to be pleasant to read at very small sizes. Merriweather Sans -is traditional in feeling despite the modern shapes it has adopted for -screens.

- -

Merriweather Sans is an evolving project and will be updated. As of now -there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles.

- -

There is also Merriweather, a serif version which closely harmonizes with the weights and -styles of this sans-serif family.

- -

Designed by Eben Sorkin, Merriweather Sans features a large x height, -slightly condensed letterforms, a mild diagonal stress and open forms.

- -

Merriweather Sans is a work in progress and will be improved regularly. -This means you can request improvements and even fund specific features if if -they are outside of the current scope of work. For more information and to -stay updated see Eben Sorkin's -blog and Flickr -stream, and the MerriweatherFnt Twitter -microblog.

- -

Updated in June 2013 with italic styles.

- -

-Updated in January 2016: -This revision improves on-screen rendering especially at text sizes with ttfautohint hinting. -Merriweather Sans will work better when installed on desktops. -Some OpenType features were added and improved. -Since the vertical and horizontal metrics changed, this may cause some text to reflow in some browsers. -A second update (v1.006) was made on 1/25 to fix ligatures and other digraphs. -

- -

To contribute, see github.com/SorkinType/Merriweather-Sans.

+

+ Merriweather Sans is a low-contrast semi-condensed sans-serif text typeface family designed to be pleasant to read at very small sizes. + Merriweather Sans is traditional in feeling despite the modern shapes it has adopted for screens. +

+

+ Merriweather Sans is an evolving project and will be updated. + As of now there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles. +

+

+ There is also + + Merriweather + + , a serif version which closely harmonizes with the weights and styles of this sans-serif family. +

+

+ Designed by Eben Sorkin, Merriweather Sans features a large x height, slightly condensed letterforms, a mild diagonal stress and open forms. +

+

+ Merriweather Sans is a work in progress and will be improved regularly. + This means you can request improvements and even fund specific features if if they are outside of the current scope of work. + For more information and to stay updated see + + Eben Sorkin's blog + + and + + Flickr stream + + , and the + + MerriweatherFnt Twitter + + microblog. +

+

+ Updated in June 2013 with italic styles. +

+

+ + Updated in January 2016: + + This revision improves on-screen rendering especially at text sizes with ttfautohint hinting. + Merriweather Sans will work better when installed on desktops. + Some OpenType features were added and improved. + Since the vertical and horizontal metrics changed, this may cause some text to reflow in some browsers. + A second update (v1.006) was made on 1/25 to fix ligatures and other digraphs. +

+

+ To contribute, see + + github.com/SorkinType/Merriweather-Sans + + . +

diff --git a/ofl/mervalescript/DESCRIPTION.en_us.html b/ofl/mervalescript/DESCRIPTION.en_us.html index e386464c55..30913ee1c1 100644 --- a/ofl/mervalescript/DESCRIPTION.en_us.html +++ b/ofl/mervalescript/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@ -

Mervale Script finds its inspiration from the 1940's Fawcett Publications -Mary Marvel comic. This unusual brush lettered script blends script and -serif capitals and a mix of unusual brush strokes to create a lively -font that draws attention.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Mervale Script finds its inspiration from the 1940's Fawcett Publications Mary Marvel comic. + This unusual brush lettered script blends script and serif capitals and a mix of unusual brush strokes to create a lively font that draws attention. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/metal/DESCRIPTION.en_us.html b/ofl/metal/DESCRIPTION.en_us.html index 0cf985328b..e4ca29ad90 100644 --- a/ofl/metal/DESCRIPTION.en_us.html +++ b/ofl/metal/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Metal is a Khmer font with a design similar to the Khmer Italic metal types published in Cambodia before 1970. + Metal is a Khmer font with a design similar to the Khmer Italic metal types published in Cambodia before 1970.

-To contribute, see github.com/danhhong/Metal. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Metal + + . +

diff --git a/ofl/metalmania/DESCRIPTION.en_us.html b/ofl/metalmania/DESCRIPTION.en_us.html index 0547ec3e36..c09755e11d 100644 --- a/ofl/metalmania/DESCRIPTION.en_us.html +++ b/ofl/metalmania/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Metal Mania was inspired by lots of Heavy Metal album covers and posters. Only the most 'Metal' elements were combined to make the quintessential Heavy Metal font. Looks good on concert posters and guitar picks! Long live Metal Mania.

-

First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.

-

Designed by Dathan Boardman of Open Window.

\ No newline at end of file +

+ Metal Mania was inspired by lots of Heavy Metal album covers and posters. + Only the most 'Metal' elements were combined to make the quintessential Heavy Metal font. + Looks good on concert posters and guitar picks! + Long live Metal Mania. +

+

+ First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect. +

+

+ Designed by Dathan Boardman of Open Window. +

diff --git a/ofl/metamorphous/DESCRIPTION.en_us.html b/ofl/metamorphous/DESCRIPTION.en_us.html index 06b40b3e5d..2da4043f6d 100644 --- a/ofl/metamorphous/DESCRIPTION.en_us.html +++ b/ofl/metamorphous/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Metamorphous is a medium contrast design taking style cues from a wide variety of sources. It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. Metamorphous also covers most languages that use Latin letters.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Metamorphous is a medium contrast design taking style cues from a wide variety of sources. + It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. + Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. + Metamorphous also covers most languages that use Latin letters. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/metrophobic/DESCRIPTION.en_us.html b/ofl/metrophobic/DESCRIPTION.en_us.html index 766fa38de8..3d70de0f60 100644 --- a/ofl/metrophobic/DESCRIPTION.en_us.html +++ b/ofl/metrophobic/DESCRIPTION.en_us.html @@ -1,13 +1,23 @@

-Metrophobic is a sans serif face with a semi geometric feel. -It is designed to be legible at small text sizes but also have enough character to be used as an interesting display face for headers and headlines. -It can also be used for text bodies. -

- -

Updated June 2019 to v3.100: Redrawn and respaced to improve the design quality.

- -

Updated January 2023 to v3.200: The glyphset has been expanded and now support Vietnamese language. The overhall horizontal space has been adjusted for a better readability.

- -

-The Metrophobic project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. -To contribute, see github.com/googlefonts/MetrophobicFont

+ Metrophobic is a sans serif face with a semi geometric feel. + It is designed to be legible at small text sizes but also have enough character to be used as an interesting display face for headers and headlines. + It can also be used for text bodies. +

+

+ Updated June 2019 to v3.100: Redrawn and respaced to improve the design quality. +

+

+ Updated January 2023 to v3.200: The glyphset has been expanded and now support Vietnamese language. + The overhall horizontal space has been adjusted for a better readability. +

+

+ The Metrophobic project was commissioned by Google from + + Vernon Adams + + , an English type designer who lived in San Clemente, Los Angeles, USA. + To contribute, see + + github.com/googlefonts/MetrophobicFont + +

diff --git a/ofl/miama/DESCRIPTION.en_us.html b/ofl/miama/DESCRIPTION.en_us.html index ce43d65c38..eccdca1663 100644 --- a/ofl/miama/DESCRIPTION.en_us.html +++ b/ofl/miama/DESCRIPTION.en_us.html @@ -1,12 +1,42 @@ -

Miama is based on the many handwritten letters of my girlfriend. -Among them are also some ligatures and ornamental glyphs.

Every single -glyph has been drawn by myself using the free font editor FontForge.

-

Do not use any condensed nor extended spacing! Miama lives from -connected strokes, which are killed as soon as you change spacing.

-

Use Miama for main titles, short poems, greeting cards, wedding -stuff et cetera. But please do not consider using it for longer texts, -especially not for scientific texts.

Miama is a very small -typeface compared to other fonts. This is due to the very large ascenders and -descenders. So if you want to look Miama as a font of 10pt, choose -15-20pt. Also keep in mind, that Miama then still looks quite light, -so you want probably resize it even more for titles.

+

+ + Miama + + is based on the many handwritten letters of my girlfriend. + Among them are also some ligatures and ornamental glyphs. +

+

+ Every single glyph has been drawn by myself using the free font editor FontForge. +

+

+ Do not use any condensed nor extended spacing! + + Miama + + lives from connected strokes, which are killed as soon as you change spacing. +

+

+ Use + + Miama + + for main titles, short poems, greeting cards, wedding stuff et cetera. + But please do not consider using it for longer texts, especially not for scientific texts. +

+

+ + Miama + + is a very small typeface compared to other fonts. + This is due to the very large ascenders and descenders. + So if you want to look + + Miama + + as a font of 10pt, choose 15-20pt. + Also keep in mind, that + + Miama + + then still looks quite light, so you want probably resize it even more for titles. +

diff --git a/ofl/michroma/DESCRIPTION.en_us.html b/ofl/michroma/DESCRIPTION.en_us.html index 938600e86d..eae66c59fe 100644 --- a/ofl/michroma/DESCRIPTION.en_us.html +++ b/ofl/michroma/DESCRIPTION.en_us.html @@ -1,7 +1,16 @@ -

Michroma is a reworking and remodelling of the rounded-square sans genre that is closely associated with a 1960s feeling of the future. This is due to the popularity of Microgramma, designed by Aldo Novarese and Alessandro Buttiin in 1952, which pioneered the style; and the most famous typeface family of the genre that came 10 years later in Novarese’s Eurostile.

- -

Michroma has character widths and stem weights perfectly formed to fit today's digital screens; Vernon Adams has pioneered a design process with this font that produces excellent results on screen with no manual hinting involved.

- -

The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/Michroma-font

+

+ Michroma is a reworking and remodelling of the rounded-square sans genre that is closely associated with a 1960s feeling of the future. + This is due to the popularity of Microgramma, designed by Aldo Novarese and Alessandro Buttiin in 1952, which pioneered the style; and the most famous typeface family of the genre that came 10 years later in Novarese’s Eurostile. +

+

+ Michroma has character widths and stem weights perfectly formed to fit today's digital screens; Vernon Adams has pioneered a design process with this font that produces excellent results on screen with no manual hinting involved. +

+

+ The Mai 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/Michroma-font + +

diff --git a/ofl/micro5/DESCRIPTION.en_us.html b/ofl/micro5/DESCRIPTION.en_us.html index f1a23bba07..d2485e1ff7 100644 --- a/ofl/micro5/DESCRIPTION.en_us.html +++ b/ofl/micro5/DESCRIPTION.en_us.html @@ -1,9 +1,24 @@ -

The Soft Type Collection is designed for knitters to chart out their typographic projects. Micro 5 is a teeny-tiny typeface that can fit anywhere on your project.

- -

Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size.

- -

In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface.

- -

Check out the charted version Micro 5 Charted.

- -

To contribute, please see github.com/scfried/soft-type-micro.

+

+ The Soft Type Collection is designed for knitters to chart out their typographic projects. + Micro 5 is a teeny-tiny typeface that can fit anywhere on your project. +

+

+ Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. +

+

+ In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. +

+

+ Check out the charted version + + Micro 5 Charted + + . +

+

+ To contribute, please see + + github.com/scfried/soft-type-micro + + . +

diff --git a/ofl/milonga/DESCRIPTION.en_us.html b/ofl/milonga/DESCRIPTION.en_us.html index ff480494a5..b31c69af13 100644 --- a/ofl/milonga/DESCRIPTION.en_us.html +++ b/ofl/milonga/DESCRIPTION.en_us.html @@ -1,9 +1,8 @@ -

Milonga is a Font inspired on “tangueros” art. This is a tribute to the -“rioplatense” culture, so colored, full of love and hate, family, friends and -enemies stories told in countless Tangos and Milongas (folk music genre from -Argentina). This graceful, flowing and rhythmic font is formed by graphic -elements found in a kind of classic painting from this area called “fileteado -porteño”; with terminations involving petals, round and pointy details.

- -

Milonga is useful for headlines, where the characteristics of the font are -highlighted.

\ No newline at end of file +

+ Milonga is a Font inspired on “tangueros” art. + This is a tribute to the “rioplatense” culture, so colored, full of love and hate, family, friends and enemies stories told in countless Tangos and Milongas (folk music genre from Argentina). + This graceful, flowing and rhythmic font is formed by graphic elements found in a kind of classic painting from this area called “fileteado porteño”; with terminations involving petals, round and pointy details. +

+

+ Milonga is useful for headlines, where the characteristics of the font are highlighted. +

diff --git a/ofl/miltonian/DESCRIPTION.en_us.html b/ofl/miltonian/DESCRIPTION.en_us.html index f47aff7225..0ec11275a9 100644 --- a/ofl/miltonian/DESCRIPTION.en_us.html +++ b/ofl/miltonian/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Miltonian is a fun 'tattoo' font. -There is also the Miltonian Tattoo variant with filled-in forms. -For nice effects, the two fonts can be combined by overlaying them. -Also included are a few dingbats that can be used for decoration. + Miltonian is a fun 'tattoo' font. + There is also the + + Miltonian Tattoo + + variant with filled-in forms. + For nice effects, the two fonts can be combined by overlaying them. + Also included are a few dingbats that can be used for decoration.

-Updated: January 2016 to version 1.008 -

+ + Updated: + + January 2016 to version 1.008 +

diff --git a/ofl/miltoniantattoo/DESCRIPTION.en_us.html b/ofl/miltoniantattoo/DESCRIPTION.en_us.html index 3dbc2ed00d..a050fcf132 100644 --- a/ofl/miltoniantattoo/DESCRIPTION.en_us.html +++ b/ofl/miltoniantattoo/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@

-Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms. -For nice effects, the two fonts can be combined by overlaying them. -Also included are a few dingbats that can be used for decoration. + + Miltonian + + is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms. + For nice effects, the two fonts can be combined by overlaying them. + Also included are a few dingbats that can be used for decoration.

-Updated: January 2016 to version 1.008 -

+ + Updated: + + January 2016 to version 1.008 +

diff --git a/ofl/mina/DESCRIPTION.en_us.html b/ofl/mina/DESCRIPTION.en_us.html index fbe2b04e66..fb7b9f8138 100644 --- a/ofl/mina/DESCRIPTION.en_us.html +++ b/ofl/mina/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Mina is a contemporary geometric Bangla (Bengali) and Latin family. -The family comes in two weights, Regular and Bold. -It started by extending the Latin font Exo, initially designed by Natanael Gama. -It works well as a display typeface, but is also designed to perform at small to intermediate text sizes. + Mina is a contemporary geometric Bangla (Bengali) and Latin family. + The family comes in two weights, Regular and Bold. + It started by extending the Latin font Exo, initially designed by Natanael Gama. + It works well as a display typeface, but is also designed to perform at small to intermediate text sizes.

-To learn more, visit github.com/suman51284/Mina + To learn more, visit + + github.com/suman51284/Mina +

diff --git a/ofl/mingzat/DESCRIPTION.en_us.html b/ofl/mingzat/DESCRIPTION.en_us.html index a5ff1bbad4..412adf76c0 100644 --- a/ofl/mingzat/DESCRIPTION.en_us.html +++ b/ofl/mingzat/DESCRIPTION.en_us.html @@ -1,3 +1,19 @@ -

Mingzat is a Unicode font based on Jason Glavy's JG Lepcha custom-encoded font. With his generous permission, SIL International used his design and released the font under the SIL Open Font License (OFL). The name "Mingzat" means "treasure of letters" in the Lepcha language.

-

Learn more at software.sil.org/mingzat.

-

To contribute, see github.com/silnrsi/font-mingzat.

+

+ Mingzat is a Unicode font based on Jason Glavy's JG Lepcha custom-encoded font. + With his generous permission, SIL International used his design and released the font under the SIL Open Font License (OFL). + The name "Mingzat" means "treasure of letters" in the Lepcha language. +

+

+ Learn more at + + software.sil.org/mingzat + + . +

+

+ To contribute, see + + github.com/silnrsi/font-mingzat + + . +

diff --git a/ofl/miniver/DESCRIPTION.en_us.html b/ofl/miniver/DESCRIPTION.en_us.html index 201475aa89..713397afe0 100644 --- a/ofl/miniver/DESCRIPTION.en_us.html +++ b/ofl/miniver/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Miniver was inspired by a trip made to the library, looking for new ideas. Immediately gravitating towards the DVD for the 1942 film Mrs. Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect.

\ No newline at end of file +

+ Miniver was inspired by a trip made to the library, looking for new ideas. + Immediately gravitating towards the DVD for the 1942 film Mrs. + Miniver, the hand-lettered title on the cover had a very contemporary look and feel so, there was the 'springboard' into a new font. + First drawn were the inline forms and then they were traced, utilizing a playful 'cutout' effect. +

diff --git a/ofl/miriamlibre/DESCRIPTION.en_us.html b/ofl/miriamlibre/DESCRIPTION.en_us.html index 8decb5d1d8..dd057ac0df 100644 --- a/ofl/miriamlibre/DESCRIPTION.en_us.html +++ b/ofl/miriamlibre/DESCRIPTION.en_us.html @@ -1,13 +1,13 @@

-Miriam Libre is a mono-linear Hebrew and Latin sans serif font family with two weights, Regular and Bold. -The Hebrew design is a revival of the original Miriam typeface published in 1908 by Raphael Frank. -Miriam Libre brings this design into the 21st century: -proportions are redesigned; -unnnecessary elements were removed for a more clean appearance, while keeping the original unique personality; -more soft curves replace some of the “square” mechanical ones. -The Latin design is original and made to fit the Hebrew and meet the contemporary needs of a bi-lingual font family. + Miriam Libre is a mono-linear Hebrew and Latin sans serif font family with two weights, Regular and Bold. + The Hebrew design is a revival of the original Miriam typeface published in 1908 by Raphael Frank. + Miriam Libre brings this design into the 21st century: proportions are redesigned; unnnecessary elements were removed for a more clean appearance, while keeping the original unique personality; more soft curves replace some of the “square” mechanical ones. + The Latin design is original and made to fit the Hebrew and meet the contemporary needs of a bi-lingual font family.

-The Miriam Libre project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. -To contribute, see github.com/MichalSahar/Miriam-Libre -

\ No newline at end of file + The Miriam Libre project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. + To contribute, see + + github.com/MichalSahar/Miriam-Libre + +

diff --git a/ofl/mirza/DESCRIPTION.en_us.html b/ofl/mirza/DESCRIPTION.en_us.html index d56cdfddf5..524a24db90 100644 --- a/ofl/mirza/DESCRIPTION.en_us.html +++ b/ofl/mirza/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Mirza is a body text typeface based on the Naskh script, with 4 different weights. -The design aims to observe the rules of Arabic and Persian aesthetics with the help of ligatures. -Mirza includes a Latin typeface designed in harmony with the Arabic, to make it useful for multilingual texts. + Mirza is a body text typeface based on the Naskh script, with 4 different weights. + The design aims to observe the rules of Arabic and Persian aesthetics with the help of ligatures. + Mirza includes a Latin typeface designed in harmony with the Arabic, to make it useful for multilingual texts.

-The Mirza project is led by KB Studio, a design studio in Los Angeles. -To contribute, see github.com/Tarobish/Mirza -

\ No newline at end of file + The Mirza project is led by KB Studio, a design studio in Los Angeles. + To contribute, see + + github.com/Tarobish/Mirza + +

diff --git a/ofl/missfajardose/DESCRIPTION.en_us.html b/ofl/missfajardose/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/missfajardose/DESCRIPTION.en_us.html +++ b/ofl/missfajardose/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/mitr/DESCRIPTION.en_us.html b/ofl/mitr/DESCRIPTION.en_us.html index a666ec9325..ca9893b02e 100644 --- a/ofl/mitr/DESCRIPTION.en_us.html +++ b/ofl/mitr/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Mitr is a Thai word that means “friend” in Thai. -Mitr is a sans serif Latin and loopless Thai typeface that combines senses of organic and humanist sans serif designs with rounded terminals. -It has a wide structure and airy negative space that preserves legibility and readability. -Mitr is a novel and friendly typeface that is suitable for casual usage such as celebration cards, magazines, and posters. + Mitr is a Thai word that means “friend” in Thai. + Mitr is a sans serif Latin and loopless Thai typeface that combines senses of organic and humanist sans serif designs with rounded terminals. + It has a wide structure and airy negative space that preserves legibility and readability. + Mitr is a novel and friendly typeface that is suitable for casual usage such as celebration cards, magazines, and posters.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -Mitr has a specific approach to the thick and thin strokes of Thai glyphs. -Other type designers may consider this font as an example when developing new fonts. -Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows type designers to extend them to heavier weights. -The size and position of Thai vowel and tone marks have been managed carefully because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, or ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + Mitr has a specific approach to the thick and thin strokes of Thai glyphs. + Other type designers may consider this font as an example when developing new fonts. + Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows type designers to extend them to heavier weights. + The size and position of Thai vowel and tone marks have been managed carefully because they are all relevant to readability, legibility, and overall texture.

-The Mitr project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/mitr -

\ No newline at end of file + The Mitr project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/mitr + +

diff --git a/ofl/mochiypopone/DESCRIPTION.en_us.html b/ofl/mochiypopone/DESCRIPTION.en_us.html index c0dc0ab716..4236b9a88d 100644 --- a/ofl/mochiypopone/DESCRIPTION.en_us.html +++ b/ofl/mochiypopone/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. + Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. + A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. + The included Kanji are modified versions of Noto Sans JP.

-Mochiy Pop includes full-width kana. Mochiy Pop P (https://fonts.google.com/specimen/Mochiy+Pop+P) includes proportional-width kana. + Mochiy Pop includes full-width kana. + Mochiy Pop P ( + + https://fonts.google.com/specimen/Mochiy+Pop+P + + ) includes proportional-width kana.

-To contribute to the project, visit github.com/fontdasu/Mochiypop + To contribute to the project, visit + + github.com/fontdasu/Mochiypop +

diff --git a/ofl/mochiypoppone/DESCRIPTION.en_us.html b/ofl/mochiypoppone/DESCRIPTION.en_us.html index f79483bcfc..207ff120f5 100644 --- a/ofl/mochiypoppone/DESCRIPTION.en_us.html +++ b/ofl/mochiypoppone/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP. + Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. + A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. + The included Kanji are modified versions of Noto Sans JP.

-Mochiy Pop P includes proportional-wdith kana. Mochiy Pop (https://fonts.google.com/specimen/Mochiy+Pop) includes full-width kana. + Mochiy Pop P includes proportional-wdith kana. + Mochiy Pop ( + + https://fonts.google.com/specimen/Mochiy+Pop + + ) includes full-width kana.

-To contribute to the project, visit github.com/fontdasu/Mochiypop + To contribute to the project, visit + + github.com/fontdasu/Mochiypop +

diff --git a/ofl/modak/DESCRIPTION.en_us.html b/ofl/modak/DESCRIPTION.en_us.html index 16d04470ac..a486305c94 100644 --- a/ofl/modak/DESCRIPTION.en_us.html +++ b/ofl/modak/DESCRIPTION.en_us.html @@ -1,24 +1,27 @@

-Modak is a sweet plump Devanagari+Latin display typeface with portly curves and thin counters. -It is Unicode compliant and is open sourced under the SIL Open Font License v1.1. + Modak is a sweet plump Devanagari+Latin display typeface with portly curves and thin counters. + It is Unicode compliant and is open sourced under the SIL Open Font License v1.1.

-Modak began as a heavy hand-sketched letterform exploration in Devanagari with cute, adorable characters whose curves merged into each other, forming distinct counter shapes. -As we translated these into a functional font, each character was fine-tuned and multiple matras designed to match precisely with every character. -Unlike the conventional approach the post-base matras in Modak overlap the consonants. -Likewise overlapping ukars were also designed leaving thin counters in between. -Rather than being a mere composite of 2 separate glyphs, every conjunct was redrawn as a single entity. -The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity. + Modak began as a heavy hand-sketched letterform exploration in Devanagari with cute, adorable characters whose curves merged into each other, forming distinct counter shapes. + As we translated these into a functional font, each character was fine-tuned and multiple matras designed to match precisely with every character. + Unlike the conventional approach the post-base matras in Modak overlap the consonants. + Likewise overlapping ukars were also designed leaving thin counters in between. + Rather than being a mere composite of 2 separate glyphs, every conjunct was redrawn as a single entity. + The challenge was to maintain legibility and consistency in the thin white counter spaces across all characters irrespective of their structural complexity.

-The resulting typeface is one of its kind and most likely the chubbiest Devanagari typeface to be designed so far. -Modak Devanagari is designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi. + The resulting typeface is one of its kind and most likely the chubbiest Devanagari typeface to be designed so far. + Modak Devanagari is designed by Sarang Kulkarni and Maithili Shingre and Modak Latin by Noopur Datye with support from Girish Dalvi.

-We are immensely thankful to Santosh Kshirsagar, Pradnya Naik and Yashodeep Gholap for their suggestions and feedback during the font design process. -We are also grateful to our friends from the Industrial Design Centre, IIT Bombay and Sir J J Institute of Applied Art for their support and encouragement. + We are immensely thankful to Santosh Kshirsagar, Pradnya Naik and Yashodeep Gholap for their suggestions and feedback during the font design process. + We are also grateful to our friends from the Industrial Design Centre, IIT Bombay and Sir J J Institute of Applied Art for their support and encouragement.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/girish-dalvi/Modak + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/girish-dalvi/Modak +

diff --git a/ofl/modernantiqua/DESCRIPTION.en_us.html b/ofl/modernantiqua/DESCRIPTION.en_us.html index 2d73f65076..130cb331ff 100644 --- a/ofl/modernantiqua/DESCRIPTION.en_us.html +++ b/ofl/modernantiqua/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

This is another of my old fonts used for inscriptions on stone. I created the ModernAntiqua font around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. The font is based on Roman square capitals. Initially the font contained only capitals and digits and later I made the missing lowercase and symbols. Last year I started converting my typeface designs into fonts. The first was NovaCut and all the Nova family, next MedievalSharp, and here's another...

\ No newline at end of file +

+ This is another of my old fonts used for inscriptions on stone. + I created the ModernAntiqua font around 1995 like my other fonts - when I started doing the inscriptions on stone professionally. + The font is based on Roman square capitals. + Initially the font contained only capitals and digits and later I made the missing lowercase and symbols. + Last year I started converting my typeface designs into fonts. + The first was NovaCut and all the Nova family, next MedievalSharp, and here's another... +

diff --git a/ofl/mogra/DESCRIPTION.en_us.html b/ofl/mogra/DESCRIPTION.en_us.html index 084c4bdd57..015b24333f 100644 --- a/ofl/mogra/DESCRIPTION.en_us.html +++ b/ofl/mogra/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Mogra (મોગરા) is a display typeface that supports the Gujarati and Latin scripts. -With dense letterforms that borrow heavily from a broad-nibbed marker, Mogra emphasises the definitive Gujarati out-stroke with mass, weight, and flair. -The implied bloating of the marker pen creates an interesting roundness that contrasts against the relatively fixed angle the pen holds. + Mogra (મોગરા) is a display typeface that supports the Gujarati and Latin scripts. + With dense letterforms that borrow heavily from a broad-nibbed marker, Mogra emphasises the definitive Gujarati out-stroke with mass, weight, and flair. + The implied bloating of the marker pen creates an interesting roundness that contrasts against the relatively fixed angle the pen holds.

-The Mogra project is led by Lipi Raval, a type designer based in Ahmedabad, India. -To contribute, see github.com/lipiraval/mogra + The Mogra project is led by Lipi Raval, a type designer based in Ahmedabad, India. + To contribute, see + + github.com/lipiraval/mogra +

diff --git a/ofl/mohave/DESCRIPTION.en_us.html b/ofl/mohave/DESCRIPTION.en_us.html index 5f10702e7d..aba75c94ad 100644 --- a/ofl/mohave/DESCRIPTION.en_us.html +++ b/ofl/mohave/DESCRIPTION.en_us.html @@ -1,2 +1,12 @@ -

Mohave is a titling display typeface, initially designed by Gumpita Rahayu as an all-caps display font. In 2013, it was expanded into a 4 weight family including matching italic in 2018. In 2020 Mirko Velimirovic expanded it into a Variable Font with a weight axis.

-

To contribute, see github.com/tokotype/mohave-typefaces.

+

+ Mohave is a titling display typeface, initially designed by Gumpita Rahayu as an all-caps display font. + In 2013, it was expanded into a 4 weight family including matching italic in 2018. + In 2020 Mirko Velimirovic expanded it into a Variable Font with a weight axis. +

+

+ To contribute, see + + github.com/tokotype/mohave-typefaces + + . +

diff --git a/ofl/moiraione/DESCRIPTION.en_us.html b/ofl/moiraione/DESCRIPTION.en_us.html index a64989ca08..b2415cc4a5 100644 --- a/ofl/moiraione/DESCRIPTION.en_us.html +++ b/ofl/moiraione/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@

- Moirai is a font that experiments with stroke movement with visibility and legibility. It is designed to draw, arrange, and delete strokes of letters to have the minimum strokes and slopes necessary for that letter to be recognized. The shapes surrounding the thick space with thin, round lines give a lovely impression, while also creating a light and lyrical atmosphere. + Moirai is a font that experiments with stroke movement with visibility and legibility. + It is designed to draw, arrange, and delete strokes of letters to have the minimum strokes and slopes necessary for that letter to be recognized. + The shapes surrounding the thick space with thin, round lines give a lovely impression, while also creating a light and lyrical atmosphere.

- To contribute, please visit github.com/JAMO-TYPEFACE/Moirai. + To contribute, please visit + + github.com/JAMO-TYPEFACE/Moirai + + .

diff --git a/ofl/molengo/DESCRIPTION.en_us.html b/ofl/molengo/DESCRIPTION.en_us.html index 03510d02b4..46af3af309 100644 --- a/ofl/molengo/DESCRIPTION.en_us.html +++ b/ofl/molengo/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Molengo is a Latin typeface for documents. It is multilingual and has some features required by many minority languages such as non-spacing mark placement.

The font is produced with FontForge. The glyphs are designed in a CFF file but the production file is a TTF file with hinting instructions made with Xgridfit.

\ No newline at end of file +

+ Molengo is a Latin typeface for documents. + It is multilingual and has some features required by many minority languages such as non-spacing mark placement. +

+

+ The font is produced with FontForge. + The glyphs are designed in a CFF file but the production file is a TTF file with hinting instructions made with Xgridfit. +

diff --git a/ofl/molle/DESCRIPTION.en_us.html b/ofl/molle/DESCRIPTION.en_us.html index bbe0652e92..1046b7045d 100644 --- a/ofl/molle/DESCRIPTION.en_us.html +++ b/ofl/molle/DESCRIPTION.en_us.html @@ -1,13 +1,25 @@

-Foundry: Sorkin Type Co + + Foundry: + + Sorkin Type Co + +

-Molle is a distinctive looking bottom heavy display script inspired by lettering seen on an Italian poster. -Molle is best used from medium to large sizes. + Molle is a distinctive looking bottom heavy display script inspired by lettering seen on an Italian poster. + Molle is best used from medium to large sizes.

-To contribute to the project contact Eben Sorkin. + To contribute to the project contact + + Eben Sorkin + + .

-Updated September 2015: Internal metadata corrected. + + Updated September 2015: + + Internal metadata corrected.

diff --git a/ofl/monda/DESCRIPTION.en_us.html b/ofl/monda/DESCRIPTION.en_us.html index 17eaa89dbf..75650816d4 100644 --- a/ofl/monda/DESCRIPTION.en_us.html +++ b/ofl/monda/DESCRIPTION.en_us.html @@ -1,10 +1,18 @@

-The Monda font family is a libre font family. -It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. + The Monda font family is a + + libre + + font family. + It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

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

-To contribute see github.com/googlefonts/mondaFont. + To contribute see + + github.com/googlefonts/mondaFont + + .

diff --git a/ofl/monofett/DESCRIPTION.en_us.html b/ofl/monofett/DESCRIPTION.en_us.html index c1a3e6c6ba..b1bacf2b9c 100644 --- a/ofl/monofett/DESCRIPTION.en_us.html +++ b/ofl/monofett/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Monofett started as designs for custom mountain bike branding. As a font it is designed to be a bold, eye catching decal-like display face with a sense of an edgy but technical function.

- -

In 2023 the font have been updated, offering a better language support.

- -

To contribute, see github.com/googlefonts/monofett.

+

+ Monofett started as designs for custom mountain bike branding. + As a font it is designed to be a bold, eye catching decal-like display face with a sense of an edgy but technical function. +

+

+ In 2023 the font have been updated, offering a better language support. +

+

+ To contribute, see + + github.com/googlefonts/monofett + + . +

diff --git a/ofl/monomaniacone/DESCRIPTION.en_us.html b/ofl/monomaniacone/DESCRIPTION.en_us.html index fa0094586f..d4f26af557 100644 --- a/ofl/monomaniacone/DESCRIPTION.en_us.html +++ b/ofl/monomaniacone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Monomaniac is a bold Japanese Sans Serif font featuring rounded corners. The letterforms are condensed which work well for vertical typesetting. + Monomaniac is a bold Japanese Sans Serif font featuring rounded corners. + The letterforms are condensed which work well for vertical typesetting.

-To contribute to the project, visit github.com/ManiackersDesign/monomaniac + To contribute to the project, visit + + github.com/ManiackersDesign/monomaniac +

diff --git a/ofl/monoton/DESCRIPTION.en_us.html b/ofl/monoton/DESCRIPTION.en_us.html index 561f233d81..19600f18b3 100644 --- a/ofl/monoton/DESCRIPTION.en_us.html +++ b/ofl/monoton/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Monoton is a contemporary take on metalpress fonts like, for example, 'Prisma' (originally designed in 1931 by Rudolf Koch.) Monoton is a pure display webfont designed to be used at font sizes above 30 points. Monoton has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

\ No newline at end of file +

+ Monoton is a contemporary take on metalpress fonts like, for example, 'Prisma' (originally designed in 1931 by Rudolf Koch.) Monoton is a pure display webfont designed to be used at font sizes above 30 points. + Monoton has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

diff --git a/ofl/monsieurladoulaise/DESCRIPTION.en_us.html b/ofl/monsieurladoulaise/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/monsieurladoulaise/DESCRIPTION.en_us.html +++ b/ofl/monsieurladoulaise/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/montaga/DESCRIPTION.en_us.html b/ofl/montaga/DESCRIPTION.en_us.html index 2355a1c381..ae89301b57 100644 --- a/ofl/montaga/DESCRIPTION.en_us.html +++ b/ofl/montaga/DESCRIPTION.en_us.html @@ -1 +1,18 @@ -

Montage is an Old Style font, inspired by Venetian calligraphy. Her main feature is the strong inclination in the modulation axis, that generates shapes with marked stress. This gives her a strong personality. The uppercases are slender and arrogant, and the narrowness of shapes provide optimum performance.

Montaga is evolving and will be updated. As of now there is only Regular style.

Montaga is a work in progress and will be improved regularly. This means you can request improvements and even fund specific features if they are outside of the current scope of work. For more information follow @ale_guez

\ No newline at end of file +

+ Montage is an Old Style font, inspired by Venetian calligraphy. + Her main feature is the strong inclination in the modulation axis, that generates shapes with marked stress. + This gives her a strong personality. + The uppercases are slender and arrogant, and the narrowness of shapes provide optimum performance. +

+

+ Montaga is evolving and will be updated. + As of now there is only Regular style. +

+

+ Montaga is a work in progress and will be improved regularly. + This means you can request improvements and even fund specific features if they are outside of the current scope of work. + For more information follow + + @ale_guez + +

diff --git a/ofl/montaguslab/DESCRIPTION.en_us.html b/ofl/montaguslab/DESCRIPTION.en_us.html index 941dacba2b..21d6daae2e 100644 --- a/ofl/montaguslab/DESCRIPTION.en_us.html +++ b/ofl/montaguslab/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Montagu Slab is a slab-serif display typeface designed by Florian Karsten. The typeface draws inspiration from 19th-century classic designs and it is available as a variable font with weight and optical size axes. + Montagu Slab is a slab-serif display typeface designed by Florian Karsten. + The typeface draws inspiration from 19th-century classic designs and it is available as a variable font with weight and optical size axes.

-

-The optical size axis, which controls x-height, spacing, contrast and aperture, provides a wide range of variation – from low contrast and higher x-height version suitable for long texts, to a tight and high contrast display variant with prominent upturned tails. + The optical size axis, which controls x-height, spacing, contrast and aperture, provides a wide range of variation – from low contrast and higher x-height version suitable for long texts, to a tight and high contrast display variant with prominent upturned tails.

-

-To contribute, see github.com/floriankarsten/montagu-slab. + To contribute, see + + github.com/floriankarsten/montagu-slab + + .

diff --git a/ofl/montecarlo/DESCRIPTION.en_us.html b/ofl/montecarlo/DESCRIPTION.en_us.html index eab17edcbc..c7983facbc 100644 --- a/ofl/montecarlo/DESCRIPTION.en_us.html +++ b/ofl/montecarlo/DESCRIPTION.en_us.html @@ -1,10 +1,18 @@

-MonteCarlo is a beautiful formal script— both contemporary and traditional. This connecting script’s italic is slight, making it an extremely legible design. + MonteCarlo is a beautiful formal script— both contemporary and traditional. + This connecting script’s italic is slight, making it an extremely legible design.

-Its additional flourishing options offer truly diverse possibilities for customization of display. MonteCarlo is perfect for those situations that require an ornate look, and a readable message, without compromising beautiful design. + Its additional flourishing options offer truly diverse possibilities for customization of display. + MonteCarlo is perfect for those situations that require an ornate look, and a readable message, without compromising beautiful design.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/monte-carlo + + .

-

To contribute, see github.com/googlefonts/monte-carlo.

\ No newline at end of file diff --git a/ofl/montserrat/DESCRIPTION.en_us.html b/ofl/montserrat/DESCRIPTION.en_us.html index 34c318544c..c9581ad9f8 100644 --- a/ofl/montserrat/DESCRIPTION.en_us.html +++ b/ofl/montserrat/DESCRIPTION.en_us.html @@ -1,19 +1,42 @@

-The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. -As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. -The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! -These are the types that make the city look so beautiful. -The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. + The old posters and signs in the traditional + + Montserrat + + neighborhood of Buenos Aires inspired Julieta Ulanovsky to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. + As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. + The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! + These are the types that make the city look so beautiful. + The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.

-This is the normal family, and it has two sister families so far, Alternates and Subrayada. -Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. + This is the normal family, and it has two sister families so far, + + Alternates + + and + + Subrayada + + . + Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the + + Montserrat + + neighborhood.

-Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. -In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. + Updated November 2017: The family was redrawn by Jacques Le Bailly at + + Baron von Fonthausen + + over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. + In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin.

-The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. -To contribute, see github.com/JulietaUla/Montserrat + The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. + To contribute, see + + github.com/JulietaUla/Montserrat +

diff --git a/ofl/montserratalternates/DESCRIPTION.en_us.html b/ofl/montserratalternates/DESCRIPTION.en_us.html index 3118dc8718..f1ba0a91de 100644 --- a/ofl/montserratalternates/DESCRIPTION.en_us.html +++ b/ofl/montserratalternates/DESCRIPTION.en_us.html @@ -1,19 +1,42 @@

-The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. -As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. -The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! -These are the types that make the city look so beautiful. -The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. + The old posters and signs in the traditional + + Montserrat + + neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. + As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. + The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! + These are the types that make the city look so beautiful. + The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.

-This is the Alternates family, a sister to the normal and Subrayada families. -Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. + This is the Alternates family, a sister to the + + normal + + and + + Subrayada + + families. + Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the + + Montserrat + + neighborhood.

-Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. -In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. + Updated November 2017: The family was redrawn by Jacques Le Bailly at + + Baron von Fonthausen + + over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. + In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin.

-The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. -To contribute, see github.com/JulietaUla/Montserrat + The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. + To contribute, see + + github.com/JulietaUla/Montserrat +

diff --git a/ofl/montserratsubrayada/DESCRIPTION.en_us.html b/ofl/montserratsubrayada/DESCRIPTION.en_us.html index 31bf206076..ea5e4f51f6 100644 --- a/ofl/montserratsubrayada/DESCRIPTION.en_us.html +++ b/ofl/montserratsubrayada/DESCRIPTION.en_us.html @@ -1,19 +1,42 @@

-The old posters and signs in the traditional Montserrat neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. -As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. -The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! -These are the types that make the city look so beautiful. -The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License. + The old posters and signs in the traditional + + Montserrat + + neighborhood of Buenos Aires inspired Julieta to design this typeface and rescue the beauty of urban typography that emerged in the first half of the twentieth century. + As urban development changes that place, it will never return to its original form and loses forever the designs that are so special and unique. + The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! + These are the types that make the city look so beautiful. + The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.

-This is the Subrayada family, a sister to the normal and Alternates families. -Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood. + This is the Subrayada family, a sister to the + + normal + + and + + Alternates + + families. + Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the + + Montserrat + + neighborhood.

-Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. -In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin. + Updated November 2017: The family was redrawn by Jacques Le Bailly at + + Baron von Fonthausen + + over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts. + In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin.

-The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. -To contribute, see github.com/JulietaUla/Montserrat + The Montserrat project is led by Julieta Ulanovsky, a type designer based in Buenos Aires, Argentina. + To contribute, see + + github.com/JulietaUla/Montserrat +

diff --git a/ofl/moolahlah/DESCRIPTION.en_us.html b/ofl/moolahlah/DESCRIPTION.en_us.html index 7508307841..00515c43ae 100644 --- a/ofl/moolahlah/DESCRIPTION.en_us.html +++ b/ofl/moolahlah/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Need a font with bovine fun? Moo Lah Lah has that look! + Need a font with bovine fun? + Moo Lah Lah has that look!

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/moolahlah. + To contribute, see + + github.com/googlefonts/moolahlah + + .

diff --git a/ofl/mooli/DESCRIPTION.en_us.html b/ofl/mooli/DESCRIPTION.en_us.html index 7ab1c33164..a60c293bb6 100644 --- a/ofl/mooli/DESCRIPTION.en_us.html +++ b/ofl/mooli/DESCRIPTION.en_us.html @@ -1,3 +1,16 @@ -

Mooli is a Sans Serif font designed for young readers. Mooli is derived from the Mulish font family. It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

- -

To contribute, please see github.com/googlefonts/mooliFont.

+

+ Mooli is a Sans Serif font designed for young readers. + Mooli is derived from the + + Mulish + + font family. + It has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ To contribute, please see + + github.com/googlefonts/mooliFont + + . +

diff --git a/ofl/moondance/DESCRIPTION.en_us.html b/ofl/moondance/DESCRIPTION.en_us.html index dbce2c7bcf..ad925231f0 100644 --- a/ofl/moondance/DESCRIPTION.en_us.html +++ b/ofl/moondance/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-This calligraphic typeface comes with a Roman Version and a more flourished stylistic set. The main style has less ornate uppercase forms and the second has more flourished upper- and lowercase characters for a beautiful hand-lettered feel. Perfect for tubes, tags, invitations and other projects that need a personal touch. + This calligraphic typeface comes with a Roman Version and a more flourished stylistic set. + The main style has less ornate uppercase forms and the second has more flourished upper- and lowercase characters for a beautiful hand-lettered feel. + Perfect for tubes, tags, invitations and other projects that need a personal touch.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/moondance. + To contribute, see + + github.com/googlefonts/moondance + + .

diff --git a/ofl/moul/DESCRIPTION.en_us.html b/ofl/moul/DESCRIPTION.en_us.html index 57515ca369..0b3fd8e961 100644 --- a/ofl/moul/DESCRIPTION.en_us.html +++ b/ofl/moul/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Moul is a traditional Khmer typeface design, suitable for headlines, titles, subtitles, and even banner designs. + Moul is a traditional Khmer typeface design, suitable for headlines, titles, subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Moul. + To contribute, see + + github.com/danhhong/Moul + + .

diff --git a/ofl/moulpali/DESCRIPTION.en_us.html b/ofl/moulpali/DESCRIPTION.en_us.html index 1a03c179b4..c33935dfd6 100644 --- a/ofl/moulpali/DESCRIPTION.en_us.html +++ b/ofl/moulpali/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Moulpali is a typeface for Khmer body text, the design is similar to some Khmer metal types popular in the 1960s. + Moulpali is a typeface for Khmer body text, the design is similar to some Khmer metal types popular in the 1960s.

-To contribute, see github.com/danhhong/Moulpali. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Moulpali + + . +

diff --git a/ofl/mousememoirs/DESCRIPTION.en_us.html b/ofl/mousememoirs/DESCRIPTION.en_us.html index 13b654d931..500da29d9d 100644 --- a/ofl/mousememoirs/DESCRIPTION.en_us.html +++ b/ofl/mousememoirs/DESCRIPTION.en_us.html @@ -1,8 +1,13 @@ -

Mouse Memoirs finds its inspiration in the vintage Mickey Mouse, -Beagle Boys, and Uncle Scrooge comic books put out by Walt Disney in -the 1950's and 60's. This font comes alive with a truly animated look. -Perfect for light-hearted designs, children's books, and the like… -it is an all-around fun typeface.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Mouse Memoirs finds its inspiration in the vintage Mickey Mouse, Beagle Boys, and Uncle Scrooge comic books put out by Walt Disney in the 1950's and 60's. + This font comes alive with a truly animated look. + Perfect for light-hearted designs, children's books, and the like… it is an all-around fun typeface. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/mplus1/DESCRIPTION.en_us.html b/ofl/mplus1/DESCRIPTION.en_us.html index 6520ebb9d8..5ee49c7444 100644 --- a/ofl/mplus1/DESCRIPTION.en_us.html +++ b/ofl/mplus1/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-M+ FONTS is a little nifty font family for everyday usage. Mplus 1 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the harmony of comfortable curves and straight lines, this font gives modern and generous impression, suiting for any occasions including small texts to big titles. + M+ FONTS is a little nifty font family for everyday usage. + Mplus 1 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. + With the harmony of comfortable curves and straight lines, this font gives modern and generous impression, suiting for any occasions including small texts to big titles.

-To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS + To contribute to the project, visit + + https://github.com/coz-m/MPLUS_FONTS +

diff --git a/ofl/mplus1code/DESCRIPTION.en_us.html b/ofl/mplus1code/DESCRIPTION.en_us.html index a8fd62a49a..20c39bb710 100644 --- a/ofl/mplus1code/DESCRIPTION.en_us.html +++ b/ofl/mplus1code/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@

-M+ FONTS is a little nifty font family for everyday usage. Mplus 1 Code is a Sans Serif font with seven weights from Thin to Bold, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. This font is a combination of Mplus 1 full-width Japanese with new half-width monospaced Latin alphabet and figures. + M+ FONTS is a little nifty font family for everyday usage. + Mplus 1 Code is a Sans Serif font with seven weights from Thin to Bold, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. + Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. + This font is a combination of Mplus 1 full-width Japanese with new half-width monospaced Latin alphabet and figures.

-To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS + To contribute to the project, visit + + https://github.com/coz-m/MPLUS_FONTS +

diff --git a/ofl/mplus1p/DESCRIPTION.en_us.html b/ofl/mplus1p/DESCRIPTION.en_us.html index b3b24a9a2b..fe2390ffdd 100644 --- a/ofl/mplus1p/DESCRIPTION.en_us.html +++ b/ofl/mplus1p/DESCRIPTION.en_us.html @@ -1,17 +1,24 @@

-The M+ Outline Fonts Project develops a superfamily set of several families: -4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. + The + + M+ Outline Fonts Project + + develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations.

-The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. + The + + Rounded M+ Project + + develops versions of the M+ Fonts with rounded terminals.

-This set, M+ 1p, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. -The Kana have contrasting straight lines and hand-drawn curves. -The Latin is aimed to be a sophisticated and relaxed design. + This set, M+ 1p, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. + The Kana have contrasting straight lines and hand-drawn curves. + The Latin is aimed to be a sophisticated and relaxed design.

-8,676 glyphs. -This is Version 1.061g, released upstream on 2016-04-12, and slightly modified by Google Fonts. -Now released under the SIL Open Font License. + 8,676 glyphs. + This is Version 1.061g, released upstream on 2016-04-12, and slightly modified by Google Fonts. + Now released under the SIL Open Font License.

diff --git a/ofl/mplus2/DESCRIPTION.en_us.html b/ofl/mplus2/DESCRIPTION.en_us.html index 6698c76edc..73e64cdd0c 100644 --- a/ofl/mplus2/DESCRIPTION.en_us.html +++ b/ofl/mplus2/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-M+ FONTS is a little nifty font family for everyday usage. Mplus 2 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. With the somewhat classic letterforms, this font pursues new standard of classic modern. + M+ FONTS is a little nifty font family for everyday usage. + Mplus 2 is a Sans Serif font with nine weights from Thin to Black, supporting 5,700+ Kanjis for Japanese with GF Latin Plus. + With the somewhat classic letterforms, this font pursues new standard of classic modern.

-To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS + To contribute to the project, visit + + https://github.com/coz-m/MPLUS_FONTS +

diff --git a/ofl/mpluscodelatin/DESCRIPTION.en_us.html b/ofl/mpluscodelatin/DESCRIPTION.en_us.html index 8ccd091df0..1a282ef7d4 100644 --- a/ofl/mpluscodelatin/DESCRIPTION.en_us.html +++ b/ofl/mpluscodelatin/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@

-M+ FONTS is a little nifty font family for everyday usage. Mplus Code Latin is a Sans Serif font with seven weights from Thin to Bold, supporting GF Latin Plus. Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. There are two styles—Mplus Code Latin 50 and Mplus Code Latin 60, each having 50% and 60% character width. + M+ FONTS is a little nifty font family for everyday usage. + Mplus Code Latin is a Sans Serif font with seven weights from Thin to Bold, supporting GF Latin Plus. + Because this font is for programming usage, it has high readability even in small sizes, and letterforms are designed to avoid misreadings as much as possible. + There are two styles—Mplus Code Latin 50 and Mplus Code Latin 60, each having 50% and 60% character width.

-To contribute to the project, visit https://github.com/coz-m/MPLUS_FONTS + To contribute to the project, visit + + https://github.com/coz-m/MPLUS_FONTS +

diff --git a/ofl/mrbedfort/DESCRIPTION.en_us.html b/ofl/mrbedfort/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/mrbedfort/DESCRIPTION.en_us.html +++ b/ofl/mrbedfort/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/mrdafoe/DESCRIPTION.en_us.html b/ofl/mrdafoe/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/mrdafoe/DESCRIPTION.en_us.html +++ b/ofl/mrdafoe/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/mrdehaviland/DESCRIPTION.en_us.html b/ofl/mrdehaviland/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/mrdehaviland/DESCRIPTION.en_us.html +++ b/ofl/mrdehaviland/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/mrssaintdelafield/DESCRIPTION.en_us.html b/ofl/mrssaintdelafield/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/mrssaintdelafield/DESCRIPTION.en_us.html +++ b/ofl/mrssaintdelafield/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/mrssheppards/DESCRIPTION.en_us.html b/ofl/mrssheppards/DESCRIPTION.en_us.html index 84f7582c20..3de399e372 100644 --- a/ofl/mrssheppards/DESCRIPTION.en_us.html +++ b/ofl/mrssheppards/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. The typeface styles were then showcased in Higgins Ink catalogs.

Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein.

\ No newline at end of file +

+ The Charles Bluemlein Script Collection is an intriguing reminder of the heady days of hand lettering and calligraphy in the United States. + From the early 1930s through World War II, there were about 200 professional hand letterers working in New York City alone. + This occupation saw its demise with the advent of photo lettering, and after digital typography it became virtually extinct. + The odd way in which the Bluemlein scripts were assembled and created - by collecting different signatures and then building complete alphabets from them - is a fascinating calligraphic adventure. + Because the set of constructed designs looked nothing like the original signatures, fictitious names were assigned to the new script typefaces. + The typeface styles were then showcased in Higgins Ink catalogs. +

+

+ Alejandro Paul and Sudtipos bring the Bluemlein scripts back to life in a set of expanded digital versions, reflecting the demands of today’s designer. + Extreme care has been taken to render the original scripts authentically, keeping the fictitious names originally assigned to them by Bluemlein. +

diff --git a/ofl/msmadi/DESCRIPTION.en_us.html b/ofl/msmadi/DESCRIPTION.en_us.html index 1c34186d2e..56a4ec402d 100644 --- a/ofl/msmadi/DESCRIPTION.en_us.html +++ b/ofl/msmadi/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Ms Madi is a monoline hand written script. It's clean connections and quite legible hand written cursive style works great in situations that require a relatively sophisticated casual look. As with any cursive script, it is never a good idea to use this font in all capital letters. + Ms Madi is a monoline hand written script. + It's clean connections and quite legible hand written cursive style works great in situations that require a relatively sophisticated casual look. + As with any cursive script, it is never a good idea to use this font in all capital letters.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/ms-madi. + To contribute, see + + github.com/googlefonts/ms-madi + + .

diff --git a/ofl/mukta/DESCRIPTION.en_us.html b/ofl/mukta/DESCRIPTION.en_us.html index 8dd3e40d51..69884e48bc 100644 --- a/ofl/mukta/DESCRIPTION.en_us.html +++ b/ofl/mukta/DESCRIPTION.en_us.html @@ -1,20 +1,32 @@

-Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. -This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. -The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. -This ensures that the fonts can be used successfully for both single and multi-script purposes. + Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. + This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. + The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. + This ensures that the fonts can be used successfully for both single and multi-script purposes.

-Mukta was designed by Girish Dalvi and Yashodeep Gholap. -Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. -Mukta Malar was designed by Aadarsh Rajan. -Mukta Mahee was designed by Shuchita Grover and Noopur Datye. + Mukta was designed by Girish Dalvi and Yashodeep Gholap. + + Mukta Vaani + + was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. + + Mukta Malar + + was designed by Aadarsh Rajan. + + Mukta Mahee + + was designed by Shuchita Grover and Noopur Datye.

-Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. -Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. + Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. + Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Mukta + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Mukta +

diff --git a/ofl/muktamahee/DESCRIPTION.en_us.html b/ofl/muktamahee/DESCRIPTION.en_us.html index 313a8d5981..20ba0d44d6 100644 --- a/ofl/muktamahee/DESCRIPTION.en_us.html +++ b/ofl/muktamahee/DESCRIPTION.en_us.html @@ -1,20 +1,32 @@

-Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. -This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. -The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. -This ensures that the fonts can be used successfully for both single and multi-script purposes. + Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. + This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. + The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. + This ensures that the fonts can be used successfully for both single and multi-script purposes.

-Mukta was designed by Girish Dalvi and Yashodeep Gholap. -Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. -Mukta Malar was designed by Aadarsh Rajan. -Mukta Mahee was designed by Shuchita Grover and Noopur Datye. + + Mukta + + was designed by Girish Dalvi and Yashodeep Gholap. + + Mukta Vaani + + was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. + + Mukta Malar + + was designed by Aadarsh Rajan. + Mukta Mahee was designed by Shuchita Grover and Noopur Datye.

-Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. -Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. + Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. + Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Mukta + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Mukta +

diff --git a/ofl/muktamalar/DESCRIPTION.en_us.html b/ofl/muktamalar/DESCRIPTION.en_us.html index 90c5a06d64..46e15ad612 100644 --- a/ofl/muktamalar/DESCRIPTION.en_us.html +++ b/ofl/muktamalar/DESCRIPTION.en_us.html @@ -1,20 +1,32 @@

-Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. -This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. -The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. -This ensures that the fonts can be used successfully for both single and multi-script purposes. + Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. + This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. + The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. + This ensures that the fonts can be used successfully for both single and multi-script purposes.

-Mukta was designed by Girish Dalvi and Yashodeep Gholap. -Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. -Mukta Malar was designed by Aadarsh Rajan. -Mukta Mahee was designed by Shuchita Grover and Noopur Datye. + + Mukta + + was designed by Girish Dalvi and Yashodeep Gholap. + + Mukta Vaani + + was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. + Mukta Malar was designed by Aadarsh Rajan. + + Mukta Mahee + + was designed by Shuchita Grover and Noopur Datye.

-Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. -Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. + Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. + Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Mukta + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Mukta +

diff --git a/ofl/muktavaani/DESCRIPTION.en_us.html b/ofl/muktavaani/DESCRIPTION.en_us.html index 2e94451794..9ee433a47d 100644 --- a/ofl/muktavaani/DESCRIPTION.en_us.html +++ b/ofl/muktavaani/DESCRIPTION.en_us.html @@ -1,20 +1,32 @@

-Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. -This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. -The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. -This ensures that the fonts can be used successfully for both single and multi-script purposes. + Mukta is a Unicode compliant, versatile, contemporary, humanist, mono-linear typeface family available in seven weights, supporting Devanagari, Gujarati, Gurumukhi, Tamil and Latin scripts. + This type family is a libre licensed version of Ek's self-titled multi-script project, an ongoing effort to develop a unified type family for each Indian script. + The goal is to build one harmonious family across all Indian scripts without letting the visual features of one script dominate over others. + This ensures that the fonts can be used successfully for both single and multi-script purposes.

-Mukta was designed by Girish Dalvi and Yashodeep Gholap. -Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. -Mukta Malar was designed by Aadarsh Rajan. -Mukta Mahee was designed by Shuchita Grover and Noopur Datye. + + Mukta + + was designed by Girish Dalvi and Yashodeep Gholap. + Mukta Vaani was designed by Noopur Datye and Pallavi Karambelkar with support from Sarang Kulkarni and Maithili Shingre. + + Mukta Malar + + was designed by Aadarsh Rajan. + + Mukta Mahee + + was designed by Shuchita Grover and Noopur Datye.

-Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. -Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement. + Ek would like to thank Vinay Saynekar, Santosh Kshirsagar, Shubhanand Jog, Yogesh Jahargirdar, Pradnya Naik, Snehal Patil, Omkar Shende and Dave Crossland for their suggestions and feedback during the font design process. + Ek would also like to thank faculty and friends from the Industrial Design Centre, IIT Bombay, and from Sir J J Institute of Applied Art, for their support and encouragement.

-This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. -To contribute, see github.com/EkType/Mukta + This project is led by Ek Type, a collective of type designers based in Mumbai focused on designing contemporary Indian typefaces. + To contribute, see + + github.com/EkType/Mukta +

diff --git a/ofl/mulish/DESCRIPTION.en_us.html b/ofl/mulish/DESCRIPTION.en_us.html index 98f7bb086f..b6aaad6c33 100644 --- a/ofl/mulish/DESCRIPTION.en_us.html +++ b/ofl/mulish/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Mulish is a minimalist Sans Serif typeface, designed for both display and text typography. + Mulish is a minimalist Sans Serif typeface, designed for both display and text typography.

-It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family – all based on hundreds of users' feedback. -In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. -In August 2019, it was updated with a Variable Font "Weight" axis. + It was initially drawn in 2011 by Vernon Adams and then refined until 2014, adding more weights, support for more Latin languages, tightened the spacing and kerning and made many glyph refinements throughout the family – all based on hundreds of users' feedback. + In 2017 the family was updated by Jacques Le Bailly to complete the work started by Vernon after he passed away, in collaboration with his wife Allison, an arist who holds the trademark on the typeface family name. + In August 2019, it was updated with a Variable Font "Weight" axis.

-To contribute, see github.com/googlefonts/mulish + To contribute, see + + github.com/googlefonts/mulish +

diff --git a/ofl/murecho/DESCRIPTION.en_us.html b/ofl/murecho/DESCRIPTION.en_us.html index d49480cdfe..08e7b8527f 100644 --- a/ofl/murecho/DESCRIPTION.en_us.html +++ b/ofl/murecho/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

-Murecho is a low-stroke contrast, flat terminal Gothic style (“sans serif”) Japanese typeface designed for text settings in Japan. It covers Hiragana, Katakana, and Kanji (JOYO+). It also supports Latin, Cyrillic, and Greek. Murecho is available in 9 practical weights and as a variable font. + Murecho is a low-stroke contrast, flat terminal Gothic style (“sans serif”) Japanese typeface designed for text settings in Japan. + It covers Hiragana, Katakana, and Kanji (JOYO+). + It also supports Latin, Cyrillic, and Greek. + Murecho is available in 9 practical weights and as a variable font.

-To contribute to Murecho, please visit the github page. + To contribute to Murecho, please visit the + + github page + + .

diff --git a/ofl/museomoderno/DESCRIPTION.en_us.html b/ofl/museomoderno/DESCRIPTION.en_us.html index e81dff91de..fb46cec31d 100644 --- a/ofl/museomoderno/DESCRIPTION.en_us.html +++ b/ofl/museomoderno/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@

-MuseoModerno is a contemporary geometric typeface for the new Identity of the Museum of Modern Art of Buenos Aires (Museo Moderno, AR). Designed by Marcela Romero, Héctor Gatti, Pablo Cosgaya and the Omnibus-Type Team. + MuseoModerno is a contemporary geometric typeface for the new Identity of the Museum of Modern Art of Buenos Aires (Museo Moderno, AR). + Designed by Marcela Romero, Héctor Gatti, Pablo Cosgaya and the Omnibus-Type Team.

-

The June 2022 release completes the family with the italic.

-To contribute, see github.com/Omnibus-Type/MuseoModerno. + The June 2022 release completes the family with the italic. +

+

+ To contribute, see + + github.com/Omnibus-Type/MuseoModerno + + .

diff --git a/ofl/myanmarsanspro/DESCRIPTION.en_us.html b/ofl/myanmarsanspro/DESCRIPTION.en_us.html index cddf6436fa..559ad17e25 100644 --- a/ofl/myanmarsanspro/DESCRIPTION.en_us.html +++ b/ofl/myanmarsanspro/DESCRIPTION.en_us.html @@ -1,2 +1,8 @@ -

Myanmar Sans Pro is an initial style for a type family that harmonizes with Adobe's Source Sans Pro family. It is a sans serif typeface intended to work well in user interfaces, and also in long form documents in headings and in body text.

-

Please note that the font is Unicode encoded, so requires Unicode encoded text to work correctly. Also, it will only work on platforms with Myanmar OpenType support - those that use harfbuzz, and Window 8 - which does not include earlier Windows and Apple systems.

\ No newline at end of file +

+ Myanmar Sans Pro is an initial style for a type family that harmonizes with Adobe's Source Sans Pro family. + It is a sans serif typeface intended to work well in user interfaces, and also in long form documents in headings and in body text. +

+

+ Please note that the font is Unicode encoded, so requires Unicode encoded text to work correctly. + Also, it will only work on platforms with Myanmar OpenType support - those that use harfbuzz, and Window 8 - which does not include earlier Windows and Apple systems. +

diff --git a/ofl/mynerve/DESCRIPTION.en_us.html b/ofl/mynerve/DESCRIPTION.en_us.html index 2025e16596..fbe832df67 100644 --- a/ofl/mynerve/DESCRIPTION.en_us.html +++ b/ofl/mynerve/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Mynerve is a handwriting typeface designed to annotate and comment on documents with a fresh style. In addition, two sets of alternates allow variations when letters are repeated to emulate realistic script, together with some ligatures for frequent combinations. It can be used for informal texts, notes, or any project that would benefit from a casual script looking font. With a Latin Plus language coverage currently supports 219 Latin based languages.

- -

To contribute, see github.com/carolinashort/MyNerve.

+

+ Mynerve is a handwriting typeface designed to annotate and comment on documents with a fresh style. + In addition, two sets of alternates allow variations when letters are repeated to emulate realistic script, together with some ligatures for frequent combinations. + It can be used for informal texts, notes, or any project that would benefit from a casual script looking font. + With a Latin Plus language coverage currently supports 219 Latin based languages. +

+

+ To contribute, see + + github.com/carolinashort/MyNerve + + . +

diff --git a/ofl/mysoul/DESCRIPTION.en_us.html b/ofl/mysoul/DESCRIPTION.en_us.html index 6da1e259e0..51a86337cd 100644 --- a/ofl/mysoul/DESCRIPTION.en_us.html +++ b/ofl/mysoul/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Inspired by the lettering popular in the northwest United States in the 1980s, My Soul is a flat pen calligraphic style with capital forms that have been subtly embellished. It's robust weight holds up well at reduced sizes, but be careful as the embellishments may cause a loss of legibility at such sizes. + Inspired by the lettering popular in the northwest United States in the 1980s, My Soul is a flat pen calligraphic style with capital forms that have been subtly embellished. + It's robust weight holds up well at reduced sizes, but be careful as the embellishments may cause a loss of legibility at such sizes.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/my-soul. + To contribute, see + + github.com/googlefonts/my-soul + + .

diff --git a/ofl/mysteryquest/DESCRIPTION.en_us.html b/ofl/mysteryquest/DESCRIPTION.en_us.html index 08cfcc9729..f51dc54c72 100644 --- a/ofl/mysteryquest/DESCRIPTION.en_us.html +++ b/ofl/mysteryquest/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Grab your gear! Check your nerves! Get ready for Mystery Quest! This far-out funky font brings danger with every curve! You never know what this playful 1960s mod inspired typeface will bring and design adventure is just around the corner! Are you ready?

Designed by Dave 'Squid' Cohen of Sideshow (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.

\ No newline at end of file +

+ Grab your gear! + Check your nerves! + Get ready for Mystery Quest! + This far-out funky font brings danger with every curve! + You never know what this playful 1960s mod inspired typeface will bring and design adventure is just around the corner! + Are you ready? +

+

+ Designed by Dave 'Squid' Cohen of Sideshow (a DBA of Font Diner, Inc.) To contribute to the project, contact the + + Font Diner + + . +

diff --git a/ofl/nabla/DESCRIPTION.en_us.html b/ofl/nabla/DESCRIPTION.en_us.html index 6a1507233e..671d15b6be 100644 --- a/ofl/nabla/DESCRIPTION.en_us.html +++ b/ofl/nabla/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@ -

Typearture's Nabla: an Isometric COLRv1 font

- Nabla is a color font inspired by isometric computer games, built using the COLRv1 format. This format allows for smooth gradients, sharp highlights and blended shadows, resulting in a bold and vibrant design. It includes two font variations axes, one for the depth of the letters, the other for the thickness of the highlight, and includes multiple color palettes. + Typearture's Nabla: an Isometric COLRv1 font

- Designed by Arthur Reinders Folmer, created with the magic of Just van Rossum. + Nabla is a color font inspired by isometric computer games, built using the COLRv1 format. + This format allows for smooth gradients, sharp highlights and blended shadows, resulting in a bold and vibrant design. + It includes two font variations axes, one for the depth of the letters, the other for the thickness of the highlight, and includes multiple color palettes. +

+

+ Designed by Arthur Reinders Folmer, created with the magic of Just van Rossum. +

+

+ To contribute, see + + github.com/justvanrossum/nabla + + .

-

To contribute, see github.com/justvanrossum/nabla.

\ No newline at end of file diff --git a/ofl/namdhinggo/DESCRIPTION.en_us.html b/ofl/namdhinggo/DESCRIPTION.en_us.html index ce01bea095..3d1caf719e 100644 --- a/ofl/namdhinggo/DESCRIPTION.en_us.html +++ b/ofl/namdhinggo/DESCRIPTION.en_us.html @@ -1,3 +1,14 @@ -

This project provides a libre and open font family for the Limbu script of Nepal. According to traditional histories the Limbu script was developed by King Sirijonga in the 9th Century. It then fell out of use before being reintroduced in the 18th century by Teongsi Sirijonga (1704-1741) whom many felt to be the reincarnation of the first Sirijonga. The modern Sirijonga was apparently martyred in 1741 for the sake of this script by lamas in Sikkim. The script was named 'Sirijonga' in his honour by the Limbu scholar Iman Singh Chemjong.

- -

To contribute, please see github.com/silnrsi/font-namdhinggo.

+

+ This project provides a libre and open font family for the Limbu script of Nepal. + According to traditional histories the Limbu script was developed by King Sirijonga in the 9th Century. + It then fell out of use before being reintroduced in the 18th century by Teongsi Sirijonga (1704-1741) whom many felt to be the reincarnation of the first Sirijonga. + The modern Sirijonga was apparently martyred in 1741 for the sake of this script by lamas in Sikkim. + The script was named 'Sirijonga' in his honour by the Limbu scholar Iman Singh Chemjong. +

+

+ To contribute, please see + + github.com/silnrsi/font-namdhinggo + + . +

diff --git a/ofl/nanumbrushscript/DESCRIPTION.en_us.html b/ofl/nanumbrushscript/DESCRIPTION.en_us.html index f639b24c93..81eb07069f 100644 --- a/ofl/nanumbrushscript/DESCRIPTION.en_us.html +++ b/ofl/nanumbrushscript/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for -the Korean-language script, designed by Sandoll Communications -(Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). The publisher is -Naver. Nanum Brush Script is a contemporary brush script with a warm touch and -is expertly hinted for screen use.

+

+ The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). + The publisher is Naver. + Nanum Brush Script is a contemporary brush script with a warm touch and is expertly hinted for screen use. +

diff --git a/ofl/nanumgothic/DESCRIPTION.en_us.html b/ofl/nanumgothic/DESCRIPTION.en_us.html index 789489d6fb..36595f4731 100644 --- a/ofl/nanumgothic/DESCRIPTION.en_us.html +++ b/ofl/nanumgothic/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for -the Korean-language script, designed by Sandoll Communications -(Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). The publisher is -Naver. Nanum Gothic is a contemporary sans-serif with a warm touch and is -expertly hinted for screen use.

+

+ The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). + The publisher is Naver. + Nanum Gothic is a contemporary sans-serif with a warm touch and is expertly hinted for screen use. +

diff --git a/ofl/nanumgothiccoding/DESCRIPTION.en_us.html b/ofl/nanumgothiccoding/DESCRIPTION.en_us.html index 275a19c9d4..aa1a63783c 100644 --- a/ofl/nanumgothiccoding/DESCRIPTION.en_us.html +++ b/ofl/nanumgothiccoding/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for -the Korean-language script, designed by Sandoll Communications -(Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). The publisher is -Naver. Nanum Gothic Coding is a contemporary monospaced sans-serif with a warm -touch and is expertly hinted for screen use.

+

+ The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). + The publisher is Naver. + Nanum Gothic Coding is a contemporary monospaced sans-serif with a warm touch and is expertly hinted for screen use. +

diff --git a/ofl/nanummyeongjo/DESCRIPTION.en_us.html b/ofl/nanummyeongjo/DESCRIPTION.en_us.html index f765d5d4b1..6a8d62cf02 100644 --- a/ofl/nanummyeongjo/DESCRIPTION.en_us.html +++ b/ofl/nanummyeongjo/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for -the Korean-language script, designed by Sandoll Communications -(Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). The publisher is -Naver. Nanum Myeongjo is a contemporary serif with a warm touch and is -expertly hinted for screen use.

+

+ The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). + The publisher is Naver. + Nanum Myeongjo is a contemporary serif with a warm touch and is expertly hinted for screen use. +

diff --git a/ofl/nanumpenscript/DESCRIPTION.en_us.html b/ofl/nanumpenscript/DESCRIPTION.en_us.html index 2d0442bd89..ae31bf5004 100644 --- a/ofl/nanumpenscript/DESCRIPTION.en_us.html +++ b/ofl/nanumpenscript/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@ -

The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for -the Korean-language script, designed by Sandoll Communications -(Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). The publisher is -Naver. Nanum Pen Script is a contemporary pen script with a warm touch and is -expertly hinted for screen use.

+

+ The Nanum fonts (Korean : 나눔글꼴) are unicode fonts designed especially for the Korean-language script, designed by Sandoll Communications (Korean : 산돌 커뮤니케이션) and Fontrix (Korean : 폰트릭스). + The publisher is Naver. + Nanum Pen Script is a contemporary pen script with a warm touch and is expertly hinted for screen use. +

diff --git a/ofl/narnoor/DESCRIPTION.en_us.html b/ofl/narnoor/DESCRIPTION.en_us.html index 3457259117..6dc4d22b0f 100644 --- a/ofl/narnoor/DESCRIPTION.en_us.html +++ b/ofl/narnoor/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Narnoor is a Unicode font based on typographer S. Sridhara Murthy's original font for the Gunjala script. The name "Narnoor" reflects the name of the mandal in Adilabad district of Telangana, where the Gunjala Gondi script is actively being revived.

- -

The November 2023 update brings more weights (Medium, SemiBold, Bold, ExtraBold) and the Latin characters are darker and smaller that the v2.000 release.

- -

To contribute, see github.com/silnrsi/font-narnoor.

+

+ Narnoor is a Unicode font based on typographer S. + Sridhara Murthy's original font for the Gunjala script. + The name "Narnoor" reflects the name of the mandal in Adilabad district of Telangana, where the Gunjala Gondi script is actively being revived. +

+

+ The November 2023 update brings more weights (Medium, SemiBold, Bold, ExtraBold) and the Latin characters are darker and smaller that the v2.000 release. +

+

+ To contribute, see + + github.com/silnrsi/font-narnoor + + . +

diff --git a/ofl/nats/DESCRIPTION.en_us.html b/ofl/nats/DESCRIPTION.en_us.html index 0f6d80210b..20c863f6b7 100644 --- a/ofl/nats/DESCRIPTION.en_us.html +++ b/ofl/nats/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-NATS is a Telugu handwriting font, mainly suitable for headings, posters and decorative invitations, and anywhere if someone want to use handwriting style to add their mark. + NATS is a Telugu handwriting font, mainly suitable for headings, posters and decorative invitations, and anywhere if someone want to use handwriting style to add their mark.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2012 and made available under the SIL Open Font License v1.1 by Silicon Andhra. -The Latin is designed by Julieta Ulanovsky, a type designer in Argentina, and originally published as Montserrat. -The NATS project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/nats

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2012 and made available under the SIL Open Font License v1.1 by Silicon Andhra. + The Latin is designed by Julieta Ulanovsky, a type designer in Argentina, and originally published as + + Montserrat + + . + The NATS project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/nats +

diff --git a/ofl/neonderthaw/DESCRIPTION.en_us.html b/ofl/neonderthaw/DESCRIPTION.en_us.html index 13f1089a6b..f8641de23a 100644 --- a/ofl/neonderthaw/DESCRIPTION.en_us.html +++ b/ofl/neonderthaw/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Neonderthaw is a single weight script that simulates neon. Throw it in an application that can use blurs, add some glow and viola, you have neon signage. + Neonderthaw is a single weight script that simulates neon. + Throw it in an application that can use blurs, add some glow and viola, you have neon signage.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/neonderthaw. + To contribute, see + + github.com/googlefonts/neonderthaw + + .

diff --git a/ofl/nerkoone/DESCRIPTION.en_us.html b/ofl/nerkoone/DESCRIPTION.en_us.html index 4975610c43..a576e8baba 100644 --- a/ofl/nerkoone/DESCRIPTION.en_us.html +++ b/ofl/nerkoone/DESCRIPTION.en_us.html @@ -1,6 +1,15 @@ -

Nerko is a chunky ‘marker’ effect font. It gives a funky, exciting and modern look while staying smooth and sleek. Be - as bold as the font while using a friendly style that makes users feel welcome in any circumstances.

-

From paper to screen, this font was created using traditional Marker Pens on paper for guidance to give it a natural - feeling.

- -

To contribute, please see github.com/nermink99/Nerko.

\ No newline at end of file +

+ Nerko is a chunky ‘marker’ effect font. + It gives a funky, exciting and modern look while staying smooth and sleek. + Be as bold as the font while using a friendly style that makes users feel welcome in any circumstances. +

+

+ From paper to screen, this font was created using traditional Marker Pens on paper for guidance to give it a natural feeling. +

+

+ To contribute, please see + + github.com/nermink99/Nerko + + . +

diff --git a/ofl/neucha/DESCRIPTION.en_us.html b/ofl/neucha/DESCRIPTION.en_us.html index 69663c4853..7c15587b26 100644 --- a/ofl/neucha/DESCRIPTION.en_us.html +++ b/ofl/neucha/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

You will throw tomatoes at me when I say that the font Neucha was invented for the sake of one and only one phrase: “I love you”. It was 2005 and I was in love. The first version of the font was done in 8 hours. I recently redid this fastfont from scratch, some glyphs have changed greatly but most of them I did not touch – just polished. Neucha very strong in terms of energy and I love it. Neucha translated from the Russian language means “not knowing how to create fonts right”.

\ No newline at end of file +

+ You will throw tomatoes at me when I say that the font Neucha was invented for the sake of one and only one phrase: “I love you”. + It was 2005 and I was in love. + The first version of the font was done in 8 hours. + I recently redid this fastfont from scratch, some glyphs have changed greatly but most of them I did not touch – just polished. + Neucha very strong in terms of energy and I love it. + Neucha translated from the Russian language means “not knowing how to create fonts right”. +

diff --git a/ofl/neuton/DESCRIPTION.en_us.html b/ofl/neuton/DESCRIPTION.en_us.html index 0a4cc9cc98..3529645bb0 100644 --- a/ofl/neuton/DESCRIPTION.en_us.html +++ b/ofl/neuton/DESCRIPTION.en_us.html @@ -1 +1,17 @@ -

Neuton is a clean, dark, somewhat Dutch-inspired serif font which reminds you a little of Times. It has a large height, short extenders, and a compact width for better screen use, and economy of space.

The family will comprise a regular, italic, and cursive, each in five weights and with smallcaps. Two italics — one will be called "italic", and the other "cursive" — are uncommon, but very useful. Ever tried emphasizing something already emphasized? Beyond that obvious example, there are other uses.

Sometimes a text needs a different flavor or feel. While one roman can work for a variety of texts, the companion italics don't always. In more classical or personal documents, a stiff, sober, modern and down-to-earth italic will never work. And in many essays, some of the fancier italics look ridiculous. Who said a roman needs only one companion?

\ No newline at end of file +

+ Neuton is a clean, dark, somewhat Dutch-inspired serif font which reminds you a little of Times. + It has a large height, short extenders, and a compact width for better screen use, and economy of space. +

+

+ The family will comprise a regular, italic, and cursive, each in five weights and with smallcaps. + Two italics — one will be called "italic", and the other "cursive" — are uncommon, but very useful. + Ever tried emphasizing something already emphasized? + Beyond that obvious example, there are other uses. +

+

+ Sometimes a text needs a different flavor or feel. + While one roman can work for a variety of texts, the companion italics don't always. + In more classical or personal documents, a stiff, sober, modern and down-to-earth italic will never work. + And in many essays, some of the fancier italics look ridiculous. + Who said a roman needs only one companion? +

diff --git a/ofl/newrocker/DESCRIPTION.en_us.html b/ofl/newrocker/DESCRIPTION.en_us.html index 84fb75a3a1..0e019c4f02 100644 --- a/ofl/newrocker/DESCRIPTION.en_us.html +++ b/ofl/newrocker/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

New Rocker is a loud, harsh, screaming font. With Blackletter, Tattoo and Heavy Metal logos as inspiration.

\ No newline at end of file +

+ New Rocker is a loud, harsh, screaming font. + With Blackletter, Tattoo and Heavy Metal logos as inspiration. +

diff --git a/ofl/newscycle/DESCRIPTION.en_us.html b/ofl/newscycle/DESCRIPTION.en_us.html index 17025afbf6..fd1b814f44 100644 --- a/ofl/newscycle/DESCRIPTION.en_us.html +++ b/ofl/newscycle/DESCRIPTION.en_us.html @@ -1,10 +1,12 @@

-News Cycle is a realist, sans-serif typeface based primarily on a revival of the 1908-era News Gothic, the stalwart newspaper face from American Type Founders (ATF). -Like News Gothic, it is designed for clarity and readability in large blocks of copy, but to still look good in headline-sizes at the top of the page. -It also extends News Gothic to better cover more of the world's orthographies, starting with Eastern European and African languages, and soon Greek and Cyrillic alphabets as well. + News Cycle is a realist, sans-serif typeface based primarily on a revival of the 1908-era News Gothic, the stalwart newspaper face from American Type Founders (ATF). + Like News Gothic, it is designed for clarity and readability in large blocks of copy, but to still look good in headline-sizes at the top of the page. + It also extends News Gothic to better cover more of the world's orthographies, starting with Eastern European and African languages, and soon Greek and Cyrillic alphabets as well.

-

-This project is led by Nathan Wilis, a type designer based in Texas, USA. -To contribute, visit launchpad.net/newscycle -

\ No newline at end of file + This project is led by Nathan Wilis, a type designer based in Texas, USA. + To contribute, visit + + launchpad.net/newscycle + +

diff --git a/ofl/newsreader/DESCRIPTION.en_us.html b/ofl/newsreader/DESCRIPTION.en_us.html index f1afea434b..cf40f67ba5 100644 --- a/ofl/newsreader/DESCRIPTION.en_us.html +++ b/ofl/newsreader/DESCRIPTION.en_us.html @@ -1,3 +1,10 @@ -

NewsReader is an original typeface designed by Production Type, primarily intended for continuous on-screen reading in content-rich environments.

- -

To contribute, please see github.com/productiontype/Newsreader.

+

+ NewsReader is an original typeface designed by Production Type, primarily intended for continuous on-screen reading in content-rich environments. +

+

+ To contribute, please see + + github.com/productiontype/Newsreader + + . +

diff --git a/ofl/newtegomin/DESCRIPTION.en_us.html b/ofl/newtegomin/DESCRIPTION.en_us.html index 109d3e28ac..dfb45cf7f9 100644 --- a/ofl/newtegomin/DESCRIPTION.en_us.html +++ b/ofl/newtegomin/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-A Mincho (Japanese Serif) style font which has been drawn on a square grid. It takes inspiration from Mincho's clean and well organized appearance and the organic nature of handwritten letterforms. + A Mincho (Japanese Serif) style font which has been drawn on a square grid. + It takes inspiration from Mincho's clean and well organized appearance and the organic nature of handwritten letterforms.

-To contribute to the project, visit github.com/nagamaki008/NewTegomin + To contribute to the project, visit + + github.com/nagamaki008/NewTegomin +

diff --git a/ofl/nicomoji/DESCRIPTION.en_us.html b/ofl/nicomoji/DESCRIPTION.en_us.html index 0841490016..195ed53d34 100644 --- a/ofl/nicomoji/DESCRIPTION.en_us.html +++ b/ofl/nicomoji/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

-Nico Moji (ニコモジ) is a cute and playful Japanese font, with flat and wide Katakana and Hiragana. + + Nico Moji (ニコモジ) + + is a cute and playful Japanese font, with flat and wide Katakana and Hiragana.

-744 glyphs. -Now released under the SIL Open Font License. + 744 glyphs. + Now released under the SIL Open Font License.

diff --git a/ofl/niconne/DESCRIPTION.en_us.html b/ofl/niconne/DESCRIPTION.en_us.html index 10ddeb1246..012fb27efe 100644 --- a/ofl/niconne/DESCRIPTION.en_us.html +++ b/ofl/niconne/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Nicone is based on the designs of the Stephenson Blake typeface, Madonna, first released in 1925. Madonna itself was based on an earlier face known as 'Bernhard Cursive'. Nicone has been redesigned and shaped to create a new version of the 1925 typeface that can now be used freely as a Libre webfont across the internet by web browsers on desktop computers, laptops and mobile devices.

\ No newline at end of file +

+ Nicone is based on the designs of the Stephenson Blake typeface, Madonna, first released in 1925. + Madonna itself was based on an earlier face known as 'Bernhard Cursive'. + Nicone has been redesigned and shaped to create a new version of the 1925 typeface that can now be used freely as a Libre webfont across the internet by web browsers on desktop computers, laptops and mobile devices. +

diff --git a/ofl/nikukyu/DESCRIPTION.en_us.html b/ofl/nikukyu/DESCRIPTION.en_us.html index 5d45627e1c..dcb13d6173 100644 --- a/ofl/nikukyu/DESCRIPTION.en_us.html +++ b/ofl/nikukyu/DESCRIPTION.en_us.html @@ -1,9 +1,11 @@

-Nikukyu (ニクキュウ) is a fun and playful Japanese font, inspired by the soft pads of cat paws: -Each character is equipted with a highlight spot. -The spaces between horizontal strokes are small and tight, so this font is best used in large sizes. + + Nikukyu (ニクキュウ) + + is a fun and playful Japanese font, inspired by the soft pads of cat paws: Each character is equipted with a highlight spot. + The spaces between horizontal strokes are small and tight, so this font is best used in large sizes.

-182 glyphs. -Now released under the SIL Open Font License. + 182 glyphs. + Now released under the SIL Open Font License.

diff --git a/ofl/niramit/DESCRIPTION.en_us.html b/ofl/niramit/DESCRIPTION.en_us.html index 6b75447f56..e3fa38e438 100644 --- a/ofl/niramit/DESCRIPTION.en_us.html +++ b/ofl/niramit/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Niramit is a Thai and Latin family featuring decorative details. The Thai has a modern structure but also features the traditional looped letterforms.

\ No newline at end of file +

+ Niramit is a Thai and Latin family featuring decorative details. + The Thai has a modern structure but also features the traditional looped letterforms. +

diff --git a/ofl/nixieone/DESCRIPTION.en_us.html b/ofl/nixieone/DESCRIPTION.en_us.html index 055e3a5044..6112805ad8 100644 --- a/ofl/nixieone/DESCRIPTION.en_us.html +++ b/ofl/nixieone/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

It's like Chinese food. We take the chicken and mix it with pineapple. For one minute we think that the taste will at least strange, but it is so harmonious and beautiful, what do you know, why didn't you try this earlier? This font is a mixture of neon tubes signage and a typewriter: A thoroughbred mix of chicken and pineapple.

\ No newline at end of file +

+ It's like Chinese food. + We take the chicken and mix it with pineapple. + For one minute we think that the taste will at least strange, but it is so harmonious and beautiful, what do you know, why didn't you try this earlier? + This font is a mixture of neon tubes signage and a typewriter: A thoroughbred mix of chicken and pineapple. +

diff --git a/ofl/nobile/DESCRIPTION.en_us.html b/ofl/nobile/DESCRIPTION.en_us.html index b0a3a6ce17..64bf3a2acf 100644 --- a/ofl/nobile/DESCRIPTION.en_us.html +++ b/ofl/nobile/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

"Nobile" is designed to work with the technologies of digital screens and handheld devices without losing the distinctive look more usually found in fonts designed for printing. Going back to William Morris's baseline "Have nothing in your house that you do not know to be useful, or believe to be beautiful", the aim was to design a font that could function well, have good legibility on screen yet also be good looking, not only at larger display sizes but also right down to small text sizes.

\ No newline at end of file +

+ "Nobile" is designed to work with the technologies of digital screens and handheld devices without losing the distinctive look more usually found in fonts designed for printing. + Going back to William Morris's baseline "Have nothing in your house that you do not know to be useful, or believe to be beautiful", the aim was to design a font that could function well, have good legibility on screen yet also be good looking, not only at larger display sizes but also right down to small text sizes. +

diff --git a/ofl/nokora/DESCRIPTION.en_us.html b/ofl/nokora/DESCRIPTION.en_us.html index 90fd63189d..a4ff25633b 100644 --- a/ofl/nokora/DESCRIPTION.en_us.html +++ b/ofl/nokora/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Nokora is a Khmer font for body text, that pairs well with Latin sans serif fonts. + Nokora is a Khmer font for body text, that pairs well with Latin sans serif fonts.

-To contribute, see github.com/danhhong/Nokora. + To contribute, see + + github.com/danhhong/Nokora + + .

diff --git a/ofl/norican/DESCRIPTION.en_us.html b/ofl/norican/DESCRIPTION.en_us.html index ce64c8d856..81e038d030 100644 --- a/ofl/norican/DESCRIPTION.en_us.html +++ b/ofl/norican/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Norican is a script-like display font designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Norican's design is based on the merging of a number of old script fonts, most notably Stephenson Blake's 'Glenmoy' from the 1920s.

- -

The August 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/NoricanFont.

+

+ Norican is a script-like display font designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. + Norican's design is based on the merging of a number of old script fonts, most notably Stephenson Blake's 'Glenmoy' from the 1920s. +

+

+ The August 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/NoricanFont + + . +

diff --git a/ofl/nosifer/DESCRIPTION.en_us.html b/ofl/nosifer/DESCRIPTION.en_us.html index 10a8b4db35..54f4278ee2 100644 --- a/ofl/nosifer/DESCRIPTION.en_us.html +++ b/ofl/nosifer/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Nobody knows where Nosifer comes from. It emanates a dark stench as it drips from the Internet.

\ No newline at end of file +

+ Nobody knows where Nosifer comes from. + It emanates a dark stench as it drips from the Internet. +

diff --git a/ofl/nosifercaps/DESCRIPTION.en_us.html b/ofl/nosifercaps/DESCRIPTION.en_us.html index 85bd7e5f27..a991d60915 100644 --- a/ofl/nosifercaps/DESCRIPTION.en_us.html +++ b/ofl/nosifercaps/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Nobody knows where Nosifer Caps comes from. It emanates a dark stench as it drips from the internet.

\ No newline at end of file +

+ Nobody knows where Nosifer Caps comes from. + It emanates a dark stench as it drips from the internet. +

diff --git a/ofl/notable/DESCRIPTION.en_us.html b/ofl/notable/DESCRIPTION.en_us.html index 07a0615f3f..8ae88b4045 100644 --- a/ofl/notable/DESCRIPTION.en_us.html +++ b/ofl/notable/DESCRIPTION.en_us.html @@ -1,9 +1,30 @@

-Notable is an uppercase sans serif display font; it’s letterforms are based on those found on U.S. currency. + Notable is an uppercase sans serif display font; it’s letterforms are based on those found on U.S. + currency.

-Notable was designed by Eli Block, Hana Tanimura, and Noemie Le Coz for Notable Women, an initiative by former Treasurer of the United States, Rosie Rios. + Notable was designed by + + Eli Block + + , + + Hana Tanimura + + , and + + Noemie Le Coz + + for + + Notable Women + + , an initiative by former Treasurer of the United States, Rosie Rios.

-Notable Women is an augmented reality experiment that lets anyone see 100 historic American women where they’ve historically been left out: U.S. currency. + + Notable Women + + is an augmented reality experiment that lets anyone see 100 historic American women where they’ve historically been left out: U.S. + currency.

diff --git a/ofl/nothingyoucoulddo/DESCRIPTION.en_us.html b/ofl/nothingyoucoulddo/DESCRIPTION.en_us.html index e9664dd068..02b11a7f0d 100644 --- a/ofl/nothingyoucoulddo/DESCRIPTION.en_us.html +++ b/ofl/nothingyoucoulddo/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Nothing You Could Do is based on the handwriting of a photographer friend. I chose the name because it echoes my love for my husband and children and how my love for them is unconditional and not based on anything they could do or say. I love this handwriting because it is human, it is imperfect, and it is natural. Real humans don’t write perfectly neatly, and this font creates that feeling of authenticity.

\ No newline at end of file +

+ Nothing You Could Do is based on the handwriting of a photographer friend. + I chose the name because it echoes my love for my husband and children and how my love for them is unconditional and not based on anything they could do or say. + I love this handwriting because it is human, it is imperfect, and it is natural. + Real humans don’t write perfectly neatly, and this font creates that feeling of authenticity. +

diff --git a/ofl/noticiatext/DESCRIPTION.en_us.html b/ofl/noticiatext/DESCRIPTION.en_us.html index bbecc03c95..ea1f85f691 100644 --- a/ofl/noticiatext/DESCRIPTION.en_us.html +++ b/ofl/noticiatext/DESCRIPTION.en_us.html @@ -1 +1,22 @@ -

Noticia Text is a contemporary humanist slab serif typeface designed to be used for running text on digital newspapers (both on websites and mobile apps). It has a large x-height, ample proportions, big serifs and large apertures that allow the letters to be clear, even at small sizes on low resolution screens. The capitals are unusually small, allowing them to be used as substitutes for small caps. (It's recommended to add some tracking if used in this way.)

One major feature is the break in the internal curves of round characters. While this break makes some interesting forms at large sizes, their true purpose is to help make the counterforms more open at small sizes by allowing straighter stems. This reasoning is famously known as W.A. Dwiggins' “M-formula.”

The italics were designed to contrast with the roman styles while maintaining good legibility. The true italic forms also have big counterforms and simple curves.

The fonts have been manually hinted to get the best possible rasterization in Windows.

The Noticia font family project is envisioned as 18 different fonts styles, with text, condensed, display and sans variants, different weights and including italic versions, all designed and hinted to work well on computer and mobile devices screens.

+

+ Noticia Text is a contemporary humanist slab serif typeface designed to be used for running text on digital newspapers (both on websites and mobile apps). + It has a large x-height, ample proportions, big serifs and large apertures that allow the letters to be clear, even at small sizes on low resolution screens. + The capitals are unusually small, allowing them to be used as substitutes for small caps. + (It's recommended to add some tracking if used in this way.) +

+

+ One major feature is the break in the internal curves of round characters. + While this break makes some interesting forms at large sizes, their true purpose is to help make the counterforms more open at small sizes by allowing straighter stems. + This reasoning is famously known as W.A. + Dwiggins' “M-formula.” +

+

+ The italics were designed to contrast with the roman styles while maintaining good legibility. + The true italic forms also have big counterforms and simple curves. +

+

+ The fonts have been manually hinted to get the best possible rasterization in Windows. +

+

+ The Noticia font family project is envisioned as 18 different fonts styles, with text, condensed, display and sans variants, different weights and including italic versions, all designed and hinted to work well on computer and mobile devices screens. +

diff --git a/ofl/notocoloremojicompattest/DESCRIPTION.en_us.html b/ofl/notocoloremojicompattest/DESCRIPTION.en_us.html index bab823fa32..da7365c0bb 100644 --- a/ofl/notocoloremojicompattest/DESCRIPTION.en_us.html +++ b/ofl/notocoloremojicompattest/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Test of a font with many color tables for x-browser compatibility. + Test of a font with many color tables for x-browser compatibility.

diff --git a/ofl/notoemoji/DESCRIPTION.en_us.html b/ofl/notoemoji/DESCRIPTION.en_us.html index d07d97765e..76b1442ce0 100644 --- a/ofl/notoemoji/DESCRIPTION.en_us.html +++ b/ofl/notoemoji/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Noto Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. -It has multiple weights and features thousands of emoji. + Noto Emoji is an open source font that has you covered for all your emoji needs, including support for the latest Unicode emoji specification. + It has multiple weights and features thousands of emoji.

diff --git a/ofl/notokufiarabic/DESCRIPTION.en_us.html b/ofl/notokufiarabic/DESCRIPTION.en_us.html index 5001f0fb91..29fa3a969f 100644 --- a/ofl/notokufiarabic/DESCRIPTION.en_us.html +++ b/ofl/notokufiarabic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Kufi Arabic is a simplified, unmodulated (“sans serif”) Kufi - design mainly for texts in larger font sizes in the Middle Eastern - Arabic script. It has multiple weights and 733 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Kufi Arabic is a simplified, unmodulated (“sans serif”) Kufi design mainly for texts in larger font sizes in the Middle Eastern + + Arabic + + script. + It has multiple weights and 733 glyphs.

diff --git a/ofl/notomusic/DESCRIPTION.en_us.html b/ofl/notomusic/DESCRIPTION.en_us.html index 58192b769f..be2bfd1b1b 100644 --- a/ofl/notomusic/DESCRIPTION.en_us.html +++ b/ofl/notomusic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Music is a font that contains symbols for the modern, - Byzantine and Greek musical notations. It has 579 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Music is a font that contains symbols for the modern, Byzantine and Greek + + musical notations + + . + It has 579 glyphs.

diff --git a/ofl/notonaskharabic/DESCRIPTION.en_us.html b/ofl/notonaskharabic/DESCRIPTION.en_us.html index 6876f63457..5afbbeb985 100644 --- a/ofl/notonaskharabic/DESCRIPTION.en_us.html +++ b/ofl/notonaskharabic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Naskh Arabic is a modulated (“serif”) Naskh design, suitable - for texts in the Middle Eastern Arabic script and for use together - with serif fonts. It has multiple weights and 1,598 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Naskh Arabic is a modulated (“serif”) Naskh design, suitable for texts in the Middle Eastern + + Arabic + + script and for use together with serif fonts. + It has multiple weights and 1,598 glyphs.

diff --git a/ofl/notonaskharabicui/DESCRIPTION.en_us.html b/ofl/notonaskharabicui/DESCRIPTION.en_us.html index 60ac4bc9ed..614056ada1 100644 --- a/ofl/notonaskharabicui/DESCRIPTION.en_us.html +++ b/ofl/notonaskharabicui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Naskh Arabic UI is a modulated (“serif”) Naskh design for app - and website user interfaces in the Middle Eastern Arabic script. It - has multiple weights and 1,597 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Naskh Arabic UI is a modulated (“serif”) Naskh design for app and website user interfaces in the Middle Eastern + + Arabic + + script. + It has multiple weights and 1,597 glyphs.

diff --git a/ofl/notonastaliqurdu/DESCRIPTION.en_us.html b/ofl/notonastaliqurdu/DESCRIPTION.en_us.html index b56e13a22c..ecbc34fac8 100644 --- a/ofl/notonastaliqurdu/DESCRIPTION.en_us.html +++ b/ofl/notonastaliqurdu/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Nastaliq Urdu is a cursive, modulated (“serif”) Nastaliq - design for texts in the Middle Eastern Arabic script, especially in - the Urdu language. It has 1,138 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Nastaliq Urdu is a cursive, modulated (“serif”) Nastaliq design for texts in the Middle Eastern + + Arabic + + script, especially in the Urdu language. + It has 1,138 glyphs.

diff --git a/ofl/notorashihebrew/DESCRIPTION.en_us.html b/ofl/notorashihebrew/DESCRIPTION.en_us.html index d5fbf1208c..b1b22a1471 100644 --- a/ofl/notorashihebrew/DESCRIPTION.en_us.html +++ b/ofl/notorashihebrew/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Rashi Hebrew is modulated (“serif”) design for the Middle - Eastern Hebrew script with a semi-cursive skeleton based on - 15th-century Sephardic writing. It can be used for emphasis, complementing - Noto Serif Hebrew. Similar designs were used for religious commentary. It has - multiple weights and 92 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Rashi Hebrew is modulated (“serif”) design for the Middle Eastern + + Hebrew + + script with a semi-cursive skeleton based on 15th-century Sephardic writing. + It can be used for emphasis, complementing Noto Serif Hebrew. + Similar designs were used for religious commentary. + It has multiple weights and 92 glyphs.

diff --git a/ofl/notosans/DESCRIPTION.en_us.html b/ofl/notosans/DESCRIPTION.en_us.html index 74b056286a..8b950548ac 100644 --- a/ofl/notosans/DESCRIPTION.en_us.html +++ b/ofl/notosans/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans is an unmodulated (“sans serif”) design for texts in the - Latin, Cyrillic and Greek scripts, which is also suitable as - the complementary choice for other script-specific Noto Sans fonts. It has - italic styles, multiple weights and widths, and 3,741 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans is an unmodulated (“sans serif”) design for texts in the + + Latin, Cyrillic + + and + + Greek + + scripts, which is also suitable as the complementary choice for other script-specific Noto Sans fonts. + It has italic styles, multiple weights and widths, and 3,741 glyphs.

- To contribute, see - - fonts.google.com/noto/contribute + To contribute, see + + fonts.google.com/noto/contribute +

diff --git a/ofl/notosansadlam/DESCRIPTION.en_us.html b/ofl/notosansadlam/DESCRIPTION.en_us.html index 870b8c817b..2096036fb8 100644 --- a/ofl/notosansadlam/DESCRIPTION.en_us.html +++ b/ofl/notosansadlam/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Adlam is a joining (cursive) unmodulated (“sans serif”) - design for texts in the African Adlam script. It has multiple weights - and 362 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Adlam is a joining (cursive) unmodulated (“sans serif”) design for texts in the African + + Adlam + + script. + It has multiple weights and 362 glyphs.

diff --git a/ofl/notosansadlamunjoined/DESCRIPTION.en_us.html b/ofl/notosansadlamunjoined/DESCRIPTION.en_us.html index d64635285e..dfaa88204b 100644 --- a/ofl/notosansadlamunjoined/DESCRIPTION.en_us.html +++ b/ofl/notosansadlamunjoined/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Adlam Unjoined is an unjoined unmodulated (“sans serif”) - design suitable for headlines and for educational content in the African - Adlam script. It has multiple weights and 155 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Adlam Unjoined is an unjoined unmodulated (“sans serif”) design suitable for headlines and for educational content in the African + + Adlam + + script. + It has multiple weights and 155 glyphs.

diff --git a/ofl/notosansanatolianhieroglyphs/DESCRIPTION.en_us.html b/ofl/notosansanatolianhieroglyphs/DESCRIPTION.en_us.html index d0e75d2151..230cd97e76 100644 --- a/ofl/notosansanatolianhieroglyphs/DESCRIPTION.en_us.html +++ b/ofl/notosansanatolianhieroglyphs/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Anatolian Hieroglyphs is an unmodulated (“sans serif”) - design for texts in the historical Middle Eastern - Anatolian hieroglyphs script. It has 589 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Anatolian Hieroglyphs is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Anatolian hieroglyphs + + script. + It has 589 glyphs.

diff --git a/ofl/notosansarabic/DESCRIPTION.en_us.html b/ofl/notosansarabic/DESCRIPTION.en_us.html index 2478c286d8..a38822f498 100644 --- a/ofl/notosansarabic/DESCRIPTION.en_us.html +++ b/ofl/notosansarabic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Arabic is an unmodulated (“sans serif”) design for texts - in the Middle Eastern Arabic script. It has multiple weights and - widths, and 1,642 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Arabic is an unmodulated (“sans serif”) design for texts in the Middle Eastern + + Arabic + + script. + It has multiple weights and widths, and 1,642 glyphs.

diff --git a/ofl/notosansarabicui/DESCRIPTION.en_us.html b/ofl/notosansarabicui/DESCRIPTION.en_us.html index 501b985605..9eb841c6bd 100644 --- a/ofl/notosansarabicui/DESCRIPTION.en_us.html +++ b/ofl/notosansarabicui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Arabic UI is an unmodulated (“sans serif”) design for app - and website user interfaces in the Middle Eastern Arabic script. It - has multiple weights and widths, and 1,563 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Arabic UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Middle Eastern + + Arabic + + script. + It has multiple weights and widths, and 1,563 glyphs.

diff --git a/ofl/notosansarmenian/DESCRIPTION.en_us.html b/ofl/notosansarmenian/DESCRIPTION.en_us.html index 5b88f62991..408059deef 100644 --- a/ofl/notosansarmenian/DESCRIPTION.en_us.html +++ b/ofl/notosansarmenian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Armenian is an unmodulated (“sans serif”) design for - texts in the European Armenian script. It has multiple weights and - widths, and 107 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Armenian is an unmodulated (“sans serif”) design for texts in the European + + Armenian + + script. + It has multiple weights and widths, and 107 glyphs.

diff --git a/ofl/notosansavestan/DESCRIPTION.en_us.html b/ofl/notosansavestan/DESCRIPTION.en_us.html index 0b3e0c261f..595a754780 100644 --- a/ofl/notosansavestan/DESCRIPTION.en_us.html +++ b/ofl/notosansavestan/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Avestan is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Avestan script. It has 76 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Avestan is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Avestan + + script. + It has 76 glyphs.

diff --git a/ofl/notosansbalinese/DESCRIPTION.en_us.html b/ofl/notosansbalinese/DESCRIPTION.en_us.html index fc5201eda8..64ad5e55cb 100644 --- a/ofl/notosansbalinese/DESCRIPTION.en_us.html +++ b/ofl/notosansbalinese/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Balinese is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Balinese script. It has multiple weights - and 361 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Balinese is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Balinese + + script. + It has multiple weights and 361 glyphs.

diff --git a/ofl/notosansbamum/DESCRIPTION.en_us.html b/ofl/notosansbamum/DESCRIPTION.en_us.html index df4c706fa4..e7c251a827 100644 --- a/ofl/notosansbamum/DESCRIPTION.en_us.html +++ b/ofl/notosansbamum/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Bamum is an unmodulated (“sans serif”) design for texts - in the African Bamum script. It has multiple weights and 662 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Bamum is an unmodulated (“sans serif”) design for texts in the African + + Bamum + + script. + It has multiple weights and 662 glyphs.

diff --git a/ofl/notosansbassavah/DESCRIPTION.en_us.html b/ofl/notosansbassavah/DESCRIPTION.en_us.html index e46184d02d..24fee69575 100644 --- a/ofl/notosansbassavah/DESCRIPTION.en_us.html +++ b/ofl/notosansbassavah/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Bassa Vah is an unmodulated (“sans serif”) design for - texts in the African Bassa Vah script. It has 45 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Bassa Vah is an unmodulated (“sans serif”) design for texts in the African + + Bassa Vah + + script. + It has 45 glyphs.

diff --git a/ofl/notosansbatak/DESCRIPTION.en_us.html b/ofl/notosansbatak/DESCRIPTION.en_us.html index 318e40389b..5aafe3f722 100644 --- a/ofl/notosansbatak/DESCRIPTION.en_us.html +++ b/ofl/notosansbatak/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Batak is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Batak script. It has 66 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Batak is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Batak + + script. + It has 66 glyphs.

diff --git a/ofl/notosansbengali/DESCRIPTION.en_us.html b/ofl/notosansbengali/DESCRIPTION.en_us.html index 0ee0322bbd..4073cd5062 100644 --- a/ofl/notosansbengali/DESCRIPTION.en_us.html +++ b/ofl/notosansbengali/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Bengali is an unmodulated (“sans serif”) design for texts - in the Indic Bangla (Bengali) script. It has multiple weights and - widths, and 695 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Bengali is an unmodulated (“sans serif”) design for texts in the Indic + + Bangla (Bengali) + + script. + It has multiple weights and widths, and 695 glyphs.

diff --git a/ofl/notosansbengaliui/DESCRIPTION.en_us.html b/ofl/notosansbengaliui/DESCRIPTION.en_us.html index 144693b14b..7e02474cc0 100644 --- a/ofl/notosansbengaliui/DESCRIPTION.en_us.html +++ b/ofl/notosansbengaliui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Bengali UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Bangla (Bengali) script. - It has multiple weights and widths, and 695 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Bengali UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Bangla (Bengali) + + script. + It has multiple weights and widths, and 695 glyphs.

diff --git a/ofl/notosansbhaiksuki/DESCRIPTION.en_us.html b/ofl/notosansbhaiksuki/DESCRIPTION.en_us.html index 04cffcf695..d7c597a0d5 100644 --- a/ofl/notosansbhaiksuki/DESCRIPTION.en_us.html +++ b/ofl/notosansbhaiksuki/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Bhaiksuki is an unmodulated (“sans serif”) design for - texts in the historical Indic Bhaiksuki script. It has 863 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Bhaiksuki is an unmodulated (“sans serif”) design for texts in the historical Indic + + Bhaiksuki + + script. + It has 863 glyphs.

diff --git a/ofl/notosansbrahmi/DESCRIPTION.en_us.html b/ofl/notosansbrahmi/DESCRIPTION.en_us.html index 9035b22699..eb9f1ec0a6 100644 --- a/ofl/notosansbrahmi/DESCRIPTION.en_us.html +++ b/ofl/notosansbrahmi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Brahmi is an unmodulated (“sans serif”) design for texts - in the historical Indic Brahmi script. It has 257 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Brahmi is an unmodulated (“sans serif”) design for texts in the historical Indic + + Brahmi + + script. + It has 257 glyphs.

diff --git a/ofl/notosansbuginese/DESCRIPTION.en_us.html b/ofl/notosansbuginese/DESCRIPTION.en_us.html index bdc8d3e856..070eca529e 100644 --- a/ofl/notosansbuginese/DESCRIPTION.en_us.html +++ b/ofl/notosansbuginese/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Buginese is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Buginese script. It has 41 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Buginese is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Buginese + + script. + It has 41 glyphs.

diff --git a/ofl/notosansbuhid/DESCRIPTION.en_us.html b/ofl/notosansbuhid/DESCRIPTION.en_us.html index a0aa93a094..bb27bd5b99 100644 --- a/ofl/notosansbuhid/DESCRIPTION.en_us.html +++ b/ofl/notosansbuhid/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Buhid is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Buhid script. It has 44 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Buhid is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Buhid + + script. + It has 44 glyphs.

diff --git a/ofl/notosanscanadianaboriginal/DESCRIPTION.en_us.html b/ofl/notosanscanadianaboriginal/DESCRIPTION.en_us.html index c2dc1998c0..6271f60372 100644 --- a/ofl/notosanscanadianaboriginal/DESCRIPTION.en_us.html +++ b/ofl/notosanscanadianaboriginal/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Canadian Aboriginal is an unmodulated (“sans serif”) - design for texts in the American - Canadian Aboriginal syllabics script. It has multiple weights and 746 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Canadian Aboriginal is an unmodulated (“sans serif”) design for texts in the American + + Canadian Aboriginal syllabics + + script. + It has multiple weights and 746 glyphs.

diff --git a/ofl/notosanscarian/DESCRIPTION.en_us.html b/ofl/notosanscarian/DESCRIPTION.en_us.html index f2e3b8ca4e..2cdaccd5d7 100644 --- a/ofl/notosanscarian/DESCRIPTION.en_us.html +++ b/ofl/notosanscarian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Carian is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Carian script. It has 54 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Carian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Carian + + script. + It has 54 glyphs.

diff --git a/ofl/notosanscaucasianalbanian/DESCRIPTION.en_us.html b/ofl/notosanscaucasianalbanian/DESCRIPTION.en_us.html index 11bad62223..29dff49c56 100644 --- a/ofl/notosanscaucasianalbanian/DESCRIPTION.en_us.html +++ b/ofl/notosanscaucasianalbanian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Caucasian Albanian is an unmodulated (“sans serif”) - design for texts in the historical European - Caucasian Albanian script. It has 181 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Caucasian Albanian is an unmodulated (“sans serif”) design for texts in the historical European + + Caucasian Albanian + + script. + It has 181 glyphs.

diff --git a/ofl/notosanschakma/DESCRIPTION.en_us.html b/ofl/notosanschakma/DESCRIPTION.en_us.html index f47e40832f..a7925a443e 100644 --- a/ofl/notosanschakma/DESCRIPTION.en_us.html +++ b/ofl/notosanschakma/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Chakma is an unmodulated (“sans serif”) design for texts - in the Indic Chakma script. It has 212 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Chakma is an unmodulated (“sans serif”) design for texts in the Indic + + Chakma + + script. + It has 212 glyphs.

diff --git a/ofl/notosanscham/DESCRIPTION.en_us.html b/ofl/notosanscham/DESCRIPTION.en_us.html index 36a3444b94..f64721c2d1 100644 --- a/ofl/notosanscham/DESCRIPTION.en_us.html +++ b/ofl/notosanscham/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Cham is an unmodulated (“sans serif”) design for texts in - the Southeast Asian Cham script. It has multiple weights and 131 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Cham is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Cham + + script. + It has multiple weights and 131 glyphs.

diff --git a/ofl/notosanscherokee/DESCRIPTION.en_us.html b/ofl/notosanscherokee/DESCRIPTION.en_us.html index d31fec6970..f74303c0bb 100644 --- a/ofl/notosanscherokee/DESCRIPTION.en_us.html +++ b/ofl/notosanscherokee/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Cherokee is an unmodulated (“sans serif”) design for - texts in the American Cherokee script. It has multiple weights and - 273 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Cherokee is an unmodulated (“sans serif”) design for texts in the American + + Cherokee + + script. + It has multiple weights and 273 glyphs.

diff --git a/ofl/notosanschorasmian/DESCRIPTION.en_us.html b/ofl/notosanschorasmian/DESCRIPTION.en_us.html index 29302b1a3b..0a16ec44bd 100644 --- a/ofl/notosanschorasmian/DESCRIPTION.en_us.html +++ b/ofl/notosanschorasmian/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Chorasmian is a design for the historical Middle Eastern Chorasmian script. It has 122 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Chorasmian is a design for the historical Middle Eastern + + Chorasmian + + script. + It has 122 glyphs. +

diff --git a/ofl/notosanscoptic/DESCRIPTION.en_us.html b/ofl/notosanscoptic/DESCRIPTION.en_us.html index 7044e4a536..42eb95d402 100644 --- a/ofl/notosanscoptic/DESCRIPTION.en_us.html +++ b/ofl/notosanscoptic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Coptic is an unmodulated (“sans serif”) design for texts - in the European Coptic script. It has 224 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Coptic is an unmodulated (“sans serif”) design for texts in the European + + Coptic + + script. + It has 224 glyphs.

diff --git a/ofl/notosanscuneiform/DESCRIPTION.en_us.html b/ofl/notosanscuneiform/DESCRIPTION.en_us.html index 5dfd524c1b..8e851b2723 100644 --- a/ofl/notosanscuneiform/DESCRIPTION.en_us.html +++ b/ofl/notosanscuneiform/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Cuneiform is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern - Sumero-Akkadian cuneiform script. It has 1,239 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Cuneiform is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Sumero-Akkadian cuneiform + + script. + It has 1,239 glyphs.

diff --git a/ofl/notosanscypriot/DESCRIPTION.en_us.html b/ofl/notosanscypriot/DESCRIPTION.en_us.html index 9bb65399a6..e4d0fe7e85 100644 --- a/ofl/notosanscypriot/DESCRIPTION.en_us.html +++ b/ofl/notosanscypriot/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Cypriot is an unmodulated (“sans serif”) design for texts - in the historical European Cypriot script. It has 60 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Cypriot is an unmodulated (“sans serif”) design for texts in the historical European + + Cypriot + + script. + It has 60 glyphs.

diff --git a/ofl/notosanscyprominoan/DESCRIPTION.en_us.html b/ofl/notosanscyprominoan/DESCRIPTION.en_us.html index 89a3041dfb..495dce18d9 100644 --- a/ofl/notosanscyprominoan/DESCRIPTION.en_us.html +++ b/ofl/notosanscyprominoan/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Cypro Minoan is a design for the historical European Cypro-Minoan script. It has 104 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Cypro Minoan is a design for the historical European + + Cypro-Minoan + + script. + It has 104 glyphs. +

diff --git a/ofl/notosansdeseret/DESCRIPTION.en_us.html b/ofl/notosansdeseret/DESCRIPTION.en_us.html index 37b5c52be4..befc3634df 100644 --- a/ofl/notosansdeseret/DESCRIPTION.en_us.html +++ b/ofl/notosansdeseret/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Deseret is an unmodulated (“sans serif”) design for texts - in the historical American Deseret script. It has 85 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Deseret is an unmodulated (“sans serif”) design for texts in the historical American + + Deseret + + script. + It has 85 glyphs.

diff --git a/ofl/notosansdevanagari/DESCRIPTION.en_us.html b/ofl/notosansdevanagari/DESCRIPTION.en_us.html index a5ffc03321..61dc42b619 100644 --- a/ofl/notosansdevanagari/DESCRIPTION.en_us.html +++ b/ofl/notosansdevanagari/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Devanagari is an unmodulated (“sans serif”) design for - texts in the Indic Devanagari script. It has 954 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Devanagari is an unmodulated (“sans serif”) design for texts in the Indic + + Devanagari + + script. + It has 954 glyphs.

diff --git a/ofl/notosansdevanagariui/DESCRIPTION.en_us.html b/ofl/notosansdevanagariui/DESCRIPTION.en_us.html index 419b9dc43b..a1b8662752 100644 --- a/ofl/notosansdevanagariui/DESCRIPTION.en_us.html +++ b/ofl/notosansdevanagariui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Devanagari UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Devanagari script. It - has 922 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Devanagari UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Devanagari + + script. + It has 922 glyphs.

diff --git a/ofl/notosansdisplay/DESCRIPTION.en_us.html b/ofl/notosansdisplay/DESCRIPTION.en_us.html index 890632ddc6..d940bc96d0 100644 --- a/ofl/notosansdisplay/DESCRIPTION.en_us.html +++ b/ofl/notosansdisplay/DESCRIPTION.en_us.html @@ -1,7 +1,17 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Display is an unmodulated (“sans serif”) design for texts - in larger font sizes in the European Latin script and in - Cyrillic, Greek. It has italic styles, multiple weights and - widths, and 3,316 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Display is an unmodulated (“sans serif”) design for texts in larger font sizes in the European + + Latin + + script and in + + Cyrillic + + , + + Greek + + . + It has italic styles, multiple weights and widths, and 3,316 glyphs.

diff --git a/ofl/notosansduployan/DESCRIPTION.en_us.html b/ofl/notosansduployan/DESCRIPTION.en_us.html index 051e3104e4..e0fbe4f070 100644 --- a/ofl/notosansduployan/DESCRIPTION.en_us.html +++ b/ofl/notosansduployan/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Duployan is a design for the Duployan shorthand script. It has 10,255 glyphs.

+

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Duployan is a design for the + + Duployan shorthand + + script. + It has 10,255 glyphs. +

diff --git a/ofl/notosansegyptianhieroglyphs/DESCRIPTION.en_us.html b/ofl/notosansegyptianhieroglyphs/DESCRIPTION.en_us.html index b7926c4efd..c870278f8e 100644 --- a/ofl/notosansegyptianhieroglyphs/DESCRIPTION.en_us.html +++ b/ofl/notosansegyptianhieroglyphs/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Egyptian Hieroglyphs is an unmodulated (“sans serif”) - design for texts in the historical African - Egyptian hieroglyphs script. It has 1,079 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Egyptian Hieroglyphs is an unmodulated (“sans serif”) design for texts in the historical African + + Egyptian hieroglyphs + + script. + It has 1,079 glyphs.

diff --git a/ofl/notosanselbasan/DESCRIPTION.en_us.html b/ofl/notosanselbasan/DESCRIPTION.en_us.html index 5ee563ef83..a291f18a50 100644 --- a/ofl/notosanselbasan/DESCRIPTION.en_us.html +++ b/ofl/notosanselbasan/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Elbasan is an unmodulated (“sans serif”) design for texts - in the historical European Elbasan script and in Greek. It - has 79 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Elbasan is an unmodulated (“sans serif”) design for texts in the historical European + + Elbasan + + script and in + + Greek + + . + It has 79 glyphs.

diff --git a/ofl/notosanselymaic/DESCRIPTION.en_us.html b/ofl/notosanselymaic/DESCRIPTION.en_us.html index ddb2df85f4..019949c50c 100644 --- a/ofl/notosanselymaic/DESCRIPTION.en_us.html +++ b/ofl/notosanselymaic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Elymaic is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Elymaic script. It has 46 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Elymaic is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Elymaic + + script. + It has 46 glyphs.

diff --git a/ofl/notosansethiopic/DESCRIPTION.en_us.html b/ofl/notosansethiopic/DESCRIPTION.en_us.html index 993d646964..7d8fdbbdac 100644 --- a/ofl/notosansethiopic/DESCRIPTION.en_us.html +++ b/ofl/notosansethiopic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Ethiopic is an unmodulated (“sans serif”) design for - texts in the African Ethiopic script. It has multiple weights and - widths, and 566 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Ethiopic is an unmodulated (“sans serif”) design for texts in the African + + Ethiopic + + script. + It has multiple weights and widths, and 566 glyphs.

diff --git a/ofl/notosansgeorgian/DESCRIPTION.en_us.html b/ofl/notosansgeorgian/DESCRIPTION.en_us.html index 32b79c956d..16741df777 100644 --- a/ofl/notosansgeorgian/DESCRIPTION.en_us.html +++ b/ofl/notosansgeorgian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Georgian is an unmodulated (“sans serif”) design for - texts in the European Georgian script. It has multiple weights and - widths, and 225 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Georgian is an unmodulated (“sans serif”) design for texts in the European + + Georgian + + script. + It has multiple weights and widths, and 225 glyphs.

diff --git a/ofl/notosansglagolitic/DESCRIPTION.en_us.html b/ofl/notosansglagolitic/DESCRIPTION.en_us.html index 7a7094ca2e..3ed2f55d22 100644 --- a/ofl/notosansglagolitic/DESCRIPTION.en_us.html +++ b/ofl/notosansglagolitic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Glagolitic is an unmodulated (“sans serif”) design for - texts in the historical European Glagolitic script. It has 142 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Glagolitic is an unmodulated (“sans serif”) design for texts in the historical European + + Glagolitic + + script. + It has 142 glyphs.

diff --git a/ofl/notosansgothic/DESCRIPTION.en_us.html b/ofl/notosansgothic/DESCRIPTION.en_us.html index d85ed4b7b2..aab1b4ac96 100644 --- a/ofl/notosansgothic/DESCRIPTION.en_us.html +++ b/ofl/notosansgothic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Gothic is an unmodulated (“sans serif”) design for texts - in the historical European Gothic script. It has 40 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gothic is an unmodulated (“sans serif”) design for texts in the historical European + + Gothic + + script. + It has 40 glyphs.

diff --git a/ofl/notosansgrantha/DESCRIPTION.en_us.html b/ofl/notosansgrantha/DESCRIPTION.en_us.html index 1042c65bd4..83654b5019 100644 --- a/ofl/notosansgrantha/DESCRIPTION.en_us.html +++ b/ofl/notosansgrantha/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Grantha is an unmodulated (“sans serif”) design for texts - in the Indic Grantha script. It has 478 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Grantha is an unmodulated (“sans serif”) design for texts in the Indic + + Grantha + + script. + It has 478 glyphs.

diff --git a/ofl/notosansgujarati/DESCRIPTION.en_us.html b/ofl/notosansgujarati/DESCRIPTION.en_us.html index e7289e3baf..6a2262d440 100644 --- a/ofl/notosansgujarati/DESCRIPTION.en_us.html +++ b/ofl/notosansgujarati/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Gujarati is an unmodulated (“sans serif”) design for - texts in the Indic Gujarati script. It has 798 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gujarati is an unmodulated (“sans serif”) design for texts in the Indic + + Gujarati + + script. + It has 798 glyphs.

diff --git a/ofl/notosansgujaratiui/DESCRIPTION.en_us.html b/ofl/notosansgujaratiui/DESCRIPTION.en_us.html index 28a6991ada..b249c32d1f 100644 --- a/ofl/notosansgujaratiui/DESCRIPTION.en_us.html +++ b/ofl/notosansgujaratiui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Gujarati UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Gujarati script. It has - 816 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gujarati UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Gujarati + + script. + It has 816 glyphs.

diff --git a/ofl/notosansgunjalagondi/DESCRIPTION.en_us.html b/ofl/notosansgunjalagondi/DESCRIPTION.en_us.html index 8ae857d978..ba43524152 100644 --- a/ofl/notosansgunjalagondi/DESCRIPTION.en_us.html +++ b/ofl/notosansgunjalagondi/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Gunjala Gondi is a design for the Indic Gunjala Gondi script. It has multiple weights, and has 254 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gunjala Gondi is a design for the Indic + + Gunjala Gondi + + script. + It has multiple weights, and has 254 glyphs. +

diff --git a/ofl/notosansgurmukhi/DESCRIPTION.en_us.html b/ofl/notosansgurmukhi/DESCRIPTION.en_us.html index adb2fa1f3f..4889702e42 100644 --- a/ofl/notosansgurmukhi/DESCRIPTION.en_us.html +++ b/ofl/notosansgurmukhi/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Gurmukhi is an unmodulated (“sans serif”) design for - texts in the Indic Gurmukhi script. It has multiple weights and - widths, and 344 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gurmukhi is an unmodulated (“sans serif”) design for texts in the Indic + + Gurmukhi + + script. + It has multiple weights and widths, and 344 glyphs.

diff --git a/ofl/notosansgurmukhiui/DESCRIPTION.en_us.html b/ofl/notosansgurmukhiui/DESCRIPTION.en_us.html index 0adddbd3b5..b54a087398 100644 --- a/ofl/notosansgurmukhiui/DESCRIPTION.en_us.html +++ b/ofl/notosansgurmukhiui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Gurmukhi UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Gurmukhi script. It has - multiple weights and widths, and 344 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Gurmukhi UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Gurmukhi + + script. + It has multiple weights and widths, and 344 glyphs.

diff --git a/ofl/notosanshanifirohingya/DESCRIPTION.en_us.html b/ofl/notosanshanifirohingya/DESCRIPTION.en_us.html index c36c630126..21a47eedb1 100644 --- a/ofl/notosanshanifirohingya/DESCRIPTION.en_us.html +++ b/ofl/notosanshanifirohingya/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Hanifi Rohingya is an unmodulated (“sans serif”) design - for texts in the Southeast Asian Hanifi Rohingya script. It has - multiple weights and 179 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Hanifi Rohingya is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Hanifi Rohingya + + script. + It has multiple weights and 179 glyphs.

diff --git a/ofl/notosanshanunoo/DESCRIPTION.en_us.html b/ofl/notosanshanunoo/DESCRIPTION.en_us.html index 6bccac238d..af81577bec 100644 --- a/ofl/notosanshanunoo/DESCRIPTION.en_us.html +++ b/ofl/notosanshanunoo/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Hanunoo is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Hanunoo script. It has 48 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Hanunoo is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Hanunoo + + script. + It has 48 glyphs.

diff --git a/ofl/notosanshatran/DESCRIPTION.en_us.html b/ofl/notosanshatran/DESCRIPTION.en_us.html index 338ec101e4..a36b0fa31e 100644 --- a/ofl/notosanshatran/DESCRIPTION.en_us.html +++ b/ofl/notosanshatran/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Hatran is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Hatran script. It has 32 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Hatran is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Hatran + + script. + It has 32 glyphs.

diff --git a/ofl/notosanshebrew/DESCRIPTION.en_us.html b/ofl/notosanshebrew/DESCRIPTION.en_us.html index 1d899c55e6..60442760fd 100644 --- a/ofl/notosanshebrew/DESCRIPTION.en_us.html +++ b/ofl/notosanshebrew/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Hebrew is an unmodulated (“sans serif”) design for texts - in the Middle Eastern Hebrew script. It has multiple weights and - widths, and 149 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Hebrew is an unmodulated (“sans serif”) design for texts in the Middle Eastern + + Hebrew + + script. + It has multiple weights and widths, and 149 glyphs.

diff --git a/ofl/notosanshk/DESCRIPTION.en_us.html b/ofl/notosanshk/DESCRIPTION.en_us.html index a5c48356a4..1553d4f7b2 100644 --- a/ofl/notosanshk/DESCRIPTION.en_us.html +++ b/ofl/notosanshk/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans HK is an unmodulated (“sans serif”) design for languages - in Hong Kong that use the Traditional Chinese variant of the Han - ideograms. It also supports - Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. It - has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans HK is an unmodulated (“sans serif”) design for languages in Hong Kong that use the + + Traditional Chinese + + variant of the Han ideograms. + It also supports + + Latin, Cyrillic, Greek, Katakana, Hiragana + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notosansimperialaramaic/DESCRIPTION.en_us.html b/ofl/notosansimperialaramaic/DESCRIPTION.en_us.html index 6125d55fc7..8ae2ffee05 100644 --- a/ofl/notosansimperialaramaic/DESCRIPTION.en_us.html +++ b/ofl/notosansimperialaramaic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Imperial Aramaic is an unmodulated (“sans serif”) design - for texts in the historical Middle Eastern Imperial Aramaic script. - It has 36 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Imperial Aramaic is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Imperial Aramaic + + script. + It has 36 glyphs.

diff --git a/ofl/notosansindicsiyaqnumbers/DESCRIPTION.en_us.html b/ofl/notosansindicsiyaqnumbers/DESCRIPTION.en_us.html index ddd09b5e3a..397f6d3790 100644 --- a/ofl/notosansindicsiyaqnumbers/DESCRIPTION.en_us.html +++ b/ofl/notosansindicsiyaqnumbers/DESCRIPTION.en_us.html @@ -1,6 +1,5 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Indic Siyaq Numbers is a modulated design that contains - Arabic-script numerals that were used for accounting in India in the 17th–20th - centuries. It has 95 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Indic Siyaq Numbers is a modulated design that contains Arabic-script numerals that were used for accounting in India in the 17th–20th centuries. + It has 95 glyphs.

diff --git a/ofl/notosansinscriptionalpahlavi/DESCRIPTION.en_us.html b/ofl/notosansinscriptionalpahlavi/DESCRIPTION.en_us.html index 13235c8887..465e3d5c27 100644 --- a/ofl/notosansinscriptionalpahlavi/DESCRIPTION.en_us.html +++ b/ofl/notosansinscriptionalpahlavi/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Inscriptional Pahlavi is an unmodulated (“sans serif”) - design for texts in the historical Middle Eastern - Inscriptional Pahlavi script. It has 35 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Inscriptional Pahlavi is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Inscriptional Pahlavi + + script. + It has 35 glyphs.

diff --git a/ofl/notosansinscriptionalparthian/DESCRIPTION.en_us.html b/ofl/notosansinscriptionalparthian/DESCRIPTION.en_us.html index 0cc8cfc60d..622e40c4a8 100644 --- a/ofl/notosansinscriptionalparthian/DESCRIPTION.en_us.html +++ b/ofl/notosansinscriptionalparthian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Inscriptional Parthian is an unmodulated (“sans serif”) - design for texts in the historical Middle Eastern - Inscriptional Parthian script. It has 46 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Inscriptional Parthian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Inscriptional Parthian + + script. + It has 46 glyphs.

diff --git a/ofl/notosansjavanese/DESCRIPTION.en_us.html b/ofl/notosansjavanese/DESCRIPTION.en_us.html index 81aa0a5a0d..cbf90e4974 100644 --- a/ofl/notosansjavanese/DESCRIPTION.en_us.html +++ b/ofl/notosansjavanese/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Javanese is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Javanese script. It has 405 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Javanese is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Javanese + + script. + It has 405 glyphs.

diff --git a/ofl/notosansjp/DESCRIPTION.en_us.html b/ofl/notosansjp/DESCRIPTION.en_us.html index 9b6f152166..62a9610720 100644 --- a/ofl/notosansjp/DESCRIPTION.en_us.html +++ b/ofl/notosansjp/DESCRIPTION.en_us.html @@ -1,7 +1,31 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans JP is an unmodulated (“sans serif”) design for the - Japanese language and other languages used in Japan. It covers - Hiragana, Katakana and Kanji. It also supports - Latin, Cyrillic, Greek and Hangul. It has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans JP is an unmodulated (“sans serif”) design for the + + Japanese + + language and other languages used in Japan. + It covers + + Hiragana + + , + + Katakana + + and + + Kanji + + . + It also supports + + Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notosanskaithi/DESCRIPTION.en_us.html b/ofl/notosanskaithi/DESCRIPTION.en_us.html index 45faff6b61..a5a2b58ca0 100644 --- a/ofl/notosanskaithi/DESCRIPTION.en_us.html +++ b/ofl/notosanskaithi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Kaithi is an unmodulated (“sans serif”) design for texts - in the Indic Kaithi script. It has 322 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kaithi is an unmodulated (“sans serif”) design for texts in the Indic + + Kaithi + + script. + It has 322 glyphs.

diff --git a/ofl/notosanskannada/DESCRIPTION.en_us.html b/ofl/notosanskannada/DESCRIPTION.en_us.html index d12edf645d..1f2d5995f3 100644 --- a/ofl/notosanskannada/DESCRIPTION.en_us.html +++ b/ofl/notosanskannada/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Kannada is an unmodulated (“sans serif”) design for texts - in the Indic Kannada script. It has multiple weights and widths, and - 655 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kannada is an unmodulated (“sans serif”) design for texts in the Indic + + Kannada + + script. + It has multiple weights and widths, and 655 glyphs.

diff --git a/ofl/notosanskannadaui/DESCRIPTION.en_us.html b/ofl/notosanskannadaui/DESCRIPTION.en_us.html index 9550860a35..c054b60af3 100644 --- a/ofl/notosanskannadaui/DESCRIPTION.en_us.html +++ b/ofl/notosanskannadaui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Kannada UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Kannada script. It has - multiple weights and widths, and 655 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kannada UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Kannada + + script. + It has multiple weights and widths, and 655 glyphs.

diff --git a/ofl/notosanskawi/DESCRIPTION.en_us.html b/ofl/notosanskawi/DESCRIPTION.en_us.html index 2d5d268c5e..73f915f3cf 100644 --- a/ofl/notosanskawi/DESCRIPTION.en_us.html +++ b/ofl/notosanskawi/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Kawi is a design for the historical Southeast Asian Kawi script. It has multiple weights, and has 110 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kawi is a design for the historical Southeast Asian + + Kawi + + script. + It has multiple weights, and has 110 glyphs. +

diff --git a/ofl/notosanskayahli/DESCRIPTION.en_us.html b/ofl/notosanskayahli/DESCRIPTION.en_us.html index 85f95ef046..cf2c450700 100644 --- a/ofl/notosanskayahli/DESCRIPTION.en_us.html +++ b/ofl/notosanskayahli/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Kayah Li is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Kayah Li script. It has multiple weights - and 60 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kayah Li is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Kayah Li + + script. + It has multiple weights and 60 glyphs.

diff --git a/ofl/notosanskharoshthi/DESCRIPTION.en_us.html b/ofl/notosanskharoshthi/DESCRIPTION.en_us.html index 03d5218551..c3f8b18f89 100644 --- a/ofl/notosanskharoshthi/DESCRIPTION.en_us.html +++ b/ofl/notosanskharoshthi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Kharoshthi is an unmodulated (“sans serif”) design for - texts in the historical Indic Kharoshthi script. It has 154 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Kharoshthi is an unmodulated (“sans serif”) design for texts in the historical Indic + + Kharoshthi + + script. + It has 154 glyphs.

diff --git a/ofl/notosanskhmer/DESCRIPTION.en_us.html b/ofl/notosanskhmer/DESCRIPTION.en_us.html index 495ff7d216..77c14e942a 100644 --- a/ofl/notosanskhmer/DESCRIPTION.en_us.html +++ b/ofl/notosanskhmer/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Khmer is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Khmer script. It has multiple weights and - widths, and 363 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Khmer is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Khmer + + script. + It has multiple weights and widths, and 363 glyphs.

diff --git a/ofl/notosanskhmerui/DESCRIPTION.en_us.html b/ofl/notosanskhmerui/DESCRIPTION.en_us.html index d71a47298e..46cd2a9c30 100644 --- a/ofl/notosanskhmerui/DESCRIPTION.en_us.html +++ b/ofl/notosanskhmerui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Khmer UI is an unmodulated (“sans serif”) design for app - and website user interfaces in the Southeast Asian Khmer script. It - has multiple weights and widths, and 381 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Khmer UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Southeast Asian + + Khmer + + script. + It has multiple weights and widths, and 381 glyphs.

diff --git a/ofl/notosanskhojki/DESCRIPTION.en_us.html b/ofl/notosanskhojki/DESCRIPTION.en_us.html index 1debac3a13..0a735246a7 100644 --- a/ofl/notosanskhojki/DESCRIPTION.en_us.html +++ b/ofl/notosanskhojki/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Khojki is an unmodulated (“sans serif”) design for texts - in the Indic Khojki script. It has 177 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Khojki is an unmodulated (“sans serif”) design for texts in the Indic + + Khojki + + script. + It has 177 glyphs.

diff --git a/ofl/notosanskhudawadi/DESCRIPTION.en_us.html b/ofl/notosanskhudawadi/DESCRIPTION.en_us.html index d2a5c2204a..37e62d3908 100644 --- a/ofl/notosanskhudawadi/DESCRIPTION.en_us.html +++ b/ofl/notosanskhudawadi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Khudawadi is an unmodulated (“sans serif”) design for - texts in the historical Indic Khudawadi script. It has 110 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Khudawadi is an unmodulated (“sans serif”) design for texts in the historical Indic + + Khudawadi + + script. + It has 110 glyphs.

diff --git a/ofl/notosanskr/DESCRIPTION.en_us.html b/ofl/notosanskr/DESCRIPTION.en_us.html index edc093be70..85f868b76e 100644 --- a/ofl/notosanskr/DESCRIPTION.en_us.html +++ b/ofl/notosanskr/DESCRIPTION.en_us.html @@ -1,6 +1,26 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans KR is an unmodulated (“sans serif”) design for the - Korean language using Hangul and the - Korean Hanja scripts. It also supports - Hiragana, Katakana, Latin, Cyrillic and Greek. It has multiple weights.

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans KR is an unmodulated (“sans serif”) design for the + + Korean + + language using + + Hangul + + and the + + Korean Hanja + + scripts. + It also supports + + Hiragana, Katakana, Latin, Cyrillic + + and + + Greek + + . + It has multiple weights. +

diff --git a/ofl/notosanslao/DESCRIPTION.en_us.html b/ofl/notosanslao/DESCRIPTION.en_us.html index 3c2a29abe5..e860e79243 100644 --- a/ofl/notosanslao/DESCRIPTION.en_us.html +++ b/ofl/notosanslao/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lao is an unmodulated (“sans serif”) design in the more - modern, loopless variant of the Southeast Asian Lao script, mainly - suitable for headlines, packaging and advertising. It has multiple weights and - widths, and 116 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lao is an unmodulated (“sans serif”) design in the more modern, loopless variant of the Southeast Asian + + Lao + + script, mainly suitable for headlines, packaging and advertising. + It has multiple weights and widths, and 116 glyphs.

diff --git a/ofl/notosanslaolooped/DESCRIPTION.en_us.html b/ofl/notosanslaolooped/DESCRIPTION.en_us.html index ce7cf07e7c..080b0d88cc 100644 --- a/ofl/notosanslaolooped/DESCRIPTION.en_us.html +++ b/ofl/notosanslaolooped/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Lao Looped is an unmodulated design in the more traditional, looped variant of the Southeast Asian Lao script, suitable for all texts. It has multiple weights and widths, and has 181 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lao Looped is an unmodulated design in the more traditional, looped variant of the Southeast Asian + + Lao + + script, suitable for all texts. + It has multiple weights and widths, and has 181 glyphs. +

diff --git a/ofl/notosanslaoui/DESCRIPTION.en_us.html b/ofl/notosanslaoui/DESCRIPTION.en_us.html index f40eb8c445..5294e23daf 100644 --- a/ofl/notosanslaoui/DESCRIPTION.en_us.html +++ b/ofl/notosanslaoui/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lao UI is an unmodulated (“sans serif”) design in the - more modern, loopless variant of the Southeast Asian Lao script, - suitable for app and website user interfaces in the Lao script. It has - multiple weights and widths, and 118 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lao UI is an unmodulated (“sans serif”) design in the more modern, loopless variant of the Southeast Asian + + Lao + + script, suitable for app and website user interfaces in the Lao script. + It has multiple weights and widths, and 118 glyphs.

diff --git a/ofl/notosanslepcha/DESCRIPTION.en_us.html b/ofl/notosanslepcha/DESCRIPTION.en_us.html index e936ee227d..d0b2fc426d 100644 --- a/ofl/notosanslepcha/DESCRIPTION.en_us.html +++ b/ofl/notosanslepcha/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lepcha is an unmodulated (“sans serif”) design for texts - in the Central Asian Lepcha script. It has 141 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lepcha is an unmodulated (“sans serif”) design for texts in the Central Asian + + Lepcha + + script. + It has 141 glyphs.

diff --git a/ofl/notosanslimbu/DESCRIPTION.en_us.html b/ofl/notosanslimbu/DESCRIPTION.en_us.html index 8678def9ba..e3a77756cb 100644 --- a/ofl/notosanslimbu/DESCRIPTION.en_us.html +++ b/ofl/notosanslimbu/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Limbu is an unmodulated (“sans serif”) design for texts - in the Indic Limbu script. It has 79 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Limbu is an unmodulated (“sans serif”) design for texts in the Indic + + Limbu + + script. + It has 79 glyphs.

diff --git a/ofl/notosanslineara/DESCRIPTION.en_us.html b/ofl/notosanslineara/DESCRIPTION.en_us.html index 3b6fa6831e..3dc289a003 100644 --- a/ofl/notosanslineara/DESCRIPTION.en_us.html +++ b/ofl/notosanslineara/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Linear A is an unmodulated (“sans serif”) design for - texts in the historical European Linear A script. It has 346 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Linear A is an unmodulated (“sans serif”) design for texts in the historical European + + Linear A + + script. + It has 346 glyphs.

diff --git a/ofl/notosanslinearb/DESCRIPTION.en_us.html b/ofl/notosanslinearb/DESCRIPTION.en_us.html index 632bd5b1af..94e444b5f6 100644 --- a/ofl/notosanslinearb/DESCRIPTION.en_us.html +++ b/ofl/notosanslinearb/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Linear B is an unmodulated (“sans serif”) design for - texts in the historical European Linear B script. It has 273 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Linear B is an unmodulated (“sans serif”) design for texts in the historical European + + Linear B + + script. + It has 273 glyphs.

diff --git a/ofl/notosanslisu/DESCRIPTION.en_us.html b/ofl/notosanslisu/DESCRIPTION.en_us.html index 03902cbc74..e098f3bcb8 100644 --- a/ofl/notosanslisu/DESCRIPTION.en_us.html +++ b/ofl/notosanslisu/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lisu is an unmodulated (“sans serif”) design for texts in - the East Asian Fraser script. It has multiple weights and 59 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lisu is an unmodulated (“sans serif”) design for texts in the East Asian + + Fraser + + script. + It has multiple weights and 59 glyphs.

diff --git a/ofl/notosanslycian/DESCRIPTION.en_us.html b/ofl/notosanslycian/DESCRIPTION.en_us.html index 191d8efe3d..4282a674e6 100644 --- a/ofl/notosanslycian/DESCRIPTION.en_us.html +++ b/ofl/notosanslycian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lycian is an unmodulated (“sans serif”) design for texts - in the historical European Lycian script. It has 34 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lycian is an unmodulated (“sans serif”) design for texts in the historical European + + Lycian + + script. + It has 34 glyphs.

diff --git a/ofl/notosanslydian/DESCRIPTION.en_us.html b/ofl/notosanslydian/DESCRIPTION.en_us.html index 5943d82a2d..f7f2ef0d50 100644 --- a/ofl/notosanslydian/DESCRIPTION.en_us.html +++ b/ofl/notosanslydian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Lydian is an unmodulated (“sans serif”) design for texts - in the historical European Lydian script. It has 32 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Lydian is an unmodulated (“sans serif”) design for texts in the historical European + + Lydian + + script. + It has 32 glyphs.

diff --git a/ofl/notosansmahajani/DESCRIPTION.en_us.html b/ofl/notosansmahajani/DESCRIPTION.en_us.html index 4e9915a2ca..04e1502bc3 100644 --- a/ofl/notosansmahajani/DESCRIPTION.en_us.html +++ b/ofl/notosansmahajani/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mahajani is an unmodulated (“sans serif”) design for - texts in the historical Indic Mahajani script. It has 69 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mahajani is an unmodulated (“sans serif”) design for texts in the historical Indic + + Mahajani + + script. + It has 69 glyphs.

diff --git a/ofl/notosansmalayalam/DESCRIPTION.en_us.html b/ofl/notosansmalayalam/DESCRIPTION.en_us.html index 2b2d21f823..9c38a490df 100644 --- a/ofl/notosansmalayalam/DESCRIPTION.en_us.html +++ b/ofl/notosansmalayalam/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Malayalam is an unmodulated (“sans serif”) design for - texts in the Indic Malayalam script. It has multiple weights and - widths, and 364 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Malayalam is an unmodulated (“sans serif”) design for texts in the Indic + + Malayalam + + script. + It has multiple weights and widths, and 364 glyphs.

diff --git a/ofl/notosansmalayalamui/DESCRIPTION.en_us.html b/ofl/notosansmalayalamui/DESCRIPTION.en_us.html index 5626e07646..4a66332c75 100644 --- a/ofl/notosansmalayalamui/DESCRIPTION.en_us.html +++ b/ofl/notosansmalayalamui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Malayalam UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Malayalam script. It has - multiple weights and widths, and 364 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Malayalam UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Malayalam + + script. + It has multiple weights and widths, and 364 glyphs.

diff --git a/ofl/notosansmandaic/DESCRIPTION.en_us.html b/ofl/notosansmandaic/DESCRIPTION.en_us.html index bc987a4ae2..5c1062e463 100644 --- a/ofl/notosansmandaic/DESCRIPTION.en_us.html +++ b/ofl/notosansmandaic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mandaic is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Mandaean (Mandaic) script. It has - 132 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mandaic is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Mandaean (Mandaic) + + script. + It has 132 glyphs.

diff --git a/ofl/notosansmanichaean/DESCRIPTION.en_us.html b/ofl/notosansmanichaean/DESCRIPTION.en_us.html index 95ba95e2c8..a034d11cb8 100644 --- a/ofl/notosansmanichaean/DESCRIPTION.en_us.html +++ b/ofl/notosansmanichaean/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Manichaean is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Manichaean script. It has 153 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Manichaean is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Manichaean + + script. + It has 153 glyphs.

diff --git a/ofl/notosansmarchen/DESCRIPTION.en_us.html b/ofl/notosansmarchen/DESCRIPTION.en_us.html index 5479b3e563..380e33a200 100644 --- a/ofl/notosansmarchen/DESCRIPTION.en_us.html +++ b/ofl/notosansmarchen/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Marchen is an unmodulated (“sans serif”) design for texts - in the historical Indic Marchen script. It has 748 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Marchen is an unmodulated (“sans serif”) design for texts in the historical Indic + + Marchen + + script. + It has 748 glyphs.

diff --git a/ofl/notosansmasaramgondi/DESCRIPTION.en_us.html b/ofl/notosansmasaramgondi/DESCRIPTION.en_us.html index 02d979777c..ea8a5f6dcf 100644 --- a/ofl/notosansmasaramgondi/DESCRIPTION.en_us.html +++ b/ofl/notosansmasaramgondi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Masaram Gondi is an unmodulated (“sans serif”) design for - texts in the Indic Masaram Gondi script. It has 187 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Masaram Gondi is an unmodulated (“sans serif”) design for texts in the Indic + + Masaram Gondi + + script. + It has 187 glyphs.

diff --git a/ofl/notosansmath/DESCRIPTION.en_us.html b/ofl/notosansmath/DESCRIPTION.en_us.html index 9a4fb46161..0c7e63ee55 100644 --- a/ofl/notosansmath/DESCRIPTION.en_us.html +++ b/ofl/notosansmath/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Math is a font that contains symbols for - mathematical notation. It has 2,655 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Math is a font that contains symbols for + + mathematical notation + + . + It has 2,655 glyphs.

diff --git a/ofl/notosansmayannumerals/DESCRIPTION.en_us.html b/ofl/notosansmayannumerals/DESCRIPTION.en_us.html index 9a9d4cd8d9..cee9a3dfda 100644 --- a/ofl/notosansmayannumerals/DESCRIPTION.en_us.html +++ b/ofl/notosansmayannumerals/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mayan Numerals is an unmodulated (“sans serif”) that - contains numerals that were used by the ancient Maya civilization. It - has 25 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mayan Numerals is an unmodulated (“sans serif”) that contains numerals that were used by the ancient + + Maya + + civilization. + It has 25 glyphs.

diff --git a/ofl/notosansmedefaidrin/DESCRIPTION.en_us.html b/ofl/notosansmedefaidrin/DESCRIPTION.en_us.html index 89a088c248..f176452977 100644 --- a/ofl/notosansmedefaidrin/DESCRIPTION.en_us.html +++ b/ofl/notosansmedefaidrin/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Medefaidrin is an unmodulated (“sans serif”) design for - texts in the African Medefaidrin (Oberi Okaime) script. It has - multiple weights and 97 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Medefaidrin is an unmodulated (“sans serif”) design for texts in the African + + Medefaidrin (Oberi Okaime) + + script. + It has multiple weights and 97 glyphs.

diff --git a/ofl/notosansmeeteimayek/DESCRIPTION.en_us.html b/ofl/notosansmeeteimayek/DESCRIPTION.en_us.html index 8f473c576f..33306f9a3f 100644 --- a/ofl/notosansmeeteimayek/DESCRIPTION.en_us.html +++ b/ofl/notosansmeeteimayek/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans MeeteiMayek is an unmodulated (“sans serif”) design for - texts in the Indic Meetei Mayek (Meitei) script. It has multiple - weights and 92 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans MeeteiMayek is an unmodulated (“sans serif”) design for texts in the Indic + + Meetei Mayek (Meitei) + + script. + It has multiple weights and 92 glyphs.

diff --git a/ofl/notosansmendekikakui/DESCRIPTION.en_us.html b/ofl/notosansmendekikakui/DESCRIPTION.en_us.html index 7f9609ccf4..5c0facecc4 100644 --- a/ofl/notosansmendekikakui/DESCRIPTION.en_us.html +++ b/ofl/notosansmendekikakui/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mende Kikakui is an unmodulated (“sans serif”) design for - texts in the African Mende script. It has 228 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mende Kikakui is an unmodulated (“sans serif”) design for texts in the African + + Mende + + script. + It has 228 glyphs.

diff --git a/ofl/notosansmeroitic/DESCRIPTION.en_us.html b/ofl/notosansmeroitic/DESCRIPTION.en_us.html index f95ef28265..839d82f620 100644 --- a/ofl/notosansmeroitic/DESCRIPTION.en_us.html +++ b/ofl/notosansmeroitic/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Meroitic is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Meroitic Hieroglyphs and - Cursive scripts. It has 133 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Meroitic is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Meroitic Hieroglyphs + + and + + Cursive + + scripts. + It has 133 glyphs.

diff --git a/ofl/notosansmiao/DESCRIPTION.en_us.html b/ofl/notosansmiao/DESCRIPTION.en_us.html index b56f5de50c..25074f1c5f 100644 --- a/ofl/notosansmiao/DESCRIPTION.en_us.html +++ b/ofl/notosansmiao/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Miao is an unmodulated (“sans serif”) design for texts in - the East Asian Pollard Phonetic script. It has 365 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Miao is an unmodulated (“sans serif”) design for texts in the East Asian + + Pollard Phonetic + + script. + It has 365 glyphs.

diff --git a/ofl/notosansmodi/DESCRIPTION.en_us.html b/ofl/notosansmodi/DESCRIPTION.en_us.html index 12f30d90d1..a7f573244a 100644 --- a/ofl/notosansmodi/DESCRIPTION.en_us.html +++ b/ofl/notosansmodi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Modi is an unmodulated (“sans serif”) design for texts in - the Indic Modi script. It has 209 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Modi is an unmodulated (“sans serif”) design for texts in the Indic + + Modi + + script. + It has 209 glyphs.

diff --git a/ofl/notosansmongolian/DESCRIPTION.en_us.html b/ofl/notosansmongolian/DESCRIPTION.en_us.html index fe8faf7c3c..67eb67d5ef 100644 --- a/ofl/notosansmongolian/DESCRIPTION.en_us.html +++ b/ofl/notosansmongolian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mongolian is an unmodulated (“sans serif”) design for - texts in the Central Asian Mongolian script. It has 1,563 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mongolian is an unmodulated (“sans serif”) design for texts in the Central Asian + + Mongolian + + script. + It has 1,563 glyphs.

diff --git a/ofl/notosansmono/DESCRIPTION.en_us.html b/ofl/notosansmono/DESCRIPTION.en_us.html index 86cd52f67f..9e889a31a6 100644 --- a/ofl/notosansmono/DESCRIPTION.en_us.html +++ b/ofl/notosansmono/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mono is a monospaced, unmodulated (“sans serif”) design - suitable for programming code and other uses where a fixed-width font is - needed. It supports the Latin, Cyrillic and - Greek scripts, and various symbols. It has multiple weights and - widths, and 3,787 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mono is a monospaced, unmodulated (“sans serif”) design suitable for programming code and other uses where a fixed-width font is needed. + It supports the + + Latin + + , + + Cyrillic + + and + + Greek + + scripts, and various symbols. + It has multiple weights and widths, and 3,787 glyphs.

diff --git a/ofl/notosansmro/DESCRIPTION.en_us.html b/ofl/notosansmro/DESCRIPTION.en_us.html index 008504dbe1..cc86163dad 100644 --- a/ofl/notosansmro/DESCRIPTION.en_us.html +++ b/ofl/notosansmro/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Mro is an unmodulated (“sans serif”) design for texts in - the Indic Mro script. It has 48 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Mro is an unmodulated (“sans serif”) design for texts in the Indic + + Mro + + script. + It has 48 glyphs.

diff --git a/ofl/notosansmultani/DESCRIPTION.en_us.html b/ofl/notosansmultani/DESCRIPTION.en_us.html index 128a436e98..746dc884bf 100644 --- a/ofl/notosansmultani/DESCRIPTION.en_us.html +++ b/ofl/notosansmultani/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Multani is an unmodulated (“sans serif”) design for texts - in the historical Indic Multani script. It has 53 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Multani is an unmodulated (“sans serif”) design for texts in the historical Indic + + Multani + + script. + It has 53 glyphs.

diff --git a/ofl/notosansmyanmar/DESCRIPTION.en_us.html b/ofl/notosansmyanmar/DESCRIPTION.en_us.html index f489b5b898..2f34254693 100644 --- a/ofl/notosansmyanmar/DESCRIPTION.en_us.html +++ b/ofl/notosansmyanmar/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Myanmar is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Myanmar script. It has 610 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Myanmar is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Myanmar + + script. + It has 610 glyphs.

diff --git a/ofl/notosansmyanmarui/DESCRIPTION.en_us.html b/ofl/notosansmyanmarui/DESCRIPTION.en_us.html index a6c9446d71..434c35f501 100644 --- a/ofl/notosansmyanmarui/DESCRIPTION.en_us.html +++ b/ofl/notosansmyanmarui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Myanmar UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Southeast Asian - Myanmar script. It has 610 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Myanmar UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Southeast Asian + + Myanmar + + script. + It has 610 glyphs.

diff --git a/ofl/notosansnabataean/DESCRIPTION.en_us.html b/ofl/notosansnabataean/DESCRIPTION.en_us.html index 1e38937d7a..02ab9ec172 100644 --- a/ofl/notosansnabataean/DESCRIPTION.en_us.html +++ b/ofl/notosansnabataean/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Nabataean is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Nabataean script. It has 45 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Nabataean is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Nabataean + + script. + It has 45 glyphs.

diff --git a/ofl/notosansnagmundari/DESCRIPTION.en_us.html b/ofl/notosansnagmundari/DESCRIPTION.en_us.html index 6e3cc07e62..68ae636791 100644 --- a/ofl/notosansnagmundari/DESCRIPTION.en_us.html +++ b/ofl/notosansnagmundari/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Nag Mundari is a design for the Indic Nag Mundari script. It has multiple weights, and has 66 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Nag Mundari is a design for the Indic + + Nag Mundari + + script. + It has multiple weights, and has 66 glyphs. +

diff --git a/ofl/notosansnandinagari/DESCRIPTION.en_us.html b/ofl/notosansnandinagari/DESCRIPTION.en_us.html index 03cf5ab5f0..2a9f1a9ed6 100644 --- a/ofl/notosansnandinagari/DESCRIPTION.en_us.html +++ b/ofl/notosansnandinagari/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Nandinagari is a design for the historical Indic Nandinagari script. It has 676 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Nandinagari is a design for the historical Indic + + Nandinagari + + script. + It has 676 glyphs. +

diff --git a/ofl/notosansnewa/DESCRIPTION.en_us.html b/ofl/notosansnewa/DESCRIPTION.en_us.html index 33252c1e79..799e6c850e 100644 --- a/ofl/notosansnewa/DESCRIPTION.en_us.html +++ b/ofl/notosansnewa/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Newa is an unmodulated (“sans serif”) design for texts in - the Indic Newa (Newari) script. It has 614 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Newa is an unmodulated (“sans serif”) design for texts in the Indic + + Newa (Newari) + + script. + It has 614 glyphs.

diff --git a/ofl/notosansnewtailue/DESCRIPTION.en_us.html b/ofl/notosansnewtailue/DESCRIPTION.en_us.html index dcddc1b64e..bfc7d3c210 100644 --- a/ofl/notosansnewtailue/DESCRIPTION.en_us.html +++ b/ofl/notosansnewtailue/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans New Tai Lue is an unmodulated (“sans serif”) design for - texts in the Southeast Asian New Tai Lue script. It has 95 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans New Tai Lue is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + New Tai Lue + + script. + It has 95 glyphs.

diff --git a/ofl/notosansnko/DESCRIPTION.en_us.html b/ofl/notosansnko/DESCRIPTION.en_us.html index f826fafa70..666965d15e 100644 --- a/ofl/notosansnko/DESCRIPTION.en_us.html +++ b/ofl/notosansnko/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans N’Ko is an unmodulated (“sans serif”) design for texts in - the African N’Ko script. It has 184 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans N’Ko is an unmodulated (“sans serif”) design for texts in the African + + N’Ko + + script. + It has 184 glyphs.

diff --git a/ofl/notosansnko_todelist/DESCRIPTION.en_us.html b/ofl/notosansnko_todelist/DESCRIPTION.en_us.html index e6ac2c90a2..f1dc99ed9e 100644 --- a/ofl/notosansnko_todelist/DESCRIPTION.en_us.html +++ b/ofl/notosansnko_todelist/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans NKo is an unmodulated (“sans serif”) design for texts in - the African N’Ko script. It has 184 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans NKo is an unmodulated (“sans serif”) design for texts in the African + + N’Ko + + script. + It has 184 glyphs.

diff --git a/ofl/notosansnkounjoined/DESCRIPTION.en_us.html b/ofl/notosansnkounjoined/DESCRIPTION.en_us.html index 2ddb8be6c7..bea15926b1 100644 --- a/ofl/notosansnkounjoined/DESCRIPTION.en_us.html +++ b/ofl/notosansnkounjoined/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans N’Ko Unjoined is an unmodulated (“sans serif”) design for display texts in - the African N’Ko script. It has 184 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans N’Ko Unjoined is an unmodulated (“sans serif”) design for display texts in the African + + N’Ko + + script. + It has 184 glyphs.

diff --git a/ofl/notosansnushu/DESCRIPTION.en_us.html b/ofl/notosansnushu/DESCRIPTION.en_us.html index eea9ed9521..d2e8583751 100644 --- a/ofl/notosansnushu/DESCRIPTION.en_us.html +++ b/ofl/notosansnushu/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Nushu is an unmodulated (“sans serif”) design for the - East Asian Nüshu script with a simplified skeleton and large - counters. It is suitable for shorter texts, especially in smaller font sizes - and user interface contexts. It has 402 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Nushu is an unmodulated (“sans serif”) design for the East Asian + + Nüshu + + script with a simplified skeleton and large counters. + It is suitable for shorter texts, especially in smaller font sizes and user interface contexts. + It has 402 glyphs.

diff --git a/ofl/notosansogham/DESCRIPTION.en_us.html b/ofl/notosansogham/DESCRIPTION.en_us.html index 5a60cd3534..abd6cb073d 100644 --- a/ofl/notosansogham/DESCRIPTION.en_us.html +++ b/ofl/notosansogham/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Ogham is an unmodulated (“sans serif”) design for texts - in the historical European Ogham script. It has 34 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Ogham is an unmodulated (“sans serif”) design for texts in the historical European + + Ogham + + script. + It has 34 glyphs.

diff --git a/ofl/notosansolchiki/DESCRIPTION.en_us.html b/ofl/notosansolchiki/DESCRIPTION.en_us.html index 9b44bae4d0..6e0320f38d 100644 --- a/ofl/notosansolchiki/DESCRIPTION.en_us.html +++ b/ofl/notosansolchiki/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Ol Chiki is an unmodulated (“sans serif”) design for - texts in the Indic Ol Chiki script. It has multiple weights and 55 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Ol Chiki is an unmodulated (“sans serif”) design for texts in the Indic + + Ol Chiki + + script. + It has multiple weights and 55 glyphs.

diff --git a/ofl/notosansoldhungarian/DESCRIPTION.en_us.html b/ofl/notosansoldhungarian/DESCRIPTION.en_us.html index 00837992ba..576207cf5d 100644 --- a/ofl/notosansoldhungarian/DESCRIPTION.en_us.html +++ b/ofl/notosansoldhungarian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Hungarian is an unmodulated (“sans serif”) design for - texts in the historical European - Old Hungarian (Hungarian runic) script. It has 360 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Hungarian is an unmodulated (“sans serif”) design for texts in the historical European + + Old Hungarian (Hungarian runic) + + script. + It has 360 glyphs.

diff --git a/ofl/notosansolditalic/DESCRIPTION.en_us.html b/ofl/notosansolditalic/DESCRIPTION.en_us.html index fcbec49c7e..c132e7ce0d 100644 --- a/ofl/notosansolditalic/DESCRIPTION.en_us.html +++ b/ofl/notosansolditalic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Italic is an unmodulated (“sans serif”) design for - texts in the historical European Old Italic script. It has 65 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Italic is an unmodulated (“sans serif”) design for texts in the historical European + + Old Italic + + script. + It has 65 glyphs.

diff --git a/ofl/notosansoldnortharabian/DESCRIPTION.en_us.html b/ofl/notosansoldnortharabian/DESCRIPTION.en_us.html index 9859c438e6..789cde2218 100644 --- a/ofl/notosansoldnortharabian/DESCRIPTION.en_us.html +++ b/ofl/notosansoldnortharabian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old North Arabian is an unmodulated (“sans serif”) design - for texts in the historical Middle Eastern Old North Arabian script. - It has 37 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old North Arabian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Old North Arabian + + script. + It has 37 glyphs.

diff --git a/ofl/notosansoldpermic/DESCRIPTION.en_us.html b/ofl/notosansoldpermic/DESCRIPTION.en_us.html index 9d39aa1890..23114856a9 100644 --- a/ofl/notosansoldpermic/DESCRIPTION.en_us.html +++ b/ofl/notosansoldpermic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Permic is an unmodulated (“sans serif”) design for - texts in the historical European Old Permic script. It has 56 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Permic is an unmodulated (“sans serif”) design for texts in the historical European + + Old Permic + + script. + It has 56 glyphs.

diff --git a/ofl/notosansoldpersian/DESCRIPTION.en_us.html b/ofl/notosansoldpersian/DESCRIPTION.en_us.html index 3b619932ad..82da813662 100644 --- a/ofl/notosansoldpersian/DESCRIPTION.en_us.html +++ b/ofl/notosansoldpersian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Persian is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Old Persian script. It has 55 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Persian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Old Persian + + script. + It has 55 glyphs.

diff --git a/ofl/notosansoldsogdian/DESCRIPTION.en_us.html b/ofl/notosansoldsogdian/DESCRIPTION.en_us.html index 92daa9de79..59806833b3 100644 --- a/ofl/notosansoldsogdian/DESCRIPTION.en_us.html +++ b/ofl/notosansoldsogdian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Sogdian is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Old Sogdian script. It has 60 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Sogdian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Old Sogdian + + script. + It has 60 glyphs.

diff --git a/ofl/notosansoldsoutharabian/DESCRIPTION.en_us.html b/ofl/notosansoldsoutharabian/DESCRIPTION.en_us.html index 39d6588fbf..8c66391cd3 100644 --- a/ofl/notosansoldsoutharabian/DESCRIPTION.en_us.html +++ b/ofl/notosansoldsoutharabian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old South Arabian is an unmodulated (“sans serif”) design - for texts in the historical Middle Eastern Old South Arabian script. - It has 37 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old South Arabian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Old South Arabian + + script. + It has 37 glyphs.

diff --git a/ofl/notosansoldturkic/DESCRIPTION.en_us.html b/ofl/notosansoldturkic/DESCRIPTION.en_us.html index 16d8a1b1ab..38d58f8f8f 100644 --- a/ofl/notosansoldturkic/DESCRIPTION.en_us.html +++ b/ofl/notosansoldturkic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Old Turkic is an unmodulated (“sans serif”) design for - texts in the historical Central Asian - Orkhon runic (Old Turkic) script. It has 78 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Old Turkic is an unmodulated (“sans serif”) design for texts in the historical Central Asian + + Orkhon runic (Old Turkic) + + script. + It has 78 glyphs.

diff --git a/ofl/notosansoriya/DESCRIPTION.en_us.html b/ofl/notosansoriya/DESCRIPTION.en_us.html index 7947b156a8..2c789c7bf6 100644 --- a/ofl/notosansoriya/DESCRIPTION.en_us.html +++ b/ofl/notosansoriya/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Oriya is an unmodulated (“sans serif”) design for texts - in the Indic Odia (Oriya) script. It has 513 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Oriya is an unmodulated (“sans serif”) design for texts in the Indic + + Odia (Oriya) + + script. + It has 513 glyphs.

diff --git a/ofl/notosansoriyaui/DESCRIPTION.en_us.html b/ofl/notosansoriyaui/DESCRIPTION.en_us.html index d7bd3d3512..f3b9f49a4c 100644 --- a/ofl/notosansoriyaui/DESCRIPTION.en_us.html +++ b/ofl/notosansoriyaui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Oriya UI is an unmodulated (“sans serif”) design for app - and website user interfaces in the Indic Odia (Oriya) script. It has - 513 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Oriya UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Odia (Oriya) + + script. + It has 513 glyphs.

diff --git a/ofl/notosansosage/DESCRIPTION.en_us.html b/ofl/notosansosage/DESCRIPTION.en_us.html index 46ebdcce6c..0cea16b7fe 100644 --- a/ofl/notosansosage/DESCRIPTION.en_us.html +++ b/ofl/notosansosage/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Osage is an unmodulated (“sans serif”) design for texts - in the American Osage script. It has 82 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Osage is an unmodulated (“sans serif”) design for texts in the American + + Osage + + script. + It has 82 glyphs.

diff --git a/ofl/notosansosmanya/DESCRIPTION.en_us.html b/ofl/notosansosmanya/DESCRIPTION.en_us.html index eee5f6f3cd..001ab07e02 100644 --- a/ofl/notosansosmanya/DESCRIPTION.en_us.html +++ b/ofl/notosansosmanya/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Osmanya is an unmodulated (“sans serif”) design for texts - in the historical African Osmanya script. It has 45 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Osmanya is an unmodulated (“sans serif”) design for texts in the historical African + + Osmanya + + script. + It has 45 glyphs.

diff --git a/ofl/notosanspahawhhmong/DESCRIPTION.en_us.html b/ofl/notosanspahawhhmong/DESCRIPTION.en_us.html index 17bf9f2ab2..a5fc5a1131 100644 --- a/ofl/notosanspahawhhmong/DESCRIPTION.en_us.html +++ b/ofl/notosanspahawhhmong/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Pahawh Hmong is an unmodulated (“sans serif”) design for - texts in the East Asian Pahawh Hmong script. It has 135 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Pahawh Hmong is an unmodulated (“sans serif”) design for texts in the East Asian + + Pahawh Hmong + + script. + It has 135 glyphs.

diff --git a/ofl/notosanspalmyrene/DESCRIPTION.en_us.html b/ofl/notosanspalmyrene/DESCRIPTION.en_us.html index 7d393a7e25..e8db406943 100644 --- a/ofl/notosanspalmyrene/DESCRIPTION.en_us.html +++ b/ofl/notosanspalmyrene/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Palmyrene is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Palmyrene script. It has 57 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Palmyrene is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Palmyrene + + script. + It has 57 glyphs.

diff --git a/ofl/notosanspaucinhau/DESCRIPTION.en_us.html b/ofl/notosanspaucinhau/DESCRIPTION.en_us.html index 21b059c7c8..fb9d8391b1 100644 --- a/ofl/notosanspaucinhau/DESCRIPTION.en_us.html +++ b/ofl/notosanspaucinhau/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Pau Cin Hau is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Pau Cin Hau script. It has 62 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Pau Cin Hau is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Pau Cin Hau + + script. + It has 62 glyphs.

diff --git a/ofl/notosansphagspa/DESCRIPTION.en_us.html b/ofl/notosansphagspa/DESCRIPTION.en_us.html index b43fbb27e2..43aa406cfe 100644 --- a/ofl/notosansphagspa/DESCRIPTION.en_us.html +++ b/ofl/notosansphagspa/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans PhagsPa is an unmodulated (“sans serif”) design for texts - in the historical Central Asian Phags-pa script. It has 379 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans PhagsPa is an unmodulated (“sans serif”) design for texts in the historical Central Asian + + Phags-pa + + script. + It has 379 glyphs.

diff --git a/ofl/notosansphoenician/DESCRIPTION.en_us.html b/ofl/notosansphoenician/DESCRIPTION.en_us.html index c62ce05949..8d16b126ac 100644 --- a/ofl/notosansphoenician/DESCRIPTION.en_us.html +++ b/ofl/notosansphoenician/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Phoenician is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Phoenician script. It has 34 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Phoenician is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Phoenician + + script. + It has 34 glyphs.

diff --git a/ofl/notosanspsalterpahlavi/DESCRIPTION.en_us.html b/ofl/notosanspsalterpahlavi/DESCRIPTION.en_us.html index ed46c1f5bb..68bbf769c7 100644 --- a/ofl/notosanspsalterpahlavi/DESCRIPTION.en_us.html +++ b/ofl/notosanspsalterpahlavi/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Psalter Pahlavi is an unmodulated (“sans serif”) design - for texts in the historical Middle Eastern Psalter Pahlavi script. It - has 98 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Psalter Pahlavi is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Psalter Pahlavi + + script. + It has 98 glyphs.

diff --git a/ofl/notosansrejang/DESCRIPTION.en_us.html b/ofl/notosansrejang/DESCRIPTION.en_us.html index d95ef25a98..b1fdc1fd68 100644 --- a/ofl/notosansrejang/DESCRIPTION.en_us.html +++ b/ofl/notosansrejang/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Rejang is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Rejang script. It has 46 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Rejang is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Rejang + + script. + It has 46 glyphs.

diff --git a/ofl/notosansrunic/DESCRIPTION.en_us.html b/ofl/notosansrunic/DESCRIPTION.en_us.html index 05edf26cc6..fa0be6a938 100644 --- a/ofl/notosansrunic/DESCRIPTION.en_us.html +++ b/ofl/notosansrunic/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Runic is an unmodulated (“sans serif”) design for texts - in the historical European Runic script. It has 94 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Runic is an unmodulated (“sans serif”) design for texts in the historical European + + Runic + + script. + It has 94 glyphs.

diff --git a/ofl/notosanssamaritan/DESCRIPTION.en_us.html b/ofl/notosanssamaritan/DESCRIPTION.en_us.html index 9985835150..841933f843 100644 --- a/ofl/notosanssamaritan/DESCRIPTION.en_us.html +++ b/ofl/notosanssamaritan/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Samaritan is an unmodulated (“sans serif”) design for - texts in the Middle Eastern Samaritan script. It has 68 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Samaritan is an unmodulated (“sans serif”) design for texts in the Middle Eastern + + Samaritan + + script. + It has 68 glyphs.

diff --git a/ofl/notosanssaurashtra/DESCRIPTION.en_us.html b/ofl/notosanssaurashtra/DESCRIPTION.en_us.html index 2ebbfaf6d2..3b92c7352b 100644 --- a/ofl/notosanssaurashtra/DESCRIPTION.en_us.html +++ b/ofl/notosanssaurashtra/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Saurashtra is an unmodulated (“sans serif”) design for - texts in the Indic Saurashtra script. It has 96 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Saurashtra is an unmodulated (“sans serif”) design for texts in the Indic + + Saurashtra + + script. + It has 96 glyphs.

diff --git a/ofl/notosanssc/DESCRIPTION.en_us.html b/ofl/notosanssc/DESCRIPTION.en_us.html index 4497d17be9..b415dcc897 100644 --- a/ofl/notosanssc/DESCRIPTION.en_us.html +++ b/ofl/notosanssc/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans SC is an unmodulated (“sans serif”) design for languages - in mainland China that use the Simplified Chinese variant of the Han - ideograms. It also supports - Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. It - has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans SC is an unmodulated (“sans serif”) design for languages in mainland China that use the + + Simplified Chinese + + variant of the Han ideograms. + It also supports + + Hiragana, Katakana, Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notosanssharada/DESCRIPTION.en_us.html b/ofl/notosanssharada/DESCRIPTION.en_us.html index 0ce0ac44fe..2ce2318ac2 100644 --- a/ofl/notosanssharada/DESCRIPTION.en_us.html +++ b/ofl/notosanssharada/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sharada is an unmodulated (“sans serif”) design for texts - in the Indic Sharada script. It has 239 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sharada is an unmodulated (“sans serif”) design for texts in the Indic + + Sharada + + script. + It has 239 glyphs.

diff --git a/ofl/notosansshavian/DESCRIPTION.en_us.html b/ofl/notosansshavian/DESCRIPTION.en_us.html index d4b1f77fd5..7d299933e4 100644 --- a/ofl/notosansshavian/DESCRIPTION.en_us.html +++ b/ofl/notosansshavian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Shavian is an unmodulated (“sans serif”) design for texts - in the historical artificial Shavian script. It has 53 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Shavian is an unmodulated (“sans serif”) design for texts in the historical artificial + + Shavian + + script. + It has 53 glyphs.

diff --git a/ofl/notosanssiddham/DESCRIPTION.en_us.html b/ofl/notosanssiddham/DESCRIPTION.en_us.html index 0e18794fca..9e9dd7dc1c 100644 --- a/ofl/notosanssiddham/DESCRIPTION.en_us.html +++ b/ofl/notosanssiddham/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Siddham is an unmodulated (“sans serif”) design for texts - in the historical Indic Siddham script. It has 505 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Siddham is an unmodulated (“sans serif”) design for texts in the historical Indic + + Siddham + + script. + It has 505 glyphs.

diff --git a/ofl/notosanssignwriting/DESCRIPTION.en_us.html b/ofl/notosanssignwriting/DESCRIPTION.en_us.html index 6e1ad6a756..1ad96dd8d5 100644 --- a/ofl/notosanssignwriting/DESCRIPTION.en_us.html +++ b/ofl/notosanssignwriting/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans SignWriting is a design for the Sign-Language SignWriting script. It has 37,886 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans SignWriting is a design for the Sign-Language + + SignWriting + + script. + It has 37,886 glyphs. +

diff --git a/ofl/notosanssinhala/DESCRIPTION.en_us.html b/ofl/notosanssinhala/DESCRIPTION.en_us.html index d0de41cc6b..5fa6f751e6 100644 --- a/ofl/notosanssinhala/DESCRIPTION.en_us.html +++ b/ofl/notosanssinhala/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sinhala is an unmodulated (“sans serif”) design for texts - in the Indic Sinhala script. It has multiple weights and widths, and - 645 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sinhala is an unmodulated (“sans serif”) design for texts in the Indic + + Sinhala + + script. + It has multiple weights and widths, and 645 glyphs.

diff --git a/ofl/notosanssinhalaui/DESCRIPTION.en_us.html b/ofl/notosanssinhalaui/DESCRIPTION.en_us.html index 25765daa18..62b75ed6a3 100644 --- a/ofl/notosanssinhalaui/DESCRIPTION.en_us.html +++ b/ofl/notosanssinhalaui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sinhala UI is an unmodulated (“sans serif”) design for - app and website user interfaces in the Indic Sinhala script. It has - multiple weights and widths, and 645 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sinhala UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Sinhala + + script. + It has multiple weights and widths, and 645 glyphs.

diff --git a/ofl/notosanssogdian/DESCRIPTION.en_us.html b/ofl/notosanssogdian/DESCRIPTION.en_us.html index cefb7b7ad6..d17bdc55a9 100644 --- a/ofl/notosanssogdian/DESCRIPTION.en_us.html +++ b/ofl/notosanssogdian/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sogdian is an unmodulated (“sans serif”) design for texts - in the historical Middle Eastern Sogdian script. It has 345 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sogdian is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Sogdian + + script. + It has 345 glyphs.

diff --git a/ofl/notosanssorasompeng/DESCRIPTION.en_us.html b/ofl/notosanssorasompeng/DESCRIPTION.en_us.html index f8cc56bc9b..d85f94525a 100644 --- a/ofl/notosanssorasompeng/DESCRIPTION.en_us.html +++ b/ofl/notosanssorasompeng/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sora Sompeng is an unmodulated (“sans serif”) design for - texts in the Indic Sora Sompeng script. It has multiple weights and - 42 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sora Sompeng is an unmodulated (“sans serif”) design for texts in the Indic + + Sora Sompeng + + script. + It has multiple weights and 42 glyphs.

diff --git a/ofl/notosanssoyombo/DESCRIPTION.en_us.html b/ofl/notosanssoyombo/DESCRIPTION.en_us.html index 4511328c90..cedc7f2f3e 100644 --- a/ofl/notosanssoyombo/DESCRIPTION.en_us.html +++ b/ofl/notosanssoyombo/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Soyombo is an unmodulated (“sans serif”) design for texts - in the Indic Soyombo script. It has 323 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Soyombo is an unmodulated (“sans serif”) design for texts in the Indic + + Soyombo + + script. + It has 323 glyphs.

diff --git a/ofl/notosanssundanese/DESCRIPTION.en_us.html b/ofl/notosanssundanese/DESCRIPTION.en_us.html index d14c246c4c..fb5790b8cc 100644 --- a/ofl/notosanssundanese/DESCRIPTION.en_us.html +++ b/ofl/notosanssundanese/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Sundanese is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Sundanese script. It has multiple - weights and 89 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Sundanese is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Sundanese + + script. + It has multiple weights and 89 glyphs.

diff --git a/ofl/notosanssylotinagri/DESCRIPTION.en_us.html b/ofl/notosanssylotinagri/DESCRIPTION.en_us.html index 7bc46b0460..a023e7d6a6 100644 --- a/ofl/notosanssylotinagri/DESCRIPTION.en_us.html +++ b/ofl/notosanssylotinagri/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Syloti Nagri is an unmodulated (“sans serif”) design for - texts in the Indic Syloti Nagri script. It has 87 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Syloti Nagri is an unmodulated (“sans serif”) design for texts in the Indic + + Syloti Nagri + + script. + It has 87 glyphs.

diff --git a/ofl/notosanssymbols/DESCRIPTION.en_us.html b/ofl/notosanssymbols/DESCRIPTION.en_us.html index b1f707c8a2..a51cd07194 100644 --- a/ofl/notosanssymbols/DESCRIPTION.en_us.html +++ b/ofl/notosanssymbols/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Symbols is an unmodulated (“sans serif”) design for texts - in Symbols. It has multiple weights and 1,224 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Symbols is an unmodulated (“sans serif”) design for texts in Symbols. + It has multiple weights and 1,224 glyphs.

diff --git a/ofl/notosanssymbols2/DESCRIPTION.en_us.html b/ofl/notosanssymbols2/DESCRIPTION.en_us.html index 7c1e0d0a13..7cfef2bc58 100644 --- a/ofl/notosanssymbols2/DESCRIPTION.en_us.html +++ b/ofl/notosanssymbols2/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Symbols 2 is an unmodulated (“sans serif”) design for - texts in Symbols and in Emoji symbols. It has 2,674 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Symbols 2 is an unmodulated (“sans serif”) design for texts in Symbols and in + + Emoji symbols + + . + It has 2,674 glyphs.

diff --git a/ofl/notosanssyriac/DESCRIPTION.en_us.html b/ofl/notosanssyriac/DESCRIPTION.en_us.html index 866b3c5dae..26ac64207d 100644 --- a/ofl/notosanssyriac/DESCRIPTION.en_us.html +++ b/ofl/notosanssyriac/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Syriac is an unmodulated (“sans serif”) Estrangela design for texts - in the Middle Eastern Syriac script. It has 288 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Syriac is an unmodulated (“sans serif”) Estrangela design for texts in the Middle Eastern + + Syriac + + script. + It has 288 glyphs.

diff --git a/ofl/notosanssyriaceastern/DESCRIPTION.en_us.html b/ofl/notosanssyriaceastern/DESCRIPTION.en_us.html index ae70aba867..40a586d0aa 100644 --- a/ofl/notosanssyriaceastern/DESCRIPTION.en_us.html +++ b/ofl/notosanssyriaceastern/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Syriac Eastern is an unmodulated (“sans serif”) Eastern (Maḏnḥāyā) design for texts - in the Middle Eastern Syriac script. It has 233 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Syriac Eastern is an unmodulated (“sans serif”) Eastern (Maḏnḥāyā) design for texts in the Middle Eastern + + Syriac + + script. + It has 233 glyphs.

diff --git a/ofl/notosanstagalog/DESCRIPTION.en_us.html b/ofl/notosanstagalog/DESCRIPTION.en_us.html index be8afa031b..eac4378060 100644 --- a/ofl/notosanstagalog/DESCRIPTION.en_us.html +++ b/ofl/notosanstagalog/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tagalog is an unmodulated (“sans serif”) design for texts - in the historical Southeast Asian Tagalog script. It has 31 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tagalog is an unmodulated (“sans serif”) design for texts in the historical Southeast Asian + + Tagalog + + script. + It has 31 glyphs.

diff --git a/ofl/notosanstagbanwa/DESCRIPTION.en_us.html b/ofl/notosanstagbanwa/DESCRIPTION.en_us.html index dc40cedc19..08b7fb3daf 100644 --- a/ofl/notosanstagbanwa/DESCRIPTION.en_us.html +++ b/ofl/notosanstagbanwa/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tagbanwa is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Tagbanwa script. It has 29 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tagbanwa is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Tagbanwa + + script. + It has 29 glyphs.

diff --git a/ofl/notosanstaile/DESCRIPTION.en_us.html b/ofl/notosanstaile/DESCRIPTION.en_us.html index 89dcddd78a..ff0dd6469f 100644 --- a/ofl/notosanstaile/DESCRIPTION.en_us.html +++ b/ofl/notosanstaile/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tai Le is an unmodulated (“sans serif”) design for texts - in the Southeast Asian Tai Le script. It has 71 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tai Le is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Tai Le + + script. + It has 71 glyphs.

diff --git a/ofl/notosanstaitham/DESCRIPTION.en_us.html b/ofl/notosanstaitham/DESCRIPTION.en_us.html index e46a119022..20c269eeb0 100644 --- a/ofl/notosanstaitham/DESCRIPTION.en_us.html +++ b/ofl/notosanstaitham/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tai Tham is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Lanna (Tai Tham) script. It has multiple - weights and 799 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tai Tham is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Lanna (Tai Tham) + + script. + It has multiple weights and 799 glyphs.

diff --git a/ofl/notosanstaiviet/DESCRIPTION.en_us.html b/ofl/notosanstaiviet/DESCRIPTION.en_us.html index f40773df92..c43d5d34dc 100644 --- a/ofl/notosanstaiviet/DESCRIPTION.en_us.html +++ b/ofl/notosanstaiviet/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tai Viet is an unmodulated (“sans serif”) design for - texts in the Southeast Asian Tai Viet script. It has 83 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tai Viet is an unmodulated (“sans serif”) design for texts in the Southeast Asian + + Tai Viet + + script. + It has 83 glyphs.

diff --git a/ofl/notosanstakri/DESCRIPTION.en_us.html b/ofl/notosanstakri/DESCRIPTION.en_us.html index 3ab5b22cdf..015e8e0d56 100644 --- a/ofl/notosanstakri/DESCRIPTION.en_us.html +++ b/ofl/notosanstakri/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Takri is an unmodulated (“sans serif”) design for texts - in the historical Indic Takri script. It has 95 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Takri is an unmodulated (“sans serif”) design for texts in the historical Indic + + Takri + + script. + It has 95 glyphs.

diff --git a/ofl/notosanstamil/DESCRIPTION.en_us.html b/ofl/notosanstamil/DESCRIPTION.en_us.html index 27c64c1ba6..58687cba8c 100644 --- a/ofl/notosanstamil/DESCRIPTION.en_us.html +++ b/ofl/notosanstamil/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tamil is an unmodulated (“sans serif”) design for texts - in the Indic Tamil script. It has multiple weights and widths, and - 244 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tamil is an unmodulated (“sans serif”) design for texts in the Indic + + Tamil + + script. + It has multiple weights and widths, and 244 glyphs.

diff --git a/ofl/notosanstamilsupplement/DESCRIPTION.en_us.html b/ofl/notosanstamilsupplement/DESCRIPTION.en_us.html index 4f74e44925..da85bce37e 100644 --- a/ofl/notosanstamilsupplement/DESCRIPTION.en_us.html +++ b/ofl/notosanstamilsupplement/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tamil Supplement is an unmodulated (“sans serif”) design - in the Supplement variant for texts in the Indic Tamil script. It has - 54 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tamil Supplement is an unmodulated (“sans serif”) design in the Supplement variant for texts in the Indic + + Tamil + + script. + It has 54 glyphs.

diff --git a/ofl/notosanstamilui/DESCRIPTION.en_us.html b/ofl/notosanstamilui/DESCRIPTION.en_us.html index 53c608f461..22234147ab 100644 --- a/ofl/notosanstamilui/DESCRIPTION.en_us.html +++ b/ofl/notosanstamilui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tamil UI is an unmodulated (“sans serif”) design for app - and website user interfaces in the Indic Tamil script. It has - multiple weights and widths, and 244 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tamil UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Tamil + + script. + It has multiple weights and widths, and 244 glyphs.

diff --git a/ofl/notosanstangsa/DESCRIPTION.en_us.html b/ofl/notosanstangsa/DESCRIPTION.en_us.html index 0f0e00ca22..53fbc51de6 100644 --- a/ofl/notosanstangsa/DESCRIPTION.en_us.html +++ b/ofl/notosanstangsa/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Tangsa is a design for the Indic Tangsa script. It has multiple weights, and has 94 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tangsa is a design for the Indic + + Tangsa + + script. + It has multiple weights, and has 94 glyphs. +

diff --git a/ofl/notosanstc/DESCRIPTION.en_us.html b/ofl/notosanstc/DESCRIPTION.en_us.html index 2e4ecfcd26..be3b5e0fc0 100644 --- a/ofl/notosanstc/DESCRIPTION.en_us.html +++ b/ofl/notosanstc/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans TC is an unmodulated (“sans serif”) design for languages - in Taiwan and Macau that use the Traditional Chinese variant of the - Han ideograms. It also supports - Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. It - has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans TC is an unmodulated (“sans serif”) design for languages in Taiwan and Macau that use the + + Traditional Chinese + + variant of the Han ideograms. + It also supports + + Hiragana, Katakana, Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notosanstelugu/DESCRIPTION.en_us.html b/ofl/notosanstelugu/DESCRIPTION.en_us.html index 4d173d89b0..707b3621fe 100644 --- a/ofl/notosanstelugu/DESCRIPTION.en_us.html +++ b/ofl/notosanstelugu/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Telugu is an unmodulated (“sans serif”) design for texts - in the Indic Telugu script. It has multiple weights and widths, and - 958 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Telugu is an unmodulated (“sans serif”) design for texts in the Indic + + Telugu + + script. + It has multiple weights and widths, and 958 glyphs.

diff --git a/ofl/notosansteluguui/DESCRIPTION.en_us.html b/ofl/notosansteluguui/DESCRIPTION.en_us.html index 90df6e62c5..e3d8846353 100644 --- a/ofl/notosansteluguui/DESCRIPTION.en_us.html +++ b/ofl/notosansteluguui/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Telugu UI is an unmodulated (“sans serif”) design for app - and website user interfaces in the Indic Telugu script. It has - multiple weights and widths, and 958 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Telugu UI is an unmodulated (“sans serif”) design for app and website user interfaces in the Indic + + Telugu + + script. + It has multiple weights and widths, and 958 glyphs.

diff --git a/ofl/notosansthaana/DESCRIPTION.en_us.html b/ofl/notosansthaana/DESCRIPTION.en_us.html index 26373213d0..d053d271b5 100644 --- a/ofl/notosansthaana/DESCRIPTION.en_us.html +++ b/ofl/notosansthaana/DESCRIPTION.en_us.html @@ -1,8 +1,12 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Thaana is an unmodulated (“sans serif”) design for texts - in the Indic Thaana script. It has multiple weights and 90 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Thaana is an unmodulated (“sans serif”) design for texts in the Indic + + Thaana + + script. + It has multiple weights and 90 glyphs.

- Noto Sans Thaana 3 is a redesigned version of Noto Sans Thaana in response to community feedback. + Noto Sans Thaana 3 is a redesigned version of Noto Sans Thaana in response to community feedback.

diff --git a/ofl/notosansthai/DESCRIPTION.en_us.html b/ofl/notosansthai/DESCRIPTION.en_us.html index 63dacbbd9a..ff95486753 100644 --- a/ofl/notosansthai/DESCRIPTION.en_us.html +++ b/ofl/notosansthai/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Thai is an unmodulated (“sans serif”) design in the more - modern, loopless variant of the Southeast Asian Thai script, mainly - suitable for headlines, packaging and advertising. It has multiple weights and - widths, and 140 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Thai is an unmodulated (“sans serif”) design in the more modern, loopless variant of the Southeast Asian + + Thai + + script, mainly suitable for headlines, packaging and advertising. + It has multiple weights and widths, and 140 glyphs.

diff --git a/ofl/notosansthailooped/DESCRIPTION.en_us.html b/ofl/notosansthailooped/DESCRIPTION.en_us.html index ac743d48f0..402e34dff2 100644 --- a/ofl/notosansthailooped/DESCRIPTION.en_us.html +++ b/ofl/notosansthailooped/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Thai Looped is an unmodulated (“sans serif”) design in - the more traditional, looped variant of the Southeast Asian - Thai script, suitable for all texts. It has 212 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Thai Looped is an unmodulated (“sans serif”) design in the more traditional, looped variant of the Southeast Asian + + Thai + + script, suitable for all texts. + It has 212 glyphs.

diff --git a/ofl/notosansthaiui/DESCRIPTION.en_us.html b/ofl/notosansthaiui/DESCRIPTION.en_us.html index 36763a6b7a..ec59d1a683 100644 --- a/ofl/notosansthaiui/DESCRIPTION.en_us.html +++ b/ofl/notosansthaiui/DESCRIPTION.en_us.html @@ -1,7 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Thai UI is an unmodulated (“sans serif”) design in the - more modern, loopless variant of the Southeast Asian Thai script, - suitable for app and website user interfaces in the Thai script. It has - multiple weights and widths, and 140 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Thai UI is an unmodulated (“sans serif”) design in the more modern, loopless variant of the Southeast Asian + + Thai + + script, suitable for app and website user interfaces in the Thai script. + It has multiple weights and widths, and 140 glyphs.

diff --git a/ofl/notosanstifinagh/DESCRIPTION.en_us.html b/ofl/notosanstifinagh/DESCRIPTION.en_us.html index efdacd46c0..89fcdde8a4 100644 --- a/ofl/notosanstifinagh/DESCRIPTION.en_us.html +++ b/ofl/notosanstifinagh/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tifinagh is an unmodulated (“sans serif”) design for - texts in the African Tifinagh script. It has 164 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tifinagh is an unmodulated (“sans serif”) design for texts in the African + + Tifinagh + + script. + It has 164 glyphs.

diff --git a/ofl/notosanstirhuta/DESCRIPTION.en_us.html b/ofl/notosanstirhuta/DESCRIPTION.en_us.html index 64ecec4b3a..7cef4644f3 100644 --- a/ofl/notosanstirhuta/DESCRIPTION.en_us.html +++ b/ofl/notosanstirhuta/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Tirhuta is an unmodulated (“sans serif”) design for texts - in the Indic Tirhuta script. It has 262 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Tirhuta is an unmodulated (“sans serif”) design for texts in the Indic + + Tirhuta + + script. + It has 262 glyphs.

diff --git a/ofl/notosansugaritic/DESCRIPTION.en_us.html b/ofl/notosansugaritic/DESCRIPTION.en_us.html index e20a16393a..eaffc9d7fa 100644 --- a/ofl/notosansugaritic/DESCRIPTION.en_us.html +++ b/ofl/notosansugaritic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Ugaritic is an unmodulated (“sans serif”) design for - texts in the historical Middle Eastern Ugaritic script. It has 36 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Ugaritic is an unmodulated (“sans serif”) design for texts in the historical Middle Eastern + + Ugaritic + + script. + It has 36 glyphs.

diff --git a/ofl/notosansvai/DESCRIPTION.en_us.html b/ofl/notosansvai/DESCRIPTION.en_us.html index 5c8741e565..99021fce43 100644 --- a/ofl/notosansvai/DESCRIPTION.en_us.html +++ b/ofl/notosansvai/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Vai is an unmodulated (“sans serif”) design for texts in - the African Vai script. It has 305 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Vai is an unmodulated (“sans serif”) design for texts in the African + + Vai + + script. + It has 305 glyphs.

diff --git a/ofl/notosansvithkuqi/DESCRIPTION.en_us.html b/ofl/notosansvithkuqi/DESCRIPTION.en_us.html index b1aadbfde0..62011671ad 100644 --- a/ofl/notosansvithkuqi/DESCRIPTION.en_us.html +++ b/ofl/notosansvithkuqi/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Sans Vithkuqi is a design for the historical European Vithkuqi script. It has multiple weights, and has 103 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Vithkuqi is a design for the historical European + + Vithkuqi + + script. + It has multiple weights, and has 103 glyphs. +

diff --git a/ofl/notosanswancho/DESCRIPTION.en_us.html b/ofl/notosanswancho/DESCRIPTION.en_us.html index ac57857b96..d81ff7fdcb 100644 --- a/ofl/notosanswancho/DESCRIPTION.en_us.html +++ b/ofl/notosanswancho/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Wancho is an unmodulated (“sans serif”) design for texts - in the Indic Wancho script. It has 95 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Wancho is an unmodulated (“sans serif”) design for texts in the Indic + + Wancho + + script. + It has 95 glyphs.

diff --git a/ofl/notosanswarangciti/DESCRIPTION.en_us.html b/ofl/notosanswarangciti/DESCRIPTION.en_us.html index 4bab18ecce..d605194a55 100644 --- a/ofl/notosanswarangciti/DESCRIPTION.en_us.html +++ b/ofl/notosanswarangciti/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Warang Citi is an unmodulated (“sans serif”) design for - texts in the Indic Varang Kshiti (Warang Citi) script. It has 181 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Warang Citi is an unmodulated (“sans serif”) design for texts in the Indic + + Varang Kshiti (Warang Citi) + + script. + It has 181 glyphs.

diff --git a/ofl/notosansyi/DESCRIPTION.en_us.html b/ofl/notosansyi/DESCRIPTION.en_us.html index 82a29c61d6..cfc9cb025c 100644 --- a/ofl/notosansyi/DESCRIPTION.en_us.html +++ b/ofl/notosansyi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Yi is an unmodulated (“sans serif”) design for texts in - the East Asian Yi script. It has 1,251 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Yi is an unmodulated (“sans serif”) design for texts in the East Asian + + Yi + + script. + It has 1,251 glyphs.

diff --git a/ofl/notosanszanabazarsquare/DESCRIPTION.en_us.html b/ofl/notosanszanabazarsquare/DESCRIPTION.en_us.html index 164fe8cf8b..3dc481cb74 100644 --- a/ofl/notosanszanabazarsquare/DESCRIPTION.en_us.html +++ b/ofl/notosanszanabazarsquare/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Sans Zanabazar Square is an unmodulated (“sans serif”) design - for texts in the historical Central Asian Zanabazar Square script. It - has 154 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Sans Zanabazar Square is an unmodulated (“sans serif”) design for texts in the historical Central Asian + + Zanabazar Square + + script. + It has 154 glyphs.

diff --git a/ofl/notoserif/DESCRIPTION.en_us.html b/ofl/notoserif/DESCRIPTION.en_us.html index 3455336ebb..4c6f39f26f 100644 --- a/ofl/notoserif/DESCRIPTION.en_us.html +++ b/ofl/notoserif/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif is a modulated (“serif”) design for texts in the - Latin, Cyrillic and Greek scripts, also suitable as the - complementary font for other script-specific Noto Serif fonts. It has italic - styles, multiple weights and widths, and 3,256 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif is a modulated (“serif”) design for texts in the + + Latin, Cyrillic + + and + + Greek + + scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. + It has italic styles, multiple weights and widths, and 3,256 glyphs.

diff --git a/ofl/notoserifahom/DESCRIPTION.en_us.html b/ofl/notoserifahom/DESCRIPTION.en_us.html index 68cc35c20a..55cc3f69c9 100644 --- a/ofl/notoserifahom/DESCRIPTION.en_us.html +++ b/ofl/notoserifahom/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Ahom is a modulated (“serif”) design for texts in the - Southeast Asian Ahom script. It has 76 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Ahom is a modulated (“serif”) design for texts in the Southeast Asian + + Ahom + + script. + It has 76 glyphs.

diff --git a/ofl/notoserifarmenian/DESCRIPTION.en_us.html b/ofl/notoserifarmenian/DESCRIPTION.en_us.html index 1acce32828..7fd72a7f26 100644 --- a/ofl/notoserifarmenian/DESCRIPTION.en_us.html +++ b/ofl/notoserifarmenian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Armenian is a modulated (“serif”) design for texts in - the European Armenian script. It has multiple weights and widths, and - 107 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Armenian is a modulated (“serif”) design for texts in the European + + Armenian + + script. + It has multiple weights and widths, and 107 glyphs.

diff --git a/ofl/notoserifbalinese/DESCRIPTION.en_us.html b/ofl/notoserifbalinese/DESCRIPTION.en_us.html index 839e7fd9db..02b0a1c3ef 100644 --- a/ofl/notoserifbalinese/DESCRIPTION.en_us.html +++ b/ofl/notoserifbalinese/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Balinese is a modulated (“serif”) design for texts in - the Southeast Asian Balinese script. It has 217 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Balinese is a modulated (“serif”) design for texts in the Southeast Asian + + Balinese + + script. + It has 217 glyphs.

diff --git a/ofl/notoserifbengali/DESCRIPTION.en_us.html b/ofl/notoserifbengali/DESCRIPTION.en_us.html index 09c6e295a1..2db979478b 100644 --- a/ofl/notoserifbengali/DESCRIPTION.en_us.html +++ b/ofl/notoserifbengali/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Bengali is a modulated (“serif”) design for texts in the - Indic Bangla (Bengali) script. It has multiple weights and widths, - and 640 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Bengali is a modulated (“serif”) design for texts in the Indic + + Bangla (Bengali) + + script. + It has multiple weights and widths, and 640 glyphs.

diff --git a/ofl/notoserifdevanagari/DESCRIPTION.en_us.html b/ofl/notoserifdevanagari/DESCRIPTION.en_us.html index fddde5e215..b7ec91aad5 100644 --- a/ofl/notoserifdevanagari/DESCRIPTION.en_us.html +++ b/ofl/notoserifdevanagari/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Devanagari is a modulated (“serif”) design for texts in - the Indic Devanagari script. It has multiple weights and widths, and - 871 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Devanagari is a modulated (“serif”) design for texts in the Indic + + Devanagari + + script. + It has multiple weights and widths, and 871 glyphs.

diff --git a/ofl/notoserifdisplay/DESCRIPTION.en_us.html b/ofl/notoserifdisplay/DESCRIPTION.en_us.html index 969a92e0d0..731fa437b4 100644 --- a/ofl/notoserifdisplay/DESCRIPTION.en_us.html +++ b/ofl/notoserifdisplay/DESCRIPTION.en_us.html @@ -1,7 +1,17 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Display is a modulated (“serif”) design for texts in - larger font sizes in the European Latin script and in - Cyrillic, Greek. It has italic styles, multiple weights and - widths, and 3,256 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Display is a modulated (“serif”) design for texts in larger font sizes in the European + + Latin + + script and in + + Cyrillic + + , + + Greek + + . + It has italic styles, multiple weights and widths, and 3,256 glyphs.

diff --git a/ofl/notoserifdogra/DESCRIPTION.en_us.html b/ofl/notoserifdogra/DESCRIPTION.en_us.html index 52ae752de2..c756b64539 100644 --- a/ofl/notoserifdogra/DESCRIPTION.en_us.html +++ b/ofl/notoserifdogra/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Dogra is a modulated (“serif”) design for texts in the - historical Indic Dogra script. It has 143 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Dogra is a modulated (“serif”) design for texts in the historical Indic + + Dogra + + script. + It has 143 glyphs.

diff --git a/ofl/notoserifethiopic/DESCRIPTION.en_us.html b/ofl/notoserifethiopic/DESCRIPTION.en_us.html index 230d438795..4073fd00d2 100644 --- a/ofl/notoserifethiopic/DESCRIPTION.en_us.html +++ b/ofl/notoserifethiopic/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Ethiopic is a modulated (“serif”) design for texts in - the African Ethiopic script. It has multiple weights and widths, and - 566 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Ethiopic is a modulated (“serif”) design for texts in the African + + Ethiopic + + script. + It has multiple weights and widths, and 566 glyphs.

diff --git a/ofl/notoserifgeorgian/DESCRIPTION.en_us.html b/ofl/notoserifgeorgian/DESCRIPTION.en_us.html index d0f3a559a6..699bca4cc9 100644 --- a/ofl/notoserifgeorgian/DESCRIPTION.en_us.html +++ b/ofl/notoserifgeorgian/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Georgian is a modulated (“serif”) design for texts in - the European Georgian script. It has multiple weights and widths, and - 225 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Georgian is a modulated (“serif”) design for texts in the European + + Georgian + + script. + It has multiple weights and widths, and 225 glyphs.

diff --git a/ofl/notoserifgrantha/DESCRIPTION.en_us.html b/ofl/notoserifgrantha/DESCRIPTION.en_us.html index 3ae02eb7d2..9089dd884d 100644 --- a/ofl/notoserifgrantha/DESCRIPTION.en_us.html +++ b/ofl/notoserifgrantha/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Grantha is a modulated (“serif”) design for texts in the - Indic Grantha script. It has 479 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Grantha is a modulated (“serif”) design for texts in the Indic + + Grantha + + script. + It has 479 glyphs.

diff --git a/ofl/notoserifgujarati/DESCRIPTION.en_us.html b/ofl/notoserifgujarati/DESCRIPTION.en_us.html index 19d32c321e..efed58b800 100644 --- a/ofl/notoserifgujarati/DESCRIPTION.en_us.html +++ b/ofl/notoserifgujarati/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Gujarati is a modulated (“serif”) design for texts in - the Indic Gujarati script. It has multiple weights and 456 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Gujarati is a modulated (“serif”) design for texts in the Indic + + Gujarati + + script. + It has multiple weights and 456 glyphs.

diff --git a/ofl/notoserifgurmukhi/DESCRIPTION.en_us.html b/ofl/notoserifgurmukhi/DESCRIPTION.en_us.html index 5c0ac1ef2d..df8cdb026c 100644 --- a/ofl/notoserifgurmukhi/DESCRIPTION.en_us.html +++ b/ofl/notoserifgurmukhi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Gurmukhi is a modulated (“serif”) design for texts in - the Indic Gurmukhi script. It has multiple weights and 294 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Gurmukhi is a modulated (“serif”) design for texts in the Indic + + Gurmukhi + + script. + It has multiple weights and 294 glyphs.

diff --git a/ofl/notoserifhebrew/DESCRIPTION.en_us.html b/ofl/notoserifhebrew/DESCRIPTION.en_us.html index 9bcb76d36c..d551f9bda1 100644 --- a/ofl/notoserifhebrew/DESCRIPTION.en_us.html +++ b/ofl/notoserifhebrew/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Hebrew is a modulated (“serif”) design for texts in the - Middle Eastern Hebrew script. It has multiple weights and widths, and - 150 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Hebrew is a modulated (“serif”) design for texts in the Middle Eastern + + Hebrew + + script. + It has multiple weights and widths, and 150 glyphs.

diff --git a/ofl/notoserifhk/DESCRIPTION.en_us.html b/ofl/notoserifhk/DESCRIPTION.en_us.html index b57aee8cf3..b3ca8f58c0 100644 --- a/ofl/notoserifhk/DESCRIPTION.en_us.html +++ b/ofl/notoserifhk/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif HK is an modulated (“serif”) design for languages - in Hong Kong that use the Traditional Chinese variant of the Han - ideograms. It also supports - Latin, Cyrillic, Greek, Katakana, Hiragana and Hangul. - It is a variable font with a weight axis ranging from ExtraLight to ExtraBlack. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif HK is an modulated (“serif”) design for languages in Hong Kong that use the + + Traditional Chinese + + variant of the Han ideograms. + It also supports + + Latin, Cyrillic, Greek, Katakana, Hiragana + + and + + Hangul + + . + It is a variable font with a weight axis ranging from ExtraLight to ExtraBlack.

diff --git a/ofl/notoserifjp/DESCRIPTION.en_us.html b/ofl/notoserifjp/DESCRIPTION.en_us.html index 9dab6c9fd5..54e69b8051 100644 --- a/ofl/notoserifjp/DESCRIPTION.en_us.html +++ b/ofl/notoserifjp/DESCRIPTION.en_us.html @@ -1,7 +1,30 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif JP is a modulated (“serif”) design for the - Japanese language and other languages used in Japan. It supports - Hiragana, Katakana, Kanji, - Latin, Cyrillic, Greek and Hangul. It has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif JP is a modulated (“serif”) design for the + + Japanese + + language and other languages used in Japan. + It supports + + Hiragana + + , + + Katakana + + , + + Kanji + + , + + Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notoserifkannada/DESCRIPTION.en_us.html b/ofl/notoserifkannada/DESCRIPTION.en_us.html index e26d094d5b..69b1b1fa82 100644 --- a/ofl/notoserifkannada/DESCRIPTION.en_us.html +++ b/ofl/notoserifkannada/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Kannada is a modulated (“serif”) design for texts in the - Indic Kannada script. It has multiple weights and 417 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Kannada is a modulated (“serif”) design for texts in the Indic + + Kannada + + script. + It has multiple weights and 417 glyphs.

diff --git a/ofl/notoserifkhitansmallscript/DESCRIPTION.en_us.html b/ofl/notoserifkhitansmallscript/DESCRIPTION.en_us.html index 962b39d058..790b3be6c1 100644 --- a/ofl/notoserifkhitansmallscript/DESCRIPTION.en_us.html +++ b/ofl/notoserifkhitansmallscript/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Khitan Small Script is a design for the historical East Asian Khitan small script script. It has 11,365 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Khitan Small Script is a design for the historical East Asian + + Khitan small script + + script. + It has 11,365 glyphs. +

diff --git a/ofl/notoserifkhmer/DESCRIPTION.en_us.html b/ofl/notoserifkhmer/DESCRIPTION.en_us.html index 9c36df1766..08d19a51fb 100644 --- a/ofl/notoserifkhmer/DESCRIPTION.en_us.html +++ b/ofl/notoserifkhmer/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Khmer is a modulated (“serif”) design for texts in the - Southeast Asian Khmer script. It has multiple weights and widths, and - 361 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Khmer is a modulated (“serif”) design for texts in the Southeast Asian + + Khmer + + script. + It has multiple weights and widths, and 361 glyphs.

diff --git a/ofl/notoserifkhojki/DESCRIPTION.en_us.html b/ofl/notoserifkhojki/DESCRIPTION.en_us.html index 0615235826..614df8d8ae 100644 --- a/ofl/notoserifkhojki/DESCRIPTION.en_us.html +++ b/ofl/notoserifkhojki/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Khojki is an modulated (“serif”) design for texts - in the Indic Khojki script. It has 423 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Khojki is an modulated (“serif”) design for texts in the Indic + + Khojki + + script. + It has 423 glyphs.

diff --git a/ofl/notoserifkr/DESCRIPTION.en_us.html b/ofl/notoserifkr/DESCRIPTION.en_us.html index a55429ad2c..ec7d4b1419 100644 --- a/ofl/notoserifkr/DESCRIPTION.en_us.html +++ b/ofl/notoserifkr/DESCRIPTION.en_us.html @@ -1,7 +1,26 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif KR is a modulated (“serif”) design for the - Korean language using Hangul and the - Korean Hanja scripts. It also supports - Hiragana, Katakana, Latin, Cyrillic and Greek. It has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif KR is a modulated (“serif”) design for the + + Korean + + language using + + Hangul + + and the + + Korean Hanja + + scripts. + It also supports + + Hiragana, Katakana, Latin, Cyrillic + + and + + Greek + + . + It has multiple weights.

diff --git a/ofl/notoseriflao/DESCRIPTION.en_us.html b/ofl/notoseriflao/DESCRIPTION.en_us.html index acfc74d9e4..83060fc74a 100644 --- a/ofl/notoseriflao/DESCRIPTION.en_us.html +++ b/ofl/notoseriflao/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Lao is a modulated (“serif”) design for texts in the - Southeast Asian Lao script. It has multiple weights and widths, and - 117 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Lao is a modulated (“serif”) design for texts in the Southeast Asian + + Lao + + script. + It has multiple weights and widths, and 117 glyphs.

diff --git a/ofl/notoserifmakasar/DESCRIPTION.en_us.html b/ofl/notoserifmakasar/DESCRIPTION.en_us.html index 44a02a1c1a..09aabc7427 100644 --- a/ofl/notoserifmakasar/DESCRIPTION.en_us.html +++ b/ofl/notoserifmakasar/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Makasar is a design for the historical Southeast Asian Makasar script. It has 30 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Makasar is a design for the historical Southeast Asian + + Makasar + + script. + It has 30 glyphs. +

diff --git a/ofl/notoserifmalayalam/DESCRIPTION.en_us.html b/ofl/notoserifmalayalam/DESCRIPTION.en_us.html index 2cc1a49d00..437819c406 100644 --- a/ofl/notoserifmalayalam/DESCRIPTION.en_us.html +++ b/ofl/notoserifmalayalam/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Malayalam is a modulated (“serif”) design for texts in - the Indic Malayalam script. It has multiple weights and 354 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Malayalam is a modulated (“serif”) design for texts in the Indic + + Malayalam + + script. + It has multiple weights and 354 glyphs.

diff --git a/ofl/notoserifmyanmar/DESCRIPTION.en_us.html b/ofl/notoserifmyanmar/DESCRIPTION.en_us.html index 27d96ccfde..ae9ed60915 100644 --- a/ofl/notoserifmyanmar/DESCRIPTION.en_us.html +++ b/ofl/notoserifmyanmar/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Myanmar is a modulated (“serif”) design for texts in the - Southeast Asian Myanmar script. It has 725 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Myanmar is a modulated (“serif”) design for texts in the Southeast Asian + + Myanmar + + script. + It has 725 glyphs.

diff --git a/ofl/notoserifnphmong/DESCRIPTION.en_us.html b/ofl/notoserifnphmong/DESCRIPTION.en_us.html index b12ab4a5c9..ea0eb12030 100644 --- a/ofl/notoserifnphmong/DESCRIPTION.en_us.html +++ b/ofl/notoserifnphmong/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Nyiakeng Puachue Hmong is a modulated (“serif”) design - for texts in the Nyiakeng Puachue Hmong script. It has multiple - weights and 76 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Nyiakeng Puachue Hmong is a modulated (“serif”) design for texts in the + + Nyiakeng Puachue Hmong + + script. + It has multiple weights and 76 glyphs.

diff --git a/ofl/notoserifnyiakengpuachuehmong/DESCRIPTION.en_us.html b/ofl/notoserifnyiakengpuachuehmong/DESCRIPTION.en_us.html index b12ab4a5c9..ea0eb12030 100644 --- a/ofl/notoserifnyiakengpuachuehmong/DESCRIPTION.en_us.html +++ b/ofl/notoserifnyiakengpuachuehmong/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Nyiakeng Puachue Hmong is a modulated (“serif”) design - for texts in the Nyiakeng Puachue Hmong script. It has multiple - weights and 76 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Nyiakeng Puachue Hmong is a modulated (“serif”) design for texts in the + + Nyiakeng Puachue Hmong + + script. + It has multiple weights and 76 glyphs.

diff --git a/ofl/notoserifolduyghur/DESCRIPTION.en_us.html b/ofl/notoserifolduyghur/DESCRIPTION.en_us.html index b41edb97bf..85e5c62247 100644 --- a/ofl/notoserifolduyghur/DESCRIPTION.en_us.html +++ b/ofl/notoserifolduyghur/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Old Uyghur is a design for the historical Central Asian Old Uyghur script. It has 132 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Old Uyghur is a design for the historical Central Asian + + Old Uyghur + + script. + It has 132 glyphs. +

diff --git a/ofl/notoseriforiya/DESCRIPTION.en_us.html b/ofl/notoseriforiya/DESCRIPTION.en_us.html index 5d37501cf9..0b39fcff3b 100644 --- a/ofl/notoseriforiya/DESCRIPTION.en_us.html +++ b/ofl/notoseriforiya/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Oriya is a modulated (“serif”) design for texts in the - Indic Odia (Oriya) script. It has multiple weights and 690 glyphs. -

\ No newline at end of file + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Oriya is a modulated (“serif”) design for texts in the Indic + + Odia (Oriya) + + script. + It has multiple weights and 690 glyphs. +

diff --git a/ofl/notoserifottomansiyaq/DESCRIPTION.en_us.html b/ofl/notoserifottomansiyaq/DESCRIPTION.en_us.html index 30e93fe286..9760432843 100644 --- a/ofl/notoserifottomansiyaq/DESCRIPTION.en_us.html +++ b/ofl/notoserifottomansiyaq/DESCRIPTION.en_us.html @@ -1,2 +1,5 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Ottoman Siyaq Numbers is a modulated (“serif”) design for the Arabic form of the Siyaq numeral system, used in Iran, Turkey, the Arabian Peninsula, and South Asia for accounting and finance. - It has 63 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Ottoman Siyaq Numbers is a modulated (“serif”) design for the Arabic form of the Siyaq numeral system, used in Iran, Turkey, the Arabian Peninsula, and South Asia for accounting and finance. + It has 63 glyphs. +

diff --git a/ofl/notoserifsc/DESCRIPTION.en_us.html b/ofl/notoserifsc/DESCRIPTION.en_us.html index e9148c9220..23b0e59a2b 100644 --- a/ofl/notoserifsc/DESCRIPTION.en_us.html +++ b/ofl/notoserifsc/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif SC is a modulated (“serif”) design for languages in - mainland China that use the Simplified Chinese variant of the Han - ideograms. It also supports - Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. It - has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif SC is a modulated (“serif”) design for languages in mainland China that use the + + Simplified Chinese + + variant of the Han ideograms. + It also supports + + Hiragana, Katakana, Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notoserifsinhala/DESCRIPTION.en_us.html b/ofl/notoserifsinhala/DESCRIPTION.en_us.html index 8e7a05652f..ab88a9cc2a 100644 --- a/ofl/notoserifsinhala/DESCRIPTION.en_us.html +++ b/ofl/notoserifsinhala/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Sinhala is a modulated (“serif”) design for texts in the - Indic Sinhala script. It has multiple weights and widths, and 645 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Sinhala is a modulated (“serif”) design for texts in the Indic + + Sinhala + + script. + It has multiple weights and widths, and 645 glyphs.

diff --git a/ofl/notoseriftamil/DESCRIPTION.en_us.html b/ofl/notoseriftamil/DESCRIPTION.en_us.html index 21f188da25..4ab5ab8561 100644 --- a/ofl/notoseriftamil/DESCRIPTION.en_us.html +++ b/ofl/notoseriftamil/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Tamil is a modulated (“serif”) design for texts in the - Indic Tamil script. It has italic styles, multiple weights and - widths, and 222 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Tamil is a modulated (“serif”) design for texts in the Indic + + Tamil + + script. + It has italic styles, multiple weights and widths, and 222 glyphs.

diff --git a/ofl/notoseriftangut/DESCRIPTION.en_us.html b/ofl/notoseriftangut/DESCRIPTION.en_us.html index 310f8d9349..8cab6ff1cd 100644 --- a/ofl/notoseriftangut/DESCRIPTION.en_us.html +++ b/ofl/notoseriftangut/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Tangut is a modulated (“serif”) design for texts in the - historical East Asian Tangut script. It has 6,897 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Tangut is a modulated (“serif”) design for texts in the historical East Asian + + Tangut + + script. + It has 6,897 glyphs.

diff --git a/ofl/notoseriftc/DESCRIPTION.en_us.html b/ofl/notoseriftc/DESCRIPTION.en_us.html index 86fe25a09d..387495ef79 100644 --- a/ofl/notoseriftc/DESCRIPTION.en_us.html +++ b/ofl/notoseriftc/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif TC is a modulated (“serif”) design for languages in - Taiwan, Hong Kong and Macau that use the Traditional Chinese variant - of the Han ideograms. It also supports - Hiragana, Katakana, Latin, Cyrillic, Greek and Hangul. It - has multiple weights. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif TC is a modulated (“serif”) design for languages in Taiwan, Hong Kong and Macau that use the + + Traditional Chinese + + variant of the Han ideograms. + It also supports + + Hiragana, Katakana, Latin, Cyrillic, Greek + + and + + Hangul + + . + It has multiple weights.

diff --git a/ofl/notoseriftelugu/DESCRIPTION.en_us.html b/ofl/notoseriftelugu/DESCRIPTION.en_us.html index b1dc7f06d2..eba0f933b3 100644 --- a/ofl/notoseriftelugu/DESCRIPTION.en_us.html +++ b/ofl/notoseriftelugu/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Telugu is a modulated (“serif”) design for texts in the - Indic Telugu script. It has multiple weights and 728 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Telugu is a modulated (“serif”) design for texts in the Indic + + Telugu + + script. + It has multiple weights and 728 glyphs.

diff --git a/ofl/notoserifthai/DESCRIPTION.en_us.html b/ofl/notoserifthai/DESCRIPTION.en_us.html index 673257ac81..eb0f23feef 100644 --- a/ofl/notoserifthai/DESCRIPTION.en_us.html +++ b/ofl/notoserifthai/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Thai is a modulated (“serif”) design for texts in the - Southeast Asian Thai script. It has multiple weights and widths, and - 140 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Thai is a modulated (“serif”) design for texts in the Southeast Asian + + Thai + + script. + It has multiple weights and widths, and 140 glyphs.

diff --git a/ofl/notoseriftibetan/DESCRIPTION.en_us.html b/ofl/notoseriftibetan/DESCRIPTION.en_us.html index 4e9cc92c16..8a8e7559d3 100644 --- a/ofl/notoseriftibetan/DESCRIPTION.en_us.html +++ b/ofl/notoseriftibetan/DESCRIPTION.en_us.html @@ -1,6 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Tibetan is a modulated (“serif”) design for texts in the - Central Asian Tibetan script. It has multiple weights and 1,891 - glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Tibetan is a modulated (“serif”) design for texts in the Central Asian + + Tibetan + + script. + It has multiple weights and 1,891 glyphs.

diff --git a/ofl/notoseriftoto/DESCRIPTION.en_us.html b/ofl/notoseriftoto/DESCRIPTION.en_us.html index b1b080a541..838197a838 100644 --- a/ofl/notoseriftoto/DESCRIPTION.en_us.html +++ b/ofl/notoseriftoto/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif is a modulated (“serif”) design for texts in the Latin, Cyrillic and Greek scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. It has multiple weights, and has 40 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif is a modulated (“serif”) design for texts in the + + Latin, Cyrillic + + and + + Greek + + scripts, also suitable as the complementary font for other script-specific Noto Serif fonts. + It has multiple weights, and has 40 glyphs. +

diff --git a/ofl/notoserifvithkuqi/DESCRIPTION.en_us.html b/ofl/notoserifvithkuqi/DESCRIPTION.en_us.html index 1f3ec16ff2..b522b6bd5f 100644 --- a/ofl/notoserifvithkuqi/DESCRIPTION.en_us.html +++ b/ofl/notoserifvithkuqi/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Noto is a global font collection for writing in all modern and ancient languages. Noto Serif Vithkuqi is a design for the historical European Vithkuqi script. It has multiple weights, and has 103 glyphs.

\ No newline at end of file +

+ Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Vithkuqi is a design for the historical European + + Vithkuqi + + script. + It has multiple weights, and has 103 glyphs. +

diff --git a/ofl/notoserifyezidi/DESCRIPTION.en_us.html b/ofl/notoserifyezidi/DESCRIPTION.en_us.html index eff7847a29..3fbf62ed2e 100644 --- a/ofl/notoserifyezidi/DESCRIPTION.en_us.html +++ b/ofl/notoserifyezidi/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Serif Yezidi is a modulated (“serif”) design for texts in the - Middle Eastern Yezidi script. It has multiple weights and 56 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Serif Yezidi is a modulated (“serif”) design for texts in the Middle Eastern + + Yezidi + + script. + It has multiple weights and 56 glyphs.

diff --git a/ofl/nototraditionalnushu/DESCRIPTION.en_us.html b/ofl/nototraditionalnushu/DESCRIPTION.en_us.html index 81b68d7aea..caab20511f 100644 --- a/ofl/nototraditionalnushu/DESCRIPTION.en_us.html +++ b/ofl/nototraditionalnushu/DESCRIPTION.en_us.html @@ -1,7 +1,10 @@

- Noto is a global font collection for writing in all modern and ancient - languages. Noto Traditional Nushu is an unmodulated (“sans serif”) design in - multiple weights for the East Asian Nüshu script, with a calligraphic - skeleton and a compact appearance. It is suitable for texts in medium font - sizes, and for headlines. It has 870 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Traditional Nushu is an unmodulated (“sans serif”) design in multiple weights for the East Asian + + Nüshu + + script, with a calligraphic skeleton and a compact appearance. + It is suitable for texts in medium font sizes, and for headlines. + It has 870 glyphs.

diff --git a/ofl/notoznamennymusicalnotation/DESCRIPTION.en_us.html b/ofl/notoznamennymusicalnotation/DESCRIPTION.en_us.html index 2ede555781..4a3daf05ea 100644 --- a/ofl/notoznamennymusicalnotation/DESCRIPTION.en_us.html +++ b/ofl/notoznamennymusicalnotation/DESCRIPTION.en_us.html @@ -1,3 +1,9 @@

- Noto is a global font collection for writing in all modern and ancient languages. Noto Znammeny Musical Notation is a font that contains symbols for the Znamenny Chant musical notation. It has 527 glyphs. + Noto is a global font collection for writing in all modern and ancient languages. + Noto Znammeny Musical Notation is a font that contains symbols for the Znamenny Chant + + musical notation + + . + It has 527 glyphs.

diff --git a/ofl/novacut/DESCRIPTION.en_us.html b/ofl/novacut/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novacut/DESCRIPTION.en_us.html +++ b/ofl/novacut/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novaflat/DESCRIPTION.en_us.html b/ofl/novaflat/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novaflat/DESCRIPTION.en_us.html +++ b/ofl/novaflat/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novamono/DESCRIPTION.en_us.html b/ofl/novamono/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novamono/DESCRIPTION.en_us.html +++ b/ofl/novamono/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novaoval/DESCRIPTION.en_us.html b/ofl/novaoval/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novaoval/DESCRIPTION.en_us.html +++ b/ofl/novaoval/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novaround/DESCRIPTION.en_us.html b/ofl/novaround/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novaround/DESCRIPTION.en_us.html +++ b/ofl/novaround/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novascript/DESCRIPTION.en_us.html b/ofl/novascript/DESCRIPTION.en_us.html index 0679848dc5..9a429fd01a 100644 --- a/ofl/novascript/DESCRIPTION.en_us.html +++ b/ofl/novascript/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

NovaScript is based on my NovaOval font, and it's a part of the Nova set. I created it because the Nova family was missing an oblique font. Now I consider the Nova family complete.

\ No newline at end of file +

+ NovaScript is based on my NovaOval font, and it's a part of the Nova set. + I created it because the Nova family was missing an oblique font. + Now I consider the Nova family complete. +

diff --git a/ofl/novaslim/DESCRIPTION.en_us.html b/ofl/novaslim/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novaslim/DESCRIPTION.en_us.html +++ b/ofl/novaslim/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/novasquare/DESCRIPTION.en_us.html b/ofl/novasquare/DESCRIPTION.en_us.html index e115fee1c9..60965c6de4 100644 --- a/ofl/novasquare/DESCRIPTION.en_us.html +++ b/ofl/novasquare/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

I created the NovaCut font about 14-15 years ago for making inscriptions on stone. Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica.

By the way I made other versions of some letters. It was a lot of this at the end of my work. I decided create new fonts based on these letters. And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). At last I created monospace font - NovaMono - the seventh part of this family.

\ No newline at end of file +

+ I created the NovaCut font about 14-15 years ago for making inscriptions on stone. + Initially the font contained only capitals and digits and existed only on paper and stone inscriptions. + In 2010 I decided transfer this font to a computer, and made the missing lowercase and some basical signs; it was initially named Gothica. +

+

+ By the way I made other versions of some letters. + It was a lot of this at the end of my work. + I decided create new fonts based on these letters. + And finally I created six fonts family and named these fonts Nova (NovaCut, NovaFlat, NovaOval, NovaRound, NovaSlim, NovaSquare - by the shape of individual fonts). + At last I created monospace font - NovaMono - the seventh part of this family. +

diff --git a/ofl/ntr/DESCRIPTION.en_us.html b/ofl/ntr/DESCRIPTION.en_us.html index 2a02b35df1..b97175330a 100644 --- a/ofl/ntr/DESCRIPTION.en_us.html +++ b/ofl/ntr/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@

-NTR is a Telugu handwriting font inspired by the artist Bapu who is famous among Telugu people. -Many artists followed him and created their own style and this font shows that influence. -It is suitable for headings, posters, invitations and anywhere you want to use a handwriting font. -NTR is named after Nandamuri Taraka Rama Rao, who worked tirelessly for the self-respect and well being of Telugu people around the world. + NTR is a Telugu handwriting font inspired by the artist Bapu who is famous among Telugu people. + Many artists followed him and created their own style and this font shows that influence. + It is suitable for headings, posters, invitations and anywhere you want to use a handwriting font. + NTR is named after Nandamuri Taraka Rama Rao, who worked tirelessly for the self-respect and well being of Telugu people around the world.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Joe Prince and originally published as Varela Round. -The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/ntr

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Joe Prince and originally published as + + Varela Round + + . + The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/ntr +

- diff --git a/ofl/numans/DESCRIPTION.en_us.html b/ofl/numans/DESCRIPTION.en_us.html index 14370e900f..9aff6d0fcd 100644 --- a/ofl/numans/DESCRIPTION.en_us.html +++ b/ofl/numans/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Numans font is a modern 'grotesque' sans-serif with open forms. Sometimes I would like to call it "Humans," but since I am from Russia, my English is not so fluent and sometimes I can be confused. The name comes from romanticising this. Numans is similar to the more bold font Days One, also available in Google Web Fonts.

\ No newline at end of file +

+ Numans font is a modern 'grotesque' sans-serif with open forms. + Sometimes I would like to call it "Humans," but since I am from Russia, my English is not so fluent and sometimes I can be confused. + The name comes from romanticising this. + Numans is similar to the more bold font Days One, also available in Google Web Fonts. +

diff --git a/ofl/nunito/DESCRIPTION.en_us.html b/ofl/nunito/DESCRIPTION.en_us.html index 5bf60c6cd8..ffe2b79945 100644 --- a/ofl/nunito/DESCRIPTION.en_us.html +++ b/ofl/nunito/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

- Nunito is a well balanced sans serif typeface superfamily, with 2 versions: - The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. - Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. + Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. + Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, + + Nunito Sans + + .

- To contribute, see github.com/googlefonts/nunito. -

\ No newline at end of file + To contribute, see + + github.com/googlefonts/nunito + + . +

diff --git a/ofl/nunitosans/DESCRIPTION.en_us.html b/ofl/nunitosans/DESCRIPTION.en_us.html index 0fbef87f48..7b27868f25 100644 --- a/ofl/nunitosans/DESCRIPTION.en_us.html +++ b/ofl/nunitosans/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Nunito is a well balanced sans serif typeface superfamily, with 2 versions: -The project began with Nunito, created by Vernon Adams as a rounded terminal sans serif for display typography. -Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. + Nunito is a well balanced sans serif typeface superfamily, with 2 versions: The project began with + + Nunito + + , created by Vernon Adams as a rounded terminal sans serif for display typography. + Jacques Le Bailly extended it to a full set of weights, and an accompanying regular non-rounded terminal version, Nunito Sans. +

+

+ In February 2023, Nunito Sans has been upgraded to a variable font with four axes: ascenders high, optical size, width and weight. + Cyrillic has been added and the language support expanded. +

+

+ To contribute, please see + + github.com/googlefonts/NunitoSans + + .

- -

In February 2023, Nunito Sans has been upgraded to a variable font with four axes: ascenders high, optical size, width and weight. Cyrillic has been added and the language support expanded.

- -

To contribute, please see github.com/googlefonts/NunitoSans.

diff --git a/ofl/nuosusil/DESCRIPTION.en_us.html b/ofl/nuosusil/DESCRIPTION.en_us.html index 38bc66610d..b1b2f40b6c 100644 --- a/ofl/nuosusil/DESCRIPTION.en_us.html +++ b/ofl/nuosusil/DESCRIPTION.en_us.html @@ -1,5 +1,18 @@ -

Nuosu is a single Unicode font for the standardized Yi script used by a large ethnic group in southwestern China. The traditional Yi scripts have been in use for centuries, and have a tremendous number of local variants. The script was standardized in the 1970's by the Chinese government. In the process of standardization, 820 symbols from the traditional scripts of the Liangshan region were chosen to form a syllabary.

-This font was developed by SIL, and you can learn more about it at software.sil.org/nuosu. -To contribute, see github.com/silnrsi/font-nuosu. + Nuosu is a single Unicode font for the standardized Yi script used by a large ethnic group in southwestern China. + The traditional Yi scripts have been in use for centuries, and have a tremendous number of local variants. + The script was standardized in the 1970's by the Chinese government. + In the process of standardization, 820 symbols from the traditional scripts of the Liangshan region were chosen to form a syllabary. +

+

+ This font was developed by SIL, and you can learn more about it at + + software.sil.org/nuosu + + . + To contribute, see + + github.com/silnrsi/font-nuosu + + .

diff --git a/ofl/odibeesans/DESCRIPTION.en_us.html b/ofl/odibeesans/DESCRIPTION.en_us.html index f0847340b3..072689785e 100644 --- a/ofl/odibeesans/DESCRIPTION.en_us.html +++ b/ofl/odibeesans/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Odibee Sans is a display font project by London-based designer James Barnard. James set out to create his very own one day build (ODB) and completed the entire character set, numbers and the basic glyphs in 24 hours.

- -

To contribute, see github.com/barnard555/odibeesans

. +

+ Odibee Sans is a display font project by London-based designer James Barnard. + James set out to create his very own one day build (ODB) and completed the entire character set, numbers and the basic glyphs in 24 hours. +

+

+ To contribute, see + + github.com/barnard555/odibeesans + +

+. diff --git a/ofl/odormeanchey/DESCRIPTION.en_us.html b/ofl/odormeanchey/DESCRIPTION.en_us.html index 93f31b6ad9..b43a804355 100644 --- a/ofl/odormeanchey/DESCRIPTION.en_us.html +++ b/ofl/odormeanchey/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Odor Mean Chey is a Khmer font for headlines, titles and subtitles, and even banner designs. + Odor Mean Chey is a Khmer font for headlines, titles and subtitles, and even banner designs.

-To contribute, see github.com/danhhong/OdorMeanChey. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/OdorMeanChey + + . +

diff --git a/ofl/offside/DESCRIPTION.en_us.html b/ofl/offside/DESCRIPTION.en_us.html index 6e3cc26728..dca0ba18a5 100644 --- a/ofl/offside/DESCRIPTION.en_us.html +++ b/ofl/offside/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

The main feature of Offside is its simple structure and monoline stroke. It -is modern, slightly condensed, with large counters to achieve excellent -readability on the web, even in small sizes. Its design details make it also -suitable for writing headlines or signage with great clarity and prestige.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/offside.

+

+ The main feature of Offside is its simple structure and monoline stroke. + It is modern, slightly condensed, with large counters to achieve excellent readability on the web, even in small sizes. + Its design details make it also suitable for writing headlines or signage with great clarity and prestige. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/offside + + . +

diff --git a/ofl/oflsortsmillgoudytt/DESCRIPTION.en_us.html b/ofl/oflsortsmillgoudytt/DESCRIPTION.en_us.html index f27a72dfc7..8d84c9a408 100644 --- a/ofl/oflsortsmillgoudytt/DESCRIPTION.en_us.html +++ b/ofl/oflsortsmillgoudytt/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

A ‘revival’ of Goudy Oldstyle and Italic, with features among which are small capitals (in the roman only), oldstyle and lining figures, superscripts and subscripts, fractions, ligatures, class-based kerning, case-sensitive forms and capital spacing. There is support for many languages that use latin script.

\ No newline at end of file +

+ A ‘revival’ of Goudy Oldstyle and Italic, with features among which are small capitals (in the roman only), oldstyle and lining figures, superscripts and subscripts, fractions, ligatures, class-based kerning, case-sensitive forms and capital spacing. + There is support for many languages that use latin script. +

diff --git a/ofl/oi/DESCRIPTION.en_us.html b/ofl/oi/DESCRIPTION.en_us.html index 848b04ffc1..c1f3548181 100644 --- a/ofl/oi/DESCRIPTION.en_us.html +++ b/ofl/oi/DESCRIPTION.en_us.html @@ -1,5 +1,21 @@ -

Oi is an ultra-fat display typeface that has its roots in grotesque slab serifs, most specifically the style that sprung with the release of Caslon’s Ionic in 1844 and Clarendon by Fann Street Foundry in 1845. The typeface is a free spirited twisted interpetation of the clarendonesques. With an unapologetic tendency for public shouting, it is a whimsical loudmouth attention seeker!

- -

"Oi" is an interjection used in various languages. Its meaning varies, depending on the tone and abruptness of its use, from a simple “hi” or a call of attention to as far as a challenge to a fight.

- -

Check out the mini-website. To contribute, see github.com/kosbarts/Oi.

\ No newline at end of file +

+ Oi is an ultra-fat display typeface that has its roots in grotesque slab serifs, most specifically the style that sprung with the release of Caslon’s Ionic in 1844 and Clarendon by Fann Street Foundry in 1845. + The typeface is a free spirited twisted interpetation of the clarendonesques. + With an unapologetic tendency for public shouting, it is a whimsical loudmouth attention seeker! +

+

+ "Oi" is an interjection used in various languages. + Its meaning varies, depending on the tone and abruptness of its use, from a simple “hi” or a call of attention to as far as a challenge to a fight. +

+

+ Check out + + the mini-website + + . + To contribute, see + + github.com/kosbarts/Oi + + . +

diff --git a/ofl/ojuju/DESCRIPTION.en_us.html b/ofl/ojuju/DESCRIPTION.en_us.html index 5622b37448..8288ae5a42 100644 --- a/ofl/ojuju/DESCRIPTION.en_us.html +++ b/ofl/ojuju/DESCRIPTION.en_us.html @@ -1,7 +1,11 @@

- Ojuju is a san-serif typeface of an afro-grotesque style created by Chisaokwu Joboson. - Inspired by the eye cuttings on the masks of African masquerades, the typeface is distinct with varying apertures as it moves from extra-light to bold. + Ojuju is a san-serif typeface of an afro-grotesque style created by Chisaokwu Joboson. + Inspired by the eye cuttings on the masks of African masquerades, the typeface is distinct with varying apertures as it moves from extra-light to bold.

- To contribute, see github.com/jobosonchisa/ojuju. + To contribute, see + + github.com/jobosonchisa/ojuju + + .

diff --git a/ofl/oldenburg/DESCRIPTION.en_us.html b/ofl/oldenburg/DESCRIPTION.en_us.html index d881db5cac..0138e7899f 100644 --- a/ofl/oldenburg/DESCRIPTION.en_us.html +++ b/ofl/oldenburg/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Oldenburg is inspired by nearly monoline handwritting seen on a series of German posters. It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. Oldenburg can be used a in a wide range of sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Oldenburg is inspired by nearly monoline handwritting seen on a series of German posters. + It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. + Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. + Oldenburg can be used a in a wide range of sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/oldstandardtt/DESCRIPTION.en_us.html b/ofl/oldstandardtt/DESCRIPTION.en_us.html index 493dd7de68..d78dc9f53a 100644 --- a/ofl/oldstandardtt/DESCRIPTION.en_us.html +++ b/ofl/oldstandardtt/DESCRIPTION.en_us.html @@ -1 +1,18 @@ -

Old Standard reproduces a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. However, this lettertype still has at least two advantages:

The name "Old Standard" was selected as opposed to the "Obyknovennaya Novaya" ("New Standard") typeface, widely used in Soviet typography, which represents another, slightly different type of the same Modern style. Of course this name doesn't look very original, but it seems to be a good choice for a revival of the most common lettertype of the early 20th century.

\ No newline at end of file +

+ Old Standard reproduces a specific type of Modern (classicist) style of serif typefaces, very commonly used in various editions of the late 19th and early 20th century, but almost completely abandoned later. + However, this lettertype still has at least two advantages: +

+

+

+ The name "Old Standard" was selected as opposed to the "Obyknovennaya Novaya" ("New Standard") typeface, widely used in Soviet typography, which represents another, slightly different type of the same Modern style. + Of course this name doesn't look very original, but it seems to be a good choice for a revival of the most common lettertype of the early 20th century. +

diff --git a/ofl/ole/DESCRIPTION.en_us.html b/ofl/ole/DESCRIPTION.en_us.html index 2bbf6cff5a..b8070e95bc 100644 --- a/ofl/ole/DESCRIPTION.en_us.html +++ b/ofl/ole/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Olé (named after the Spanish expression, pronounced "oh-leh!") has a romantic and fun flavour. -Have a little fun using the ornamental glyphs to spice up any design. + Olé (named after the Spanish expression, pronounced "oh-leh!") has a romantic and fun flavour. + Have a little fun using the ornamental glyphs to spice up any design.

-The Latin glyph set supports Western, Central, Eastern european languages and also Vietnamese. + The Latin glyph set supports Western, Central, Eastern european languages and also Vietnamese.

-To contribute, see github.com/googlefonts/ole + To contribute, see + + github.com/googlefonts/ole +

diff --git a/ofl/oleoscript/DESCRIPTION.en_us.html b/ofl/oleoscript/DESCRIPTION.en_us.html index d1b1c85874..9c1164498a 100644 --- a/ofl/oleoscript/DESCRIPTION.en_us.html +++ b/ofl/oleoscript/DESCRIPTION.en_us.html @@ -1,19 +1,33 @@ -

Oleo is a flowy yet legible non-connected script typeface. -It is perfect for situations where a quaint and casual lettering -effect is desired. Suitable for various typography contexts -including captions, headlines, packaging, invitations, cards, -posters, advertising, greeting cards, and book jackets.

- -

Oleo Script is currently available in two weights, Regular -and Bold. It has also a -Swash Caps -sister family, also available in Regular and Bold.

- -

Oleo Script is a Unicode typeface -family that supports languages that use the Latin script and -its variants, and could be expanded to support other scripts. -For more information see the -Soytutype website, -follow us on Twitter @soytutype -or Google+ -or contact Soytutype.

+

+ Oleo is a flowy yet legible non-connected script typeface. + It is perfect for situations where a quaint and casual lettering effect is desired. + Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. +

+

+ Oleo Script is currently available in two weights, Regular and Bold. + It has also a + + Swash Caps + + sister family, also available in Regular and Bold. +

+

+ Oleo Script is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + For more information see the + + Soytutype + + website, follow us on Twitter + + @soytutype + + or + + Google+ + + or + + contact Soytutype + + . +

diff --git a/ofl/oleoscriptswashcaps/DESCRIPTION.en_us.html b/ofl/oleoscriptswashcaps/DESCRIPTION.en_us.html index e549fe7b86..eb6b371328 100644 --- a/ofl/oleoscriptswashcaps/DESCRIPTION.en_us.html +++ b/ofl/oleoscriptswashcaps/DESCRIPTION.en_us.html @@ -1,19 +1,33 @@ -

Oleo is a flowy yet legible non-connected script typeface. -It is perfect for situations where a quaint and casual lettering -effect is desired. Suitable for various typography contexts -including captions, headlines, packaging, invitations, cards, -posters, advertising, greeting cards, and book jackets.

- -

Oleo Script Swash Caps is currently available in two weights, Regular -and Bold. It has also a -Oleo Script -sister family, also available in Regular and Bold.

- -

Oleo Script Swash Caps is a Unicode typeface -family that supports languages that use the Latin script and -its variants, and could be expanded to support other scripts. -For more information see the -Soytutype website, -follow us on Twitter @soytutype -or Google+ -or contact Soytutype.

+

+ Oleo is a flowy yet legible non-connected script typeface. + It is perfect for situations where a quaint and casual lettering effect is desired. + Suitable for various typography contexts including captions, headlines, packaging, invitations, cards, posters, advertising, greeting cards, and book jackets. +

+

+ Oleo Script Swash Caps is currently available in two weights, Regular and Bold. + It has also a + + Oleo Script + + sister family, also available in Regular and Bold. +

+

+ Oleo Script Swash Caps is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + For more information see the + + Soytutype + + website, follow us on Twitter + + @soytutype + + or + + Google+ + + or + + contact Soytutype + + . +

diff --git a/ofl/ooohbaby/DESCRIPTION.en_us.html b/ofl/ooohbaby/DESCRIPTION.en_us.html index 544c130fc9..20e55ce6fb 100644 --- a/ofl/ooohbaby/DESCRIPTION.en_us.html +++ b/ofl/ooohbaby/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Oooh Baby. This cute little font is perfect for scrapping and fun play! + Oooh Baby. + This cute little font is perfect for scrapping and fun play!

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/oooh-baby. + To contribute, see + + github.com/googlefonts/oooh-baby + + .

diff --git a/ofl/opensans/DESCRIPTION.en_us.html b/ofl/opensans/DESCRIPTION.en_us.html index a3effb7d30..5c57ba87b3 100644 --- a/ofl/opensans/DESCRIPTION.en_us.html +++ b/ofl/opensans/DESCRIPTION.en_us.html @@ -1,12 +1,15 @@

-Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. -This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. -Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. -It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. + Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. + This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. + Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. + It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.

-In March 2021, the family has been updated to a variable font family and it also includes Hebrew, and unified and simplified the licensing under OFL. + In March 2021, the family has been updated to a variable font family and it also includes Hebrew, and unified and simplified the licensing under OFL.

-To contribute, see github.com/googlefonts/opensans + To contribute, see + + github.com/googlefonts/opensans +

diff --git a/ofl/oranienbaum/DESCRIPTION.en_us.html b/ofl/oranienbaum/DESCRIPTION.en_us.html index 1a2609e3a4..3330a25b5d 100644 --- a/ofl/oranienbaum/DESCRIPTION.en_us.html +++ b/ofl/oranienbaum/DESCRIPTION.en_us.html @@ -1,2 +1,8 @@ -

Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. The font is well suited for both headlines and body text.

-

It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher.

\ No newline at end of file +

+ Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. + Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. + The font is well suited for both headlines and body text. +

+

+ It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher. +

diff --git a/ofl/orbit/DESCRIPTION.en_us.html b/ofl/orbit/DESCRIPTION.en_us.html index 6923953737..e655882c21 100644 --- a/ofl/orbit/DESCRIPTION.en_us.html +++ b/ofl/orbit/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@

- Orbit is inspired by the concept of monospaced Latin coding fonts. Korean fonts are usually already monospaced, but by bringing the impression of the Latin coding font in the Hangeul and punctuation design, Orbit gives a mathematical and geometric impression through a serif with right angle and orbicular circles. The font attempts to express orbitals with typeface using symmetry and connectivity to create a somewhat cosmic and futuristic atmosphere. As it is reminiscent of coding interface screens, it is recommended to use bright writing on a dark background, below 10pt. + Orbit is inspired by the concept of monospaced Latin coding fonts. + Korean fonts are usually already monospaced, but by bringing the impression of the Latin coding font in the Hangeul and punctuation design, Orbit gives a mathematical and geometric impression through a serif with right angle and orbicular circles. + The font attempts to express orbitals with typeface using symmetry and connectivity to create a somewhat cosmic and futuristic atmosphere. + As it is reminiscent of coding interface screens, it is recommended to use bright writing on a dark background, below 10pt.

- To contribute, please visit github.com/JAMO-TYPEFACE/Orbit. + To contribute, please visit + + github.com/JAMO-TYPEFACE/Orbit + + .

diff --git a/ofl/orbitron/DESCRIPTION.en_us.html b/ofl/orbitron/DESCRIPTION.en_us.html index b30a40305f..6d70877f4a 100644 --- a/ofl/orbitron/DESCRIPTION.en_us.html +++ b/ofl/orbitron/DESCRIPTION.en_us.html @@ -1,2 +1,21 @@ -

Orbitron is a geometric sans-serif typeface intended for display purposes. It features four weights (light, medium, bold, and black), stylistic alternatives, small caps, and a ton of alternate glyphs. Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. If you’ve ever seen a futuristic sci-fi movie, you may have noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. It was initially published on the League of Movable Type.

-

Orbitron was remastered as a variable font in 2019. To contribute updates or file issues, see https://github.com/theleagueof/orbitron.

+

+ Orbitron is a geometric sans-serif typeface intended for display purposes. + It features four weights (light, medium, bold, and black), stylistic alternatives, small caps, and a ton of alternate glyphs. + Orbitron was designed so that graphic designers in the future will have some alternative to typefaces like Eurostile or Bank Gothic. + If you’ve ever seen a futuristic sci-fi movie, you may have noticed that all other fonts have been lost or destroyed in the apocalypse that led humans to flee earth. + Only those very few geometric typefaces have survived to be used on spaceship exteriors, spacestation signage, monopolistic corporate branding, uniforms featuring aerodynamic shoulder pads, etc. + Of course Orbitron could also be used on the posters for the movies portraying this inevitable future. + It was initially published on the + + League of Movable Type + + . +

+

+ Orbitron was remastered as a variable font in 2019. + To contribute updates or file issues, see + + https://github.com/theleagueof/orbitron + + . +

diff --git a/ofl/oregano/DESCRIPTION.en_us.html b/ofl/oregano/DESCRIPTION.en_us.html index 3a325c2b3c..00e1765174 100644 --- a/ofl/oregano/DESCRIPTION.en_us.html +++ b/ofl/oregano/DESCRIPTION.en_us.html @@ -1,4 +1,7 @@ -

The Oregano family is based on cartoon style lettering of calligrapher and logo designer Rand Holub. This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's.

- -

This approachable vintage spunk-filled lettering style exudes a casual -and care free flavor perfect for both on screen and printed materials.

\ No newline at end of file +

+ The Oregano family is based on cartoon style lettering of calligrapher and logo designer Rand Holub. + This style of hand lettering adorned many retro brochures and advertisements of the late 40's through the 1960's. +

+

+ This approachable vintage spunk-filled lettering style exudes a casual and care free flavor perfect for both on screen and printed materials. +

diff --git a/ofl/orelegaone/DESCRIPTION.en_us.html b/ofl/orelegaone/DESCRIPTION.en_us.html index 610d782998..ea671b50bf 100644 --- a/ofl/orelegaone/DESCRIPTION.en_us.html +++ b/ofl/orelegaone/DESCRIPTION.en_us.html @@ -1,12 +1,15 @@

- Orelega is a whimsical Clarendon font with oversized ears. Its design was based on Sagona Extra Bold by René Bieder, - but it is not a shameless copy. Everything has been redrawn from the ground up, with many - new aesthetic changes. + Orelega is a whimsical Clarendon font with oversized ears. + Its design was based on Sagona Extra Bold by René Bieder, but it is not a shameless copy. + Everything has been redrawn from the ground up, with many new aesthetic changes.

- Orelega is Esperanto for “large-eared”. It is composed of orel- “ear”, -eg- [augments degree or size], and -a - [adjective ending]. + Orelega is Esperanto for “large-eared”. + It is composed of orel- “ear”, -eg- [augments degree or size], and -a [adjective ending].

- To contribute, see github.com/JapanYoshi/Orelega + To contribute, see + + github.com/JapanYoshi/Orelega +

diff --git a/ofl/orienta/DESCRIPTION.en_us.html b/ofl/orienta/DESCRIPTION.en_us.html index 8e36db6a95..9559d35308 100644 --- a/ofl/orienta/DESCRIPTION.en_us.html +++ b/ofl/orienta/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Orienta is a spacious sans serif, with excellent visual performance at -very small text sizes. The balance between forms and counterforms creates -strong legibility. If used in titles, you can see the details are all -carefully designed, especially in the strokes of each letter.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/orienta.

+

+ Orienta is a spacious sans serif, with excellent visual performance at very small text sizes. + The balance between forms and counterforms creates strong legibility. + If used in titles, you can see the details are all carefully designed, especially in the strokes of each letter. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/orienta + + . +

diff --git a/ofl/originalsurfer/DESCRIPTION.en_us.html b/ofl/originalsurfer/DESCRIPTION.en_us.html index 3822303adf..7e2c48e251 100644 --- a/ofl/originalsurfer/DESCRIPTION.en_us.html +++ b/ofl/originalsurfer/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Original Surfer is an offbeat sans serif font with loads of personality. Inspired by a vintage advertisement for the "California Cliffs Caravan Park", this font exudes all of the fun of a summer vacation anytime of the year. The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font.

\ No newline at end of file +

+ Original Surfer is an offbeat sans serif font with loads of personality. + Inspired by a vintage advertisement for the "California Cliffs Caravan Park", this font exudes all of the fun of a summer vacation anytime of the year. + The letterforms are clear and cleanly legible, while nothing is formal or uptight about this font. +

diff --git a/ofl/oswald/DESCRIPTION.en_us.html b/ofl/oswald/DESCRIPTION.en_us.html index bf792340b3..beb1d13374 100644 --- a/ofl/oswald/DESCRIPTION.en_us.html +++ b/ofl/oswald/DESCRIPTION.en_us.html @@ -1,15 +1,21 @@

-Oswald is a reworking of the classic style historically represented by the 'Alternate Gothic' sans serif typefaces. -The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. -Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. + Oswald is a reworking of the classic style historically represented by the 'Alternate Gothic' sans serif typefaces. + The characters of Oswald were initially re-drawn and reformed to better fit the pixel grid of standard digital screens. + Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

-- Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. -Vernon added Light and Bold weights, support for more Latin and Cyrillic languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback.
-- In 2016 the Latin part of the family was updated by Kalapi Gajjar to complete the work started by Vernon.
-- In January 2019, it was updated with a variable font Weight axis.
-- In July 2023, the font was upgraded with a Cyrillic character set expansion, and the rendering of math symbols was improved. + - Since the initial launch in 2011, Oswald was updated continually by Vernon Adams until 2014. + Vernon added Light and Bold weights, support for more Latin and Cyrillic languages, tightened the spacing and kerning and made many glyph refinements throughout the family based on hundreds of users' feedback. +
+ - In 2016 the Latin part of the family was updated by Kalapi Gajjar to complete the work started by Vernon. +
+ - In January 2019, it was updated with a variable font Weight axis. +
+ - In July 2023, the font was upgraded with a Cyrillic character set expansion, and the rendering of math symbols was improved.

-To contribute, see github.com/googlefonts/OswaldFont + To contribute, see + + github.com/googlefonts/OswaldFont +

diff --git a/ofl/otomanopeeone/DESCRIPTION.en_us.html b/ofl/otomanopeeone/DESCRIPTION.en_us.html index c43691a093..3b4f61c6e9 100644 --- a/ofl/otomanopeeone/DESCRIPTION.en_us.html +++ b/ofl/otomanopeeone/DESCRIPTION.en_us.html @@ -1,16 +1,16 @@ -

-Original designed Japanese font, inspired graphical letters in manga. -

-

-The outher had draw this style letters as onomatopoeia in her manga when -she was a teenager. Eventually she stopped drawing manga, but made this -letters to the font named Otomanopee and began distributing it under an open -source license in 2007. -

-

-Why the font is named Otomanopee is that the author mistook the spelling -of onomatopoeia for "otomanopoeia" in her childhood. -

-

-To contribute to the project, visit github.com/Gutenberg-Labo/Otomanopee -

+

+ Original designed Japanese font, inspired graphical letters in manga. +

+

+ The outher had draw this style letters as onomatopoeia in her manga when she was a teenager. + Eventually she stopped drawing manga, but made this letters to the font named Otomanopee and began distributing it under an open source license in 2007. +

+

+ Why the font is named Otomanopee is that the author mistook the spelling of onomatopoeia for "otomanopoeia" in her childhood. +

+

+ To contribute to the project, visit + + github.com/Gutenberg-Labo/Otomanopee + +

diff --git a/ofl/outfit/DESCRIPTION.en_us.html b/ofl/outfit/DESCRIPTION.en_us.html index 3cb6f89d2d..eaf757e362 100644 --- a/ofl/outfit/DESCRIPTION.en_us.html +++ b/ofl/outfit/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

A beautiful geometric sans: The official typeface for brand automation company outfit.io. Inspired by the ligature-rich outfit wordmark, Outfit.io is delighted to release it's own type family. The Outfit typeface links the Outfit written voice to Outfit product marks; on brand by default.

- -

In 2023, the font has been updated, offering a more expanded language support.

- -

To contribute to the project, visit github.com/Outfitio/Outfit-Fonts

+

+ A beautiful geometric sans: The official typeface for brand automation company outfit.io. + Inspired by the ligature-rich outfit wordmark, Outfit.io is delighted to release it's own type family. + The Outfit typeface links the Outfit written voice to Outfit product marks; on brand by default. +

+

+ In 2023, the font has been updated, offering a more expanded language support. +

+

+ To contribute to the project, visit + + github.com/Outfitio/Outfit-Fonts + +

diff --git a/ofl/overlock/DESCRIPTION.en_us.html b/ofl/overlock/DESCRIPTION.en_us.html index 578c998386..1f45aee0b6 100644 --- a/ofl/overlock/DESCRIPTION.en_us.html +++ b/ofl/overlock/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. -The initial idea of this typeface was to simulate the Overlock sewing technique. -The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. -As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. -It looks its very best at bigger sizes. -It comes in three weights, Regular, Bold and Black, each with a true italic. -It has two set of numbers and small caps which are available as a sister family, Overlock SC + The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. + The initial idea of this typeface was to simulate the Overlock sewing technique. + The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. + As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. + It looks its very best at bigger sizes. + It comes in three weights, Regular, Bold and Black, each with a true italic. + It has two set of numbers and small caps which are available as a sister family, + + Overlock SC +

diff --git a/ofl/overlocksc/DESCRIPTION.en_us.html b/ofl/overlocksc/DESCRIPTION.en_us.html index 8d2e7c6673..99826f54fd 100644 --- a/ofl/overlocksc/DESCRIPTION.en_us.html +++ b/ofl/overlocksc/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.

\ No newline at end of file +

+ The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. + The initial idea of this typeface was to simulate the Overlock sewing technique. + The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. + As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. + It looks its very best at bigger sizes. + The main + + Overlock family + + comes in three weights, Regular, Bold and Black, each with a true italic. + It has two set of numbers and small caps, which are available in this sister family. +

diff --git a/ofl/overpass/DESCRIPTION.en_us.html b/ofl/overpass/DESCRIPTION.en_us.html index 557520cdb5..0514045bf9 100644 --- a/ofl/overpass/DESCRIPTION.en_us.html +++ b/ofl/overpass/DESCRIPTION.en_us.html @@ -1,12 +1,39 @@ -

Overpass is a free, Open Source typeface designed by Delve Fonts. The design of Overpass is an interpretation of the well-known “Highway Gothic” letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights.

-

Also see Overpass Mono!

-

Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design.

- +

+ Overpass is a free, Open Source typeface designed by + + Delve Fonts + + . + The design of Overpass is an interpretation of the well-known “Highway Gothic” letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. + Federal Highway Administration. + Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. +

+

+ Also see + + Overpass Mono! + +

+

+ Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. +

- -

To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass

+

+ To contribute to the project, please visit + + https://github.com/RedHatOfficial/Overpass + +

diff --git a/ofl/overpassmono/DESCRIPTION.en_us.html b/ofl/overpassmono/DESCRIPTION.en_us.html index 39563f0e9e..9f8b0d7546 100644 --- a/ofl/overpassmono/DESCRIPTION.en_us.html +++ b/ofl/overpassmono/DESCRIPTION.en_us.html @@ -1,12 +1,41 @@ -

Overpass Mono is a thoughtful, monospaced re-imagining of the Overpass proportional design, designed by Delve Fonts. Consisting of five weights ranging from Light to Bold. The Overpass Mono fonts are finely tuned to meet the requirements of today’s programmers.

-

The design of Overpass is an interpretation of the well-known “Highway Gothic” letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. Federal Highway Administration. Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights.

-

Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design.

- +

+ Overpass Mono is a thoughtful, monospaced re-imagining of the + + Overpass + + proportional design, designed by + + Delve Fonts + + . + Consisting of five weights ranging from Light to Bold. + The Overpass Mono fonts are finely tuned to meet the requirements of today’s programmers. +

+

+ The design of Overpass is an interpretation of the well-known “Highway Gothic” letterforms from the Standard Alphabets for Traffic Control Devices published by the U.S. + Federal Highway Administration. + Starting from those specifications, critical adjustments were made to the letterforms to create an optimal presentation at smaller sizes on-screen and later for display sizes, especially in the lighter weights. +

+

+ Overpass can be used for everything from extended passages of text in print and online, to UI design, posters, wayfinding signage, and environmental graphic design. +

- -

To contribute to the project, please visit https://github.com/RedHatOfficial/Overpass

+

+ To contribute to the project, please visit + + https://github.com/RedHatOfficial/Overpass + +

diff --git a/ofl/overtherainbow/DESCRIPTION.en_us.html b/ofl/overtherainbow/DESCRIPTION.en_us.html index 6c6af2681f..7146c1d03f 100644 --- a/ofl/overtherainbow/DESCRIPTION.en_us.html +++ b/ofl/overtherainbow/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

This font always makes me smile. Something about the style of the handwriting just makes me feel happy. It is slightly connected but not a true script by any means & will lend an upbeat feel to any project you use it on.

\ No newline at end of file +

+ This font always makes me smile. + Something about the style of the handwriting just makes me feel happy. + It is slightly connected but not a true script by any means & will lend an upbeat feel to any project you use it on. +

diff --git a/ofl/ovo/DESCRIPTION.en_us.html b/ofl/ovo/DESCRIPTION.en_us.html index f6716b9e9a..23cbb40185 100644 --- a/ofl/ovo/DESCRIPTION.en_us.html +++ b/ofl/ovo/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. The capitals suggested the time in which they were made because of the soft serif treatment used. This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. Ovo is a medium contrast serif font. Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. + The capitals suggested the time in which they were made because of the soft serif treatment used. + This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. + Ovo is a medium contrast serif font. + Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/oxanium/DESCRIPTION.en_us.html b/ofl/oxanium/DESCRIPTION.en_us.html index 13614d6039..4327be6665 100644 --- a/ofl/oxanium/DESCRIPTION.en_us.html +++ b/ofl/oxanium/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Oxanium is a square, futuristic font family. It feels at home on the head-up display of a spaceship, or the scoreboard of a video game. Its intuitive strokes ensure legibility at small sizes and quick glances, while angled cuts add charisma to big headlines.

- -

To contribute, please go to github.com/sevmeyer/oxanium.

\ No newline at end of file +

+ Oxanium is a square, futuristic font family. + It feels at home on the head-up display of a spaceship, or the scoreboard of a video game. + Its intuitive strokes ensure legibility at small sizes and quick glances, while angled cuts add charisma to big headlines. +

+

+ To contribute, please go to + + github.com/sevmeyer/oxanium + + . +

diff --git a/ofl/oxygen/DESCRIPTION.en_us.html b/ofl/oxygen/DESCRIPTION.en_us.html index 8d852aa1d5..dc277d082c 100644 --- a/ofl/oxygen/DESCRIPTION.en_us.html +++ b/ofl/oxygen/DESCRIPTION.en_us.html @@ -1,7 +1,7 @@

-The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. -The design is optimized for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices. + The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. + The design is optimized for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices.

-This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. + This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

diff --git a/ofl/oxygenmono/DESCRIPTION.en_us.html b/ofl/oxygenmono/DESCRIPTION.en_us.html index 7812041c00..8ad8244c77 100644 --- a/ofl/oxygenmono/DESCRIPTION.en_us.html +++ b/ofl/oxygenmono/DESCRIPTION.en_us.html @@ -1,3 +1,7 @@ -

Oxygen Mono is the monospace companion family to -Oxygen, -the KDE project UI and brand type.

\ No newline at end of file +

+ Oxygen Mono is the monospace companion family to + + Oxygen + + , the KDE project UI and brand type. +

diff --git a/ofl/pacifico/DESCRIPTION.en_us.html b/ofl/pacifico/DESCRIPTION.en_us.html index 3d463f27a2..1706610e89 100644 --- a/ofl/pacifico/DESCRIPTION.en_us.html +++ b/ofl/pacifico/DESCRIPTION.en_us.html @@ -1,13 +1,28 @@

-Aloha! -Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. -It was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2016. -It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at Lettersoup in 2017. + Aloha! + Pacifico is an original and fun brush script handwriting font by Vernon Adams which was inspired by the 1950s American surf culture in 2011. + It was redrawn by Jacques Le Bailly at + + Baron von Fonthausen + + in 2016. + It was expanded to Cyrillic by Botjo Nikoltchev and Ani Petrova at + + Lettersoup + + in 2017.

-The Pacifico project was commissioned by Google from Vernon Adams, an English type designer who lived in San Clemente, Los Angeles, USA. -To contribute, see github.com/googlefonts/Pacifico + The Pacifico project was commissioned by Google from + + Vernon Adams + + , an English type designer who lived in San Clemente, Los Angeles, USA. + To contribute, see + + github.com/googlefonts/Pacifico +

-Updated June 2019 to v3.000: Added extended Cyrillic support. + Updated June 2019 to v3.000: Added extended Cyrillic support.

diff --git a/ofl/padauk/DESCRIPTION.en_us.html b/ofl/padauk/DESCRIPTION.en_us.html index 5c252ba7ad..26ca96be17 100644 --- a/ofl/padauk/DESCRIPTION.en_us.html +++ b/ofl/padauk/DESCRIPTION.en_us.html @@ -1,17 +1,21 @@

-Padauk is a fully capable Unicode 6 font supporting all the Myanmar characters in the standard. -Thus it provides support for minority languages as well, in both local and Burmese rendering styles. + Padauk is a fully capable Unicode 6 font supporting all the Myanmar characters in the standard. + Thus it provides support for minority languages as well, in both local and Burmese rendering styles.

-Downloads of Padauk include the necessary Graphite smarts to render the Myanmar script correctly. -Thus if you want to use this font at full fidelity to the orthography, you will need to use Graphite-capable applications, such as the latest versions of LibreOffice. -However the web font files served by Google Fonts do not include Graphite tables. -Fortunately, Padauk also has OpenType tables which allow it to be rendered in a basic way, in applications that support OpenType shaping such as Word. -The web font files served by Google Fonts include the OpenType tables, so the font will work in most web browsers. + Downloads of Padauk include the necessary Graphite smarts to render the Myanmar script correctly. + Thus if you want to use this font at full fidelity to the orthography, you will need to use Graphite-capable applications, such as the latest versions of LibreOffice. + However the web font files served by Google Fonts do not include Graphite tables. + Fortunately, Padauk also has OpenType tables which allow it to be rendered in a basic way, in applications that support OpenType shaping such as Word. + The web font files served by Google Fonts include the OpenType tables, so the font will work in most web browsers.

- -

The last upgrade in July 2022, offers an major language support update.

-

-The Padauk project is maintained at https://github.com/silnrsi/font-padauk. + The last upgrade in July 2022, offers an major language support update. +

+

+ The Padauk project is maintained at + + https://github.com/silnrsi/font-padauk + + .

diff --git a/ofl/padyakkeexpandedone/DESCRIPTION.en_us.html b/ofl/padyakkeexpandedone/DESCRIPTION.en_us.html index 7a36f72e72..8dfbd23527 100644 --- a/ofl/padyakkeexpandedone/DESCRIPTION.en_us.html +++ b/ofl/padyakkeexpandedone/DESCRIPTION.en_us.html @@ -1,13 +1,19 @@

- Padyakke is a wide, airy, and friendly font for the Kannada writing system. Its gracefully balanced thin strokes - rise up over sumptuously swollen bottoms. Padyakke was designed to pair with Aoife Mooney’s latin typeface - BioRhyme Expanded; - thus BioRhyme’s idosyncratic bowls, not-quite-perpendicular stroke terminals, and teardrop terminals are also in - Padyakke. + Padyakke is a wide, airy, and friendly font for the Kannada writing system. + Its gracefully balanced thin strokes rise up over sumptuously swollen bottoms. + Padyakke was designed to pair with Aoife Mooney’s latin typeface + + BioRhyme Expanded + + ; thus BioRhyme’s idosyncratic bowls, not-quite-perpendicular stroke terminals, and teardrop terminals are also in Padyakke.

- Padyakke’s Kannada glyphs were designed by James Puckett. Padyakke’s Latin glyphs were designed by Aoife Mooney. + Padyakke’s Kannada glyphs were designed by James Puckett. + Padyakke’s Latin glyphs were designed by Aoife Mooney.

- To contribute, see github.com/DunwichType/Padyakke_Libre + To contribute, see + + github.com/DunwichType/Padyakke_Libre +

diff --git a/ofl/palanquin/DESCRIPTION.en_us.html b/ofl/palanquin/DESCRIPTION.en_us.html index 6c78ed3c6b..42a31ba502 100644 --- a/ofl/palanquin/DESCRIPTION.en_us.html +++ b/ofl/palanquin/DESCRIPTION.en_us.html @@ -1,19 +1,23 @@

-Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. -The Devanagari is monolinear and was designed alongside the sans serif Latin. + Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. + The Devanagari is monolinear and was designed alongside the sans serif Latin.

-

-It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color. -The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. + It currently comprises of seven text weights, and is extended with a heavier display family, + + Palanquin Dark + + , that has many subtle design details to accommodate the darker typographic color. + The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle.

-

-Many thanks to Michael for all the technical assistance. -Heartfelt thanks to Maggi for the sincere support. + Many thanks to Michael for all the technical assistance. + Heartfelt thanks to Maggi for the sincere support.

-

-The Palanquin project is led by Pria Ravichandran, a type designer from India. -To contribute, visit github.com/VanillaandCream/Palanquin + The Palanquin project is led by Pria Ravichandran, a type designer from India. + To contribute, visit + + github.com/VanillaandCream/Palanquin +

diff --git a/ofl/palanquindark/DESCRIPTION.en_us.html b/ofl/palanquindark/DESCRIPTION.en_us.html index 76c1fc37e4..9d185ac45b 100644 --- a/ofl/palanquindark/DESCRIPTION.en_us.html +++ b/ofl/palanquindark/DESCRIPTION.en_us.html @@ -1,20 +1,23 @@

-Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. -The Devanagari is monolinear and was designed alongside the sans serif Latin. + Palanquin is a Unicode-compliant Latin and Devanagari text type family designed for the digital age. + The Devanagari is monolinear and was designed alongside the sans serif Latin.

-

-Palanquin Dark is the heavier display family, with 4 weights. -Palanquin is a text family with seven text weights. -The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle. + Palanquin Dark is the heavier display family, with 4 weights. + + Palanquin + + is a text family with seven text weights. + The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle.

-

-Many thanks to Michael for all the technical assistance. -Heartfelt thanks to Maggi for the sincere support. + Many thanks to Michael for all the technical assistance. + Heartfelt thanks to Maggi for the sincere support.

-

-The Palanquin project is led by Pria Ravichandran, a type designer from India. -To contribute, see github.com/VanillaandCream/Palanquin + The Palanquin project is led by Pria Ravichandran, a type designer from India. + To contribute, see + + github.com/VanillaandCream/Palanquin +

diff --git a/ofl/palettemosaic/DESCRIPTION.en_us.html b/ofl/palettemosaic/DESCRIPTION.en_us.html index 39db6c2a7c..f541ff0222 100644 --- a/ofl/palettemosaic/DESCRIPTION.en_us.html +++ b/ofl/palettemosaic/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-Palette Mosaic is constructed from primitive shapes by handicapped artists in collaboration with design students. The shapes have been arranged to create a strong and solid atmosphere. + Palette Mosaic is constructed from primitive shapes by handicapped artists in collaboration with design students. + The shapes have been arranged to create a strong and solid atmosphere.

-This family is part of the Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. + This family is part of the Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo.

-Shibuya font Official Site: http://www.shibuyafont.jp + Shibuya font Official Site: + + http://www.shibuyafont.jp +

-To contribute to the project, visit github.com/shibuyafont/Palette-mosaic-font-mono + To contribute to the project, visit + + github.com/shibuyafont/Palette-mosaic-font-mono +

diff --git a/ofl/pangolin/DESCRIPTION.en_us.html b/ofl/pangolin/DESCRIPTION.en_us.html index 176bca61da..3197bbb475 100644 --- a/ofl/pangolin/DESCRIPTION.en_us.html +++ b/ofl/pangolin/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love. -A pangolin is an endangered species native to Asia and Africa. -The font is a sans serif handwriting style. -It supports many languages that use the Latin and Cyrillic scripts. + Pangolin was designed for the Google Valentine's Day 2017 Doodle, + + Pangolin Love + + . + A pangolin is an endangered species native to Asia and Africa. + The font is a sans serif handwriting style. + It supports many languages that use the Latin and Cyrillic scripts.

diff --git a/ofl/paprika/DESCRIPTION.en_us.html b/ofl/paprika/DESCRIPTION.en_us.html index 253680f803..fa9811d73f 100644 --- a/ofl/paprika/DESCRIPTION.en_us.html +++ b/ofl/paprika/DESCRIPTION.en_us.html @@ -1,9 +1,11 @@ -

Paprika will give taste and color to your texts with its clear and friendly -gestures. An expressive typeface, it can be used in long texts as it gives -readers a pleasant reading experience and is excellent in headlines that also -need a natural feeling.

-

-To contribute, see github.com/etunni/paprika. + Paprika will give taste and color to your texts with its clear and friendly gestures. + An expressive typeface, it can be used in long texts as it gives readers a pleasant reading experience and is excellent in headlines that also need a natural feeling. +

+

+ To contribute, see + + github.com/etunni/paprika + + .

- \ No newline at end of file diff --git a/ofl/parisienne/DESCRIPTION.en_us.html b/ofl/parisienne/DESCRIPTION.en_us.html index cca64c5f6e..f5cad5462d 100644 --- a/ofl/parisienne/DESCRIPTION.en_us.html +++ b/ofl/parisienne/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Parisienne is a casual connecting script inspired by a 1960s Bra advertisement! It has a slight bounce and intentional irregularity to what might other wise appear to be a more formal script font. Classic, yet free spirited, it is a typestyle for a wide variety of use.

\ No newline at end of file +

+ Parisienne is a casual connecting script inspired by a 1960s Bra advertisement! + It has a slight bounce and intentional irregularity to what might other wise appear to be a more formal script font. + Classic, yet free spirited, it is a typestyle for a wide variety of use. +

diff --git a/ofl/passeroone/DESCRIPTION.en_us.html b/ofl/passeroone/DESCRIPTION.en_us.html index c311f63dd0..8287a862b7 100644 --- a/ofl/passeroone/DESCRIPTION.en_us.html +++ b/ofl/passeroone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Passero One is an innovative low contrast sans serif type. Despite having an utterly distinctive voice it remains remarkably legible and versatile. Perhaps this is because of the way Passero One gently echos old style text letterforms. Passero One will work best from medium text sizes through large display sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Passero One is an innovative low contrast sans serif type. + Despite having an utterly distinctive voice it remains remarkably legible and versatile. + Perhaps this is because of the way Passero One gently echos old style text letterforms. + Passero One will work best from medium text sizes through large display sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/passionone/DESCRIPTION.en_us.html b/ofl/passionone/DESCRIPTION.en_us.html index 8e77b9f698..d8e48d2ec4 100644 --- a/ofl/passionone/DESCRIPTION.en_us.html +++ b/ofl/passionone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Passion One is a set of 3 display fonts aimed to composing titles in big sizes. Its counterforms decrease as the passion increases! Please use them only for your most passionate thoughts and ideas.

\ No newline at end of file +

+ Passion One is a set of 3 display fonts aimed to composing titles in big sizes. + Its counterforms decrease as the passion increases! + Please use them only for your most passionate thoughts and ideas. +

diff --git a/ofl/passionsconflict/DESCRIPTION.en_us.html b/ofl/passionsconflict/DESCRIPTION.en_us.html index b8ae54f318..3a0c023cb8 100644 --- a/ofl/passionsconflict/DESCRIPTION.en_us.html +++ b/ofl/passionsconflict/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Passions Conflict was one of the very first fonts to utilize embellished forms. The capital letters have wonderful nuances of adornment. The lowercase forms blend flawlessly with the capitals. + Passions Conflict was one of the very first fonts to utilize embellished forms. + The capital letters have wonderful nuances of adornment. + The lowercase forms blend flawlessly with the capitals.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/passions-conflict. + To contribute, see + + github.com/googlefonts/passions-conflict + + .

diff --git a/ofl/pathwayextreme/DESCRIPTION.en_us.html b/ofl/pathwayextreme/DESCRIPTION.en_us.html index 10c0dfd919..68dcf4652a 100644 --- a/ofl/pathwayextreme/DESCRIPTION.en_us.html +++ b/ofl/pathwayextreme/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Pathway Extreme is derived from Pathway Gothic One, a narrow grotesque sans typeface, which is a very popular historic typographic style. The family has also been upgraded to a variable font.

- -

To contribute, see github.com/etunni/Pathway-Variable-Font.

+

+ Pathway Extreme is derived from Pathway Gothic One, a narrow grotesque sans typeface, which is a very popular historic typographic style. + The family has also been upgraded to a variable font. +

+

+ To contribute, see + + github.com/etunni/Pathway-Variable-Font + + . +

diff --git a/ofl/pathwaygothicone/DESCRIPTION.en_us.html b/ofl/pathwaygothicone/DESCRIPTION.en_us.html index f9de4e28a7..0a0a69a112 100644 --- a/ofl/pathwaygothicone/DESCRIPTION.en_us.html +++ b/ofl/pathwaygothicone/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Pathway Gothic One is a narrow grotesque sans typeface, a very popular style in the history of typography. This book weight is the first of many.

- -

The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/pathway-gothic.

+

+ Pathway Gothic One is a narrow grotesque sans typeface, a very popular style in the history of typography. + This book weight is the first of many. +

+

+ The March 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/pathway-gothic + + . +

diff --git a/ofl/patrickhand/DESCRIPTION.en_us.html b/ofl/patrickhand/DESCRIPTION.en_us.html index 638bec03b8..8f6dc7cd92 100644 --- a/ofl/patrickhand/DESCRIPTION.en_us.html +++ b/ofl/patrickhand/DESCRIPTION.en_us.html @@ -1,13 +1,17 @@ -

Patrick Hand is a font based on the designer's own handwriting. It is -developed to bring an impressive and useful handwriting effect to your -texts. There is a Small Caps sister family.

- -

It has all the basic latin characters as well as most of the latin extended -ones. It also includes some fancy glyphs like heavy quotation marks and the -floral heart! Ligatures, small caps and old style numbers are available as -OpenType features in the downloaded version of this font.

- -

Updated January 2013 with support for more European languages -and Vietnamese, and in February with a -Small Caps -sister family.

\ No newline at end of file +

+ Patrick Hand is a font based on the designer's own handwriting. + It is developed to bring an impressive and useful handwriting effect to your texts. + There is a Small Caps sister family. +

+

+ It has all the basic latin characters as well as most of the latin extended ones. + It also includes some fancy glyphs like heavy quotation marks and the floral heart! + Ligatures, small caps and old style numbers are available as OpenType features in the downloaded version of this font. +

+

+ Updated January 2013 with support for more European languages and Vietnamese, and in February with a + + Small Caps + + sister family. +

diff --git a/ofl/patrickhandsc/DESCRIPTION.en_us.html b/ofl/patrickhandsc/DESCRIPTION.en_us.html index 3a25bb6e74..5d9e09f87d 100644 --- a/ofl/patrickhandsc/DESCRIPTION.en_us.html +++ b/ofl/patrickhandsc/DESCRIPTION.en_us.html @@ -1,13 +1,17 @@

-Patrick Hand is a font based on the designer's own handwriting. -It is developed to bring an impressive and useful handwriting effect to your texts. -This is the Small Caps sister family. + Patrick Hand is a font based on the designer's own handwriting. + It is developed to bring an impressive and useful handwriting effect to your texts. + This is the Small Caps sister family.

-It has all the basic latin characters as well as most of the latin extended ones. -It also includes some fancy glyphs like heavy quotation marks and the floral heart! -Ligatures, small caps and old style numbers are available as OpenType features in the download of the regular Patrick Hand family. + It has all the basic latin characters as well as most of the latin extended ones. + It also includes some fancy glyphs like heavy quotation marks and the floral heart! + Ligatures, small caps and old style numbers are available as OpenType features in the download of the regular + + Patrick Hand + + family.

-Updated 2019-03: Updated to latest upstream release, fixing 'fi' ligature. + Updated 2019-03: Updated to latest upstream release, fixing 'fi' ligature.

diff --git a/ofl/pattaya/DESCRIPTION.en_us.html b/ofl/pattaya/DESCRIPTION.en_us.html index 42c5656fc4..b14729c20f 100644 --- a/ofl/pattaya/DESCRIPTION.en_us.html +++ b/ofl/pattaya/DESCRIPTION.en_us.html @@ -1,16 +1,19 @@

-Lobster is one of the most popular web fonts, designed by Pablo Impallari. -Pattaya is a version of Lobster extended into Thai, and supports Latin and all variations of the Thai script with an informal loopless design. -However, vertical metrics (that effect line-spacing) had to be adjusted in order to support Thai vowels and tone marks, so this is published as a separate family. + Lobster is one of the most popular web fonts, designed by Pablo Impallari. + Pattaya is a version of Lobster extended into Thai, and supports Latin and all variations of the Thai script with an informal loopless design. + However, vertical metrics (that effect line-spacing) had to be adjusted in order to support Thai vowels and tone marks, so this is published as a separate family.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ and ฏ, บ and ป, or ข and ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -Pattaya has a specific approach to the thick and thin strokes of Thai glyphs. -Other type designers of Thai fonts may like to use this approach as a reference. -Informal loopless Thai tyefaces have slightly simplified details, as compared to formal ones, and this simplification has to be done properly in order to preserve the character of each glyph. -The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ and ฏ, บ and ป, or ข and ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + Pattaya has a specific approach to the thick and thin strokes of Thai glyphs. + Other type designers of Thai fonts may like to use this approach as a reference. + Informal loopless Thai tyefaces have slightly simplified details, as compared to formal ones, and this simplification has to be done properly in order to preserve the character of each glyph. + The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture.

-The Pattaya project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/pattaya -

\ No newline at end of file + The Pattaya project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/pattaya + +

diff --git a/ofl/patuaone/DESCRIPTION.en_us.html b/ofl/patuaone/DESCRIPTION.en_us.html index cad4985830..43781c7214 100644 --- a/ofl/patuaone/DESCRIPTION.en_us.html +++ b/ofl/patuaone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Patua One is a slab serif text type designed for use in small sizes. It has low contrast and strong serifs and is intended to generate visual impact. Its thick serifs are curved to provide it with a touch of smoothness and gesture.

\ No newline at end of file +

+ Patua One is a slab serif text type designed for use in small sizes. + It has low contrast and strong serifs and is intended to generate visual impact. + Its thick serifs are curved to provide it with a touch of smoothness and gesture. +

diff --git a/ofl/pavanam/DESCRIPTION.en_us.html b/ofl/pavanam/DESCRIPTION.en_us.html index f7bb9f0f58..1a67c98a02 100644 --- a/ofl/pavanam/DESCRIPTION.en_us.html +++ b/ofl/pavanam/DESCRIPTION.en_us.html @@ -1,10 +1,16 @@

-Pavanam is a Tamil and Latin typeface designed with a focus on greater legibility in smaller sizes for both screen and print media. -The Latin design is derived from Vernon Adam's Pontano Sans; -it has been slightly modified to match with the Tamil typefaces's proportions and vertical metrics. -The word Pavanam means wind in Tamil. + Pavanam is a Tamil and Latin typeface designed with a focus on greater legibility in smaller sizes for both screen and print media. + The Latin design is derived from Vernon Adam's + + Pontano Sans + + ; it has been slightly modified to match with the Tamil typefaces's proportions and vertical metrics. + The word Pavanam means wind in Tamil.

-The Pavanam project is led by Tharique Azeez, a type designer based in Sri Lanka. -To contribute, see github.com/enathu/pavanam -

\ No newline at end of file + The Pavanam project is led by Tharique Azeez, a type designer based in Sri Lanka. + To contribute, see + + github.com/enathu/pavanam + +

diff --git a/ofl/paytoneone/DESCRIPTION.en_us.html b/ofl/paytoneone/DESCRIPTION.en_us.html index d17e2c229d..e454a35f9c 100644 --- a/ofl/paytoneone/DESCRIPTION.en_us.html +++ b/ofl/paytoneone/DESCRIPTION.en_us.html @@ -1,4 +1,16 @@ -

Paytone One is a sans-serif font designed for use as a display and headline font on modern websites.

-

It has a casual appearance with round bowls and slanted stroke terminals that add visual interest.

-

February 2023: The font has been updated to v1.002 and now includes GF Plus encoding, revised outlines, Vietnamese diacritics, improved spacing and kerning.

-

To contribute, visit the Paytone One repository on Github: https://github.com/googlefonts/paytoneFont.

+

+ Paytone One is a sans-serif font designed for use as a display and headline font on modern websites. +

+

+ It has a casual appearance with round bowls and slanted stroke terminals that add visual interest. +

+

+ February 2023: The font has been updated to v1.002 and now includes GF Plus encoding, revised outlines, Vietnamese diacritics, improved spacing and kerning. +

+

+ To contribute, visit the Paytone One repository on Github: + + https://github.com/googlefonts/paytoneFont + + . +

diff --git a/ofl/peddana/DESCRIPTION.en_us.html b/ofl/peddana/DESCRIPTION.en_us.html index 7a96b89ed3..13657381e1 100644 --- a/ofl/peddana/DESCRIPTION.en_us.html +++ b/ofl/peddana/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Peddana is an Open Source typeface supporting both the Telugu and Latin scripts. -This font was developed mainly for the use in news publications and is suitable for text, headings, posters and invitations. + Peddana is an Open Source typeface supporting both the Telugu and Latin scripts. + This font was developed mainly for the use in news publications and is suitable for text, headings, posters and invitations.

-The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra. -The Latin is developed by SIL International and originally published as Charis. -The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/peddana

+ The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra. + The Latin is developed by SIL International and originally published as + + Charis + + . + The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/peddana +

diff --git a/ofl/peralta/DESCRIPTION.en_us.html b/ofl/peralta/DESCRIPTION.en_us.html index 7534dbf1e8..3171c034ab 100644 --- a/ofl/peralta/DESCRIPTION.en_us.html +++ b/ofl/peralta/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

The Peralta typeface is an egyptian slab serif gone haywire. You'll find that Capitals and Lowercase have opposite weight distributions, as well as an all-around offbeat nature, and yet it all works to create a delightfully comic typeface.

\ No newline at end of file +

+ The Peralta typeface is an egyptian slab serif gone haywire. + You'll find that Capitals and Lowercase have opposite weight distributions, as well as an all-around offbeat nature, and yet it all works to create a delightfully comic typeface. +

diff --git a/ofl/petemoss/DESCRIPTION.en_us.html b/ofl/petemoss/DESCRIPTION.en_us.html index 9d96e0ca1e..6da0390185 100644 --- a/ofl/petemoss/DESCRIPTION.en_us.html +++ b/ofl/petemoss/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Petemoss is a semi-calligraphic brush script. It is inspired by the forms created using a Pentel™ color brush. + Petemoss is a semi-calligraphic brush script. + It is inspired by the forms created using a Pentel™ color brush.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/petemoss. + To contribute, see + + github.com/googlefonts/petemoss + + .

diff --git a/ofl/petitformalscript/DESCRIPTION.en_us.html b/ofl/petitformalscript/DESCRIPTION.en_us.html index 80ab1de666..bee731e0be 100644 --- a/ofl/petitformalscript/DESCRIPTION.en_us.html +++ b/ofl/petitformalscript/DESCRIPTION.en_us.html @@ -1,11 +1,13 @@ -

Formal Scripts are great typefaces to suggest elegance, quality, refinement -and luxury. They are used a lot in print publishing, but you don't see many -formal scripts used on the web. Isn't it? Mostly because their tiny hairlines -breaks and disappear when used at small sizes on the screen.

- -

Also, they usually have long ascenders and descenders, and the lowercase -letters look too small when compared to most sans or serif fonts. More over, -they are usually quite condensed, making them even more difficult to read.

- -

That's why we designed a script type specifically tailored for web use, that -can survive being set even as small as 13px.

\ No newline at end of file +

+ Formal Scripts are great typefaces to suggest elegance, quality, refinement and luxury. + They are used a lot in print publishing, but you don't see many formal scripts used on the web. + Isn't it? + Mostly because their tiny hairlines breaks and disappear when used at small sizes on the screen. +

+

+ Also, they usually have long ascenders and descenders, and the lowercase letters look too small when compared to most sans or serif fonts. + More over, they are usually quite condensed, making them even more difficult to read. +

+

+ That's why we designed a script type specifically tailored for web use, that can survive being set even as small as 13px. +

diff --git a/ofl/petrona/DESCRIPTION.en_us.html b/ofl/petrona/DESCRIPTION.en_us.html index a799e70cf1..773ade75e2 100644 --- a/ofl/petrona/DESCRIPTION.en_us.html +++ b/ofl/petrona/DESCRIPTION.en_us.html @@ -1,18 +1,21 @@

-Petrona’s personality is an answer to how many characteristics can be added to a typeface without undermining its purpose within the text-type genre. -Petrona playfully maneuvers plenty of personal touches, without losing the essence of a design intended for legibility in digital and print media, from headlines to body text. -Uppercase glyphs have heavy asymmetric serifs and arms with inverted angles, which combine with lowercase designs that share a big x-height, pronounced ascenders, and soft curves of low stroke contrast. + Petrona’s personality is an answer to how many characteristics can be added to a typeface without undermining its purpose within the text-type genre. + Petrona playfully maneuvers plenty of personal touches, without losing the essence of a design intended for legibility in digital and print media, from headlines to body text. + Uppercase glyphs have heavy asymmetric serifs and arms with inverted angles, which combine with lowercase designs that share a big x-height, pronounced ascenders, and soft curves of low stroke contrast.

-First published in Google Fonts in November 2011 as a single style Roman design, it was completely redrawn in 2019 and 2020. -It has evolved, and now offers a comprehensive range of weights, a complete set of corresponding italics, and an extended glyph set that supports over 200 Latin languages. -A full set of small caps, plus ligatures, alternates, and all kinds of numerals, fractions, punctuations, symbols, and currencies are included. -As a variable font, it has a Weight axis in both the roman and italic files. -The previous swashy Q is still available, found in Stylistic Set 1. -It is now a typeface that supplies everything needed for fine text typography. + First published in Google Fonts in November 2011 as a single style Roman design, it was completely redrawn in 2019 and 2020. + It has evolved, and now offers a comprehensive range of weights, a complete set of corresponding italics, and an extended glyph set that supports over 200 Latin languages. + A full set of small caps, plus ligatures, alternates, and all kinds of numerals, fractions, punctuations, symbols, and currencies are included. + As a variable font, it has a Weight axis in both the roman and italic files. + The previous swashy Q is still available, found in Stylistic Set 1. + It is now a typeface that supplies everything needed for fine text typography.

-The Petrona project is led by Ringo R. Seeber from Glyph Co, based in Brooklyn, NY. -To contribute, please visit github.com/RingoSeeber/Petrona + The Petrona project is led by Ringo R. + Seeber from Glyph Co, based in Brooklyn, NY. + To contribute, please visit + + github.com/RingoSeeber/Petrona +

- diff --git a/ofl/phetsarath/DESCRIPTION.en_us.html b/ofl/phetsarath/DESCRIPTION.en_us.html index a5ca4dd899..6e86f00b66 100644 --- a/ofl/phetsarath/DESCRIPTION.en_us.html +++ b/ofl/phetsarath/DESCRIPTION.en_us.html @@ -1,4 +1,8 @@ -

Phetsarath is a font for the Lao language, used in the Lao People's -Democratic Republic. It was commissioned by the Ministry of Posts and -Telecommunications of the national government.

\ No newline at end of file +

+ Phetsarath is a font for the Lao language, used in the Lao People's Democratic Republic. + It was commissioned by the + + Ministry of Posts and Telecommunications + + of the national government. +

diff --git a/ofl/philosopher/DESCRIPTION.en_us.html b/ofl/philosopher/DESCRIPTION.en_us.html index 210dfcceba..ec9ce1b8d8 100644 --- a/ofl/philosopher/DESCRIPTION.en_us.html +++ b/ofl/philosopher/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. This font is universal: It can be used in logos, headlines, and for text. The initial version of the font was deliberately spread with errors - this was my invaluable contribution to type culture around the world, as I thought then - I wanted to stir up designers so they began working with fonts, rather than passively using what is there. Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide.

In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted.

\ No newline at end of file +

+ Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. + This font is universal: It can be used in logos, headlines, and for text. + The initial version of the font was deliberately spread with errors - this was my invaluable contribution to type culture around the world, as I thought then - I wanted to stir up designers so they began working + + with + + fonts, rather than passively using what is there. + Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide. +

+

+ In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted. +

diff --git a/ofl/phudu/DESCRIPTION.en_us.html b/ofl/phudu/DESCRIPTION.en_us.html index 2005f27aca..faf942751e 100644 --- a/ofl/phudu/DESCRIPTION.en_us.html +++ b/ofl/phudu/DESCRIPTION.en_us.html @@ -1,18 +1,18 @@

- Phudu is a sans-serif display typeface inspired by Vietnamese hand-lettering billboards in the old days, that - supports a wide range of languages by Duong Tran. As a new way to achieve variable font, the lighterPhudu gets, - the extended it becomes, for people to read it easier compared to other lightweight narrow typefaces. + Phudu is a sans-serif display typeface inspired by Vietnamese hand-lettering billboards in the old days, that supports a wide range of languages by Duong Tran. + As a new way to achieve variable font, the lighterPhudu gets, the extended it becomes, for people to read it easier compared to other lightweight narrow typefaces.

- In the progress of learning and crafting types, Duong has always thought about what makes a Vietnamese typeface. - If we rewind to the past, we can see a Vietnamese lettering style on the billboard stores, when the artists adapted Latin - typefaces and then added marks based on their styles. Among those, there were mostly all-caps sans-serif types - played as descriptions or the store's names themself. To make a new easy-to-read and easy-to-get typeface, - Duong mixed some of the researched letters from the story above. He doesn't want to just revive the types, he wants to - improve them to fit the modern-day styles, but still have "Vietnamese" souls in them. The typeface was - named Phudu (phục dựng) - "revival" in Vietnamese, and has a meaning of timeless (quite the opposite of the name - when it can be read as "phù du" - ephemeral). + In the progress of learning and crafting types, Duong has always thought about what makes a Vietnamese typeface. + If we rewind to the past, we can see a Vietnamese lettering style on the billboard stores, when the artists adapted Latin typefaces and then added marks based on their styles. + Among those, there were mostly all-caps sans-serif types played as descriptions or the store's names themself. + To make a new easy-to-read and easy-to-get typeface, Duong mixed some of the researched letters from the story above. + He doesn't want to just revive the types, he wants to improve them to fit the modern-day styles, but still have "Vietnamese" souls in them. + The typeface was named Phudu (phục dựng) - "revival" in Vietnamese, and has a meaning of timeless (quite the opposite of the name when it can be read as "phù du" - ephemeral).

- To contribute, see github.com/duongtrtype/DTPhudu + To contribute, see + + github.com/duongtrtype/DTPhudu +

diff --git a/ofl/piazzolla/DESCRIPTION.en_us.html b/ofl/piazzolla/DESCRIPTION.en_us.html index e6e0b876c0..82da8e4e3a 100644 --- a/ofl/piazzolla/DESCRIPTION.en_us.html +++ b/ofl/piazzolla/DESCRIPTION.en_us.html @@ -1,8 +1,20 @@

-Piazzolla is a type system intended for optimizing the available space in press media and other publications. It has a compact appearance which allows for small font sizes and tight leading while achieving solid lines and robust paragraphs. -It has a distinctive voice that conveys a personal style, especially in display sizes. It has great performance and readability in small point sizes and long texts, both for screen and printing. + Piazzolla is a type system intended for optimizing the available space in press media and other publications. + It has a compact appearance which allows for small font sizes and tight leading while achieving solid lines and robust paragraphs. + It has a distinctive voice that conveys a personal style, especially in display sizes. + It has great performance and readability in small point sizes and long texts, both for screen and printing. +

+

+ Designed by Juan Pablo del Peral for + + Huerta Tipográfica + + . +

+

+ To contribute see + + github.com/huertatipografica/piazzolla + + .

- -

Designed by Juan Pablo del Peral for Huerta Tipográfica.

- -

To contribute see github.com/huertatipografica/piazzolla.

diff --git a/ofl/piedra/DESCRIPTION.en_us.html b/ofl/piedra/DESCRIPTION.en_us.html index 77d771545a..61d331aea3 100644 --- a/ofl/piedra/DESCRIPTION.en_us.html +++ b/ofl/piedra/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. The Flintstones are so last century. The Hulks are in, and they're here to stay. Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. Be intimidated, be very intimidated. You don't believe it?

\ No newline at end of file +

+ The world may seem cartoonish to you, pilgrim, but the funnies ain't really that funny. + The Flintstones are so last century. + The Hulks are in, and they're here to stay. + Piedra is the rocky, fear-inducing face of galvanized triceps and überchiseled jawlines. + Be intimidated, be very intimidated. + You don't believe it? +

diff --git a/ofl/pinyonscript/DESCRIPTION.en_us.html b/ofl/pinyonscript/DESCRIPTION.en_us.html index 0d899cf266..8b0723e20c 100644 --- a/ofl/pinyonscript/DESCRIPTION.en_us.html +++ b/ofl/pinyonscript/DESCRIPTION.en_us.html @@ -1,5 +1,16 @@ -

Pinyon Script is a romantic round hand script style font. It also sports swashes which are confident and showy somehow giving the type a feeling suggestive of the American west. Perhaps this is why, despite refinement and aristocratic style; Pinyon Script manages to feel so friendly. Pinyon Script uses a high stroke contrast and is very slanted making it most suitable for use at larger sizes.

- -

The last release in June 2022, offers an major language support update.

- -

To contribute, see github.com/SorkinType/Pinyon.

+

+ Pinyon Script is a romantic round hand script style font. + It also sports swashes which are confident and showy somehow giving the type a feeling suggestive of the American west. + Perhaps this is why, despite refinement and aristocratic style; Pinyon Script manages to feel so friendly. + Pinyon Script uses a high stroke contrast and is very slanted making it most suitable for use at larger sizes. +

+

+ The last release in June 2022, offers an major language support update. +

+

+ To contribute, see + + github.com/SorkinType/Pinyon + + . +

diff --git a/ofl/pirataone/DESCRIPTION.en_us.html b/ofl/pirataone/DESCRIPTION.en_us.html index 66851d185f..04dab475a8 100644 --- a/ofl/pirataone/DESCRIPTION.en_us.html +++ b/ofl/pirataone/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@ -

Pirata One is a gothic textura font, simplified and optimized to work -well on screen and pixel displays. Its condensed structure and -spacing give it an excellent performance and rhythm on texts so it -can be used as a header font or in shorts paragraphs.

- -

Designed by Rodrigo Fuenzalida and Nicolas Massi. To contribute to the -project contact Rodrigo Fuenzalida.

\ No newline at end of file +

+ Pirata One is a gothic textura font, simplified and optimized to work well on screen and pixel displays. + Its condensed structure and spacing give it an excellent performance and rhythm on texts so it can be used as a header font or in shorts paragraphs. +

+

+ Designed by Rodrigo Fuenzalida and Nicolas Massi. + To contribute to the project contact + + Rodrigo Fuenzalida + + . +

diff --git a/ofl/pixelifysans/DESCRIPTION.en_us.html b/ofl/pixelifysans/DESCRIPTION.en_us.html index c76a73a5d9..7db667a4f3 100644 --- a/ofl/pixelifysans/DESCRIPTION.en_us.html +++ b/ofl/pixelifysans/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Pixelify Sans fonts are a unique style of typography that originated in the 1980s with the rise of computer graphics and video games. Pixel fonts are characterized by their blocky, pixelated appearance, which is achieved by using a grid of small, square pixels to create each letterform.

- -

To contribute, please see github.com/eifetx/Pixelify-Sans.

+

+ Pixelify Sans fonts are a unique style of typography that originated in the 1980s with the rise of computer graphics and video games. + Pixel fonts are characterized by their blocky, pixelated appearance, which is achieved by using a grid of small, square pixels to create each letterform. +

+

+ To contribute, please see + + github.com/eifetx/Pixelify-Sans + + . +

diff --git a/ofl/plaster/DESCRIPTION.en_us.html b/ofl/plaster/DESCRIPTION.en_us.html index 8b88d7d012..82dbf208ca 100644 --- a/ofl/plaster/DESCRIPTION.en_us.html +++ b/ofl/plaster/DESCRIPTION.en_us.html @@ -1,7 +1,30 @@ -

Foundry: Sorkin Type Co

- -

Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. However many of the solutions to the glyph design vary from Alber's choices. Plaster is suitable for use in medium to large sizes including headlines. This font deviates from most similar fonts because the space between letters is larger. The gaps in the stencil style letters makes letter identification more difficult. A wider letter space helps make the letters easy to read again.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. + However many of the solutions to the glyph design vary from Alber's choices. + Plaster is suitable for use in medium to large sizes including headlines. + This font deviates from most similar fonts because the space between letters is larger. + The gaps in the stencil style letters makes letter identification more difficult. + A wider letter space helps make the letters easy to read again. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/play/DESCRIPTION.en_us.html b/ofl/play/DESCRIPTION.en_us.html index 3e73e9ab69..69efe5c518 100644 --- a/ofl/play/DESCRIPTION.en_us.html +++ b/ofl/play/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of Playtype Type Foundry. -All letters in Play derive from the 'O' – square and circular at the same time. -Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. -The combination of these qualities give Play both a high legibility and readability. + Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of + + Playtype Type Foundry + + . + All letters in Play derive from the 'O' – square and circular at the same time. + Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. + The combination of these qualities give Play both a high legibility and readability.

diff --git a/ofl/playball/DESCRIPTION.en_us.html b/ofl/playball/DESCRIPTION.en_us.html index e6701660f3..149e53f9b8 100644 --- a/ofl/playball/DESCRIPTION.en_us.html +++ b/ofl/playball/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-An athletic look was the inspiration for Playball. Take advantage of the sweeping swashes to give a true sports look. Perfect for baseball banners and the like. + An athletic look was the inspiration for Playball. + Take advantage of the sweeping swashes to give a true sports look. + Perfect for baseball banners and the like.

-Playball comes with Latin Character sets including Western, Central, and Vietnamese language support. + Playball comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/play-ball. + To contribute, see + + github.com/googlefonts/play-ball + + .

diff --git a/ofl/playfair/DESCRIPTION.en_us.html b/ofl/playfair/DESCRIPTION.en_us.html index eda6586338..13f9d7f2dc 100644 --- a/ofl/playfair/DESCRIPTION.en_us.html +++ b/ofl/playfair/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

Playfair is well suited for general purpose typesetting. Playfair can be interpolated in three dimensions: Width, Weight and Optical Size.

- -

The optical size axis is the most extreme of the axes. Along that axis you can seamlessly change the letterforms from the extremely small Agate (5pt) to the extremely big Needlepoint (1200pt). The Agate has a very low contrast between the thickest and thinnest parts of its strokes, in fact the contrast is even slightly negative, meaning the the horisontal strokes are heavier than the vertical strokes. At the other end the Needlepoint is as high contrast as practically possible. The thinnest strokes are but a single unit wide, meaning that if you were to typeset in 1000 points using a Needlepoint weight, the resulting thinnest strokes would be one point wide. The weight axis adds a second dimension by allowing you to seamlessly change from a light regular to a dark black.

- -

An update in June 2023 slightly modifies the width axis, giving the text a narrower appearance.

- -

To contribute, see github.com/googlefonts/Playfair.

+

+ Playfair is well suited for general purpose typesetting. + Playfair can be interpolated in three dimensions: Width, Weight and Optical Size. +

+

+ The optical size axis is the most extreme of the axes. + Along that axis you can seamlessly change the letterforms from the extremely small Agate (5pt) to the extremely big Needlepoint (1200pt). + The Agate has a very low contrast between the thickest and thinnest parts of its strokes, in fact the contrast is even slightly negative, meaning the the horisontal strokes are heavier than the vertical strokes. + At the other end the Needlepoint is as high contrast as practically possible. + The thinnest strokes are but a single unit wide, meaning that if you were to typeset in 1000 points using a Needlepoint weight, the resulting thinnest strokes would be one point wide. + The weight axis adds a second dimension by allowing you to seamlessly change from a light regular to a dark black. +

+

+ An update in June 2023 slightly modifies the width axis, giving the text a narrower appearance. +

+

+ To contribute, see + + github.com/googlefonts/Playfair + + . +

diff --git a/ofl/playfairdisplay/DESCRIPTION.en_us.html b/ofl/playfairdisplay/DESCRIPTION.en_us.html index 3bbefd9245..cbff31b8bd 100644 --- a/ofl/playfairdisplay/DESCRIPTION.en_us.html +++ b/ofl/playfairdisplay/DESCRIPTION.en_us.html @@ -1,19 +1,34 @@

-Playfair is a transitional design. -In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. -Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. -This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from ‘Scotch Roman’ designs. + Playfair is a transitional design. + In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. + Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. + This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from ‘Scotch Roman’ designs.

-This typeface was initially published in 2011, and had a major update in 2017. -Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. -It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. + This typeface was initially published in 2011, and had a major update in 2017. + Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or + + Gelasio + + for body text. + It was succeeded in 2023 by the complete + + Playfair + + design, which as a variable font includes body text designs in the optical size axis.

-This is the main family, with a sibling Playfair Display SC small caps family. -The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. + This is the main family, with a sibling + + Playfair Display SC + + small caps family. + The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures.

-The Playfair project is led by Claus Eggers Sørensen, a type designer based in Amsterdam, Netherlands. -To contribute, see github.com/clauseggers/Playfair-Display + The Playfair project is led by Claus Eggers Sørensen, a type designer based in Amsterdam, Netherlands. + To contribute, see + + github.com/clauseggers/Playfair-Display +

diff --git a/ofl/playfairdisplaysc/DESCRIPTION.en_us.html b/ofl/playfairdisplaysc/DESCRIPTION.en_us.html index 735405c2c1..0eecd82edd 100644 --- a/ofl/playfairdisplaysc/DESCRIPTION.en_us.html +++ b/ofl/playfairdisplaysc/DESCRIPTION.en_us.html @@ -1,19 +1,34 @@

-Playfair is a transitional design. -In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. -Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. -This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from ‘Scotch Roman’ designs. + Playfair is a transitional design. + In the European Enlightenment in the late 18th century, broad nib quills were replaced by pointed steel pens as the popular writing tool of the day. + Together with developments in printing technology, ink, and paper making, it became fashionable to print letterforms of high contrast and delicate hairlines that were increasingly detached from the written letterforms. + This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of John Baskerville and from ‘Scotch Roman’ designs.

-This typeface was initially published in 2011, and had a major update in 2017. -Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or Gelasio for body text. -It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis. + This typeface was initially published in 2011, and had a major update in 2017. + Being a Display (large size) design in the transitional genre, functionally and stylistically it can accompany Georgia or + + Gelasio + + for body text. + It was succeeded in 2023 by the complete + + Playfair + + design, which as a variable font includes body text designs in the optical size axis.

-This is the Small Cap sibling family to the main Playfair Display family. -The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. + This is the Small Cap sibling family to the main + + Playfair Display + + family. + The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures.

-The Playfair project is led by Claus Eggers Sørensen, a type designer based in Amsterdam, Netherlands. -To contribute, see github.com/clauseggers/Playfair-Display + The Playfair project is led by Claus Eggers Sørensen, a type designer based in Amsterdam, Netherlands. + To contribute, see + + github.com/clauseggers/Playfair-Display +

diff --git a/ofl/plusjakartasans/DESCRIPTION.en_us.html b/ofl/plusjakartasans/DESCRIPTION.en_us.html index 70e226bfcf..e9e020e721 100644 --- a/ofl/plusjakartasans/DESCRIPTION.en_us.html +++ b/ofl/plusjakartasans/DESCRIPTION.en_us.html @@ -1,30 +1,31 @@

- Plus Jakarta Sans is a fresh take on geometric sans serif styles, designed by Gumpita Rahayu from Tokotype. - The fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's +Jakarta City - of Collaboration identity in 2020. - + Plus Jakarta Sans is a fresh take on geometric sans serif styles, designed by Gumpita Rahayu from Tokotype. + The fonts were originally commissioned by 6616 Studio for Jakarta Provincial Government program's + + +Jakarta City of Collaboration + + identity in 2020.

-

- Taking inspiration in Neuzeit Grotesk, Futura, and 1930s grotesque sans serifs with almost monolinear - contrast and pointy curves, the fonts consist of modern and clean cut forms, the x-height dimension slightly taller - to provide clear spaces between caps and x-height, and also equipped with open counters and balanced spaces to - preserve the legibility at a large range of sizes. + Taking inspiration in Neuzeit Grotesk, Futura, and 1930s grotesque sans serifs with almost monolinear contrast and pointy curves, the fonts consist of modern and clean cut forms, the x-height dimension slightly taller to provide clear spaces between caps and x-height, and also equipped with open counters and balanced spaces to preserve the legibility at a large range of sizes.

-

- The beauty of diversity captured in typography. Like the city itself, the uniqueness of this font is that in - some glyphs it has its own diversity and characteristic of various explorations of forms that enrich the expressions - and stories that coexist. The charms of Plus Jakarta Sans fonts appear when one looks closer, manifesting in a - beauty that emerges once seen as a whole. Each alternate in the family contains several alternative characters, - divided into three stylistic sets which Lancip (Sharp), Lurus (Straight), and Lingkar (Swirl). + The beauty of diversity captured in typography. + Like the city itself, the uniqueness of this font is that in some glyphs it has its own diversity and characteristic of various explorations of forms that enrich the expressions and stories that coexist. + The charms of Plus Jakarta Sans fonts appear when one looks closer, manifesting in a beauty that emerges once seen as a whole. + Each alternate in the family contains several alternative characters, divided into three stylistic sets which Lancip (Sharp), Lurus (Straight), and Lingkar (Swirl).

-

- As part of +Jakarta City of Collaboration, the fonts are made available for public use under the SIL - Open Font License. + As part of + + +Jakarta City of Collaboration + + , the fonts are made available for public use under the SIL Open Font License.

-

- To contribute, see github.com/tokotype/PlusJakartaSans. + To contribute, see + + github.com/tokotype/PlusJakartaSans + + .

diff --git a/ofl/podkova/DESCRIPTION.en_us.html b/ofl/podkova/DESCRIPTION.en_us.html index 4a5508e5f3..1f9c743431 100644 --- a/ofl/podkova/DESCRIPTION.en_us.html +++ b/ofl/podkova/DESCRIPTION.en_us.html @@ -1,10 +1,15 @@

-Podkova is the Russian word for Horseshoe, and this is a monoline slab serif with diagonal terminals. -The wide proportions and clean features aid legibility at small sizes, while the unusual letterforms provide enough character to be useful for display typography too. + Podkova is the Russian word for Horseshoe, and this is a monoline slab serif with diagonal terminals. + The wide proportions and clean features aid legibility at small sizes, while the unusual letterforms provide enough character to be useful for display typography too.

-Initially designed by Ilya Yudin in 2010, it was carefully refined and expanded by Alexei Vanyashin into a wider range of weights (that made the bold style a little lighter) in January 2017. In September 2019, the family is now a variable font. + Initially designed by Ilya Yudin in 2010, it was carefully refined and expanded by Alexei Vanyashin into a wider range of weights (that made the bold style a little lighter) in January 2017. + In September 2019, the family is now a variable font. +

+

+ To contribute, see + + github.com/cyrealtype/Podkova + + .

- -

To contribute, see github.com/cyrealtype/Podkova.

- diff --git a/ofl/podkovavfbeta/DESCRIPTION.en_us.html b/ofl/podkovavfbeta/DESCRIPTION.en_us.html index 663a15f9dc..0be0befba1 100644 --- a/ofl/podkovavfbeta/DESCRIPTION.en_us.html +++ b/ofl/podkovavfbeta/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-A Serif variable font, by Ilya Yudin. + A Serif variable font, by Ilya Yudin.

-To learn more about this project, visit https://github.com/cyrealtype/Podkova. + To learn more about this project, visit + + https://github.com/cyrealtype/Podkova + + .

diff --git a/ofl/poetsenone/DESCRIPTION.en_us.html b/ofl/poetsenone/DESCRIPTION.en_us.html index 7b72a4ce5d..e77ae06944 100644 --- a/ofl/poetsenone/DESCRIPTION.en_us.html +++ b/ofl/poetsenone/DESCRIPTION.en_us.html @@ -1,8 +1,12 @@ -

Inspired by the hand painted signs in supermarkets, and the roman structures -of the classical alphabets. Poetsen is a display font, but it's not just -intended to be used on big 'straight to the eye' titles. Since it has a large -x height, it can be used on short paragraphs in relatively small bodies of -text too.

- -

Join the project at: -impallari.com/projects/overview/poetsen.

\ No newline at end of file +

+ Inspired by the hand painted signs in supermarkets, and the roman structures of the classical alphabets. + Poetsen is a display font, but it's not just intended to be used on big 'straight to the eye' titles. + Since it has a large x height, it can be used on short paragraphs in relatively small bodies of text too. +

+

+ Join the project at: + + impallari.com/projects/overview/poetsen + + . +

diff --git a/ofl/poiretone/DESCRIPTION.en_us.html b/ofl/poiretone/DESCRIPTION.en_us.html index 3ed38a2268..cef4682b3a 100644 --- a/ofl/poiretone/DESCRIPTION.en_us.html +++ b/ofl/poiretone/DESCRIPTION.en_us.html @@ -1 +1,18 @@ -

A fresh decorative geometric grotesque with a hint of Art Deco and c‘onstructivism. Poiret One is a unique typeface with light forms and pure elegance. Sleek and simple. Based on geometric forms, it has stylish lines and graceful curves. The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos.

It is also well-suited for short texts and advertising where style is desired. Complete with a lower-case letters, the Poiret One is also useful for all-caps usage.

To contribute to the project contact Denis Masharov.

\ No newline at end of file +

+ A fresh decorative geometric grotesque with a hint of Art Deco and c‘onstructivism. + Poiret One is a unique typeface with light forms and pure elegance. + Sleek and simple. + Based on geometric forms, it has stylish lines and graceful curves. + The font is applicable for large signs, labels, titles, headlines and any type of graphic design on the web, in motion graphics, or in print - from t-shirts to posters and logos. +

+

+ It is also well-suited for short texts and advertising where style is desired. + Complete with a lower-case letters, the Poiret One is also useful for all-caps usage. +

+

+ To contribute to the project contact + + Denis Masharov + + . +

diff --git a/ofl/pollerone/DESCRIPTION.en_us.html b/ofl/pollerone/DESCRIPTION.en_us.html index 62098d528c..b88084b257 100644 --- a/ofl/pollerone/DESCRIPTION.en_us.html +++ b/ofl/pollerone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Poller is a high contrast semi-extended style Sans Serif. Poller is both readable and full of personality. Because of the higher contrast it is best used from medium sizes to larger display settings. Poller was inspired by hand lettering on early 20th century German posters.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Poller is a high contrast semi-extended style Sans Serif. + Poller is both readable and full of personality. + Because of the higher contrast it is best used from medium sizes to larger display settings. + Poller was inspired by hand lettering on early 20th century German posters. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/poltawskinowy/DESCRIPTION.en_us.html b/ofl/poltawskinowy/DESCRIPTION.en_us.html index 9909dd4c74..77f53fc871 100644 --- a/ofl/poltawskinowy/DESCRIPTION.en_us.html +++ b/ofl/poltawskinowy/DESCRIPTION.en_us.html @@ -1,7 +1,19 @@

- Półtawski Nowy is a digitisation project the Antykwa Półtawskiego typeface. A key aspect of the design of the digital version of the typeface from 1928 was the approach to the issue of developing the shape of characters from sources. Historical research was carried out in parallel with the preparation of the computer version, which allowed to learn about the unique story of this most recognizable Polish font design. The Półtawski Nowy type family is intended for typesetting in sizes from 10 to 18 pt. The project is implemented thanks to the support of the Digital Culture 2020 program of the Ministry of Culture and National Heritage. + Półtawski Nowy is a digitisation project the Antykwa Półtawskiego typeface. + A key aspect of the design of the digital version of the typeface from 1928 was the approach to the issue of developing the shape of characters from sources. + Historical research was carried out in parallel with the preparation of the computer version, which allowed to learn about the unique story of this most recognizable Polish font design. + The Półtawski Nowy type family is intended for typesetting in sizes from 10 to 18 pt. + The project is implemented thanks to the support of the Digital Culture 2020 program of the Ministry of Culture and National Heritage.

- In the Półtawski Nowy digitisation, the source of the study were scans of a type specimen book from the Idźkowski i S-ka foundry, a set of drawings, punch patterns and punches made by Monotype in Salfords, Great Britain in 1934-1955. They were made available by the Type Archive London. Thanks to the standardization of characters and the balancing of the typographic rhythm, in the digital version, the typeface retains its ornamental character, while working well in smaller text sizes. The basic character set available in the sources has been extended with further variants of diacritics, small caps, subscript and superscript, variants of numbers (tabular, proportional, nautical) and a set of OpenType features. + In the Półtawski Nowy digitisation, the source of the study were scans of a type specimen book from the Idźkowski i S-ka foundry, a set of drawings, punch patterns and punches made by Monotype in Salfords, Great Britain in 1934-1955. + They were made available by the Type Archive London. + Thanks to the standardization of characters and the balancing of the typographic rhythm, in the digital version, the typeface retains its ornamental character, while working well in smaller text sizes. + The basic character set available in the sources has been extended with further variants of diacritics, small caps, subscript and superscript, variants of numbers (tabular, proportional, nautical) and a set of OpenType features. +

+

+ To contribute see + + github.com/kosmynkab/Poltawski-Nowy +

-

To contribute see github.com/kosmynkab/Poltawski-Nowy

\ No newline at end of file diff --git a/ofl/poly/DESCRIPTION.en_us.html b/ofl/poly/DESCRIPTION.en_us.html index 083685f11e..886be4e149 100644 --- a/ofl/poly/DESCRIPTION.en_us.html +++ b/ofl/poly/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Poly is a medium contrast serif font. With short ascenders and a very high x-height, Poly is efficient in small sizes. Thanks to its careful balance between the x-height and glyph widths, it allows more economy and legibility than standard web serifs, even in small sizes. This font was originally designed to compose texts in agglutinative languages; these contain very long words. The goal was to develop a typeface that would tolerate cramped tracking and that would increase the number of letters on a single line.

Poly is a Unicode typeface family that supports Open Type features and languages that use the Latin script and its variants, especially Native South American language families.

\ No newline at end of file +

+ Poly is a medium contrast serif font. + With short ascenders and a very high x-height, Poly is efficient in small sizes. + Thanks to its careful balance between the x-height and glyph widths, it allows more economy and legibility than standard web serifs, even in small sizes. + This font was originally designed to compose texts in agglutinative languages; these contain very long words. + The goal was to develop a typeface that would tolerate cramped tracking and that would increase the number of letters on a single line. +

+

+ Poly is a Unicode typeface family that supports Open Type features and languages that use the Latin script and its variants, especially Native South American language families. +

diff --git a/ofl/pompiere/DESCRIPTION.en_us.html b/ofl/pompiere/DESCRIPTION.en_us.html index b27b9667eb..6c96f2398e 100644 --- a/ofl/pompiere/DESCRIPTION.en_us.html +++ b/ofl/pompiere/DESCRIPTION.en_us.html @@ -1,7 +1,30 @@ -

Foundry: Sorkin Type Co

- -

Pompiere is a low contrast condensed sans serif font. However unlike most sans it has very tall ascenders and and very small x height. Pompiere is playful and even a little sweet. This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. 18 in the West Village of Manhattan. Because of its small x height and modest weight it will work best at medium to large sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Pompiere is a low contrast condensed sans serif font. + However unlike most sans it has very tall ascenders and and very small x height. + Pompiere is playful and even a little sweet. + This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. + 18 in the West Village of Manhattan. + Because of its small x height and modest weight it will work best at medium to large sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/ponnala/DESCRIPTION.en_us.html b/ofl/ponnala/DESCRIPTION.en_us.html index 871618f75b..1b514748d3 100644 --- a/ofl/ponnala/DESCRIPTION.en_us.html +++ b/ofl/ponnala/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

-Ponnala is a Telugu font. + Ponnala is a Telugu font.

-Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Ponnala project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/ponnala

+ Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Ponnala project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/ponnala +

diff --git a/ofl/pontanosans/DESCRIPTION.en_us.html b/ofl/pontanosans/DESCRIPTION.en_us.html index 05195a683e..4f30908d8d 100644 --- a/ofl/pontanosans/DESCRIPTION.en_us.html +++ b/ofl/pontanosans/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Pontano Sans is a minimalist and light weighted Sans Serif. Pontano is designed mainly for use as a display font but is useable as a text font too. Pontano Sans has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

- -

In February 2023, the font becomes variable (light to bold) and presents several improvements in terms of rendering and supported languages.

- -

To contribute, see github.com/googlefonts/PontanoSansFont.

+

+ Pontano Sans is a minimalist and light weighted Sans Serif. + Pontano is designed mainly for use as a display font but is useable as a text font too. + Pontano Sans has been designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ In February 2023, the font becomes variable (light to bold) and presents several improvements in terms of rendering and supported languages. +

+

+ To contribute, see + + github.com/googlefonts/PontanoSansFont + + . +

diff --git a/ofl/poorstory/DESCRIPTION.en_us.html b/ofl/poorstory/DESCRIPTION.en_us.html index 3817ea9222..baad8db953 100644 --- a/ofl/poorstory/DESCRIPTION.en_us.html +++ b/ofl/poorstory/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Poor Story is a Korean and Latin font.

\ No newline at end of file +

+ Poor Story is a Korean and Latin font. +

diff --git a/ofl/poppins/DESCRIPTION.en_us.html b/ofl/poppins/DESCRIPTION.en_us.html index 08b59e2880..c6e4738ebb 100644 --- a/ofl/poppins/DESCRIPTION.en_us.html +++ b/ofl/poppins/DESCRIPTION.en_us.html @@ -1,19 +1,22 @@

-Geometric sans serif typefaces have been a popular design tool ever since these actors took to the world’s stage. -Poppins is one of the new comers to this long tradition. -With support for the Devanagari and Latin writing systems, it is an internationalist take on the genre. + Geometric sans serif typefaces have been a popular design tool ever since these actors took to the world’s stage. + Poppins is one of the new comers to this long tradition. + With support for the Devanagari and Latin writing systems, it is an internationalist take on the genre.

-Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. -The Devanagari design is particularly new, and is the first ever Devanagari typeface with a range of weights in this genre. -Just like the Latin, the Devanagari is based on pure geometry, particularly circles. + Many of the Latin glyphs (such as the ampersand) are more constructed and rationalist than is typical. + The Devanagari design is particularly new, and is the first ever Devanagari typeface with a range of weights in this genre. + Just like the Latin, the Devanagari is based on pure geometry, particularly circles.

-Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. -The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high. + Each letterform is nearly monolinear, with optical corrections applied to stroke joints where necessary to maintain an even typographic color. + The Devanagari base character height and the Latin ascender height are equal; Latin capital letters are shorter than the Devanagari characters, and the Latin x-height is set rather high.

-The Devanagari is designed by Ninad Kale. -The Latin is by Jonny Pinhorn. -To contribute, see github.com/itfoundry/poppins + The Devanagari is designed by Ninad Kale. + The Latin is by Jonny Pinhorn. + To contribute, see + + github.com/itfoundry/poppins +

diff --git a/ofl/portersansblock/DESCRIPTION.en_us.html b/ofl/portersansblock/DESCRIPTION.en_us.html index f83d7bf37e..e5c8bc240d 100644 --- a/ofl/portersansblock/DESCRIPTION.en_us.html +++ b/ofl/portersansblock/DESCRIPTION.en_us.html @@ -1,6 +1,13 @@

-Porter Sans Block is a free style of Porter Sans. + Porter Sans Block is a free style of + + Porter Sans + + .

-Would love to get an email from you showing of your Porter Sans Block awesomeness: hi@tylerfinck.com -

\ No newline at end of file + Would love to get an email from you showing of your Porter Sans Block awesomeness: + + hi@tylerfinck.com + +

diff --git a/ofl/portlligatsans/DESCRIPTION.en_us.html b/ofl/portlligatsans/DESCRIPTION.en_us.html index 7b6bbf31cc..c22479efe9 100644 --- a/ofl/portlligatsans/DESCRIPTION.en_us.html +++ b/ofl/portlligatsans/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Port Lligat Sans is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Sans is the basic structure for the rest of the styles. It has a white interior simple form, non showy terminals. The strokes are not straight, they have entasis on them, also in the end of the strokes as terminals.

\ No newline at end of file +

+ Port Lligat Sans is a display typeface. + It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. + It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. + It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. + As a result they can be used together in many different ways. + The first releases are the regular Roman styles of the Sans and Slab families. + The Sans is the basic structure for the rest of the styles. + It has a white interior simple form, non showy terminals. + The strokes are not straight, they have entasis on them, also in the end of the strokes as terminals. +

diff --git a/ofl/portlligatslab/DESCRIPTION.en_us.html b/ofl/portlligatslab/DESCRIPTION.en_us.html index cb1682bf19..001770f061 100644 --- a/ofl/portlligatslab/DESCRIPTION.en_us.html +++ b/ofl/portlligatslab/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Port Lligat Slab is a display typeface. It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. As a result they can be used together in many different ways. The first releases are the regular Roman styles of the Sans and Slab families. The Slab matches exactly with the Sans but it has heavy slab serifs and rounded terminals. In small sizes it looks like a groovy serif typeface.

\ No newline at end of file +

+ Port Lligat Slab is a display typeface. + It has a soft variation in strokes, condensed structure, vertical stress, and a well balance groovy rhythm. + It is particularly useful for both short text and headlines, but it is also comfortable for reading on screen. + It is designed to become a super family with styles in many different typographical categories matching the exactly weight and width across the whole family. + As a result they can be used together in many different ways. + The first releases are the regular Roman styles of the Sans and Slab families. + The Slab matches exactly with the Sans but it has heavy slab serifs and rounded terminals. + In small sizes it looks like a groovy serif typeface. +

diff --git a/ofl/pottaone/DESCRIPTION.en_us.html b/ofl/pottaone/DESCRIPTION.en_us.html index 4a0565ef80..10aad16c81 100644 --- a/ofl/pottaone/DESCRIPTION.en_us.html +++ b/ofl/pottaone/DESCRIPTION.en_us.html @@ -1,4 +1,9 @@ -

Potta One is a single style family which features letterforms that have been inspired by brush lettering.

-To contribute to the project, visit github.com/go108go/Potta -

+ Potta One is a single style family which features letterforms that have been inspired by brush lettering. +

+

+ To contribute to the project, visit + + github.com/go108go/Potta + +

diff --git a/ofl/pragatinarrow/DESCRIPTION.en_us.html b/ofl/pragatinarrow/DESCRIPTION.en_us.html index 212775adbc..1d73c78b63 100644 --- a/ofl/pragatinarrow/DESCRIPTION.en_us.html +++ b/ofl/pragatinarrow/DESCRIPTION.en_us.html @@ -1,17 +1,27 @@

-Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow. -It is a sans-serif family with vertical and horizontal cuts. -Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too. -The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicolás Silva. -The Latin version of Pragati is reminiscent of late nineteenth century American typefaces. -It includes four Narrow styles and four Normal styles (in development), was derived from Chivo (designed by Héctor Gatti) and was developed with the collaboration of the Omnibus-Type team. + Pragati Narrow is a libre Devanagari typeface family designed as a complement to + + Archivo Narrow + + . + It is a sans-serif family with vertical and horizontal cuts. + Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too. + The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicolás Silva. + The Latin version of Pragati is reminiscent of late nineteenth century American typefaces. + It includes four Narrow styles and four Normal styles (in development), was derived from Chivo (designed by Héctor Gatti) and was developed with the collaboration of the + + Omnibus-Type + + team.

-

-Pragati (प्रगति) is the Hindi word for ‘progress’. + Pragati (प्रगति) is the Hindi word for ‘progress’.

-

-This project is led by Omnibus-Type, a type foundry based in Argentina. -To contribute, visit github.com/Omnibus-Type/PragatiNarrow. + This project is led by Omnibus-Type, a type foundry based in Argentina. + To contribute, visit + + github.com/Omnibus-Type/PragatiNarrow + + .

diff --git a/ofl/praise/DESCRIPTION.en_us.html b/ofl/praise/DESCRIPTION.en_us.html index fd6744d833..b74297f71f 100644 --- a/ofl/praise/DESCRIPTION.en_us.html +++ b/ofl/praise/DESCRIPTION.en_us.html @@ -1,12 +1,16 @@

-Praise is a versatile script with variations from Casual (non-connecting) to Formal appeal. + Praise is a versatile script with variations from Casual (non-connecting) to Formal appeal.

-With nearly 3400 glyphs, the five stylistic sets gives a powerful solution to the design needs of the graphic design professional. + With nearly 3400 glyphs, the five stylistic sets gives a powerful solution to the design needs of the graphic design professional.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/praise-script. + To contribute, see + + github.com/googlefonts/praise-script + + .

diff --git a/ofl/prata/DESCRIPTION.en_us.html b/ofl/prata/DESCRIPTION.en_us.html index a829c16374..e7bcea558c 100644 --- a/ofl/prata/DESCRIPTION.en_us.html +++ b/ofl/prata/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Prata is an elegant Didone typeface with sharp features and organic teardrops. There is a certain tension in the contrast of its virile serifs and soft refined curves. Its triangular serifs complement and accent the thin strokes, and the high contrast means it will work best in display sizes.

Designed by Ivan Petrov for Cyreal.

\ No newline at end of file +

+ Prata is an elegant Didone typeface with sharp features and organic teardrops. + There is a certain tension in the contrast of its virile serifs and soft refined curves. + Its triangular serifs complement and accent the thin strokes, and the high contrast means it will work best in display sizes. +

+

+ Designed by Ivan Petrov for Cyreal. +

diff --git a/ofl/preahvihear/DESCRIPTION.en_us.html b/ofl/preahvihear/DESCRIPTION.en_us.html index dd4b756c85..40191a409a 100644 --- a/ofl/preahvihear/DESCRIPTION.en_us.html +++ b/ofl/preahvihear/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Preahvihear is a Khmer font for headlines, titles and subtitles, and even banner designs. + Preahvihear is a Khmer font for headlines, titles and subtitles, and even banner designs.

-To contribute, see github.com/danhhong/Preahvihear. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Preahvihear + + . +

diff --git a/ofl/pressstart2p/DESCRIPTION.en_us.html b/ofl/pressstart2p/DESCRIPTION.en_us.html index b330e13bb8..3449fc379d 100644 --- a/ofl/pressstart2p/DESCRIPTION.en_us.html +++ b/ofl/pressstart2p/DESCRIPTION.en_us.html @@ -1,11 +1,16 @@ -

Press Start 2P is a bitmap font based on the font design from 1980s Namco -arcade games. It works best at sizes of 8px, 16px and other multiples of 8. -Although the design of uppercase letters and digits dates back to Atari's -"Sprint" (1977), the specific glyph forms in this TrueType conversion are based -on those from "Return of Ishtar" (1986), one of the first games to include and -regularly use lowercase as well as uppercase letters in its screen font.

-

Unlike the original font from the "Return of Ishtar" ROM, Press Start 2P -includes a wide variety of non-ASCII Unicode characters for pan-European use, -including Greek and Cyrillic. It could be expanded to support other scripts.

-

To contribute to the project contact -Cody "CodeMan38" Boisclair.

+

+ Press Start 2P is a bitmap font based on the font design from 1980s Namco arcade games. + It works best at sizes of 8px, 16px and other multiples of 8. + Although the design of uppercase letters and digits dates back to Atari's "Sprint" (1977), the specific glyph forms in this TrueType conversion are based on those from "Return of Ishtar" (1986), one of the first games to include and regularly use lowercase as well as uppercase letters in its screen font. +

+

+ Unlike the original font from the "Return of Ishtar" ROM, Press Start 2P includes a wide variety of non-ASCII Unicode characters for pan-European use, including Greek and Cyrillic. + It could be expanded to support other scripts. +

+

+ To contribute to the project contact + + Cody "CodeMan38" Boisclair + + . +

diff --git a/ofl/pridi/DESCRIPTION.en_us.html b/ofl/pridi/DESCRIPTION.en_us.html index 4b6bb9a5eb..3b7e0ed886 100644 --- a/ofl/pridi/DESCRIPTION.en_us.html +++ b/ofl/pridi/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Pridi means “joyful” in Thai. -Pridi is a slab serif Latin and looped Thai typeface that is well-suited for both body text and display. -The looped Terminal Thai is designed specifically within loopless terminal concepts, and works well with the slab serif Latin without adding any slabs to any Thai glyphs. -This font can be used as a body text in various media such as magazines, advertisements, and other print media. + Pridi means “joyful” in Thai. + Pridi is a slab serif Latin and looped Thai typeface that is well-suited for both body text and display. + The looped Terminal Thai is designed specifically within loopless terminal concepts, and works well with the slab serif Latin without adding any slabs to any Thai glyphs. + This font can be used as a body text in various media such as magazines, advertisements, and other print media.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, and ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -Pridi has a specific approach to the thick and thin strokes of Thai glyphs. -Other type designers of Thai fonts may like to use this approach as a reference. -Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows designers to extend the font to heavier weights. -The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, and ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + Pridi has a specific approach to the thick and thin strokes of Thai glyphs. + Other type designers of Thai fonts may like to use this approach as a reference. + Informal looped Thai typefaces have slightly simplified details, as compared to formal ones, and this allows designers to extend the font to heavier weights. + The size and position of Thai vowel and tone marks need to be managed carefully, because they are all relevant to readability, legibility, and overall texture.

-The Pridi project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/pridi -

\ No newline at end of file + The Pridi project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/pridi + +

diff --git a/ofl/princesssofia/DESCRIPTION.en_us.html b/ofl/princesssofia/DESCRIPTION.en_us.html index 80ae6ced11..e5d573ed3d 100644 --- a/ofl/princesssofia/DESCRIPTION.en_us.html +++ b/ofl/princesssofia/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

She's a real princess who rules the casa with love, grace and fancy penmanship. A casual italic calligraphy inspired style perfect for titling with a little flair.

Designed by Crystal Kluge of Tart Workshop (a DBA of Font Diner, Inc). To contribute to the project contact the Font Diner at support@fontdiner.com

\ No newline at end of file +

+ She's a real princess who rules the casa with love, grace and fancy penmanship. + A casual italic calligraphy inspired style perfect for titling with a little flair. +

+

+ Designed by Crystal Kluge of Tart Workshop (a DBA of Font Diner, Inc). + To contribute to the project contact the Font Diner at + + support@fontdiner.com + +

diff --git a/ofl/prociono/DESCRIPTION.en_us.html b/ofl/prociono/DESCRIPTION.en_us.html index 272c25cd52..d1fd4b96a4 100644 --- a/ofl/prociono/DESCRIPTION.en_us.html +++ b/ofl/prociono/DESCRIPTION.en_us.html @@ -1,5 +1,12 @@

-Prociono (pro-tsee-O-no) is an Esperanto word meaning either the star Procyon or the animal species known as the raccoon. -It is a roman with blackletter elements. -To learn more, see bitbucket.org/sortsmill/sortsmill-fonts and theleagueofmoveabletype.com/prociono + Prociono (pro-tsee-O-no) is an Esperanto word meaning either the star Procyon or the animal species known as the raccoon. + It is a roman with blackletter elements. + To learn more, see + + bitbucket.org/sortsmill/sortsmill-fonts + + and + + theleagueofmoveabletype.com/prociono +

diff --git a/ofl/prompt/DESCRIPTION.en_us.html b/ofl/prompt/DESCRIPTION.en_us.html index a214c1e551..ba72cb7718 100644 --- a/ofl/prompt/DESCRIPTION.en_us.html +++ b/ofl/prompt/DESCRIPTION.en_us.html @@ -1,15 +1,18 @@

-Prompt in Thai means “ready,” the same as in English. -Prompt is a loopless Thai and sans Latin typeface. -The simple and geometric Latin was developed to work harmoniously with the loopless Thai that has wide proportions and airy negative space. -It is suitable for both web and print usage, such as magazines, newspapers, and posters. + Prompt in Thai means “ready,” the same as in English. + Prompt is a loopless Thai and sans Latin typeface. + The simple and geometric Latin was developed to work harmoniously with the loopless Thai that has wide proportions and airy negative space. + It is suitable for both web and print usage, such as magazines, newspapers, and posters.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. -Formal loopless Thai typefaces are simplified, compared to traditional looped Thai types, and this simplification has to be done properly in order to preserve the essense of each character. -The size and position of Thai vowel and tone marks has been managed carefully, because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ, ฎ ฏ, บ ป, ข ช is something to take into consideration because it might lead to confusion when typesetting very short texts. + Formal loopless Thai typefaces are simplified, compared to traditional looped Thai types, and this simplification has to be done properly in order to preserve the essense of each character. + The size and position of Thai vowel and tone marks has been managed carefully, because they are all relevant to readability, legibility, and overall texture.

-The Prompt project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/prompt -

\ No newline at end of file + The Prompt project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/prompt + +

diff --git a/ofl/prostoone/DESCRIPTION.en_us.html b/ofl/prostoone/DESCRIPTION.en_us.html index 0c39f982cc..565b8cecba 100644 --- a/ofl/prostoone/DESCRIPTION.en_us.html +++ b/ofl/prostoone/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

This font was created during a 6 month collaboration by two designers in Russia, Jovanny Lemonad and Pavel Emelyanov. They wanted to make a modern 'accidental grotesque,' useful for logos and presentations. The project's initiator and chief designer is Pavel Emelyanov, who worked with his mentor Ivan Gladkikh, known as Jovanny Lemonad, who helped with technical expertize to finalize the font.

To contribute to the project contact Jovanny Lemonad and Pavel Emelyanov.

\ No newline at end of file +

+ This font was created during a 6 month collaboration by two designers in Russia, Jovanny Lemonad and Pavel Emelyanov. + They wanted to make a modern 'accidental grotesque,' useful for logos and presentations. + The project's initiator and chief designer is Pavel Emelyanov, who worked with his mentor Ivan Gladkikh, known as Jovanny Lemonad, who helped with technical expertize to finalize the font. +

+

+ To contribute to the project contact + + Jovanny Lemonad + + and + + Pavel Emelyanov + + . +

diff --git a/ofl/protestguerrilla/DESCRIPTION.en_us.html b/ofl/protestguerrilla/DESCRIPTION.en_us.html index c3f09a2d9a..2510d0c306 100644 --- a/ofl/protestguerrilla/DESCRIPTION.en_us.html +++ b/ofl/protestguerrilla/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice.

- -

Protest Guerrilla is an stencil version of Strike.

- -

An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts.

- -

To contribute, please see github.com/octaviopardo/Protest.

+

+ The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. + So far it spans four font families, each with a different voice. +

+

+ Protest Guerrilla is an stencil version of Strike. +

+

+ An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. + This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. +

+

+ To contribute, please see + + github.com/octaviopardo/Protest + + . +

diff --git a/ofl/protestrevolution/DESCRIPTION.en_us.html b/ofl/protestrevolution/DESCRIPTION.en_us.html index 4390c13d72..656f2ff6b0 100644 --- a/ofl/protestrevolution/DESCRIPTION.en_us.html +++ b/ofl/protestrevolution/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice.

- -

Protest Revolution expresses the furious and messy painted signs.

- -

An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts.

- -

To contribute, please see github.com/octaviopardo/Protest.

+

+ The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. + So far it spans four font families, each with a different voice. +

+

+ Protest Revolution expresses the furious and messy painted signs. +

+

+ An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. + This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. +

+

+ To contribute, please see + + github.com/octaviopardo/Protest + + . +

diff --git a/ofl/protestriot/DESCRIPTION.en_us.html b/ofl/protestriot/DESCRIPTION.en_us.html index 265bdeb3c1..91ad982346 100644 --- a/ofl/protestriot/DESCRIPTION.en_us.html +++ b/ofl/protestriot/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice.

- -

Protest Riot captures the shapes of naive and informal street signs.

- -

An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts.

- -

To contribute, please see github.com/octaviopardo/Protest.

+

+ The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. + So far it spans four font families, each with a different voice. +

+

+ Protest Riot captures the shapes of naive and informal street signs. +

+

+ An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. + This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. +

+

+ To contribute, please see + + github.com/octaviopardo/Protest + + . +

diff --git a/ofl/proteststrike/DESCRIPTION.en_us.html b/ofl/proteststrike/DESCRIPTION.en_us.html index 2d445ff03f..b6a3c959c3 100644 --- a/ofl/proteststrike/DESCRIPTION.en_us.html +++ b/ofl/proteststrike/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. So far it spans four font families, each with a different voice.

- -

Protest Strike is a solid but peaceful Sans Serif typeface.

- -

An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts.

- -

To contribute, please see github.com/octaviopardo/Protest.

+

+ The Protest Types began as personal project by designer Octavio Pardo to reflect on the shapes and voices of protest signs. + So far it spans four font families, each with a different voice. +

+

+ Protest Strike is a solid but peaceful Sans Serif typeface. +

+

+ An import and novel design feature of the project as a whole:Strike, Guerrilla and Riot all share the same spacing and kerning. + This means designers have the possibility to write a message, and then decide the level of passion (or anger) that they want to express that message with, without altering any line lengths or page layouts. +

+

+ To contribute, please see + + github.com/octaviopardo/Protest + + . +

diff --git a/ofl/prozalibre/DESCRIPTION.en_us.html b/ofl/prozalibre/DESCRIPTION.en_us.html index fdfbb470e3..cf766fd778 100644 --- a/ofl/prozalibre/DESCRIPTION.en_us.html +++ b/ofl/prozalibre/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@

-Proza Libre is the libre version of the retail Proza type family, by Bureau Roffa. -It is made to render exceptionally well on screens across different operating systems, especially Windows, using ttfautohint. + Proza Libre is the libre version of the retail Proza type family, by Bureau Roffa. + It is made to render exceptionally well on screens across different operating systems, especially Windows, using + + ttfautohint + + .

-The Proza Libre project is led by Jasper de Waard, a type designer based in the Netherlands. -To contribute, see github.com/jasperdewaard/Proza-Libre -

\ No newline at end of file + The Proza Libre project is led by Jasper de Waard, a type designer based in the Netherlands. + To contribute, see + + github.com/jasperdewaard/Proza-Libre + +

diff --git a/ofl/ptmono/DESCRIPTION.en_us.html b/ofl/ptmono/DESCRIPTION.en_us.html index 73d03e6012..70e3485a57 100644 --- a/ofl/ptmono/DESCRIPTION.en_us.html +++ b/ofl/ptmono/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

PT Mono was developed for specific uses in forms, tables, worksheets and other contexts. Equal character widths are very helpful in setting complex documents, as with such a font you may easily calculate size of entry fields, column widths in tables and so on. One of the most important areas of use is in governmental web sites where visitors have to fill different forms. Currently PT Mono consists of just one Regular style.

PT Mono was designed by Alexandra Korolkova with participation of Isabella Chaeva and with the financial support of Google Web Fonts.

\ No newline at end of file +

+ PT Mono was developed for specific uses in forms, tables, worksheets and other contexts. + Equal character widths are very helpful in setting complex documents, as with such a font you may easily calculate size of entry fields, column widths in tables and so on. + One of the most important areas of use is in governmental web sites where visitors have to fill different forms. + Currently PT Mono consists of just one Regular style. +

+

+ PT Mono was designed by Alexandra Korolkova with participation of Isabella Chaeva and with the financial support of Google Web Fonts. +

diff --git a/ofl/ptsans/DESCRIPTION.en_us.html b/ofl/ptsans/DESCRIPTION.en_us.html index fffacd5ee1..40231bf665 100644 --- a/ofl/ptsans/DESCRIPTION.en_us.html +++ b/ofl/ptsans/DESCRIPTION.en_us.html @@ -1 +1,33 @@ -

PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.

\ No newline at end of file +

+ PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available. +

+

+ The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. +

+

+ The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. + It was given financial support from the Russian Federal Agency for Press and Mass Communications. +

+

+ The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. + This makes them a unique and very important tool for modern digital communications. +

+

+ PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. + The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. +

+

+ Designed by Alexandra Korolkova, + + Olga Umpeleva + + and + + Vladimir Yefimov + + and released by + + ParaType + + in 2009. +

diff --git a/ofl/ptsanscaption/DESCRIPTION.en_us.html b/ofl/ptsanscaption/DESCRIPTION.en_us.html index fffacd5ee1..40231bf665 100644 --- a/ofl/ptsanscaption/DESCRIPTION.en_us.html +++ b/ofl/ptsanscaption/DESCRIPTION.en_us.html @@ -1 +1,33 @@ -

PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.

\ No newline at end of file +

+ PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available. +

+

+ The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. +

+

+ The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. + It was given financial support from the Russian Federal Agency for Press and Mass Communications. +

+

+ The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. + This makes them a unique and very important tool for modern digital communications. +

+

+ PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. + The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. +

+

+ Designed by Alexandra Korolkova, + + Olga Umpeleva + + and + + Vladimir Yefimov + + and released by + + ParaType + + in 2009. +

diff --git a/ofl/ptsansnarrow/DESCRIPTION.en_us.html b/ofl/ptsansnarrow/DESCRIPTION.en_us.html index fffacd5ee1..40231bf665 100644 --- a/ofl/ptsansnarrow/DESCRIPTION.en_us.html +++ b/ofl/ptsansnarrow/DESCRIPTION.en_us.html @@ -1 +1,33 @@ -

PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.

\ No newline at end of file +

+ PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available. +

+

+ The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. +

+

+ The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. + It was given financial support from the Russian Federal Agency for Press and Mass Communications. +

+

+ The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. + This makes them a unique and very important tool for modern digital communications. +

+

+ PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. + The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting. +

+

+ Designed by Alexandra Korolkova, + + Olga Umpeleva + + and + + Vladimir Yefimov + + and released by + + ParaType + + in 2009. +

diff --git a/ofl/ptserif/DESCRIPTION.en_us.html b/ofl/ptserif/DESCRIPTION.en_us.html index 940993412a..c045de69ec 100644 --- a/ofl/ptserif/DESCRIPTION.en_us.html +++ b/ofl/ptserif/DESCRIPTION.en_us.html @@ -1 +1,36 @@ -

PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.

The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.

\ No newline at end of file +

+ PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009. +

+

+ The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. +

+

+ The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. + It was given financial support from the Russian Federal Agency for Press and Mass Communications. +

+

+ The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. + This makes them a unique and very important tool for modern digital communications. +

+

+ PT Serif is a transitional serif typeface with humanistic terminals. + It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. +

+

+ The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. +

+

+ Designed by Alexandra Korolkova, + + Olga Umpeleva + + and + + Vladimir Yefimov + + and released by + + ParaType + + in 2010. +

diff --git a/ofl/ptserifcaption/DESCRIPTION.en_us.html b/ofl/ptserifcaption/DESCRIPTION.en_us.html index 940993412a..c045de69ec 100644 --- a/ofl/ptserifcaption/DESCRIPTION.en_us.html +++ b/ofl/ptserifcaption/DESCRIPTION.en_us.html @@ -1 +1,36 @@ -

PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.

The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.

The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.

The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.

PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.

The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.

Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.

\ No newline at end of file +

+ PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009. +

+

+ The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages. +

+

+ The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. + It was given financial support from the Russian Federal Agency for Press and Mass Communications. +

+

+ The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. + This makes them a unique and very important tool for modern digital communications. +

+

+ PT Serif is a transitional serif typeface with humanistic terminals. + It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design. +

+

+ The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes. +

+

+ Designed by Alexandra Korolkova, + + Olga Umpeleva + + and + + Vladimir Yefimov + + and released by + + ParaType + + in 2010. +

diff --git a/ofl/publicsans/DESCRIPTION.en_us.html b/ofl/publicsans/DESCRIPTION.en_us.html index e03979f856..24b82b3562 100644 --- a/ofl/publicsans/DESCRIPTION.en_us.html +++ b/ofl/publicsans/DESCRIPTION.en_us.html @@ -1,5 +1,21 @@ -

Based on Libre Franklin, Public Sans is a strong, neutral typeface for interfaces, text, and headings. It was Developed by the United States Web Design System.

- -

The family was upgraded to a variable font in May 2022.

- -

To contribute, see github.com/uswds/public-sans

+

+ Based on + + Libre Franklin + + , Public Sans is a strong, neutral typeface for interfaces, text, and headings. + It was Developed by the + + United States Web Design System + + . +

+

+ The family was upgraded to a variable font in May 2022. +

+

+ To contribute, see + + github.com/uswds/public-sans + +

diff --git a/ofl/puppiesplay/DESCRIPTION.en_us.html b/ofl/puppiesplay/DESCRIPTION.en_us.html index e13c9c7d76..b15b27a4fb 100644 --- a/ofl/puppiesplay/DESCRIPTION.en_us.html +++ b/ofl/puppiesplay/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Puppies Play is a fun, bouncy script with connectors that give a playful flow. Perfect for baby shower invitations, nursery rhymes, and other items that require a fun, children's look. + Puppies Play is a fun, bouncy script with connectors that give a playful flow. + Perfect for baby shower invitations, nursery rhymes, and other items that require a fun, children's look.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/puppies-play. + To contribute, see + + github.com/googlefonts/puppies-play + + .

diff --git a/ofl/puritan/DESCRIPTION.en_us.html b/ofl/puritan/DESCRIPTION.en_us.html index e6b22d08a5..cb40c748ea 100644 --- a/ofl/puritan/DESCRIPTION.en_us.html +++ b/ofl/puritan/DESCRIPTION.en_us.html @@ -1 +1,24 @@ -

I started drawing letters with a computer when I first got one of my own in 1997. I’d been studying sans serif type as a project on the Typography & Graphic Communication course that I was taking at Reading University, and learning about the different strands of development: ‘grotesques’ such as the delightful Monotype Series 215 were designed by type cutters or draftsmen, while geometric and humanist sans serifs like Futura and Gill Sans were constructed with compasses or quills by rationalist typographers and calligraphers. In the end, of course, they all needed a little wash and brush-up from the typefounder – to say nothing of the type designs. I was also in thrall of a typeface called Ehrhardt, a Monotype revival typeface that is based on a seventeenth century design by Miklos Kis. It too had endured a lot of cleaning, but though they were hard on the source material, those responsible created a very elegant condensed typeface. The result looks a bit like a house on an Amsterdam canal.

Puritan was my response to these influences; it was also a way (I thought) that I could get hold of an interesting typeface without unofficially borrowing from the Typography department. It might be flawed, but it was mine! Well, I learned a lot from the experience.

I wrote a short essay about Puritan as a project in my final year as an undergraduate. Rather than repeat it all here, I have converted the essay (presented as a booklet) into a PDF file of around 1200K which you can download.

In October 1999, I submitted Puritan to the 3rd International Type Design Contest, where it made absolutely no impact.

\ No newline at end of file +

+ I started drawing letters with a computer when I first got one of my own in 1997. + I’d been studying sans serif type as a project on the Typography & Graphic Communication course that I was taking at Reading University, and learning about the different strands of development: ‘grotesques’ such as the delightful Monotype Series 215 were designed by type cutters or draftsmen, while geometric and humanist sans serifs like Futura and Gill Sans were constructed with compasses or quills by rationalist typographers and calligraphers. + In the end, of course, they all needed a little wash and brush-up from the typefounder – to say nothing of the type designs. + I was also in thrall of a typeface called Ehrhardt, a Monotype revival typeface that is based on a seventeenth century design by Miklos Kis. + It too had endured a lot of cleaning, but though they were hard on the source material, those responsible created a very elegant condensed typeface. + The result looks a bit like a house on an Amsterdam canal. +

+

+ Puritan was my response to these influences; it was also a way (I thought) that I could get hold of an interesting typeface without unofficially borrowing from the Typography department. + It might be flawed, but it was mine! + Well, I learned a lot from the experience. +

+

+ I wrote a short essay about Puritan as a project in my final year as an undergraduate. + Rather than repeat it all here, I have converted the essay (presented as a booklet) into + + a PDF file + + of around 1200K which you can download. +

+

+ In October 1999, I submitted Puritan to the 3rd International Type Design Contest, where it made absolutely no impact. +

diff --git a/ofl/purplepurse/DESCRIPTION.en_us.html b/ofl/purplepurse/DESCRIPTION.en_us.html index eabdb2703d..94915ed7b8 100644 --- a/ofl/purplepurse/DESCRIPTION.en_us.html +++ b/ofl/purplepurse/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

Purple Purse draws its inspiration from a vintage Ivory Soap ad from the -1950's. Somewhat of a cross between Bodoni and Pixie, this font finds -that it never truly takes itself seriously. The fun little bounce of the -typeface gives it a perky personality.

- -

To contribute to the project contact -Brian J. Bonislawsky.

+

+ Purple Purse draws its inspiration from a vintage Ivory Soap ad from the 1950's. + Somewhat of a cross between Bodoni and Pixie, this font finds that it never truly takes itself seriously. + The fun little bounce of the typeface gives it a perky personality. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/pushster/DESCRIPTION.en_us.html b/ofl/pushster/DESCRIPTION.en_us.html index 80f7dc69a8..35580542e1 100644 --- a/ofl/pushster/DESCRIPTION.en_us.html +++ b/ofl/pushster/DESCRIPTION.en_us.html @@ -1,7 +1,6 @@

-INTERNAL TESTING -The Lobster font took a different approach. -The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. -We draw many versions of each letter and a lot of different letter-pairs (aka "ligatures") so we always use the best possible variation of each letter depending of the context of the letter inside each word. -All this happens automatically in any browser that supports ligatures. + INTERNAL TESTING The Lobster font took a different approach. + The new OpenType format gives us the possibility to have multiple versions of each letter, and that's exactly what we are doing: Instead of compromising the design of our letters to force connections, we do what lettering artist do. + We draw many versions of each letter and a lot of different letter-pairs (aka "ligatures") so we always use the best possible variation of each letter depending of the context of the letter inside each word. + All this happens automatically in any browser that supports ligatures.

diff --git a/ofl/qahiri/DESCRIPTION.en_us.html b/ofl/qahiri/DESCRIPTION.en_us.html index 52da407770..8b33b37f0b 100644 --- a/ofl/qahiri/DESCRIPTION.en_us.html +++ b/ofl/qahiri/DESCRIPTION.en_us.html @@ -1,10 +1,20 @@

-Qahiri is a Kufic typeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, -Mohammad Abdul Qadir. + Qahiri is a + + Kufic + + typeface based on the modernized and regularized old manuscript Kufic calligraphy style of the late master of Arabic calligraphy, + + Mohammad Abdul Qadir + + .

-Following the convention of naming Kufic styles after the cities they appeared in, Qahiri (قاهري) is named after the city of Cairo, Egypt (القاهرة). + Following the convention of naming Kufic styles after the cities they appeared in, Qahiri (قاهري) is named after the city of Cairo, Egypt (القاهرة).

-To contribute, see github.com/alif-type/qahiri + To contribute, see + + github.com/alif-type/qahiri +

diff --git a/ofl/quando/DESCRIPTION.en_us.html b/ofl/quando/DESCRIPTION.en_us.html index 407bbdd5fe..16d1560d98 100644 --- a/ofl/quando/DESCRIPTION.en_us.html +++ b/ofl/quando/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. Quando's low contrast design helps it work better on screens and smaller sizes. Especially distinctive letterforms include letters like the a, g, x and Q. Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. + Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. + Quando's low contrast design helps it work better on screens and smaller sizes. + Especially distinctive letterforms include letters like the a, g, x and Q. + Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/quantico/DESCRIPTION.en_us.html b/ofl/quantico/DESCRIPTION.en_us.html index 725056eaca..ed6fe14638 100644 --- a/ofl/quantico/DESCRIPTION.en_us.html +++ b/ofl/quantico/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. It utilizes 30 degree angles and completely straight lines to form unique character shapes.

Documentation can be found at www.madtype.com and to contribute to the project contact Matthew Desmond at mattdesmond@gmail.com

\ No newline at end of file +

+ Quantico is an angular typeface family that was inspired by old beer packaging and military lettering. + It utilizes 30 degree angles and completely straight lines to form unique character shapes. +

+

+ Documentation can be found at + + www.madtype.com + + and to contribute to the project contact Matthew Desmond at + + mattdesmond@gmail.com + +

diff --git a/ofl/quattrocento/DESCRIPTION.en_us.html b/ofl/quattrocento/DESCRIPTION.en_us.html index 4f5e690908..e8b04dea93 100644 --- a/ofl/quattrocento/DESCRIPTION.en_us.html +++ b/ofl/quattrocento/DESCRIPTION.en_us.html @@ -1 +1,43 @@ -

The Quattrocento Roman typeface is a Classic, Elegant, Sober and Strong typeface.

Their wide and open letterforms, and the great x-height, make it very legible for body text at small sizes. And their tiny details that only shows up at bigger sizes make it also great for display use.

Some of their distinctive characteristics are:

\ No newline at end of file +

+ The Quattrocento Roman typeface is a Classic, Elegant, Sober and Strong typeface. +

+

+ Their wide and open letterforms, and the great x-height, make it very legible for body text at small sizes. + And their tiny details that only shows up at bigger sizes make it also great for display use. +

+

+ Some of their distinctive characteristics are: +

+ diff --git a/ofl/quattrocentosans/DESCRIPTION.en_us.html b/ofl/quattrocentosans/DESCRIPTION.en_us.html index 64a9a2c056..f7dd9d1072 100644 --- a/ofl/quattrocentosans/DESCRIPTION.en_us.html +++ b/ofl/quattrocentosans/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Quattrocento Sans is a classic, elegant and sober typeface family. Warm, readable and not intrusive. It's the perfect sans-serif companion for Quattrocento.

The wide and open letterforms and large x-height make it very legible for body text at small sizes. All the tiny details that only shows up at bigger sizes make it also great for display use.

Join the project at www.impallari.com/projects

\ No newline at end of file +

+ Quattrocento Sans is a classic, elegant and sober typeface family. + Warm, readable and not intrusive. + It's the perfect sans-serif companion for Quattrocento. +

+

+ The wide and open letterforms and large x-height make it very legible for body text at small sizes. + All the tiny details that only shows up at bigger sizes make it also great for display use. +

+

+ Join the project at + + www.impallari.com/projects + +

diff --git a/ofl/questrial/DESCRIPTION.en_us.html b/ofl/questrial/DESCRIPTION.en_us.html index d2ec7af9fd..f8af6bb874 100644 --- a/ofl/questrial/DESCRIPTION.en_us.html +++ b/ofl/questrial/DESCRIPTION.en_us.html @@ -1,15 +1,18 @@

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

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

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

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

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

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

diff --git a/ofl/quicksand/DESCRIPTION.en_us.html b/ofl/quicksand/DESCRIPTION.en_us.html index 67a85de84c..49fd717074 100644 --- a/ofl/quicksand/DESCRIPTION.en_us.html +++ b/ofl/quicksand/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@

-Quicksand is a display sans serif with rounded terminals. -The project was initiated by Andrew Paglinawan in 2008 using geometric shapes as a core foundation. -It is designed for display purposes but kept legible enough to use in small sizes as well. -In 2016, in collaboration with Andrew, it was thoroughly revised by Thomas Jockin to improve the quality. -In 2019, Mirko Velimirovic converted the family into a variable font. + Quicksand is a display sans serif with rounded terminals. + The project was initiated by Andrew Paglinawan in 2008 using geometric shapes as a core foundation. + It is designed for display purposes but kept legible enough to use in small sizes as well. + In 2016, in collaboration with Andrew, it was thoroughly revised by Thomas Jockin to improve the quality. + In 2019, Mirko Velimirovic converted the family into a variable font. +

+

+ To contribute, see + + github.com/andrew-paglinawan/QuicksandFamily + + .

-

To contribute, see github.com/andrew-paglinawan/QuicksandFamily.

\ No newline at end of file diff --git a/ofl/quintessential/DESCRIPTION.en_us.html b/ofl/quintessential/DESCRIPTION.en_us.html index 75382dc2d2..163dbba212 100644 --- a/ofl/quintessential/DESCRIPTION.en_us.html +++ b/ofl/quintessential/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

The Quintessential typeface is a calligraphic lettering style based on the -Italic Hand. As speed became more essential in writing hands, styles became -less formal and more relaxed. Classic, clean, and casual, Quintessential fits -a lot of design uses - hence its name.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ The Quintessential typeface is a calligraphic lettering style based on the Italic Hand. + As speed became more essential in writing hands, styles became less formal and more relaxed. + Classic, clean, and casual, Quintessential fits a lot of design uses - hence its name. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/qwigley/DESCRIPTION.en_us.html b/ofl/qwigley/DESCRIPTION.en_us.html index 403ce1109b..36178c31c3 100644 --- a/ofl/qwigley/DESCRIPTION.en_us.html +++ b/ofl/qwigley/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Qwigley is both beautiful and contemporary with a few untraditional forms that add to it's modern look. + Qwigley is both beautiful and contemporary with a few untraditional forms that add to it's modern look.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/qwigley. + To contribute, see + + github.com/googlefonts/qwigley + + .

diff --git a/ofl/qwitchergrypen/DESCRIPTION.en_us.html b/ofl/qwitchergrypen/DESCRIPTION.en_us.html index 65433c5d65..cce776ee88 100644 --- a/ofl/qwitchergrypen/DESCRIPTION.en_us.html +++ b/ofl/qwitchergrypen/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Inspired by the letterforms that come from using an architectural ruling pen, Qwitcher Grypen is a casual brush script with a bit of an edge. + Inspired by the letterforms that come from using an architectural ruling pen, Qwitcher Grypen is a casual brush script with a bit of an edge.

-It comes in two styles, Regular and Bold, with Latin Character sets including Western, Central, and Vietnamese language support. + It comes in two styles, Regular and Bold, with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/qwitcher-grypen. + To contribute, see + + github.com/googlefonts/qwitcher-grypen + + .

diff --git a/ofl/racingsansone/DESCRIPTION.en_us.html b/ofl/racingsansone/DESCRIPTION.en_us.html index 2fd9b373a7..390613eb83 100644 --- a/ofl/racingsansone/DESCRIPTION.en_us.html +++ b/ofl/racingsansone/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Around 1800 (100 years before Helvetica and Univers) the first Sans Serif typefaces to include lowercase letters used to have very High Contrast (the difference between thick and thin lines). Maybe because the were derived from the more traditional serif typefaces of the time.

But for same reason, as the genre evolved, the fashion was to create 'monoline' sans, of very little contrast. Today, contrasted Sans are very rare, and only a few are successful.

While digging in old specimens, we found three that immediately caught our attention: Doric Italic and Taylor Gothic from American Type Founders (1897), and Charter Oak from Keystone Type Foundry of Philadelphia (1906).

Racing Sans is a current high contrast sans, paying tribute to this forgotten genre.

\ No newline at end of file +

+ Around 1800 (100 years before Helvetica and Univers) the first Sans Serif typefaces to include lowercase letters used to have very High Contrast (the difference between thick and thin lines). + Maybe because the were derived from the more traditional serif typefaces of the time. +

+

+ But for same reason, as the genre evolved, the fashion was to create 'monoline' sans, of very little contrast. + Today, contrasted Sans are very rare, and only a few are successful. +

+

+ While digging in old specimens, we found three that immediately caught our attention: Doric Italic and Taylor Gothic from American Type Founders (1897), and Charter Oak from Keystone Type Foundry of Philadelphia (1906). +

+

+ Racing Sans is a current high contrast sans, paying tribute to this forgotten genre. +

diff --git a/ofl/radiocanada/DESCRIPTION.en_us.html b/ofl/radiocanada/DESCRIPTION.en_us.html index 26c9d461e1..7a50998d13 100644 --- a/ofl/radiocanada/DESCRIPTION.en_us.html +++ b/ofl/radiocanada/DESCRIPTION.en_us.html @@ -1,20 +1,36 @@

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

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

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

- Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2023, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages. + Several optimizations saw the light of day in 2021. + The number of supported languages has increased from 106 to 317 Latin languages. + In 2023, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages.

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

- 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). -

\ No newline at end of file + 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/radley/DESCRIPTION.en_us.html b/ofl/radley/DESCRIPTION.en_us.html index 0e05d7547b..a7f9b5c267 100644 --- a/ofl/radley/DESCRIPTION.en_us.html +++ b/ofl/radley/DESCRIPTION.en_us.html @@ -1,19 +1,22 @@

-Radley is based on lettering originally drawn and designed for woodcarved titling work. -It was later digitized and extended to be used on the web. -Radley is a practical face, based on letterforms used by hand carvers who cut letters quickly, efficiently, and with style. -It can be used for both titling and text typography. + Radley is based on lettering originally drawn and designed for woodcarved titling work. + It was later digitized and extended to be used on the web. + Radley is a practical face, based on letterforms used by hand carvers who cut letters quickly, efficiently, and with style. + It can be used for both titling and text typography.

-The basic letterforms in Radley grew out of sketching and designing directly into wood with traditional carving chisels. -These were scanned and traced into FontForge and cleaned up digitally, then the character set was expanded. -There is something unique about carving letters into wood with traditional hand tools, and hopefully Radley carries some of the original spirit of these hand carved letterforms. + The basic letterforms in Radley grew out of sketching and designing directly into wood with traditional carving chisels. + These were scanned and traced into FontForge and cleaned up digitally, then the character set was expanded. + There is something unique about carving letters into wood with traditional hand tools, and hopefully Radley carries some of the original spirit of these hand carved letterforms.

-Since the initial launch in 2012, Radley was updated by Vernon Adams adding an Italic and support for more Latin languages. -He made many glyph refinements throughout the family based on user feedback. -In 2017 the family was updated by Marc Foley to complete the work started by Vernon. + Since the initial launch in 2012, Radley was updated by Vernon Adams adding an Italic and support for more Latin languages. + He made many glyph refinements throughout the family based on user feedback. + In 2017 the family was updated by Marc Foley to complete the work started by Vernon.

-To contribute, see github.com/googlefonts/RadleyFont + To contribute, see + + github.com/googlefonts/RadleyFont +

diff --git a/ofl/rajdhani/DESCRIPTION.en_us.html b/ofl/rajdhani/DESCRIPTION.en_us.html index 0dcfff18f7..4666cac518 100644 --- a/ofl/rajdhani/DESCRIPTION.en_us.html +++ b/ofl/rajdhani/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. -The squared and condensed appearance may be interpreted as technical or even futuristic. -Typically round bowls and other letterform elements have straight sides in Rajdhani. -The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. -Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one. + Rajdhani has modularized letterforms and supports the Devanagari and Latin writing systems. + The squared and condensed appearance may be interpreted as technical or even futuristic. + Typically round bowls and other letterform elements have straight sides in Rajdhani. + The stroke terminals typically end in flat line segments that are horizontal or vertical, rather than diagonal. + Their corners are slightly rounded, giving stroke-endings a softer feeling, rather than a pointy one.

-Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. -To contribute, see github.com/itfoundry/rajdhani + Satya Rajpurohit and Jyotish Sonowal developed the Devanagari component together, while the Latin was designed by Shiva Nalleperumal. + To contribute, see + + github.com/itfoundry/rajdhani +

diff --git a/ofl/rakkas/DESCRIPTION.en_us.html b/ofl/rakkas/DESCRIPTION.en_us.html index 70a2deb805..fd94104ebb 100644 --- a/ofl/rakkas/DESCRIPTION.en_us.html +++ b/ofl/rakkas/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

-Rakkas is single-weight display typeface that supports the Arabic and Latin scripts. -The two scripts share a united style, with neither pretending to be the other, and each interesting in its own right. -The Arabic design is inspired by Ruq'ah lettering on Egyptian movie posters from the 50s and 60s, and makes use of contextual alternates to emulate calligraphy. -It offers different forms for many letter position and it cascades vertically, giving the user an opportunity to play. -The Latin design infuses a blackletter design with informality. + Rakkas is single-weight display typeface that supports the Arabic and Latin scripts. + The two scripts share a united style, with neither pretending to be the other, and each interesting in its own right. + The Arabic design is inspired by Ruq'ah lettering on Egyptian movie posters from the 50s and 60s, and makes use of contextual alternates to emulate calligraphy. + It offers different forms for many letter position and it cascades vertically, giving the user an opportunity to play. + The Latin design infuses a blackletter design with informality.

-The Rakkas project is led by Zeynep Akay, a type designer based in London, UK. -To contribute, see github.com/zeynepakay/Rakkas + The Rakkas project is led by Zeynep Akay, a type designer based in London, UK. + To contribute, see + + github.com/zeynepakay/Rakkas +

diff --git a/ofl/raleway/DESCRIPTION.en_us.html b/ofl/raleway/DESCRIPTION.en_us.html index e221c73b1a..9318fc612a 100644 --- a/ofl/raleway/DESCRIPTION.en_us.html +++ b/ofl/raleway/DESCRIPTION.en_us.html @@ -1,20 +1,37 @@

-Raleway is an elegant sans-serif typeface family. -Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. -A thorough review and italic was added in 2016. + Raleway is an elegant sans-serif typeface family. + Initially designed by Matt McInerney as a single thin weight, it was expanded into a 9 weight family by Pablo Impallari and Rodrigo Fuenzalida in 2012 and iKerned by Igino Marini. + A thorough review and italic was added in 2016.

-It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set. + It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set.

-It also has a sister family, Raleway Dots. + It also has a sister family, + + Raleway Dots + + .

-More information can be found at theleagueofmoveabletype.com and impallari.com + More information can be found at + + theleagueofmoveabletype.com + + and + + impallari.com +

-To contribute to the project, visit github.com/impallari/Raleway + To contribute to the project, visit + + github.com/impallari/Raleway +

-Updated: Feburary 2016, thoroughly updated the design with new spacing and kerning, raised f bar, added italics, new family naming metadata, and hinted with ttfautohint. + + Updated: + + Feburary 2016, thoroughly updated the design with new spacing and kerning, raised f bar, added italics, new family naming metadata, and hinted with ttfautohint.

diff --git a/ofl/ralewaydots/DESCRIPTION.en_us.html b/ofl/ralewaydots/DESCRIPTION.en_us.html index 4f97b48599..792c302548 100644 --- a/ofl/ralewaydots/DESCRIPTION.en_us.html +++ b/ofl/ralewaydots/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@ -

A dotted version of Raleway, for posters and big headlines.

- -

It is a display face and the download features both old style and lining -numerals, standard and discretionary ligatures, a pretty complete set of -diacritics, as well as a stylistic alternate inspired by more geometric -sans-serif typefaces than its neo-grotesque inspired default character -set.

- -

To contribute to the project visit impallari.com/projects.

\ No newline at end of file +

+ A dotted version of Raleway, for posters and big headlines. +

+

+ It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set. +

+

+ To contribute to the project visit + + impallari.com/projects + + . +

diff --git a/ofl/ramabhadra/DESCRIPTION.en_us.html b/ofl/ramabhadra/DESCRIPTION.en_us.html index 453e0c2ccb..c3dd6540bd 100644 --- a/ofl/ramabhadra/DESCRIPTION.en_us.html +++ b/ofl/ramabhadra/DESCRIPTION.en_us.html @@ -1,12 +1,19 @@

-Ramabhadra is a Telugu font developed for use in headlines, posters and at large sizes. -The letterforms are very round and have a uniform thickness, and the terminals have a small temple shape that appear like a sans-serif design. -This font includes unique Telugu conjunct letters. -Ramabhadra is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. + Ramabhadra is a Telugu font developed for use in headlines, posters and at large sizes. + The letterforms are very round and have a uniform thickness, and the terminals have a small temple shape that appear like a sans-serif design. + This font includes unique Telugu conjunct letters. + Ramabhadra is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo. -The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/ramabhadra

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as + + Arimo + + . + The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/ramabhadra +

diff --git a/ofl/ramaraja/DESCRIPTION.en_us.html b/ofl/ramaraja/DESCRIPTION.en_us.html index 40d461b083..c6f72747ff 100644 --- a/ofl/ramaraja/DESCRIPTION.en_us.html +++ b/ofl/ramaraja/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Ramaraja is an Open Source typeface supporting both the Telugu and Latin scripts. -It was developed mainly for use in news publications and is suitable for text, headings, posters, and invitations. + Ramaraja is an Open Source typeface supporting both the Telugu and Latin scripts. + It was developed mainly for use in news publications and is suitable for text, headings, posters, and invitations.

-Developed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Ramaraja project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/ramaraja

+ Developed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Ramaraja project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/ramaraja +

diff --git a/ofl/rambla/DESCRIPTION.en_us.html b/ofl/rambla/DESCRIPTION.en_us.html index c806b9909e..ec41c1a2af 100644 --- a/ofl/rambla/DESCRIPTION.en_us.html +++ b/ofl/rambla/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

Rambla is a humanist sans for medium-long texts. It’s slightly condensed, -with a generous x-height and short ascenders and descenders. Its proportions -are economical in both height and width. It’s elegant at large sizes and -legible at the same time, with a lot of rhythm in small sizes.

- -

To contribute to the project contact -Martin Sommaruga.

\ No newline at end of file +

+ Rambla is a humanist sans for medium-long texts. + It’s slightly condensed, with a generous x-height and short ascenders and descenders. + Its proportions are economical in both height and width. + It’s elegant at large sizes and legible at the same time, with a lot of rhythm in small sizes. +

+

+ To contribute to the project contact + + Martin Sommaruga + + . +

diff --git a/ofl/rammettoone/DESCRIPTION.en_us.html b/ofl/rammettoone/DESCRIPTION.en_us.html index 74eff62f90..20b4dff4e0 100644 --- a/ofl/rammettoone/DESCRIPTION.en_us.html +++ b/ofl/rammettoone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Rammetto is a typeface based on the Stephenson Blake uppercase display font, Basuto, released in 1926. The Rammetto design refines some of the old font's forms, introduces a full set of lowercase characters and adds extended support for European languages.

\ No newline at end of file +

+ Rammetto is a typeface based on the Stephenson Blake uppercase display font, Basuto, released in 1926. + The Rammetto design refines some of the old font's forms, introduces a full set of lowercase characters and adds extended support for European languages. +

diff --git a/ofl/rampartone/DESCRIPTION.en_us.html b/ofl/rampartone/DESCRIPTION.en_us.html index 34ed63ebd8..42c4576b90 100644 --- a/ofl/rampartone/DESCRIPTION.en_us.html +++ b/ofl/rampartone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Rampart is a unique outline shadow font made in the image of 3-D blocks. It is best used for added impact or to demonstrate strength and stability. + Rampart is a unique outline shadow font made in the image of 3-D blocks. + It is best used for added impact or to demonstrate strength and stability.

-To contribute to the project, visit github.com/fontworks-fonts/Rampart + To contribute to the project, visit + + github.com/fontworks-fonts/Rampart +

diff --git a/ofl/ranchers/DESCRIPTION.en_us.html b/ofl/ranchers/DESCRIPTION.en_us.html index 8e0fa02ca1..34aa5a1ec5 100644 --- a/ofl/ranchers/DESCRIPTION.en_us.html +++ b/ofl/ranchers/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Ranchers is one of the many hand-lettering artists' relaxed interpretations of sans serif type, typical of the 1950s. It's great for big posters and fun headlines. Use it bigger than 40px for maximum effect.

\ No newline at end of file +

+ Ranchers is one of the many hand-lettering artists' relaxed interpretations of sans serif type, typical of the 1950s. + It's great for big posters and fun headlines. + Use it bigger than 40px for maximum effect. +

diff --git a/ofl/ranga/DESCRIPTION.en_us.html b/ofl/ranga/DESCRIPTION.en_us.html index 883652b991..782b411bcc 100644 --- a/ofl/ranga/DESCRIPTION.en_us.html +++ b/ofl/ranga/DESCRIPTION.en_us.html @@ -1,14 +1,17 @@

-Once Allan was a sign painter in Berlin. -Grey paneling work in the subway, bad materials, a city split in two. -Now things have changed. -His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. -Bolder brush is used when there is need for true impact. -Sensitive subjects are treated with subtlety of regular style. -Slightly inclined. + Once Allan was a sign painter in Berlin. + Grey paneling work in the subway, bad materials, a city split in two. + Now things have changed. + His (character) palette of activities have expanded tremendously: even Indian flavours are are no longer foreign to him. + Bolder brush is used when there is need for true impact. + Sensitive subjects are treated with subtlety of regular style. + Slightly inclined.

-

-This project is led by TipTopTyp, a type foundry based in Berlin, Germany. -To contribute, see Ranga on GitHub. + This project is led by TipTopTyp, a type foundry based in Berlin, Germany. + To contribute, see + + Ranga on GitHub + + .

diff --git a/ofl/rasa/DESCRIPTION.en_us.html b/ofl/rasa/DESCRIPTION.en_us.html index f6514c3e59..8392ea8043 100644 --- a/ofl/rasa/DESCRIPTION.en_us.html +++ b/ofl/rasa/DESCRIPTION.en_us.html @@ -1,17 +1,29 @@

-Intended for continuous reading on the web (longer articles -in online news, magazines, blogs), Rasa supports over 92 -languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). The fonts supports a wide array of basic and -compound syllables used in Gujarati. -A Latin-only version is available as Yrsa. -In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be -adjusted to support the primary Gujarati font. + Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Rasa supports over 92 languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). + The fonts supports a wide array of basic and compound syllables used in Gujarati. + A Latin-only version is available as + + Yrsa + + . + In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font.

-It is a deliberate experiment in remixing existing typefaces: -The Latin part began with Eben Sorkin's Merriweather. -The Gujarati began with David Březina’s Skolar Gujarati. + It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's + + Merriweather + + . + The Gujarati began with David Březina’s + + Skolar Gujarati + + .

-To contribute, see github.com/rosettatype/yrsa. -

\ No newline at end of file + To contribute, see + + github.com/rosettatype/yrsa + + . +

diff --git a/ofl/rationale/DESCRIPTION.en_us.html b/ofl/rationale/DESCRIPTION.en_us.html index 8b75be8b6b..749766edb7 100644 --- a/ofl/rationale/DESCRIPTION.en_us.html +++ b/ofl/rationale/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Rationale One is a compact monoline webfont designed to work well on screen from large headlines to 12 pt body copy.

The concept was to create a modular-based font with optical corrections guided by snap eye judgements. Such irregularities add a warm impression to the overall strict geometrical logic.

The idea of subtle stroke cuts originated from the letter n, and was selectively incorporated throughout the characters. This feature becomes visible from 36 pt and above. In body sizes stroke cuts enrich the typographic color with light nuances.

Designed by Alexei Vanyashin in cooperation with Olexa Volochay and Vladimir Pavlikov.

\ No newline at end of file +

+ Rationale One is a compact monoline webfont designed to work well on screen from large headlines to 12 pt body copy. +

+

+ The concept was to create a modular-based font with optical corrections guided by snap eye judgements. + Such irregularities add a warm impression to the overall strict geometrical logic. +

+

+ The idea of subtle stroke cuts originated from the letter n, and was selectively incorporated throughout the characters. + This feature becomes visible from 36 pt and above. + In body sizes stroke cuts enrich the typographic color with light nuances. +

+

+ Designed by Alexei Vanyashin in cooperation with Olexa Volochay and Vladimir Pavlikov. +

diff --git a/ofl/raviprakash/DESCRIPTION.en_us.html b/ofl/raviprakash/DESCRIPTION.en_us.html index c92ded027a..ec7bb6d4dd 100644 --- a/ofl/raviprakash/DESCRIPTION.en_us.html +++ b/ofl/raviprakash/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Ravi Prakash is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. -As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. + Ravi Prakash is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. + As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt.

-The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Eduardo Tunni and originally published as Joti One. -The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/raviprakash

+ The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Eduardo Tunni and originally published as + + Joti One + + . + The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/raviprakash +

diff --git a/ofl/readexpro/DESCRIPTION.en_us.html b/ofl/readexpro/DESCRIPTION.en_us.html index 958dd4f796..80ab93194b 100644 --- a/ofl/readexpro/DESCRIPTION.en_us.html +++ b/ofl/readexpro/DESCRIPTION.en_us.html @@ -1,15 +1,28 @@

-Readex Pro is the world-script expansion of the Lexend fonts. Readex Pro is designed by Thomas Jockin and Nadine Chahine and currently supports Latin and Arabic. + Readex Pro is the world-script expansion of the + + Lexend + + fonts. + Readex Pro is designed by Thomas Jockin and Nadine Chahine and currently supports Latin and Arabic.

-

-Lexend is a family of variable fonts designed by Bonnie Shaver-Troup, Thomas Jockin and Font Bureau. Applying the Shaver-Troup Individually Optimal Text Formation Factors, studies have found readers instantaneously improve their reading fluency. + Lexend is a + + family of variable fonts + + designed by Bonnie Shaver-Troup, Thomas Jockin and Font Bureau. + Applying the Shaver-Troup Individually Optimal Text Formation Factors, studies have found readers instantaneously improve their reading fluency.

-

- A Hyper Expansion axis was added to the family in October 2022. This axis increases inner and outter space of glyphs to adjust better to reader's individual comfort. + A Hyper Expansion axis was added to the family in October 2022. + This axis increases inner and outter space of glyphs to adjust better to reader's individual comfort.

-

-The fonts are based on the Quicksand project from Andrew Paglinawan. To contribute, see github.com/ThomasJockin/readexpro. + The fonts are based on the Quicksand project from Andrew Paglinawan. + To contribute, see + + github.com/ThomasJockin/readexpro + + .

diff --git a/ofl/recursive/DESCRIPTION.en_us.html b/ofl/recursive/DESCRIPTION.en_us.html index 760be05254..9524e203cb 100644 --- a/ofl/recursive/DESCRIPTION.en_us.html +++ b/ofl/recursive/DESCRIPTION.en_us.html @@ -1,17 +1,26 @@

-Recursive is typographic palette for UI & code. It draws inspiration from single-stroke casual, a style of brush writing used in signpainting that is stylistically flexible and warmly energetic. Recursive adapts this aesthetic basis into an extensive variable font family, designed to excel in digital interactive environments, including data-rich user interfaces, technical documentation, and code editors. + Recursive is typographic palette for UI & code. + It draws inspiration from single-stroke casual, a style of brush writing used in signpainting that is stylistically flexible and warmly energetic. + Recursive adapts this aesthetic basis into an extensive variable font family, designed to excel in digital interactive environments, including data-rich user interfaces, technical documentation, and code editors.

-Recursive offers a lot more styles than you see here! To download the full Recursive Sans & Mono family, learn more about its 5 variable axes, and to configure advanced Google Fonts URL embed code for access to Recursive’s full stylistic range, check out its website at: + Recursive offers a lot more styles than you see here! + To download the full Recursive Sans & Mono family, learn more about its 5 variable axes, and to configure advanced Google Fonts URL embed code for access to Recursive’s full stylistic range, check out its website at:

-→ recursive.design + + → recursive.design +

-

-The Recursive project is led by Arrow Type, a type foundry based in Brooklyn, NY, USA. To contribute, see its GitHub repo. + The Recursive project is led by Arrow Type, a type foundry based in Brooklyn, NY, USA. + To contribute, see its + + GitHub repo + + .

-

-Update, April 2021: the Google Fonts release of Recursive has been updated to incorporate various changes from its initial release. This includes fixes that correct printing issues, ensure consistent default line heights between styles on macOS, improve the handling of combining accents, add localization features for several languages, and resolve various other earlier issues. + Update, April 2021: the Google Fonts release of Recursive has been updated to incorporate various changes from its initial release. + This includes fixes that correct printing issues, ensure consistent default line heights between styles on macOS, improve the handling of combining accents, add localization features for several languages, and resolve various other earlier issues.

diff --git a/ofl/redacted/DESCRIPTION.en_us.html b/ofl/redacted/DESCRIPTION.en_us.html index 6e28cf4f95..d1de9e8752 100644 --- a/ofl/redacted/DESCRIPTION.en_us.html +++ b/ofl/redacted/DESCRIPTION.en_us.html @@ -1,9 +1,22 @@

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

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

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

\ No newline at end of file + To learn more, read + + Flow and Redacted: Check out these new options for wireframes and other early-stage designs + + . +

diff --git a/ofl/redactedscript/DESCRIPTION.en_us.html b/ofl/redactedscript/DESCRIPTION.en_us.html index bfef2916fe..c419717f62 100644 --- a/ofl/redactedscript/DESCRIPTION.en_us.html +++ b/ofl/redactedscript/DESCRIPTION.en_us.html @@ -1,9 +1,21 @@

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

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

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

\ No newline at end of file + To learn more, read + + Flow and Redacted: Check out these new options for wireframes and other early-stage designs + + . +

diff --git a/ofl/redditsans/DESCRIPTION.en_us.html b/ofl/redditsans/DESCRIPTION.en_us.html index a91c3db0f6..951952949f 100644 --- a/ofl/redditsans/DESCRIPTION.en_us.html +++ b/ofl/redditsans/DESCRIPTION.en_us.html @@ -1,2 +1,10 @@ -

Reddit Sans is a humanist sans-serif designed for Reddit. Reddit Sans is complemented by Reddit Sans Condensed and Reddit Mono.

-

To contribute to this project, see github.com/reddit/redditsans

+

+ Reddit Sans is a humanist sans-serif designed for Reddit. + Reddit Sans is complemented by Reddit Sans Condensed and Reddit Mono. +

+

+ To contribute to this project, see + + github.com/reddit/redditsans + +

diff --git a/ofl/redhatdisplay/DESCRIPTION.en_us.html b/ofl/redhatdisplay/DESCRIPTION.en_us.html index 8f82725424..22338361ae 100644 --- a/ofl/redhatdisplay/DESCRIPTION.en_us.html +++ b/ofl/redhatdisplay/DESCRIPTION.en_us.html @@ -1,7 +1,23 @@ -

Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity.

- -

Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes.

- -

The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021.

- -

To contribute, see github.com/RedHatOfficial/RedHatFont

+

+ Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. + The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. +

+

+ Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. + The Display styles are low contrast and spaced tightly, with a large x-height and open counters. + The + + Text + + styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. + The two families can be used together seamlessly at a range of sizes. +

+

+ The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. +

+

+ To contribute, see + + github.com/RedHatOfficial/RedHatFont + +

diff --git a/ofl/redhatmono/DESCRIPTION.en_us.html b/ofl/redhatmono/DESCRIPTION.en_us.html index 4245e8a70f..ed3c9d1e46 100644 --- a/ofl/redhatmono/DESCRIPTION.en_us.html +++ b/ofl/redhatmono/DESCRIPTION.en_us.html @@ -1,13 +1,24 @@

-Red Hat is a family of typefaces produced in 2 optical sizes and this monospace style, each with a range of weights and with italics. -The fonts were originally commissioned by Paula Scher at Pentagram, and designed by Jeremy Mickel at MCKL for a new Red Hat brand identity. + Red Hat is a family of typefaces produced in 2 optical sizes and this monospace style, each with a range of weights and with italics. + The fonts were originally commissioned by Paula Scher at Pentagram, and designed by Jeremy Mickel at MCKL for a new Red Hat brand identity.

-The Red Hat typefaces are a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. -The Display styles are low contrast and spaced tightly, with a large x-height and open counters. -The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. -The two families can be used together seamlessly at a range of sizes. + The Red Hat typefaces are a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. + The + + Display + + styles are low contrast and spaced tightly, with a large x-height and open counters. + The + + Text + + styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. + The two families can be used together seamlessly at a range of sizes.

-To contribute, see github.com/RedHatOfficial/RedHatFont + To contribute, see + + github.com/RedHatOfficial/RedHatFont +

diff --git a/ofl/redhattext/DESCRIPTION.en_us.html b/ofl/redhattext/DESCRIPTION.en_us.html index 8f82725424..22338361ae 100644 --- a/ofl/redhattext/DESCRIPTION.en_us.html +++ b/ofl/redhattext/DESCRIPTION.en_us.html @@ -1,7 +1,23 @@ -

Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity.

- -

Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. The Display styles are low contrast and spaced tightly, with a large x-height and open counters. The Text styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. The two families can be used together seamlessly at a range of sizes.

- -

The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021.

- -

To contribute, see github.com/RedHatOfficial/RedHatFont

+

+ Red Hat is a family of typefaces produced in 2 optical sizes and a monospace style, in a range of weights with italics. + The fonts were originally commissioned by Paula Scher, Pentagram and designed by Jeremy Mickel, MCKL for the new Red Hat identity. +

+

+ Red Hat is a fresh take on the geometric sans genre, taking inspiration from a range of American sans serifs including Tempo and Highway Gothic. + The Display styles are low contrast and spaced tightly, with a large x-height and open counters. + The + + Text + + styles have a slightly smaller x-height and narrower width for better legibility, are spaced more generously, and have thinned joins for better performance at small sizes. + The two families can be used together seamlessly at a range of sizes. +

+

+ The family has been upgraded to variable fonts with a weight axis (Light to Bold) in June 2021. +

+

+ To contribute, see + + github.com/RedHatOfficial/RedHatFont + +

diff --git a/ofl/redrose/DESCRIPTION.en_us.html b/ofl/redrose/DESCRIPTION.en_us.html index c612df2c22..4dd929d326 100644 --- a/ofl/redrose/DESCRIPTION.en_us.html +++ b/ofl/redrose/DESCRIPTION.en_us.html @@ -1,4 +1,14 @@ -

Red Rose Pro is a latin display typeface designed by Jaikishan Patel. It was exclusively designed for posters of Genre: Love, Romance, Drama, Thriller, Noir and Passion.

-

The current version of the family includes 3 weights; Light, Regular and Bold. Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese.

- -

To contribute, see github.com/magictype/redrose

+

+ Red Rose Pro is a latin display typeface designed by Jaikishan Patel. + It was exclusively designed for posters of Genre: Love, Romance, Drama, Thriller, Noir and Passion. +

+

+ The current version of the family includes 3 weights; Light, Regular and Bold. + Each font includes 640 glyphs that covers Western, Central and South Latin as well as Vietnamese. +

+

+ To contribute, see + + github.com/magictype/redrose + +

diff --git a/ofl/reemkufi/DESCRIPTION.en_us.html b/ofl/reemkufi/DESCRIPTION.en_us.html index aa5ce1a61e..493207c3e7 100644 --- a/ofl/reemkufi/DESCRIPTION.en_us.html +++ b/ofl/reemkufi/DESCRIPTION.en_us.html @@ -1,13 +1,26 @@

-Reem Kufi is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. + Reem Kufi is a + + Kufic + + typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. + Reem Kufi is largely based on the Kufic designs of the late master of Arabic calligraphy + + Mohammed Abdul Qadir + + who revived this art in the 20th century and formalised its rules.

-Reem Kufi is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. + Reem Kufi is particularly suitable for display settings, in titles or decorations. + Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic.

-The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. -Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter. + The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. + Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter.

-To contribute, see github.com/alif-type/reem-kufi + To contribute, see + + github.com/alif-type/reem-kufi +

diff --git a/ofl/reemkufifun/DESCRIPTION.en_us.html b/ofl/reemkufifun/DESCRIPTION.en_us.html index 4ba4534f13..68f83cb3c3 100644 --- a/ofl/reemkufifun/DESCRIPTION.en_us.html +++ b/ofl/reemkufifun/DESCRIPTION.en_us.html @@ -1,13 +1,26 @@

-Reem Kufi Fun is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. + Reem Kufi Fun is a + + Kufic + + typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. + Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy + + Mohammed Abdul Qadir + + who revived this art in the 20th century and formalised its rules.

-Reem Kufi Fun is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. + Reem Kufi Fun is particularly suitable for display settings, in titles or decorations. + Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic.

-The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. -Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter. + The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. + Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter.

-To contribute, see github.com/alif-type/reem-kufi + To contribute, see + + github.com/alif-type/reem-kufi +

diff --git a/ofl/reemkufiink/DESCRIPTION.en_us.html b/ofl/reemkufiink/DESCRIPTION.en_us.html index bce42eae49..a82beae1bd 100644 --- a/ofl/reemkufiink/DESCRIPTION.en_us.html +++ b/ofl/reemkufiink/DESCRIPTION.en_us.html @@ -1,13 +1,26 @@

-Reem Kufi Ink is a Kufic typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy Mohammed Abdul Qadir who revived this art in the 20th century and formalised its rules. + Reem Kufi Ink is a + + Kufic + + typeface based on early Kufic (Mushafi) models, but retrofitted to the Fatimid Kufic grid and with borrowing from its forms. + Reem Kufi Ink is largely based on the Kufic designs of the late master of Arabic calligraphy + + Mohammed Abdul Qadir + + who revived this art in the 20th century and formalised its rules.

-Reem Kufi Ink is particularly suitable for display settings, in titles or decorations. Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic. + Reem Kufi Ink is particularly suitable for display settings, in titles or decorations. + Due to its unmistakable old Kufic style, it gives a feeling of something old, historical, or Islamic.

-The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. -Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter. + The Arabic component was designed by Khaled Hosny, who combined it with the Latin component by Santiago Orozco. + Reem is an Arabic female name that literally means “a white deer,” and is also the name of Khaled's daughter.

-To contribute, see github.com/alif-type/reem-kufi + To contribute, see + + github.com/alif-type/reem-kufi +

diff --git a/ofl/reeniebeanie/DESCRIPTION.en_us.html b/ofl/reeniebeanie/DESCRIPTION.en_us.html index d30aa5c48b..487c4d6fd7 100644 --- a/ofl/reeniebeanie/DESCRIPTION.en_us.html +++ b/ofl/reeniebeanie/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Reene Beanie is a fun font based on basic ball-point pen handwriting. It has a playful and loose look, which lends itself to casual and informal messages. With a little imagination, Reenie Beanie could be used to represent the scribbling of a mad scientist, or the recipes of a genius chef.

\ No newline at end of file +

+ Reene Beanie is a fun font based on basic ball-point pen handwriting. + It has a playful and loose look, which lends itself to casual and informal messages. + With a little imagination, Reenie Beanie could be used to represent the scribbling of a mad scientist, or the recipes of a genius chef. +

diff --git a/ofl/reggaeone/DESCRIPTION.en_us.html b/ofl/reggaeone/DESCRIPTION.en_us.html index e9f19aff0a..41869c1c4d 100644 --- a/ofl/reggaeone/DESCRIPTION.en_us.html +++ b/ofl/reggaeone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Reggae is a very popular display font often used in Japanese boys' magazines and digital content. The sharpened ends give off a dynamic pulse, making this font ideal to express rhythm, movement and energy, or for emphasis. + Reggae is a very popular display font often used in Japanese boys' magazines and digital content. + The sharpened ends give off a dynamic pulse, making this font ideal to express rhythm, movement and energy, or for emphasis.

-To contribute to the project, visit github.com/fontworks-fonts/Reggae -

\ No newline at end of file + To contribute to the project, visit + + github.com/fontworks-fonts/Reggae + +

diff --git a/ofl/rem/DESCRIPTION.en_us.html b/ofl/rem/DESCRIPTION.en_us.html index 48e2dd21af..444a62f269 100644 --- a/ofl/rem/DESCRIPTION.en_us.html +++ b/ofl/rem/DESCRIPTION.en_us.html @@ -1,6 +1,14 @@

-The REM font family is a sans serif font ready for corporate and display uses. It features a heavy low contrast combined with outstrokes that get slightly thinner, which is the opposite of the conventional approach. All together gives it a contemporary feeling suitable for modern branding. With more than 960 glyphs the font is ready for complex type setting with four sets of figures, Small Caps and some alternate glyphs. The name REM is an acronym for "Rapid Eye Movement," which refers to a stage of sleep characterized by quick, random eye movements. I dreamt of it and began drawing it from my dream. + The REM font family is a sans serif font ready for corporate and display uses. + It features a heavy low contrast combined with outstrokes that get slightly thinner, which is the opposite of the conventional approach. + All together gives it a contemporary feeling suitable for modern branding. + With more than 960 glyphs the font is ready for complex type setting with four sets of figures, Small Caps and some alternate glyphs. + The name REM is an acronym for "Rapid Eye Movement," which refers to a stage of sleep characterized by quick, random eye movements. + I dreamt of it and began drawing it from my dream.

-To contribute, see github.com/octaviopardo/REM + To contribute, see + + github.com/octaviopardo/REM +

diff --git a/ofl/rethinksans/DESCRIPTION.en_us.html b/ofl/rethinksans/DESCRIPTION.en_us.html index 173eb08259..2c480c47ad 100644 --- a/ofl/rethinksans/DESCRIPTION.en_us.html +++ b/ofl/rethinksans/DESCRIPTION.en_us.html @@ -1,5 +1,25 @@ -

Rethink is one of the largest global independent creative agencies. Founded in Vancouver in 1999, it now has offices in New York, Toronto, Vancouver, and Montréal. Rethink Sans was created in 2023 by Rethink’s ECD of Design Hans Thiessen. It was developed specifically to help everyone design with greater confidence and craft in Google Workspace.

- -

Rethink Sans is a fork of DM Sans (Colophon Foundry), which was designed from Poppins (Jonny Pinhorn). Deceptively simple, Rethink Sans is filled with thoughtfully turbocharged features, including: weight-specific tracking, two styles of circled numbers a simple keystroke away, and tabular lining figures right out-of-the-box.

- -

To contribute, please see github.com/hans-thiessen/Rethink-Sans.

+

+ Rethink is one of the largest global independent creative agencies. + Founded in Vancouver in 1999, it now has offices in New York, Toronto, Vancouver, and Montréal. + Rethink Sans was created in 2023 by Rethink’s ECD of Design Hans Thiessen. + It was developed specifically to help everyone design with greater confidence and craft in Google Workspace. +

+

+ Rethink Sans is a fork of + + DM Sans + + (Colophon Foundry), which was designed from + + Poppins + + (Jonny Pinhorn). + Deceptively simple, Rethink Sans is filled with thoughtfully turbocharged features, including: weight-specific tracking, two styles of circled numbers a simple keystroke away, and tabular lining figures right out-of-the-box. +

+

+ To contribute, please see + + github.com/hans-thiessen/Rethink-Sans + + . +

diff --git a/ofl/revalia/DESCRIPTION.en_us.html b/ofl/revalia/DESCRIPTION.en_us.html index 7b67028119..373f83d34d 100644 --- a/ofl/revalia/DESCRIPTION.en_us.html +++ b/ofl/revalia/DESCRIPTION.en_us.html @@ -1 +1,15 @@ -

Revalia is a display sans-serif typeface design, loosely based on the packaging labels of 20th century canned goods. The design has a high x-height, wide letter shapes and the design flirts with medieval letterforms.

To contribute to the project contact Johan Kallas and Mihkel Virkus.

\ No newline at end of file +

+ Revalia is a display sans-serif typeface design, loosely based on the packaging labels of 20th century canned goods. + The design has a high x-height, wide letter shapes and the design flirts with medieval letterforms. +

+

+ To contribute to the project contact + + Johan Kallas + + and + + Mihkel Virkus + + . +

diff --git a/ofl/rhodiumlibre/DESCRIPTION.en_us.html b/ofl/rhodiumlibre/DESCRIPTION.en_us.html index 7465f8ca4f..24ee93460f 100644 --- a/ofl/rhodiumlibre/DESCRIPTION.en_us.html +++ b/ofl/rhodiumlibre/DESCRIPTION.en_us.html @@ -1,21 +1,21 @@

-Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. -To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. -The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. -The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase. + Rhodium Libre was designed for use on screens at small sizes and the Latin and Devanagari scripts. + To that end, the design is generally uncomplicated and coarse, lacking the small details that are lost on screens; this also reduces the file size to improve latency when used as a web font. + The letters are designed slightly wide, with open counters, a large x-height in the Latin glyphs, and so on. + The Devanagari glyphs are the same height as the Latin capitals to allow them to stand alongside the oversized Latin lowercase.

-

-Historical models for Rhodium’s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. -Matthew Carter’s Verdana provided insight into designing type for small sizes and adverse reading environments. + Historical models for Rhodium’s design are Fortune (AKA Volta) by Konrad Bauer and Walter Baum, and Rex by Intertype. + Matthew Carter’s Verdana provided insight into designing type for small sizes and adverse reading environments.

-

-The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. -The Latin glyph set supports Adobe’s Latin-3 character set. + The Devanagari glyph set supports contemporary Hindi, Marathi, and Nepali. + The Latin glyph set supports Adobe’s Latin-3 character set.

-

-This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. -To contribute, see github.com/DunwichType/RhodiumLibre + This project is led by Dunwich Type Founders, a type foundry based in Denver, Colorado, USA, who design contemporary typeface families. + To contribute, see + + github.com/DunwichType/RhodiumLibre +

diff --git a/ofl/ribeye/DESCRIPTION.en_us.html b/ofl/ribeye/DESCRIPTION.en_us.html index 809456b7b5..163456fe17 100644 --- a/ofl/ribeye/DESCRIPTION.en_us.html +++ b/ofl/ribeye/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.

An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.

\ No newline at end of file +

+ + Ribeye + + and + + Ribeye Marrow + + are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. +

+

+ An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers. +

diff --git a/ofl/ribeyemarrow/DESCRIPTION.en_us.html b/ofl/ribeyemarrow/DESCRIPTION.en_us.html index 809456b7b5..163456fe17 100644 --- a/ofl/ribeyemarrow/DESCRIPTION.en_us.html +++ b/ofl/ribeyemarrow/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.

An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.

\ No newline at end of file +

+ + Ribeye + + and + + Ribeye Marrow + + are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms. +

+

+ An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers. +

diff --git a/ofl/righteous/DESCRIPTION.en_us.html b/ofl/righteous/DESCRIPTION.en_us.html index b2452cbb27..f16377e34d 100644 --- a/ofl/righteous/DESCRIPTION.en_us.html +++ b/ofl/righteous/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Righteous was initially inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano. Grid based and geometric in execution, the letterforms are highly readable at a range of point sizes. Unlike that of the inspiration source, Righteous has a full lowercase to increase flexibility of use.

\ No newline at end of file +

+ Righteous was initially inspired by the all capitals letterforms from the deco posters of Hungarian artist Robert Berény for Modiano. + Grid based and geometric in execution, the letterforms are highly readable at a range of point sizes. + Unlike that of the inspiration source, Righteous has a full lowercase to increase flexibility of use. +

diff --git a/ofl/risque/DESCRIPTION.en_us.html b/ofl/risque/DESCRIPTION.en_us.html index 086eb5c288..87cf0a004d 100644 --- a/ofl/risque/DESCRIPTION.en_us.html +++ b/ofl/risque/DESCRIPTION.en_us.html @@ -1,8 +1,13 @@ -

Risque finds its inspiration from the title screen of the 1962 Looney -Toons cartoon called "Martian through Georgia". Originally an all -Capitals reference, it has been created with a lowercase as lively as -the irregular latin-esque Capitals. A frolicking fun typeface for -retro and all-around offbeat occasions.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Risque finds its inspiration from the title screen of the 1962 Looney Toons cartoon called "Martian through Georgia". + Originally an all Capitals reference, it has been created with a lowercase as lively as the irregular latin-esque Capitals. + A frolicking fun typeface for retro and all-around offbeat occasions. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/roadrage/DESCRIPTION.en_us.html b/ofl/roadrage/DESCRIPTION.en_us.html index aff4d5d4c1..209b50417a 100644 --- a/ofl/roadrage/DESCRIPTION.en_us.html +++ b/ofl/roadrage/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Road Rage is a return to the days of grunge. + Road Rage is a return to the days of grunge.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/road-rage. + To contribute, see + + github.com/googlefonts/road-rage + + .

diff --git a/ofl/roboto/DESCRIPTION.en_us.html b/ofl/roboto/DESCRIPTION.en_us.html index 8fc9d2cb83..774a61af9e 100644 --- a/ofl/roboto/DESCRIPTION.en_us.html +++ b/ofl/roboto/DESCRIPTION.en_us.html @@ -1,16 +1,31 @@

-Roboto has a dual nature. -It has a mechanical skeleton and the forms are largely geometric. -At the same time, the font features friendly and open curves. -While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. -This makes for a more natural reading rhythm more commonly found in humanist and serif types. + Roboto has a dual nature. + It has a mechanical skeleton and the forms are largely geometric. + At the same time, the font features friendly and open curves. + While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. + This makes for a more natural reading rhythm more commonly found in humanist and serif types.

-Updated July 2020: Upgraded to a variable font with Weight and Width axes, that closely match the previous static fonts released as two families, this one and a sibling Roboto Condensed family. + + Updated July 2020: + + Upgraded to a variable font with Weight and Width axes, that closely match the previous static fonts released as two families, this one and a sibling Roboto Condensed family.

-Roboto is part of a superfamily set that includes Roboto Slab and Roboto Mono + Roboto is part of a superfamily set that includes + + Roboto Slab + + and + + Roboto Mono +

-To report issues or contribute, see github.com/TypeNetwork/Roboto. This repository also contains further font builds for different platforms. + To report issues or contribute, see + + github.com/TypeNetwork/Roboto + + . + This repository also contains further font builds for different platforms.

diff --git a/ofl/robotocondensed/DESCRIPTION.en_us.html b/ofl/robotocondensed/DESCRIPTION.en_us.html index 880cdf83a2..0783b1477a 100644 --- a/ofl/robotocondensed/DESCRIPTION.en_us.html +++ b/ofl/robotocondensed/DESCRIPTION.en_us.html @@ -1,7 +1,20 @@ -

Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types.

- -

This is the Condensed family, which can be used alongside the normal Roboto family and the Roboto Slab family.

- -

In August 2023, the family has been upgraded to a variable font.

- -

To contribute, please see github.com/googlefonts/roboto-classic.

+

+ Roboto has a dual nature. + It has a mechanical skeleton and the forms are largely geometric. + At the same time, the font features friendly and open curves. + While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settled into their natural width. + This makes for a more natural reading rhythm more commonly found in humanist and serif types. +

+

+ This is the Condensed family, which can be used alongside the normal Roboto family and the Roboto Slab family. +

+

+ In August 2023, the family has been upgraded to a variable font. +

+

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

diff --git a/ofl/robotoflex/DESCRIPTION.en_us.html b/ofl/robotoflex/DESCRIPTION.en_us.html index 531bae46f2..05375e2b23 100644 --- a/ofl/robotoflex/DESCRIPTION.en_us.html +++ b/ofl/robotoflex/DESCRIPTION.en_us.html @@ -1,29 +1,60 @@

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

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

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

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

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

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

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

\ No newline at end of file + To learn more, read + + Roboto … But Make It Flex + + . +

diff --git a/ofl/robotoserif/DESCRIPTION.en_us.html b/ofl/robotoserif/DESCRIPTION.en_us.html index a0e0ddd02d..7b54fcc682 100644 --- a/ofl/robotoserif/DESCRIPTION.en_us.html +++ b/ofl/robotoserif/DESCRIPTION.en_us.html @@ -1,10 +1,19 @@

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

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

- To learn more, read Say Hello to Roboto Serif. -

\ No newline at end of file + To learn more, read + + Say Hello to Roboto Serif + + . +

diff --git a/ofl/rock3d/DESCRIPTION.en_us.html b/ofl/rock3d/DESCRIPTION.en_us.html index 8321025c4c..e4e00efb4a 100644 --- a/ofl/rock3d/DESCRIPTION.en_us.html +++ b/ofl/rock3d/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-This is a font based on the sketch of 3D letters by handicapped artists, refined & created by design major students, capturing the solidness of the 3D with two dimensional sketch. This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. + This is a font based on the sketch of 3D letters by handicapped artists, refined & created by design major students, capturing the solidness of the 3D with two dimensional sketch. + This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo.

-Shibuya font Official Site: http://www.shibuyafont.jp + Shibuya font Official Site: + + http://www.shibuyafont.jp +

-

-To contribute to the project, visit github.com/shibuyafont/3d-rock-font +

+ To contribute to the project, visit + + github.com/shibuyafont/3d-rock-font +

diff --git a/ofl/rocknrollone/DESCRIPTION.en_us.html b/ofl/rocknrollone/DESCRIPTION.en_us.html index ae384209f3..cb9a815321 100644 --- a/ofl/rocknrollone/DESCRIPTION.en_us.html +++ b/ofl/rocknrollone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-RocknRoll is an original pop-style font. The strokes of varying intensity add momentum and the rounded dots create a lively and dynamic feel. + RocknRoll is an original pop-style font. + The strokes of varying intensity add momentum and the rounded dots create a lively and dynamic feel.

-To contribute to the project, visit github.com/fontworks-fonts/RocknRoll + To contribute to the project, visit + + github.com/fontworks-fonts/RocknRoll +

diff --git a/ofl/rokkitt/DESCRIPTION.en_us.html b/ofl/rokkitt/DESCRIPTION.en_us.html index 1a7daf9141..d31b2bd597 100644 --- a/ofl/rokkitt/DESCRIPTION.en_us.html +++ b/ofl/rokkitt/DESCRIPTION.en_us.html @@ -1,19 +1,31 @@

-Rokkitt was initiated by Vernon Adams when he was inspired by the type forms of a number of distinctive geometric slab serifs, sometimes called Egyptians, popular in the late nineteenth and early to mid twentieth centuries. -In 1910 the Inland Type Foundry published Litho Antique and similar types were published by American Type Founders in the 1920s and Monotype Corporation in the 1930s. -Rokkitt is intended for use as a display font, in headings and headlines, though it can also be used as an alternative to sans serif designs at text sizes. + Rokkitt was initiated by Vernon Adams when he was inspired by the type forms of a number of distinctive geometric slab serifs, sometimes called Egyptians, popular in the late nineteenth and early to mid twentieth centuries. + In 1910 the Inland Type Foundry published Litho Antique and similar types were published by American Type Founders in the 1920s and Monotype Corporation in the 1930s. + Rokkitt is intended for use as a display font, in headings and headlines, though it can also be used as an alternative to sans serif designs at text sizes.

-Update January 2017: -Vernon Adams began the project in 2011, and developed the typeface until 2014. -During 2016 Kalapi Gajjar completed Vernon's original work and released a substantial update with a full set of 9 weights, and support for more Latin languages. + + Update January 2017: + + Vernon Adams began the project in 2011, and developed the typeface until 2014. + During 2016 Kalapi Gajjar completed Vernon's original work and released a substantial update with a full set of 9 weights, and support for more Latin languages.

-Update July 2019: -The family has been converted into a variable font. + + Update July 2019: + + The family has been converted into a variable font.

-Update January 2023: -The family has now an italic. + + Update January 2023: + + The family has now an italic. +

+

+ To contribute, see + + github.com/googlefonts/RokkittFont + + .

-

To contribute, see github.com/googlefonts/RokkittFont.

diff --git a/ofl/romanesco/DESCRIPTION.en_us.html b/ofl/romanesco/DESCRIPTION.en_us.html index d523b3f2e8..8716ccb32c 100644 --- a/ofl/romanesco/DESCRIPTION.en_us.html +++ b/ofl/romanesco/DESCRIPTION.en_us.html @@ -1,3 +1,6 @@ -

The Romanesco typeface is a refined, semi-bold and narrow hand crafted calligraphic style.

- -

With stabbing strokes that nod to historical styles, and modern flair leaning towards the current, Romanesco lends itself to a wide array of stylistic uses for a narrow typestyle.

\ No newline at end of file +

+ The Romanesco typeface is a refined, semi-bold and narrow hand crafted calligraphic style. +

+

+ With stabbing strokes that nod to historical styles, and modern flair leaning towards the current, Romanesco lends itself to a wide array of stylistic uses for a narrow typestyle. +

diff --git a/ofl/ropasans/DESCRIPTION.en_us.html b/ofl/ropasans/DESCRIPTION.en_us.html index 282b9df968..d341e149d6 100644 --- a/ofl/ropasans/DESCRIPTION.en_us.html +++ b/ofl/ropasans/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Ropa Sans is an open-source subset of the Ropa Sans Pro family. Ropa Sans Pro consists of 8 weights plus extra designed italics and small caps, with extensive coverage of Latin and essential coverage of Cyrillic and Greek scripts, and is available commercially from lettersoup.de.

- -

This Open Font License version, Ropa Sans, consists of the regular weight and the corresponding italic, and covers Latin-based languages only.

- -

While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavour. The step to a remarkable Italic with its extreme ink-traps caused a hard change of nearly all shapes of the first slices of Roman.

\ No newline at end of file +

+ Ropa Sans is an open-source subset of the Ropa Sans Pro family. + Ropa Sans Pro consists of 8 weights plus extra designed italics and small caps, with extensive coverage of Latin and essential coverage of Cyrillic and Greek scripts, and is available commercially from + + lettersoup.de + + . +

+

+ This Open Font License version, Ropa Sans, consists of the regular weight and the corresponding italic, and covers Latin-based languages only. +

+

+ While the upright styles pay a distant homage to the technical aesthetics of the early-20th century DIN series, the strongly humanistic italics breathe in quirky freshness and create a unique flavour. + The step to a remarkable Italic with its extreme ink-traps caused a hard change of nearly all shapes of the first slices of Roman. +

diff --git a/ofl/rosario/DESCRIPTION.en_us.html b/ofl/rosario/DESCRIPTION.en_us.html index 1683709962..5ce53b9108 100644 --- a/ofl/rosario/DESCRIPTION.en_us.html +++ b/ofl/rosario/DESCRIPTION.en_us.html @@ -1,12 +1,16 @@

-Omnibus Type proudly presents Rosario, a new typeface of classic proportions, subtle contrast and weak endings. -Carefully produced, elegant, ideal for magazines and academic journals. -Rosario is the name of the city of the designer, Héctor Gatti. -Rosario was initially developed for private use in 2003. + Omnibus Type proudly presents Rosario, a new typeface of classic proportions, subtle contrast and weak endings. + Carefully produced, elegant, ideal for magazines and academic journals. + Rosario is the name of the city of the designer, Héctor Gatti. + Rosario was initially developed for private use in 2003.

-In September 2019, The family has been converted to a variable font family. + In September 2019, The family has been converted to a variable font family.

-To contribute, see github.com/Omnibus-Type/Rosario. + To contribute, see + + github.com/Omnibus-Type/Rosario + + .

diff --git a/ofl/rosarivo/DESCRIPTION.en_us.html b/ofl/rosarivo/DESCRIPTION.en_us.html index f7e40aa47a..5590dd61de 100644 --- a/ofl/rosarivo/DESCRIPTION.en_us.html +++ b/ofl/rosarivo/DESCRIPTION.en_us.html @@ -1 +1,17 @@ -

Rosarivo is a typeface designed for use in letterpress printing. It is an elegant and luxurious typeface with high quality details. It works especially well in delicate editorial design. Its letterpress origins mean it has a lighter color than a typical Roman text type. Its features include carefully designed serifs, gradual stroke and marked contrast, calligraphic and humanistic forms, and large ascenders and descenders. It is designed to work well in long texts with generous line spacing. It originates from work presented to the post-graduate course in Typeface Design at the University of Buenos Aires in 2011.

Rosarivo is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Pablo Ugerman.

\ No newline at end of file +

+ Rosarivo is a typeface designed for use in letterpress printing. + It is an elegant and luxurious typeface with high quality details. + It works especially well in delicate editorial design. + Its letterpress origins mean it has a lighter color than a typical Roman text type. + Its features include carefully designed serifs, gradual stroke and marked contrast, calligraphic and humanistic forms, and large ascenders and descenders. + It is designed to work well in long texts with generous line spacing. + It originates from work presented to the post-graduate course in Typeface Design at the University of Buenos Aires in 2011. +

+

+ Rosarivo is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + To contribute to the project contact + + Pablo Ugerman + + . +

diff --git a/ofl/rougescript/DESCRIPTION.en_us.html b/ofl/rougescript/DESCRIPTION.en_us.html index 074a89e770..d28eed66dc 100644 --- a/ofl/rougescript/DESCRIPTION.en_us.html +++ b/ofl/rougescript/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Rouge Script is a formal script type, initiall drawn by hand with a copperplate nib and redrawn with the termination style of a brush script. This gives it the flavor of a casual script.

It is very soft and has fast curves, while its low slant angle makes it very legible and improves the render on-screen. It works perfectly for titles or short phrases in branding, magazines, food, feminine and fashion related typography.

\ No newline at end of file +

+ Rouge Script is a formal script type, initiall drawn by hand with a copperplate nib and redrawn with the termination style of a brush script. + This gives it the flavor of a casual script. +

+

+ It is very soft and has fast curves, while its low slant angle makes it very legible and improves the render on-screen. + It works perfectly for titles or short phrases in branding, magazines, food, feminine and fashion related typography. +

diff --git a/ofl/roundedmplus1c/DESCRIPTION.en_us.html b/ofl/roundedmplus1c/DESCRIPTION.en_us.html index 0ca8c514d8..1d58f963f3 100644 --- a/ofl/roundedmplus1c/DESCRIPTION.en_us.html +++ b/ofl/roundedmplus1c/DESCRIPTION.en_us.html @@ -1,17 +1,24 @@

-The M+ Outline Fonts Project develops a superfamily set of several families: -4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations. + The + + M+ Outline Fonts Project + + develops a superfamily set of several families: 4 families with proportional Latin, 3 with fixed-halfwidth Latin, and 2 with fixed-fullwidth Japanese Kana variations.

-The Rounded M+ Project develops versions of the M+ Fonts with rounded terminals. + The + + Rounded M+ Project + + develops versions of the M+ Fonts with rounded terminals.

-This set, Rounded M+ 1c, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. -The Kana have traditional slightly curved strokes. -The Latin is optimized to be well-proportioned for text typesetting. + This set, Rounded M+ 1c, are fonts with proportional Latin and fixed-fullwidth Japanese, and 7 weights from Thin to Black. + The Kana have traditional slightly curved strokes. + The Latin is optimized to be well-proportioned for text typesetting.

-8,546 glyphs. -This is Version v1.059g, released upstream on 2015-05-29, and slightly modified by Google Fonts. -Now released under the SIL Open Font License. + 8,546 glyphs. + This is Version v1.059g, released upstream on 2015-05-29, and slightly modified by Google Fonts. + Now released under the SIL Open Font License.

diff --git a/ofl/rowdies/DESCRIPTION.en_us.html b/ofl/rowdies/DESCRIPTION.en_us.html index 5515b007f1..d6ddb716c3 100644 --- a/ofl/rowdies/DESCRIPTION.en_us.html +++ b/ofl/rowdies/DESCRIPTION.en_us.html @@ -1,4 +1,16 @@ -

Rowdies is a Latin display typeface inspired by the rough & tough Indian action cinema. Roughness and oddness of each individual letter contribute collectively as a typeface to the fantasy of being bold, fearless and strong.

-

Designed by Jaikishan Patel for action, drama, adventure, thriller, noir & crime genres of storytelling.

-

The font family includes 600+ glyphs in 3 weights; Light, Regular, and Bold.

-

To contribute, see https://github.com/magictype/rowdies

+

+ Rowdies is a Latin display typeface inspired by the rough & tough Indian action cinema. + Roughness and oddness of each individual letter contribute collectively as a typeface to the fantasy of being bold, fearless and strong. +

+

+ Designed by Jaikishan Patel for action, drama, adventure, thriller, noir & crime genres of storytelling. +

+

+ The font family includes 600+ glyphs in 3 weights; Light, Regular, and Bold. +

+

+ To contribute, see + + https://github.com/magictype/rowdies + +

diff --git a/ofl/rozhaone/DESCRIPTION.en_us.html b/ofl/rozhaone/DESCRIPTION.en_us.html index a60174555f..46e6550e1c 100644 --- a/ofl/rozhaone/DESCRIPTION.en_us.html +++ b/ofl/rozhaone/DESCRIPTION.en_us.html @@ -1,7 +1,26 @@ -

Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. Created primarily for display use, the extreme difference between its letters’ thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. Shiva Nallaperumal designed the Latin.

- -

The font’s Latin characters are drawn in a fat face ‘modern’ or ‘Didone’ style, similar to letters that were commonly used in 19th century advertising posters in the West. Rozha One’s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high – and the size of its capital letters so small – that these virtually blend into one another in a line of text. Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font’s Latin very well in settings where texts in multiple languages sit alongside one another. The headline of the Devanagari base characters is the same thickness as the Latin letters’ serifs. Certain Devanagari letter strokes and vowel marks bare visually similarity to the font’s Latin letters. However, Rozha One does not appear Latinized or un-Devanagari.

- -

The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. When used in on-screen design environments, Rozha One should be used in very large pixel sizes. However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points.

- -

The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. To contribute, see github.com/itfoundry/rozhaone

+

+ Rozha One is a very high contrast Open Source font, which currently offers support for the Devanagari and Latin scripts. + Created primarily for display use, the extreme difference between its letters’ thick and thin strokes make it an excellent choice for large headlines and poster-sized graphics. + The Indian Type Foundry released Rozha One in 2014; its Devanagari character set was designed by Tim Donaldson and Jyotish Sonowal. + Shiva Nallaperumal designed the Latin. +

+

+ The font’s Latin characters are drawn in a fat face ‘modern’ or ‘Didone’ style, similar to letters that were commonly used in 19th century advertising posters in the West. + Rozha One’s Latin characters barely differentiate between upper and lowercase letter sizes; the x-height of its lowercase letters is so high – and the size of its capital letters so small – that these virtually blend into one another in a line of text. + Nevertheless, the Devanagari letters are drawn in such a way that they harmonise with the font’s Latin very well in settings where texts in multiple languages sit alongside one another. + The headline of the Devanagari base characters is the same thickness as the Latin letters’ serifs. + Certain Devanagari letter strokes and vowel marks bare visually similarity to the font’s Latin letters. + However, Rozha One does not appear Latinized or un-Devanagari. +

+

+ The font includes 1,095 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. + When used in on-screen design environments, Rozha One should be used in very large pixel sizes. + However in print, the design may be used in a broader range of sizes, perhaps even as small as at 16 or 18 points. +

+

+ The Rozha project is led by Indian Type Foundry, a type design foundry based in Ahmedabad, India. + To contribute, see + + github.com/itfoundry/rozhaone + +

diff --git a/ofl/rubik/DESCRIPTION.en_us.html b/ofl/rubik/DESCRIPTION.en_us.html index 7662e1e3b6..22e592ded3 100644 --- a/ofl/rubik/DESCRIPTION.en_us.html +++ b/ofl/rubik/DESCRIPTION.en_us.html @@ -1,14 +1,29 @@

-Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. + Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at + + Hubert & Fischer + + as part of the + + Chrome Cube Lab + + project.

-Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design. + Rubik is a 5 weight family with Roman and Italic styles, that accompanies + + Rubik Mono One + + , a monospaced variation of the Black roman design.

-Meir Sadan redesigned the Hebrew component in 2015. -Alexei Vanyashin redesigned the Cyrillic component in 2016. + Meir Sadan redesigned the Hebrew component in 2015. + Alexei Vanyashin redesigned the Cyrillic component in 2016.

-To contribute, see github.com/googlefonts/Rubik. + To contribute, see + + github.com/googlefonts/Rubik + + .

- diff --git a/ofl/rubik80sfade/DESCRIPTION.en_us.html b/ofl/rubik80sfade/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubik80sfade/DESCRIPTION.en_us.html +++ b/ofl/rubik80sfade/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikbeastly/DESCRIPTION.en_us.html b/ofl/rubikbeastly/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikbeastly/DESCRIPTION.en_us.html +++ b/ofl/rubikbeastly/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikbrokenfax/DESCRIPTION.en_us.html b/ofl/rubikbrokenfax/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikbrokenfax/DESCRIPTION.en_us.html +++ b/ofl/rubikbrokenfax/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikbubbles/DESCRIPTION.en_us.html b/ofl/rubikbubbles/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikbubbles/DESCRIPTION.en_us.html +++ b/ofl/rubikbubbles/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikburned/DESCRIPTION.en_us.html b/ofl/rubikburned/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikburned/DESCRIPTION.en_us.html +++ b/ofl/rubikburned/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikdirt/DESCRIPTION.en_us.html b/ofl/rubikdirt/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikdirt/DESCRIPTION.en_us.html +++ b/ofl/rubikdirt/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikdistressed/DESCRIPTION.en_us.html b/ofl/rubikdistressed/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikdistressed/DESCRIPTION.en_us.html +++ b/ofl/rubikdistressed/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikdoodleshadow/DESCRIPTION.en_us.html b/ofl/rubikdoodleshadow/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikdoodleshadow/DESCRIPTION.en_us.html +++ b/ofl/rubikdoodleshadow/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikdoodletriangles/DESCRIPTION.en_us.html b/ofl/rubikdoodletriangles/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikdoodletriangles/DESCRIPTION.en_us.html +++ b/ofl/rubikdoodletriangles/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikgemstones/DESCRIPTION.en_us.html b/ofl/rubikgemstones/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikgemstones/DESCRIPTION.en_us.html +++ b/ofl/rubikgemstones/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikglitch/DESCRIPTION.en_us.html b/ofl/rubikglitch/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikglitch/DESCRIPTION.en_us.html +++ b/ofl/rubikglitch/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikglitchpop/DESCRIPTION.en_us.html b/ofl/rubikglitchpop/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikglitchpop/DESCRIPTION.en_us.html +++ b/ofl/rubikglitchpop/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikiso/DESCRIPTION.en_us.html b/ofl/rubikiso/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikiso/DESCRIPTION.en_us.html +++ b/ofl/rubikiso/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubiklines/DESCRIPTION.en_us.html b/ofl/rubiklines/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubiklines/DESCRIPTION.en_us.html +++ b/ofl/rubiklines/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikmaps/DESCRIPTION.en_us.html b/ofl/rubikmaps/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikmaps/DESCRIPTION.en_us.html +++ b/ofl/rubikmaps/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikmarkerhatch/DESCRIPTION.en_us.html b/ofl/rubikmarkerhatch/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikmarkerhatch/DESCRIPTION.en_us.html +++ b/ofl/rubikmarkerhatch/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikmaze/DESCRIPTION.en_us.html b/ofl/rubikmaze/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikmaze/DESCRIPTION.en_us.html +++ b/ofl/rubikmaze/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikmicrobe/DESCRIPTION.en_us.html b/ofl/rubikmicrobe/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikmicrobe/DESCRIPTION.en_us.html +++ b/ofl/rubikmicrobe/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikmonoone/DESCRIPTION.en_us.html b/ofl/rubikmonoone/DESCRIPTION.en_us.html index c1ccb76c86..396043e43d 100644 --- a/ofl/rubikmonoone/DESCRIPTION.en_us.html +++ b/ofl/rubikmonoone/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@

-Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. + Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at + + Hubert & Fischer + + as part of the + + Chrome Cube Lab + + project.

-

-Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights. + Rubik Mono One is a monospaced sister of the Black roman style in the + + Rubik + + family, which has 5 weights.

diff --git a/ofl/rubikmoonrocks/DESCRIPTION.en_us.html b/ofl/rubikmoonrocks/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikmoonrocks/DESCRIPTION.en_us.html +++ b/ofl/rubikmoonrocks/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikone/DESCRIPTION.en_us.html b/ofl/rubikone/DESCRIPTION.en_us.html index fc7bbab5d1..371689b6df 100644 --- a/ofl/rubikone/DESCRIPTION.en_us.html +++ b/ofl/rubikone/DESCRIPTION.en_us.html @@ -1,8 +1,23 @@

-Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project. + Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at + + Hubert & Fischer + + as part of the + + Chrome Cube Lab + + project.

-

-Rubik One is the initial version of the Black roman style in the Rubik family, which has 5 weights. -It is paired with Rubik Mono One, a monospaced variation of the design. + Rubik One is the initial version of the Black roman style in the + + Rubik + + family, which has 5 weights. + It is paired with + + Rubik Mono One + + , a monospaced variation of the design.

diff --git a/ofl/rubikpixels/DESCRIPTION.en_us.html b/ofl/rubikpixels/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikpixels/DESCRIPTION.en_us.html +++ b/ofl/rubikpixels/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikpuddles/DESCRIPTION.en_us.html b/ofl/rubikpuddles/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikpuddles/DESCRIPTION.en_us.html +++ b/ofl/rubikpuddles/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikscribble/DESCRIPTION.en_us.html b/ofl/rubikscribble/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikscribble/DESCRIPTION.en_us.html +++ b/ofl/rubikscribble/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikspraypaint/DESCRIPTION.en_us.html b/ofl/rubikspraypaint/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikspraypaint/DESCRIPTION.en_us.html +++ b/ofl/rubikspraypaint/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikstorm/DESCRIPTION.en_us.html b/ofl/rubikstorm/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikstorm/DESCRIPTION.en_us.html +++ b/ofl/rubikstorm/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikvinyl/DESCRIPTION.en_us.html b/ofl/rubikvinyl/DESCRIPTION.en_us.html index 7f352ff3a4..5d9824746f 100644 --- a/ofl/rubikvinyl/DESCRIPTION.en_us.html +++ b/ofl/rubikvinyl/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts! + Check for more + + Rubik "Filtered" fonts + + !

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/rubikwetpaint/DESCRIPTION.en_us.html b/ofl/rubikwetpaint/DESCRIPTION.en_us.html index 033a15acfb..4f873338f6 100644 --- a/ofl/rubikwetpaint/DESCRIPTION.en_us.html +++ b/ofl/rubikwetpaint/DESCRIPTION.en_us.html @@ -1,11 +1,29 @@

-The Generative Fonts is an original, script-generated collection of fonts based on the Google Fonts Rubik by Hubert and Fischer, Meir Sadan and Cyreal. The code used to generate it can be found at github.com/NaN-xyz/Glyph-Filters. + + The Generative Fonts + + is an original, script-generated collection of fonts based on the Google Fonts + + Rubik + + by Hubert and Fischer, Meir Sadan and Cyreal. + The code used to generate it can be found at + + github.com/NaN-xyz/Glyph-Filters + + .

-

-Check for more Rubik "Filtered" fonts!. + Check for more + + Rubik "Filtered" fonts + + !.

-

-To contribute, see github.com/NaN-xyz/Rubik-Filtered. + To contribute, see + + github.com/NaN-xyz/Rubik-Filtered + + .

diff --git a/ofl/ruda/DESCRIPTION.en_us.html b/ofl/ruda/DESCRIPTION.en_us.html index 97d3ea6bd1..7b746ed313 100644 --- a/ofl/ruda/DESCRIPTION.en_us.html +++ b/ofl/ruda/DESCRIPTION.en_us.html @@ -1,7 +1,21 @@ -

Ruda is a sans serif typeface originally developed for a specific context of use, product labels. Designed by Mariela Monsalve and Angelina Sanchez, Ruda features a very large x-height, low cap-height and open forms.

- -

In Febraury 2020, the family has been upgraded to a variable font.

- -

To contribute, see github.com/marmonsalve/Ruda-new.

- -

Ruda is a collaboration between marie monsalve and Angelina Saanchez.

+

+ Ruda is a sans serif typeface originally developed for a specific context of use, product labels. + Designed by Mariela Monsalve and Angelina Sanchez, Ruda features a very large x-height, low cap-height and open forms. +

+

+ In Febraury 2020, the family has been upgraded to a variable font. +

+

+ To contribute, see + + github.com/marmonsalve/Ruda-new + + . +

+

+ Ruda is a collaboration between + + marie monsalve + + and Angelina Saanchez. +

diff --git a/ofl/rufina/DESCRIPTION.en_us.html b/ofl/rufina/DESCRIPTION.en_us.html index 70f9f7483b..474a2d2188 100644 --- a/ofl/rufina/DESCRIPTION.en_us.html +++ b/ofl/rufina/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@ -

Rufina combines features of several typographic styles with Bodoni forms -found in the calligraphy of flexible tip pens. High contrast enables it to -work well in text and headlines.

- -

To contribute to the project contact -Martin Sommaruga.

\ No newline at end of file +

+ Rufina combines features of several typographic styles with Bodoni forms found in the calligraphy of flexible tip pens. + High contrast enables it to work well in text and headlines. +

+

+ To contribute to the project contact + + Martin Sommaruga + + . +

diff --git a/ofl/rugeboogie/DESCRIPTION.en_us.html b/ofl/rugeboogie/DESCRIPTION.en_us.html index 1f43abdbf7..f201ce0b04 100644 --- a/ofl/rugeboogie/DESCRIPTION.en_us.html +++ b/ofl/rugeboogie/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Smack a piñata or celebrate Cinco de Mayo with Ruge Boogie. This two-font set is a fun and bouncy style with a joyful flair. Great for scrapbooking, tubes, and other fun stuff. + Smack a piñata or celebrate Cinco de Mayo with Ruge Boogie. + This two-font set is a fun and bouncy style with a joyful flair. + Great for scrapbooking, tubes, and other fun stuff.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/ruge-boogie. + To contribute, see + + github.com/googlefonts/ruge-boogie + + .

diff --git a/ofl/ruluko/DESCRIPTION.en_us.html b/ofl/ruluko/DESCRIPTION.en_us.html index 489ad1b656..050b7bf273 100644 --- a/ofl/ruluko/DESCRIPTION.en_us.html +++ b/ofl/ruluko/DESCRIPTION.en_us.html @@ -1 +1,21 @@ -

Ruluko is a typeface designed to aid those learning to read. The shapes you see are related to the handwriting typically used at schools in Argentina. The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. But as a warm and stylish sans serif text type, you may use Ruluko for any purpose.

Designed by Ana Sanfelippo (@anasanfelippo), Angélica Díaz (@angiecinadiaz) and Meme Hernández (@memepeca).

\ No newline at end of file +

+ Ruluko is a typeface designed to aid those learning to read. + The shapes you see are related to the handwriting typically used at schools in Argentina. + The concept is that those who have learned to read this handwriting style may recognise this type style more easily than other typefaces often used in this context. + But as a warm and stylish sans serif text type, you may use Ruluko for any purpose. +

+

+ Designed by Ana Sanfelippo ( + + @anasanfelippo + + ), Angélica Díaz ( + + @angiecinadiaz + + ) and Meme Hernández ( + + @memepeca + + ). +

diff --git a/ofl/rumraisin/DESCRIPTION.en_us.html b/ofl/rumraisin/DESCRIPTION.en_us.html index 1ba3ac37d5..cc5e1a950f 100644 --- a/ofl/rumraisin/DESCRIPTION.en_us.html +++ b/ofl/rumraisin/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@ -

Rum Raisin draws inspiration from a vintage Kelloggs Raisin Bran cereal -box. Taken from a formerly unicase design, this has been developed as a -caps/lowercase character set. The original unicase a is in the Delta character -slot, as an alternate to a more suitable A.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Rum Raisin draws inspiration from a vintage Kelloggs Raisin Bran cereal box. + Taken from a formerly unicase design, this has been developed as a caps/lowercase character set. + The original unicase a is in the Delta character slot, as an alternate to a more suitable A. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/ruslandisplay/DESCRIPTION.en_us.html b/ofl/ruslandisplay/DESCRIPTION.en_us.html index 61de62544d..04a8973d9e 100644 --- a/ofl/ruslandisplay/DESCRIPTION.en_us.html +++ b/ofl/ruslandisplay/DESCRIPTION.en_us.html @@ -1,10 +1,33 @@

-The Ruslan Display font is based on a 1970s typeface made by Ukrainian designer Oleg Snarsky, which evokes the ustav and semiustav styles of the 11th–16th centuries, known as the Ruthenian period. -This is featured in the signage of Kiev's Teremky metro station, and in a collection of Snarsky's typefaces in the book “Шрифты-алфавиты для рекламных и декоративно-оформительских работ“ published in 1979 and available online. + The Ruslan Display font is based on a 1970s typeface made by Ukrainian designer Oleg Snarsky, which evokes the + + ustav + + and + + semiustav + + styles of the 11th–16th centuries, known as the + + Ruthenian + + period. + This is featured in the signage of Kiev's + + Teremky + + metro station, and in a collection of Snarsky's typefaces in the book “Шрифты-алфавиты для рекламных и декоративно-оформительских работ“ published in 1979 and + + available online + + .

-It was digitized and extended with an original Latin complement by Russian designer Denis Masharov, in collaboration with Vladimir Rabdu, in 2011. -The name means ‘lion’. -

-Suitable for lettering, Ruslan Display can also be used to set short texts and supports Latin and Cyrillic. + It was digitized and extended with an original Latin complement by Russian designer Denis Masharov, in collaboration with Vladimir Rabdu, in 2011. + The name means + + ‘lion’ + + .

+Suitable for lettering, Ruslan Display can also be used to set short texts and supports Latin and Cyrillic. diff --git a/ofl/russoone/DESCRIPTION.en_us.html b/ofl/russoone/DESCRIPTION.en_us.html index 4aac948700..4fa4253cbc 100644 --- a/ofl/russoone/DESCRIPTION.en_us.html +++ b/ofl/russoone/DESCRIPTION.en_us.html @@ -1,9 +1,18 @@ -

Russo means Russian. It seems strange that in a such font there is no snow, -vodka or bears. What I wanted to show is that Russian culture is quite varied -and modern. In Russia, too, some people love good fonts and typography. -Russo One is designed for headlines and logotypes. It is simple and original, -stylish and casual.

Russo One is a Unicode typeface family that supports -languages that use the Cyrillic, Baltic, Turkish, Central Europe, Latin script -and its variants, and could be expanded to support other scripts.

-

To contribute to the project contact -Jovanny Lemonad.

+

+ Russo means Russian. + It seems strange that in a such font there is no snow, vodka or bears. + What I wanted to show is that Russian culture is quite varied and modern. + In Russia, too, some people love good fonts and typography. + Russo One is designed for headlines and logotypes. + It is simple and original, stylish and casual. +

+

+ Russo One is a Unicode typeface family that supports languages that use the Cyrillic, Baltic, Turkish, Central Europe, Latin script and its variants, and could be expanded to support other scripts. +

+

+ To contribute to the project contact + + Jovanny Lemonad + + . +

diff --git a/ofl/ruthie/DESCRIPTION.en_us.html b/ofl/ruthie/DESCRIPTION.en_us.html index a7add62af7..fd1284c0a0 100644 --- a/ofl/ruthie/DESCRIPTION.en_us.html +++ b/ofl/ruthie/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Ruthie is an elegant calligraphic script with ornate capital forms. + Ruthie is an elegant calligraphic script with ornate capital forms.

-To contribute, see github.com/googlefonts/ruthie. + To contribute, see + + github.com/googlefonts/ruthie + + .

diff --git a/ofl/ruwudu/DESCRIPTION.en_us.html b/ofl/ruwudu/DESCRIPTION.en_us.html index 77766d8914..d9ad2a308d 100644 --- a/ofl/ruwudu/DESCRIPTION.en_us.html +++ b/ofl/ruwudu/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Ruwudu is intended to provide a libre and open font family for Arabic script languages in West Africa that use the Rubutun Kano style. This font supports the characters known to be used by languages written in this style of Arabic script, but may not have the characters needed for other languages. Smart font routines automatically adjust the shape and position of characters.

- -

To contribute, please see github.com/silnrsi/font-ruwudu.

+

+ Ruwudu is intended to provide a libre and open font family for Arabic script languages in West Africa that use the Rubutun Kano style. + This font supports the characters known to be used by languages written in this style of Arabic script, but may not have the characters needed for other languages. + Smart font routines automatically adjust the shape and position of characters. +

+

+ To contribute, please see + + github.com/silnrsi/font-ruwudu + + . +

diff --git a/ofl/rye/DESCRIPTION.en_us.html b/ofl/rye/DESCRIPTION.en_us.html index 3bd6654eb6..e0d5aa9cfd 100644 --- a/ofl/rye/DESCRIPTION.en_us.html +++ b/ofl/rye/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Rye's bold attention getting shapes are useful for advertising. Rye is a medium contrast design inspired by posters using wood type. It gives off a feeling of the American West. It is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Rye's bold attention getting shapes are useful for advertising. + Rye is a medium contrast design inspired by posters using wood type. + It gives off a feeling of the American West. + It is suitable for use in medium to large sizes including headlines. + This font was made specifically to be web type. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/sacramento/DESCRIPTION.en_us.html b/ofl/sacramento/DESCRIPTION.en_us.html index 0fc7d8aabc..263182f051 100644 --- a/ofl/sacramento/DESCRIPTION.en_us.html +++ b/ofl/sacramento/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@ -

The Sacramento typeface is a monoline, semi-connected script inspired by -hand-lettering artist brochure work of the 1950's and 1960's. It stands on a -thin line between formal and casual lettering styles, yet it has a commanding -presence for headlines and titles.

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ The Sacramento typeface is a monoline, semi-connected script inspired by hand-lettering artist brochure work of the 1950's and 1960's. + It stands on a thin line between formal and casual lettering styles, yet it has a commanding presence for headlines and titles. +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/sahitya/DESCRIPTION.en_us.html b/ofl/sahitya/DESCRIPTION.en_us.html index 9633f22d62..a914afd8f1 100644 --- a/ofl/sahitya/DESCRIPTION.en_us.html +++ b/ofl/sahitya/DESCRIPTION.en_us.html @@ -1,14 +1,19 @@

-Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts. -It was designed to match the style and feel of the original Latin characters. -Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas. + Sahitya is a Devanagari typeface family based on the Latin + + Alegreya + + fonts. + It was designed to match the style and feel of the original Latin characters. + Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas.

-

-Thanks to Erin McLaughlin, Vaishnavi Murthyand, Noopur Datye, Dan Reynolds and José Nicolás Silva for their support and feedback. + Thanks to Erin McLaughlin, Vaishnavi Murthyand, Noopur Datye, Dan Reynolds and José Nicolás Silva for their support and feedback.

-

-The Sahitya project is led by Juan Pablo del Peral, a type designer based in Argentina. -To contribute, see github.com/juandelperal/sahitya + The Sahitya project is led by Juan Pablo del Peral, a type designer based in Argentina. + To contribute, see + + github.com/juandelperal/sahitya +

diff --git a/ofl/sail/DESCRIPTION.en_us.html b/ofl/sail/DESCRIPTION.en_us.html index 13acf9163d..b835437ddf 100644 --- a/ofl/sail/DESCRIPTION.en_us.html +++ b/ofl/sail/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Sail is a Didot script for headline, display and poster uses. A fresh air comes to all the glyphs, its windy uppercases are especially suited for display texts and web navigation. Elegant swashes and a clean lowercases also make it suitable for larger paragraphs.

\ No newline at end of file +

+ Sail is a Didot script for headline, display and poster uses. + A fresh air comes to all the glyphs, its windy uppercases are especially suited for display texts and web navigation. + Elegant swashes and a clean lowercases also make it suitable for larger paragraphs. +

diff --git a/ofl/saira/DESCRIPTION.en_us.html b/ofl/saira/DESCRIPTION.en_us.html index 6e225ed5a0..aa8be514c0 100644 --- a/ofl/saira/DESCRIPTION.en_us.html +++ b/ofl/saira/DESCRIPTION.en_us.html @@ -1,18 +1,29 @@

-Saira is a sans serif system. -It features a huge range of weights and widths, ready for all kind of typographic challenges. + Saira is a sans serif system. + It features a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Normal family, which is part of the superfamily along with -Semi Condensed, -Condensed, and -Extra Condensed, -each with 9 weights. + This is the Normal family, which is part of the superfamily along with + + Semi Condensed + + , + + Condensed + + , and + + Extra Condensed + + , each with 9 weights.

- Saira has been upgraded in 2020 to a variable font with axes for weight and width, adding expanded widths to the superfamily. + Saira has been upgraded in 2020 to a variable font with axes for weight and width, adding expanded widths to the superfamily.

-This typeface was designed by Hector Gatti and developed by the Omnibus Type team. -To contribute to the project, visit github.com/Omnibus-Type/Saira + This typeface was designed by Hector Gatti and developed by the Omnibus Type team. + To contribute to the project, visit + + github.com/Omnibus-Type/Saira +

diff --git a/ofl/sairacondensed/DESCRIPTION.en_us.html b/ofl/sairacondensed/DESCRIPTION.en_us.html index 1f3b77d843..8193d8abed 100644 --- a/ofl/sairacondensed/DESCRIPTION.en_us.html +++ b/ofl/sairacondensed/DESCRIPTION.en_us.html @@ -1,15 +1,26 @@

-Saira is a sans serif system. -It features a huge range of weights and widths, ready for all kind of typographic challenges. + Saira is a sans serif system. + It features a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Condensed family, which is part of the superfamily along with -Normal, -Semi Condensed, and -Extra Condensed, -each with 9 weights. + This is the Condensed family, which is part of the superfamily along with + + Normal + + , + + Semi Condensed + + , and + + Extra Condensed + + , each with 9 weights.

-This typeface was designed by Hector Gatti and developed by the Omnibus Type team. -To contribute to the project, visit github.com/Omnibus-Type + This typeface was designed by Hector Gatti and developed by the Omnibus Type team. + To contribute to the project, visit + + github.com/Omnibus-Type +

diff --git a/ofl/sairaextracondensed/DESCRIPTION.en_us.html b/ofl/sairaextracondensed/DESCRIPTION.en_us.html index 655372aef6..5b7e00c552 100644 --- a/ofl/sairaextracondensed/DESCRIPTION.en_us.html +++ b/ofl/sairaextracondensed/DESCRIPTION.en_us.html @@ -1,15 +1,26 @@

-Saira is a sans serif system. -It features a huge range of weights and widths, ready for all kind of typographic challenges. + Saira is a sans serif system. + It features a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Extra Condensed family, which is part of the superfamily along with -Normal, -Semi Condensed, and -Condensed, -each with 9 weights. + This is the Extra Condensed family, which is part of the superfamily along with + + Normal + + , + + Semi Condensed + + , and + + Condensed + + , each with 9 weights.

-This typeface was designed by Hector Gatti and developed by the Omnibus Type team. -To contribute to the project, visit github.com/Omnibus-Type + This typeface was designed by Hector Gatti and developed by the Omnibus Type team. + To contribute to the project, visit + + github.com/Omnibus-Type +

diff --git a/ofl/sairasemicondensed/DESCRIPTION.en_us.html b/ofl/sairasemicondensed/DESCRIPTION.en_us.html index ed1d7d841c..e83e63d62a 100644 --- a/ofl/sairasemicondensed/DESCRIPTION.en_us.html +++ b/ofl/sairasemicondensed/DESCRIPTION.en_us.html @@ -1,15 +1,26 @@

-Saira is a sans serif system. -It features a huge range of weights and widths, ready for all kind of typographic challenges. + Saira is a sans serif system. + It features a huge range of weights and widths, ready for all kind of typographic challenges.

-This is the Semi Condensed family, which is part of the superfamily along with -Normal, -Condensed, and -Extra Condensed, -each with 9 weights. + This is the Semi Condensed family, which is part of the superfamily along with + + Normal + + , + + Condensed + + , and + + Extra Condensed + + , each with 9 weights.

-This typeface was designed by Hector Gatti and developed by the Omnibus Type team. -To contribute to the project, visit github.com/Omnibus-Type + This typeface was designed by Hector Gatti and developed by the Omnibus Type team. + To contribute to the project, visit + + github.com/Omnibus-Type +

diff --git a/ofl/sairastencilone/DESCRIPTION.en_us.html b/ofl/sairastencilone/DESCRIPTION.en_us.html index 8986fe92cc..15728fc955 100644 --- a/ofl/sairastencilone/DESCRIPTION.en_us.html +++ b/ofl/sairastencilone/DESCRIPTION.en_us.html @@ -1,3 +1,14 @@ -

Saira Stencil is the stencil version of Saira, designed by Héctor Gatti and developed by Omnibus-Type Team.

- -

To contribute, see github.com/Omnibus-Type/Saira/tree/master/SairaStencilOne.

+

+ Saira Stencil is the stencil version of + + Saira + + , designed by Héctor Gatti and developed by Omnibus-Type Team. +

+

+ To contribute, see + + github.com/Omnibus-Type/Saira/tree/master/SairaStencilOne + + . +

diff --git a/ofl/salsa/DESCRIPTION.en_us.html b/ofl/salsa/DESCRIPTION.en_us.html index 820ef31f72..67f23e2074 100644 --- a/ofl/salsa/DESCRIPTION.en_us.html +++ b/ofl/salsa/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Salsa was inspired by the old LP album covers from the 1970s, which is why the name is of the main musical genre of Latin America. Avoiding any stereotypes of grunge, vernacular or decorated styles, the font was designed from the vertical structure of an italic, based on behavior and nature of the flat round brush stroke.

Salsa was developed as the final project in the postgraduate programme in Typography at the University of Buenos Aires. Functionally it can be used in titles and short texts, and has been developed with Swash Caps.

\ No newline at end of file +

+ Salsa was inspired by the old LP album covers from the 1970s, which is why the name is of the main musical genre of Latin America. + Avoiding any stereotypes of grunge, vernacular or decorated styles, the font was designed from the vertical structure of an italic, based on behavior and nature of the flat round brush stroke. +

+

+ Salsa was developed as the final project in the postgraduate programme in Typography at the University of Buenos Aires. + Functionally it can be used in titles and short texts, and has been developed with Swash Caps. +

diff --git a/ofl/sanchez/DESCRIPTION.en_us.html b/ofl/sanchez/DESCRIPTION.en_us.html index 8a19fcd7f7..06eb67dd62 100644 --- a/ofl/sanchez/DESCRIPTION.en_us.html +++ b/ofl/sanchez/DESCRIPTION.en_us.html @@ -1,2 +1,7 @@ -

Sanchez is a slab serif typeface family from Chilean type foundry -LatinoType.

\ No newline at end of file +

+ Sanchez is a slab serif typeface family from Chilean type foundry + + LatinoType + + . +

diff --git a/ofl/sancreek/DESCRIPTION.en_us.html b/ofl/sancreek/DESCRIPTION.en_us.html index f21c56eeac..bdaac0724d 100644 --- a/ofl/sancreek/DESCRIPTION.en_us.html +++ b/ofl/sancreek/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Sancreek has been designed for use mostly as a caps-only display webfont, though lowercase characters have also been included. Sancreek is a contemporary take on some of the large wooden poster fonts of the ninteenth century. Sancreek can be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

- -

The November 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/sancreek.

+

+ Sancreek has been designed for use mostly as a caps-only display webfont, though lowercase characters have also been included. + Sancreek is a contemporary take on some of the large wooden poster fonts of the ninteenth century. + Sancreek can be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ The November 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/sancreek + + . +

diff --git a/ofl/sansation/DESCRIPTION.en_us.html b/ofl/sansation/DESCRIPTION.en_us.html index 2a862eefc7..633b20712f 100644 --- a/ofl/sansation/DESCRIPTION.en_us.html +++ b/ofl/sansation/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Sansation is a sans serif typeface family.

\ No newline at end of file +

+ Sansation is a sans serif typeface family. +

diff --git a/ofl/sansita/DESCRIPTION.en_us.html b/ofl/sansita/DESCRIPTION.en_us.html index 5f3c3fbcd6..1cf4bf0433 100644 --- a/ofl/sansita/DESCRIPTION.en_us.html +++ b/ofl/sansita/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

-Sansita is a tasty new Omnibus Type font designed by Pablo Cosgaya. -The flavor of Sansita's lowercase explores the relationship between typography and calligraphy. -The elegance of Sansita's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans. + Sansita is a tasty new + + Omnibus Type + + font designed by Pablo Cosgaya. + The flavor of Sansita's lowercase explores the relationship between typography and calligraphy. + The elegance of Sansita's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.

diff --git a/ofl/sansitaone/DESCRIPTION.en_us.html b/ofl/sansitaone/DESCRIPTION.en_us.html index ab400e06b9..cb39470939 100644 --- a/ofl/sansitaone/DESCRIPTION.en_us.html +++ b/ofl/sansitaone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Sansita One is a tasty new Omnibus-Type font designed by Pablo Cosgaya. The flavor of Sansita One's lowercase explores the relationship between typography and calligraphy. The elegance of Sansita One's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans.

\ No newline at end of file +

+ Sansita One is a tasty new Omnibus-Type font designed by Pablo Cosgaya. + The flavor of Sansita One's lowercase explores the relationship between typography and calligraphy. + The elegance of Sansita One's uppercase makes this an excellent choice for packaging, brief texts, branding and slogans. +

diff --git a/ofl/sansitaswashed/DESCRIPTION.en_us.html b/ofl/sansitaswashed/DESCRIPTION.en_us.html index 5010454323..7e00ced956 100644 --- a/ofl/sansitaswashed/DESCRIPTION.en_us.html +++ b/ofl/sansitaswashed/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

An ornate version of Sansita, with curvy uppercase letters, certain alternative lowercase letters and new ligatures.

- -

Sansita Swashed is designed by Pablo Cosgaya (Omnibus-Type) and developed by Aldo De Losa. To contribute, please see github.com/Omnibus-Type/Sansita-Swashed.

+

+ An ornate version of Sansita, with curvy uppercase letters, certain alternative lowercase letters and new ligatures. +

+

+ Sansita Swashed is designed by Pablo Cosgaya (Omnibus-Type) and developed by Aldo De Losa. + To contribute, please see + + github.com/Omnibus-Type/Sansita-Swashed + + . +

diff --git a/ofl/sarabun/DESCRIPTION.en_us.html b/ofl/sarabun/DESCRIPTION.en_us.html index dcea18bf98..0519bcc2cc 100644 --- a/ofl/sarabun/DESCRIPTION.en_us.html +++ b/ofl/sarabun/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Sarabun is an open source multi-script webfont that supports both Latin and Thai. It is the "TH Sarabun New" font, made available under the Open Font License. The name "Sarabun" (สารบรรณ, RTGS: Saraban) means documentary affairs. The font is used in the Government Gazette of Thailand newspaper, and you can read more details about this font project on Wikipedia's National Fonts page.

\ No newline at end of file +

+ Sarabun is an open source multi-script webfont that supports both Latin and Thai. + It is the "TH Sarabun New" font, made available under the Open Font License. + The name "Sarabun" (สารบรรณ, RTGS: Saraban) means documentary affairs. + The font is used in the Government Gazette of Thailand newspaper, and you can read more details about this font project on Wikipedia's + + National Fonts + + page. +

diff --git a/ofl/sarala/DESCRIPTION.en_us.html b/ofl/sarala/DESCRIPTION.en_us.html index 10b3f98cf9..d6832ec843 100644 --- a/ofl/sarala/DESCRIPTION.en_us.html +++ b/ofl/sarala/DESCRIPTION.en_us.html @@ -1,18 +1,22 @@

-Sarala is a Devanagari typeface family designed by Andrés Torresi and Carolina Giovagnoli for Huerta Tipográfica. -It is based on the original Latin typeface Telex, a sans serif typeface for text. + Sarala is a Devanagari typeface family designed by Andrés Torresi and Carolina Giovagnoli for Huerta Tipográfica. + It is based on the original Latin typeface + + Telex + + , a sans serif typeface for text.

- -

-It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. -Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. +

+ It is a humanist sans serif design, conceived to be a web font with nice legibility at normal text sizes. + Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness.

-

-Thanks to José Nicolás Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback. + Thanks to José Nicolás Silva, Vaishnavi Murthy and Erin McLaughlin for their feedback.

-

-The Sarala project is led by Andrés Torresi, a type designer based in Argentina. -To contribute, see github.com/andrestelex/sarala + The Sarala project is led by Andrés Torresi, a type designer based in Argentina. + To contribute, see + + github.com/andrestelex/sarala +

diff --git a/ofl/sarina/DESCRIPTION.en_us.html b/ofl/sarina/DESCRIPTION.en_us.html index 3428658252..ee9c39715c 100644 --- a/ofl/sarina/DESCRIPTION.en_us.html +++ b/ofl/sarina/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Sarina is a display typeface with brush style letterforms. Sarina's medium contrast and wide setting offers a casual breezy feeling. Sarina is appropriate for medium to larger sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Sarina is a display typeface with brush style letterforms. + Sarina's medium contrast and wide setting offers a casual breezy feeling. + Sarina is appropriate for medium to larger sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/sarpanch/DESCRIPTION.en_us.html b/ofl/sarpanch/DESCRIPTION.en_us.html index dfad27a71f..85ee746557 100644 --- a/ofl/sarpanch/DESCRIPTION.en_us.html +++ b/ofl/sarpanch/DESCRIPTION.en_us.html @@ -1,8 +1,25 @@ -

Display families with extensive character sets are rare for any script. With Indian typefaces, large character sets are often even less common. The Indian Type Foundry’s font families have been an exception, however. Sarpanch continues this trend. Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. It was designed for use in large point sizes and pixel sizes. Sarpanch’s letterforms are made up of strokes with a high contrast. They are also drawn with wide proportions, based on a squared construction principle.

- -

Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. As weight increases along the family’s axis, vertical strokes become thicker, but the typeface’s horizontals retain the same thickness across each weight. While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast.

- -

The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. At display sizes, Sarpanch works equally well on screen or in print. Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script.

- -

The Medium–Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. Jyotish Sonowal designed the Regular weight. Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means ‘the head of a village’.

- +

+ Display families with extensive character sets are rare for any script. + With Indian typefaces, large character sets are often even less common. + The Indian Type Foundry’s font families have been an exception, however. + Sarpanch continues this trend. + Sarpanch is an Open Source typeface supporting the Devanagari and Latin scripts. + It was designed for use in large point sizes and pixel sizes. + Sarpanch’s letterforms are made up of strokes with a high contrast. + They are also drawn with wide proportions, based on a squared construction principle. +

+

+ Six fonts make up the Sarpanch family, ranging in weight from Regular to Black. + As weight increases along the family’s axis, vertical strokes become thicker, but the typeface’s horizontals retain the same thickness across each weight. + While the rather wide Regular weight of the family is almost monolinear, the Black weight appears to have a very high degree of contrast. +

+

+ The Regular, Medium and Semibold fonts are recommended for use in short headlines, while Bold, Heavy and Black are intended primarily for setting single words or pairs. + At display sizes, Sarpanch works equally well on screen or in print. + Each font contains 1035 glyphs and offers full support for the conjuncts and ligatures required by languages written in the Devanagari script. +

+

+ The Medium–Black weights of the Sarpanch family were design by Manushi Parikh at ITF in 2014. + Jyotish Sonowal designed the Regular weight. + Sarpanch is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) In Hindi, the word Sarpanch means ‘the head of a village’. +

diff --git a/ofl/sassyfrass/DESCRIPTION.en_us.html b/ofl/sassyfrass/DESCRIPTION.en_us.html index ebacf669d8..98c2d8fb84 100644 --- a/ofl/sassyfrass/DESCRIPTION.en_us.html +++ b/ofl/sassyfrass/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-SassyFrass is a fun little script font with lots of squiggles and giggles, especially in the uppercase forms. + SassyFrass is a fun little script font with lots of squiggles and giggles, especially in the uppercase forms.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/sassy-frass. + To contribute, see + + github.com/googlefonts/sassy-frass + + .

- \ No newline at end of file diff --git a/ofl/sawarabigothic/DESCRIPTION.en_us.html b/ofl/sawarabigothic/DESCRIPTION.en_us.html index 8433ef6430..1138edf89c 100644 --- a/ofl/sawarabigothic/DESCRIPTION.en_us.html +++ b/ofl/sawarabigothic/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Sawarabi Gothic (さわらびゴシック) is a Japanese font by mshio. -Carefully designed for high legibility, it works well in small text sizes. -It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. -Only 4,469 kanji are available in this version, and the project is under active development. -There is also another related family, Sawarabi Mincho. + + Sawarabi Gothic + + (さわらびゴシック) is a Japanese font by + + mshio + + . + Carefully designed for high legibility, it works well in small text sizes. + It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. + Only 4,469 kanji are available in this version, and the project is under active development. + There is also another related family, Sawarabi Mincho.

-6,945 glyphs. -Now released under the SIL Open Font License. + 6,945 glyphs. + Now released under the SIL Open Font License.

diff --git a/ofl/sawarabimincho/DESCRIPTION.en_us.html b/ofl/sawarabimincho/DESCRIPTION.en_us.html index 3058bdc186..ff1c8e1ad3 100644 --- a/ofl/sawarabimincho/DESCRIPTION.en_us.html +++ b/ofl/sawarabimincho/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Sawarabi Mincho (さわらび明朝) is a Japanese font by mshio. -With a delicate and beautiful design, it is suitable for text and headline usage. -It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. -Only 2,250 kanji are available in this version, and the project is under active development. -There is also another related family, Sawarabi Gothic. + + Sawarabi Mincho + + (さわらび明朝) is a Japanese font by + + mshio + + . + With a delicate and beautiful design, it is suitable for text and headline usage. + It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs. + Only 2,250 kanji are available in this version, and the project is under active development. + There is also another related family, Sawarabi Gothic.

-3,589 glyphs. -Now released under the SIL Open Font License. + 3,589 glyphs. + Now released under the SIL Open Font License.

diff --git a/ofl/scada/DESCRIPTION.en_us.html b/ofl/scada/DESCRIPTION.en_us.html index b2495940aa..00b523ac36 100644 --- a/ofl/scada/DESCRIPTION.en_us.html +++ b/ofl/scada/DESCRIPTION.en_us.html @@ -1,5 +1,10 @@ -

In 2005, Scada was designed as the corporate identity font for the Latvian -design studio Scada.lv. In 2011 the design -studio decided to make Scada a libre font. Over 6 months the font was -reworked, improved and expanded into a family. It has a modern style, -specifically designed for small sizes.

\ No newline at end of file +

+ In 2005, Scada was designed as the corporate identity font for the Latvian design studio + + Scada.lv + + . + In 2011 the design studio decided to make Scada a libre font. + Over 6 months the font was reworked, improved and expanded into a family. + It has a modern style, specifically designed for small sizes. +

diff --git a/ofl/scheherazadenew/DESCRIPTION.en_us.html b/ofl/scheherazadenew/DESCRIPTION.en_us.html index b80b265d17..9a7bf74009 100644 --- a/ofl/scheherazadenew/DESCRIPTION.en_us.html +++ b/ofl/scheherazadenew/DESCRIPTION.en_us.html @@ -1,10 +1,23 @@

-Scheherazade New is a traditional naskh typeface, supporting all Arabic script characters in Unicode 14.0. It is named after the heroine of the classic Arabian Nights tale. + Scheherazade New is a traditional naskh typeface, supporting all Arabic script characters in Unicode 14.0. + It is named after the heroine of the classic Arabian Nights tale.

-

In May 2022, the font has been upgraded, offering a more extensive glyphset.

-

The April 2023 upgrade brings two new weights: Medium and SemiBold. The language support is also improved.

-

-This font was developed by SIL, and you can learn more about it at software.sil.org/scheherazade. -To contribute, see github.com/silnrsi/font-scheherazade. + In May 2022, the font has been upgraded, offering a more extensive glyphset. +

+

+ The April 2023 upgrade brings two new weights: Medium and SemiBold. + The language support is also improved. +

+

+ This font was developed by SIL, and you can learn more about it at + + software.sil.org/scheherazade + + . + To contribute, see + + github.com/silnrsi/font-scheherazade + + .

diff --git a/ofl/schibstedgrotesk/DESCRIPTION.en_us.html b/ofl/schibstedgrotesk/DESCRIPTION.en_us.html index ffa20bdfd9..7f37249e09 100644 --- a/ofl/schibstedgrotesk/DESCRIPTION.en_us.html +++ b/ofl/schibstedgrotesk/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@ -

Schibsted Grotesk is a digital-first font family crafted for user interfaces. Taking visual cues from Schibsted's proud history of printed media as well as our pioneering digital nature, Schibsted Grotesk was designed to become an active tool that empowers brand ambassadors and inspires internal and external audiences.

- -

Schibsted Grotesk covers the Underware Latin Plus character set, using 4 masters distributed across weights and italics.

- -

To contribute, see github.com/schibsted/schibsted-grotesk.

+

+ Schibsted Grotesk is a digital-first font family crafted for user interfaces. + Taking visual cues from Schibsted's proud history of printed media as well as our pioneering digital nature, Schibsted Grotesk was designed to become an active tool that empowers brand ambassadors and inspires internal and external audiences. +

+

+ Schibsted Grotesk covers the Underware Latin Plus character set, using 4 masters distributed across weights and italics. +

+

+ To contribute, see + + github.com/schibsted/schibsted-grotesk + + . +

diff --git a/ofl/scopeone/DESCRIPTION.en_us.html b/ofl/scopeone/DESCRIPTION.en_us.html index 62d7a64308..58762c27ec 100644 --- a/ofl/scopeone/DESCRIPTION.en_us.html +++ b/ofl/scopeone/DESCRIPTION.en_us.html @@ -1,15 +1,22 @@

-Scope One is a light slab serif typeface with elegant expressions that make it broadly useful for many different contexts. -The design is optimized for titling and display usage and is ideally used at 14 points and above. -The tall vertical proportions of the lowercase mean that it can be used in a way similar to small caps, giving a more refined typographic impression. + Scope One is a light slab serif typeface with elegant expressions that make it broadly useful for many different contexts. + The design is optimized for titling and display usage and is ideally used at 14 points and above. + The tall vertical proportions of the lowercase mean that it can be used in a way similar to small caps, giving a more refined typographic impression.

-It supports a broad range of languages using the Latin writing system. -The font has been enhanced for good on-screen display quality, and has been tested extensively in a variety of on-screen and print environments. -

-Scope One is a Dalton Maag original design commissioned by Google Fonts for use in presentation slide decks. -A foundry specimen is maintained at daltonmaag.github.io/scope-one + It supports a broad range of languages using the Latin writing system. + The font has been enhanced for good on-screen display quality, and has been tested extensively in a variety of on-screen and print environments. +

+ Scope One is a Dalton Maag original design commissioned by Google Fonts for use in presentation slide decks. + A foundry specimen is maintained at + + daltonmaag.github.io/scope-one + +

+

+ To contribute, see + + github.com/daltonmaag/scope-one + +

-

-To contribute, see github.com/daltonmaag/scope-one -

\ No newline at end of file diff --git a/ofl/seaweedscript/DESCRIPTION.en_us.html b/ofl/seaweedscript/DESCRIPTION.en_us.html index e8e5dc53b4..48a2152246 100644 --- a/ofl/seaweedscript/DESCRIPTION.en_us.html +++ b/ofl/seaweedscript/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

Hear that? That's the sound of tropical ocean breezes as they whistle gently through your laptop! Grab a mai-tai, a hammock under a swaying palm tree and let your hair down as your fingers gently caress the keyboard just like seaweed! Enjoy Seaweed Script when a rustic tropical beachside script is called for and watch out for Squid!

Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact the Font Diner.

\ No newline at end of file +

+ Hear that? + That's the sound of tropical ocean breezes as they whistle gently through your laptop! + Grab a mai-tai, a hammock under a swaying palm tree and let your hair down as your fingers gently caress the keyboard just like seaweed! + Enjoy Seaweed Script when a rustic tropical beachside script is called for and watch out for Squid! +

+

+ Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.) To contribute to the project, contact the + + Font Diner + + . +

diff --git a/ofl/secularone/DESCRIPTION.en_us.html b/ofl/secularone/DESCRIPTION.en_us.html index 04b16482f6..08b9aaf292 100644 --- a/ofl/secularone/DESCRIPTION.en_us.html +++ b/ofl/secularone/DESCRIPTION.en_us.html @@ -1,13 +1,16 @@

-Secular One is an original Hebrew and Latin humanistic sans serif typeface with a single weight. -At the time of publication (2016) there were not yet many Hebrew sans serif text typefaces. -The designer Michal Sahar wanted to create a fresh, “easy going” design, simple but not neutral, friendly but not flattering or over-styled, straight but not too much… and highly readable in small sizes and long paragraphs. -The Secular letterforms work equally well when used at large sizes where the delicate and eccentric elements are revealed, making it useful for branding purposes as well as typsetting long-form texts. + Secular One is an original Hebrew and Latin humanistic sans serif typeface with a single weight. + At the time of publication (2016) there were not yet many Hebrew sans serif text typefaces. + The designer Michal Sahar wanted to create a fresh, “easy going” design, simple but not neutral, friendly but not flattering or over-styled, straight but not too much… and highly readable in small sizes and long paragraphs. + The Secular letterforms work equally well when used at large sizes where the delicate and eccentric elements are revealed, making it useful for branding purposes as well as typsetting long-form texts.

- -

The June 2023 update features a bigger glyphset and some small fixes.

-

-The Secular project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. -To contribute, see github.com/MichalSahar/Secular + The June 2023 update features a bigger glyphset and some small fixes. +

+

+ The Secular project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. + To contribute, see + + github.com/MichalSahar/Secular +

diff --git a/ofl/sedan/DESCRIPTION.en_us.html b/ofl/sedan/DESCRIPTION.en_us.html index ad83735f0c..fb864c10ed 100644 --- a/ofl/sedan/DESCRIPTION.en_us.html +++ b/ofl/sedan/DESCRIPTION.en_us.html @@ -1,7 +1,16 @@ -

Sedan is a serif typeface.

- -

Sedan SC -is also available, a small caps sister family.

- -

To contribute to the project contact -Sebastian Salazar.

\ No newline at end of file +

+ Sedan is a serif typeface. +

+

+ + Sedan SC + + is also available, a small caps sister family. +

+

+ To contribute to the project contact + + Sebastian Salazar + + . +

diff --git a/ofl/sedansc/DESCRIPTION.en_us.html b/ofl/sedansc/DESCRIPTION.en_us.html index 14e6253008..24dd7bfbf8 100644 --- a/ofl/sedansc/DESCRIPTION.en_us.html +++ b/ofl/sedansc/DESCRIPTION.en_us.html @@ -1,7 +1,16 @@ -

Sedan SC is a serif typeface.

- -

Sedan -is also available, the regular style sister family.

- -

To contribute to the project contact -Sebastian Salazar.

\ No newline at end of file +

+ Sedan SC is a serif typeface. +

+

+ + Sedan + + is also available, the regular style sister family. +

+

+ To contribute to the project contact + + Sebastian Salazar + + . +

diff --git a/ofl/sedgwickave/DESCRIPTION.en_us.html b/ofl/sedgwickave/DESCRIPTION.en_us.html index bfedaf0fc8..1c35a2be57 100644 --- a/ofl/sedgwickave/DESCRIPTION.en_us.html +++ b/ofl/sedgwickave/DESCRIPTION.en_us.html @@ -1,5 +1,7 @@

-The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: -This is Sedgwick Ave, ideal for text size usage, and accompanied by -Sedgwick Ave Display, intended for larger size usage. + The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave, ideal for text size usage, and accompanied by + + Sedgwick Ave Display + + , intended for larger size usage.

diff --git a/ofl/sedgwickavedisplay/DESCRIPTION.en_us.html b/ofl/sedgwickavedisplay/DESCRIPTION.en_us.html index efa8cba364..ec36e532ef 100644 --- a/ofl/sedgwickavedisplay/DESCRIPTION.en_us.html +++ b/ofl/sedgwickavedisplay/DESCRIPTION.en_us.html @@ -1,5 +1,7 @@

-The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: -This is Sedgwick Ave Display, intended for larger size usage, accompanied by -Sedgwick Ave, ideal for text size usage. + The Sedgwick Ave project expresses handwritten graffiti letterforms with two designs: This is Sedgwick Ave Display, intended for larger size usage, accompanied by + + Sedgwick Ave + + , ideal for text size usage.

diff --git a/ofl/sen/DESCRIPTION.en_us.html b/ofl/sen/DESCRIPTION.en_us.html index af5937c587..9d823a66a7 100644 --- a/ofl/sen/DESCRIPTION.en_us.html +++ b/ofl/sen/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

Sen – a Geohumanist sans, is Philatype’s first typeface released under the SIL Open Font License (OFL).

- -

Sen is a geometrically constructed sans-serif with a sensible, friendly look. Think of it as a more neutral version of geometric classics such as Avenir or Futura with a humanist touch. It’s unassuming, unique, and most importantly, easy to read.

- -

In June 2023, the font is updated as a variable font, going from Regular to ExtraBold.

- -

To contribute, please see github.com/philatype/Sen.

+

+ Sen – a Geohumanist sans, is Philatype’s first typeface released under the SIL Open Font License (OFL). +

+

+ Sen is a geometrically constructed sans-serif with a sensible, friendly look. + Think of it as a more neutral version of geometric classics such as Avenir or Futura with a humanist touch. + It’s unassuming, unique, and most importantly, easy to read. +

+

+ In June 2023, the font is updated as a variable font, going from Regular to ExtraBold. +

+

+ To contribute, please see + + github.com/philatype/Sen + + . +

diff --git a/ofl/sendflowers/DESCRIPTION.en_us.html b/ofl/sendflowers/DESCRIPTION.en_us.html index 2f7d058622..68387f483a 100644 --- a/ofl/sendflowers/DESCRIPTION.en_us.html +++ b/ofl/sendflowers/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Send Flowers is a mono-weight script font with clean connecting strokes and a highly legible style. It has a cute look, but since it is a cursive it has a bit more sophistication that is appropriate for an older audience. It's old school juvenile, with a delicate appeal. + Send Flowers is a mono-weight script font with clean connecting strokes and a highly legible style. + It has a cute look, but since it is a cursive it has a bit more sophistication that is appropriate for an older audience. + It's old school juvenile, with a delicate appeal.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/send-flowers. + To contribute, see + + github.com/googlefonts/send-flowers + + .

diff --git a/ofl/sevillana/DESCRIPTION.en_us.html b/ofl/sevillana/DESCRIPTION.en_us.html index f7b0074373..523c49df5c 100644 --- a/ofl/sevillana/DESCRIPTION.en_us.html +++ b/ofl/sevillana/DESCRIPTION.en_us.html @@ -1 +1,23 @@ -

Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia.

Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable.

Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc.

Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.

\ No newline at end of file +

+ Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. + The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia. +

+

+ Those ceramic plates are handmade and each one is unique. + Individual handwriting may vary but the style is always recognizable. +

+

+ Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc. +

+

+ Designed by + + Olga Umpeleva + + for Brownfox. + To contribute to the project contact + + Gayaneh Bagdasaryan + + . +

diff --git a/ofl/seymourone/DESCRIPTION.en_us.html b/ofl/seymourone/DESCRIPTION.en_us.html index e9273d224a..05d5cb8436 100644 --- a/ofl/seymourone/DESCRIPTION.en_us.html +++ b/ofl/seymourone/DESCRIPTION.en_us.html @@ -1,14 +1,22 @@ -

Seymour One is derived from the earlier webfont -Sigmar One, -but the forms have also been influenced by late nineteenth and early twentieth -century British sans-serif typefaces. The result is a display face that is -ideal for bold, unpretentious, and slightly playful display typography. -Seymour One is designed to be used conventionally but also as an 'all caps' -font.

- -

Seymour One is designed to be used freely across the internet by web -browsers on desktop computers, laptops and mobile devices.

- -

The August 2023 update features a bigger glyphset and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/seymourFont.

+

+ Seymour One is derived from the earlier webfont + + Sigmar One + + , but the forms have also been influenced by late nineteenth and early twentieth century British sans-serif typefaces. + The result is a display face that is ideal for bold, unpretentious, and slightly playful display typography. + Seymour One is designed to be used conventionally but also as an 'all caps' font. +

+

+ Seymour One is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ The August 2023 update features a bigger glyphset and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/seymourFont + + . +

diff --git a/ofl/shadowsintolight/DESCRIPTION.en_us.html b/ofl/shadowsintolight/DESCRIPTION.en_us.html index 7753eedaf9..346e53d4ac 100644 --- a/ofl/shadowsintolight/DESCRIPTION.en_us.html +++ b/ofl/shadowsintolight/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

This clean, neat handwriting font has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.

\ No newline at end of file +

+ This clean, neat handwriting font has a feminine feel with nice rounded edges and curves. + It is perfect for adding a personalized touch to your project. +

diff --git a/ofl/shadowsintolighttwo/DESCRIPTION.en_us.html b/ofl/shadowsintolighttwo/DESCRIPTION.en_us.html index 55baf98b2f..102e181161 100644 --- a/ofl/shadowsintolighttwo/DESCRIPTION.en_us.html +++ b/ofl/shadowsintolighttwo/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

A totally revised and updated version of this popular clean, neat handwriting font. It has a feminine feel with nice rounded edges and curves. It is perfect for adding a personalized touch to your project.

\ No newline at end of file +

+ A totally revised and updated version of this popular clean, neat handwriting font. + It has a feminine feel with nice rounded edges and curves. + It is perfect for adding a personalized touch to your project. +

diff --git a/ofl/shalimar/DESCRIPTION.en_us.html b/ofl/shalimar/DESCRIPTION.en_us.html index c0a1f5f5c3..3cdc33c7f5 100644 --- a/ofl/shalimar/DESCRIPTION.en_us.html +++ b/ofl/shalimar/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Shalimar is an upright script inspired by the calligraphic strokes of a flat nib pen. There are script style capitals that may be substituted by more Roman forms with the stylistic set. + Shalimar is an upright script inspired by the calligraphic strokes of a flat nib pen. + There are script style capitals that may be substituted by more Roman forms with the stylistic set.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/shalimar. + To contribute, see + + github.com/googlefonts/shalimar + + .

diff --git a/ofl/shantellsans/DESCRIPTION.en_us.html b/ofl/shantellsans/DESCRIPTION.en_us.html index 93ef909875..887c83a440 100644 --- a/ofl/shantellsans/DESCRIPTION.en_us.html +++ b/ofl/shantellsans/DESCRIPTION.en_us.html @@ -1,24 +1,42 @@

-Shantell Sans, from Shantell Martin, is a marker-style font built for creative expression, typographic play, and animation. + Shantell Sans, from + + Shantell Martin + + , is a marker-style font built for creative expression, typographic play, and animation.

-It includes Latin and Cyrillic characters to support a wide array of languages throughout the Americas, Europe, Central Asia, and Vietnam. + It includes Latin and Cyrillic characters to support a wide array of languages throughout the Americas, Europe, Central Asia, and Vietnam.

-To learn more about Shantell Sans and read about the design process behind it, check out its website at: + To learn more about Shantell Sans and read about the design process behind it, check out its website at:

-→ shantellsans.com + → + + shantellsans.com +

-Project conception & creative direction by Shantell Martin, based on her artwork, handwriting, and creative philosophy. + Project conception & creative direction by Shantell Martin, based on her artwork, handwriting, and creative philosophy.

-Type design & font development by Arrow Type. + Type design & font development by + + Arrow Type + + .

-Cyrillic design by Anya Danilova. + Cyrillic design by + + Anya Danilova + + .

-To contribute, see github.com/arrowtype/shantell-sans + To contribute, see + + github.com/arrowtype/shantell-sans +

diff --git a/ofl/shanti/DESCRIPTION.en_us.html b/ofl/shanti/DESCRIPTION.en_us.html index 5186672508..08b2ad1ad3 100644 --- a/ofl/shanti/DESCRIPTION.en_us.html +++ b/ofl/shanti/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Shanti One is a straightforward sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

- -

The September 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/googlefonts/ShantiFont.

+

+ Shanti One is a straightforward sans serif designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ The September 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/googlefonts/ShantiFont + + . +

diff --git a/ofl/share/DESCRIPTION.en_us.html b/ofl/share/DESCRIPTION.en_us.html index 59a0723e11..7d0d1a87f5 100644 --- a/ofl/share/DESCRIPTION.en_us.html +++ b/ofl/share/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Share is a sans serif family. There are two more related families, -Share Tech and -Share Tech Mono.

\ No newline at end of file +

+ Share is a sans serif family. + There are two more related families, + + Share Tech + + and + + Share Tech Mono + + . +

diff --git a/ofl/sharetech/DESCRIPTION.en_us.html b/ofl/sharetech/DESCRIPTION.en_us.html index ecd27becec..4f2eae530f 100644 --- a/ofl/sharetech/DESCRIPTION.en_us.html +++ b/ofl/sharetech/DESCRIPTION.en_us.html @@ -1,4 +1,12 @@ -

Share Tech is a sans serif, based on the -Share family. -There is also -Share Tech Mono.

\ No newline at end of file +

+ Share Tech is a sans serif, based on the + + Share + + family. + There is also + + Share Tech Mono + + . +

diff --git a/ofl/sharetechmono/DESCRIPTION.en_us.html b/ofl/sharetechmono/DESCRIPTION.en_us.html index 1f4f703d92..8b15da80d1 100644 --- a/ofl/sharetechmono/DESCRIPTION.en_us.html +++ b/ofl/sharetechmono/DESCRIPTION.en_us.html @@ -1,8 +1,18 @@

-Share Tech Mono is a monospaced sans serif, based on the Share family. -There is also Share Tech, a proportionally spaced version. + Share Tech Mono is a monospaced sans serif, based on the + + Share + + family. + There is also + + Share Tech + + , a proportionally spaced version.

-

-Updated, July 2015: 'fi' ligature issue fixed. + + Updated, July 2015: + + 'fi' ligature issue fixed.

diff --git a/ofl/shipporiantique/DESCRIPTION.en_us.html b/ofl/shipporiantique/DESCRIPTION.en_us.html index e60b450c50..0b141a16c5 100644 --- a/ofl/shipporiantique/DESCRIPTION.en_us.html +++ b/ofl/shipporiantique/DESCRIPTION.en_us.html @@ -1,9 +1,20 @@

-Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. + Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. + The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. + The Latin was designed in an old sans-serif style. + Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic.

-Shippori Antique is the standard version of the font. Shippori Antique B1 (https://fonts.google.com/specimen/Shippori+Antique+B1) has rounded corners and ink pooling. + Shippori Antique is the standard version of the font. + Shippori Antique B1 ( + + https://fonts.google.com/specimen/Shippori+Antique+B1 + + ) has rounded corners and ink pooling.

-To contribute to the project, visit github.com/fontdasu/ShipporiAntique + To contribute to the project, visit + + github.com/fontdasu/ShipporiAntique +

diff --git a/ofl/shipporiantiqueb1/DESCRIPTION.en_us.html b/ofl/shipporiantiqueb1/DESCRIPTION.en_us.html index 1b1467258c..5e4553142e 100644 --- a/ofl/shipporiantiqueb1/DESCRIPTION.en_us.html +++ b/ofl/shipporiantiqueb1/DESCRIPTION.en_us.html @@ -1,9 +1,20 @@

-Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. The Latin was designed in an old sans-serif style. Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic. + Shippori Antique follows long-established standards for dialogue in manga and was created to provide people who draw manga in Japan a beautiful antique font for free. + The Kana follow an antique, Ming Dynasty style design based on Shippori Mincho with thick lines. + The Latin was designed in an old sans-serif style. + Finally, the Kanji was created by modifying the SIL licensed Genseki Gothic.

-Shippori Antique B1 features rounded corners and ink pooling. Shippori Antique (https://fonts.google.com/specimen/Shippori+Antique) is the standard version of the font. + Shippori Antique B1 features rounded corners and ink pooling. + Shippori Antique ( + + https://fonts.google.com/specimen/Shippori+Antique + + ) is the standard version of the font.

-To contribute to the project, visit github.com/fontdasu/ShipporiAntique + To contribute to the project, visit + + github.com/fontdasu/ShipporiAntique +

diff --git a/ofl/shipporimincho/DESCRIPTION.en_us.html b/ofl/shipporimincho/DESCRIPTION.en_us.html index a2439f21a0..587b00af11 100644 --- a/ofl/shipporimincho/DESCRIPTION.en_us.html +++ b/ofl/shipporimincho/DESCRIPTION.en_us.html @@ -1,15 +1,28 @@

-Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. + Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. + It is based on The Tokyo Tsukiji Type Foundry No. + 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today.

-The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. + The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. + Eventually it became a family of 5 weights from Regular to Extra Bold.

-Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. + Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. + Alternate characters are also included for those who are particular about the characters. + The Kanji are based on the SIL licensed font, Genryu Mincho.

-Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. + Shippori Mincho is the standard version of the font. + Shippori Mincho B1 ( + + https://fonts.google.com/specimen/Shippori+Mincho+B1 + + ) has rounded corners and ink pooling.

-To contribute to the project, visit github.com/fontdasu/ShipporiMincho + To contribute to the project, visit + + github.com/fontdasu/ShipporiMincho +

diff --git a/ofl/shipporiminchob1/DESCRIPTION.en_us.html b/ofl/shipporiminchob1/DESCRIPTION.en_us.html index a2439f21a0..587b00af11 100644 --- a/ofl/shipporiminchob1/DESCRIPTION.en_us.html +++ b/ofl/shipporiminchob1/DESCRIPTION.en_us.html @@ -1,15 +1,28 @@

-Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. It is based on The Tokyo Tsukiji Type Foundry No. 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today. + Shippori Mincho is an old-style Mincho style created to provide novel writers in Japan a beautiful Mincho style for free. + It is based on The Tokyo Tsukiji Type Foundry No. + 5 Mincho style, which had a great influence on the Japanese Mincho style, which is widely used today.

-The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. Eventually it became a family of 5 weights from Regular to Extra Bold. + The Regular was originally designed for long-form text setting in novels and the Extra Bold was originally designed for titles and headlines. + Eventually it became a family of 5 weights from Regular to Extra Bold.

-Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. Alternate characters are also included for those who are particular about the characters. The Kanji are based on the SIL licensed font, Genryu Mincho. + Shippori Mincho is designed to be beautiful even when the characters are enlarged so that they can be used widely from amateurs to editorial designers. + Alternate characters are also included for those who are particular about the characters. + The Kanji are based on the SIL licensed font, Genryu Mincho.

-Shippori Mincho is the standard version of the font. Shippori Mincho B1 (https://fonts.google.com/specimen/Shippori+Mincho+B1) has rounded corners and ink pooling. + Shippori Mincho is the standard version of the font. + Shippori Mincho B1 ( + + https://fonts.google.com/specimen/Shippori+Mincho+B1 + + ) has rounded corners and ink pooling.

-To contribute to the project, visit github.com/fontdasu/ShipporiMincho + To contribute to the project, visit + + github.com/fontdasu/ShipporiMincho +

diff --git a/ofl/shizuru/DESCRIPTION.en_us.html b/ofl/shizuru/DESCRIPTION.en_us.html index df47ceb1b6..6ef8fb462e 100644 --- a/ofl/shizuru/DESCRIPTION.en_us.html +++ b/ofl/shizuru/DESCRIPTION.en_us.html @@ -1,11 +1,17 @@

-This is a font based on the handwritten sketch by handicapped artists, refined & created by design major students. -The unique lines create its exceptional atmosphere. + This is a font based on the handwritten sketch by handicapped artists, refined & created by design major students. + The unique lines create its exceptional atmosphere.

-This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. -The Shibuya Font Project official site is at shibuyafont.jp + This is one of the work of Shibuya Font project, a collaboration of design major students and handicapped artist living in Shibuya city, officially approved by Shibuya city in Tokyo. + The Shibuya Font Project official site is at + + shibuyafont.jp +

-To contribute to the project, visit github.com/shibuyafont/shizuru-font + To contribute to the project, visit + + github.com/shibuyafont/shizuru-font +

diff --git a/ofl/shojumaru/DESCRIPTION.en_us.html b/ofl/shojumaru/DESCRIPTION.en_us.html index a2992f4b50..23f00c1a96 100644 --- a/ofl/shojumaru/DESCRIPTION.en_us.html +++ b/ofl/shojumaru/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Shojumaru draws inspiration from a movie poster for a 1957 film titled Sayonara, starring Marlon Brando. It breaks the formula of a chop suey style by mixing chop suey and traditional letterforms to create a powerful and unique letterforms all its own.

\ No newline at end of file +

+ Shojumaru draws inspiration from a movie poster for a 1957 film titled Sayonara, starring Marlon Brando. + It breaks the formula of a chop suey style by mixing chop suey and traditional letterforms to create a powerful and unique letterforms all its own. +

diff --git a/ofl/shortstack/DESCRIPTION.en_us.html b/ofl/shortstack/DESCRIPTION.en_us.html index 9f7d194d41..68878dfda9 100644 --- a/ofl/shortstack/DESCRIPTION.en_us.html +++ b/ofl/shortstack/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. Short Stack is sturdy, and clear but also whimsical and fun. Short Stack works well from medium text sizes to larger display sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. + Short Stack is sturdy, and clear but also whimsical and fun. + Short Stack works well from medium text sizes to larger display sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/shrikhand/DESCRIPTION.en_us.html b/ofl/shrikhand/DESCRIPTION.en_us.html index 46f60c66b0..586d6b407d 100644 --- a/ofl/shrikhand/DESCRIPTION.en_us.html +++ b/ofl/shrikhand/DESCRIPTION.en_us.html @@ -1,13 +1,16 @@

-Shrikhand supports the Gujarati and Latin writing systems. -The name (શ્રીખંડ) is a sweet and creamy Gujarati dessert that is a particular favourite of the designer, Jonny Pinhorn. + Shrikhand supports the Gujarati and Latin writing systems. + The name (શ્રીખંડ) is a sweet and creamy Gujarati dessert that is a particular favourite of the designer, Jonny Pinhorn.

-In the three or four years prior to the initial development of this font in June 2015, Jonny lived in Ahmedabad, Gujarat, working for Indian Type Foundry. -During this time India had a profound effect on his design philosophy and general worldview. -Shrikhand is the culmination of three years absorbing the colourful and vibrant hand-painted lettering that can be seen on the streets in Gujarat. -Big, bold, and unapologetic, Shrikhand is a display type that evolved from discussions with colleagues about how good the Gujarati script looks when it is free to be as curvaceous and expressive as possible. + In the three or four years prior to the initial development of this font in June 2015, Jonny lived in Ahmedabad, Gujarat, working for Indian Type Foundry. + During this time India had a profound effect on his design philosophy and general worldview. + Shrikhand is the culmination of three years absorbing the colourful and vibrant hand-painted lettering that can be seen on the streets in Gujarat. + Big, bold, and unapologetic, Shrikhand is a display type that evolved from discussions with colleagues about how good the Gujarati script looks when it is free to be as curvaceous and expressive as possible.

-To contribute, see github.com/jonpinhorn/shrikhand -

\ No newline at end of file + To contribute, see + + github.com/jonpinhorn/shrikhand + +

diff --git a/ofl/siemreap/DESCRIPTION.en_us.html b/ofl/siemreap/DESCRIPTION.en_us.html index 2678062d56..0f0f2eae9b 100644 --- a/ofl/siemreap/DESCRIPTION.en_us.html +++ b/ofl/siemreap/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

The Siemreap fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language.

\ No newline at end of file +

+ The Siemreap fonts are designed for readable and beautiful rendering of text in the Khmer script, the national language of Cambodia. + The designer, + + Danh Hong + + , has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the + + KhmerOS + + project, dedicated to a vision where Cambodians can learn and use computers in their own language. +

diff --git a/ofl/sigmar/DESCRIPTION.en_us.html b/ofl/sigmar/DESCRIPTION.en_us.html index c818613262..b0b5fca3ff 100644 --- a/ofl/sigmar/DESCRIPTION.en_us.html +++ b/ofl/sigmar/DESCRIPTION.en_us.html @@ -1,3 +1,16 @@ -

Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. It's an improved version of Sigmar One, whose small caps have been replaced by basic lower cases, for the Summer of Type in 2023.

- -

To contribute, see github.com/googlefonts/sigmarone.

+

+ Sigmar is a casual, display specific webfont. + It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. + It's an improved version of + + Sigmar One + + , whose small caps have been replaced by basic lower cases, for the Summer of Type in 2023. +

+

+ To contribute, see + + github.com/googlefonts/sigmarone + + . +

diff --git a/ofl/sigmarone/DESCRIPTION.en_us.html b/ofl/sigmarone/DESCRIPTION.en_us.html index efaaa3f1da..78787e3eb6 100644 --- a/ofl/sigmarone/DESCRIPTION.en_us.html +++ b/ofl/sigmarone/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Sigmar is a casual, display specific webfont. It's design is based upon various fonts found in mid twentieth century pulp magazine advertising.

\ No newline at end of file +

+ Sigmar is a casual, display specific webfont. + It's design is based upon various fonts found in mid twentieth century pulp magazine advertising. +

diff --git a/ofl/signika/DESCRIPTION.en_us.html b/ofl/signika/DESCRIPTION.en_us.html index 1c0609263d..f30bb07268 100644 --- a/ofl/signika/DESCRIPTION.en_us.html +++ b/ofl/signika/DESCRIPTION.en_us.html @@ -1,15 +1,18 @@

- Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. - It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. - Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. + Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. + It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. + Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma.

- The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. - The figures are designed as tabular. + The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. + The figures are designed as tabular.

- In July 2023, a GRAD axis is added to solve the optical effects of negative text setting (dark color text on light background). + In July 2023, a GRAD axis is added to solve the optical effects of negative text setting (dark color text on light background).

- To contribute, see github.com/googlefonts/Signika + To contribute, see + + github.com/googlefonts/Signika +

diff --git a/ofl/signikanegative/DESCRIPTION.en_us.html b/ofl/signikanegative/DESCRIPTION.en_us.html index 48b475eabe..178cd92b2a 100644 --- a/ofl/signikanegative/DESCRIPTION.en_us.html +++ b/ofl/signikanegative/DESCRIPTION.en_us.html @@ -1,18 +1,19 @@

- Signika is a sans-serif with a gentle character, developed - for wayfinding, signage, and other media where clarity of information is required. - It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances - from the reader. - Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. + Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. + It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. + Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma.

- The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. - The figures are designed as tabular. + The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. + The figures are designed as tabular.

- Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text - setting, where the text in negative tends to look thicker. + Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker.

- The source code of Signika is available from Github. + The + + source code + + of Signika is available from Github.

diff --git a/ofl/signikanegativesc/DESCRIPTION.en_us.html b/ofl/signikanegativesc/DESCRIPTION.en_us.html index 48b475eabe..178cd92b2a 100644 --- a/ofl/signikanegativesc/DESCRIPTION.en_us.html +++ b/ofl/signikanegativesc/DESCRIPTION.en_us.html @@ -1,18 +1,19 @@

- Signika is a sans-serif with a gentle character, developed - for wayfinding, signage, and other media where clarity of information is required. - It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances - from the reader. - Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. + Signika is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. + It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. + Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma.

- The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. - The figures are designed as tabular. + The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. + The figures are designed as tabular.

- Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text - setting, where the text in negative tends to look thicker. + Signika Negative is an alternative version, optimized to solve the effect of juxtaposed positive and negative text setting, where the text in negative tends to look thicker.

- The source code of Signika is available from Github. + The + + source code + + of Signika is available from Github.

diff --git a/ofl/signikasc/DESCRIPTION.en_us.html b/ofl/signikasc/DESCRIPTION.en_us.html index 9c354b89f2..29ee119262 100644 --- a/ofl/signikasc/DESCRIPTION.en_us.html +++ b/ofl/signikasc/DESCRIPTION.en_us.html @@ -1,15 +1,19 @@

- Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. - It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. - Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma. + Signika variable font is a sans-serif with a gentle character, developed for wayfinding, signage, and other media where clarity of information is required. + It has a low contrast and tall x-height to improve readability of texts in small sizes as well as in large distances from the reader. + Being a typical signage typeface it is inspired by typefaces such as Ronnia, Meta, and Tahoma.

- The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. - The figures are designed as tabular. + The typeface comes with a wide character set supporting Western European languages, Polish, and Czech. + The figures are designed as tabular.

- The Negative variable axis is optimized to solve for the optical effects of negative text setting, where the text set in negative (light text on a dark background) tends to look slightly thicker than positive text. + The Negative variable axis is optimized to solve for the optical effects of negative text setting, where the text set in negative (light text on a dark background) tends to look slightly thicker than positive text.

- The source code of Signika is available from Github. + The + + source code + + of Signika is available from Github.

diff --git a/ofl/silkscreen/DESCRIPTION.en_us.html b/ofl/silkscreen/DESCRIPTION.en_us.html index 4a18dcdd42..250fc5bf0b 100644 --- a/ofl/silkscreen/DESCRIPTION.en_us.html +++ b/ofl/silkscreen/DESCRIPTION.en_us.html @@ -1,11 +1,22 @@

-Silkscreen is a pixel typeface that was designed for rendering type at small sizes for web graphics. It’s got a chunky, retro-computing look that also works well when you use it big. -Silkscreen includes two weights, regular and bold, that looks good on the web, mobile devices, and even in print. + Silkscreen is a pixel typeface that was designed for rendering type at small sizes for web graphics. + It’s got a chunky, retro-computing look that also works well when you use it big. + Silkscreen includes two weights, regular and bold, that looks good on the web, mobile devices, and even in print.

-Since its release in 1999, it has been used by companies like Flickr, Herman Miller, Volvo, and Adobe, by pop stars like Britney Spears and Carly Rae Jepsen, and in movies like The Bourne Legacy. + Since its release in 1999, it has been used by companies like Flickr, Herman Miller, Volvo, and Adobe, by pop stars like Britney Spears and Carly Rae Jepsen, and in movies like The Bourne Legacy. +

+

+ Learn more at + + www.kottke.org + + . +

+

+ To contribute, see + + github.com/googlefonts/silkscreen + + .

- -

Learn more at www.kottke.org.

- -

To contribute, see github.com/googlefonts/silkscreen.

diff --git a/ofl/simonetta/DESCRIPTION.en_us.html b/ofl/simonetta/DESCRIPTION.en_us.html index 997cfe356a..cc76c72d9a 100644 --- a/ofl/simonetta/DESCRIPTION.en_us.html +++ b/ofl/simonetta/DESCRIPTION.en_us.html @@ -1 +1,17 @@ -

The Simonetta font is named in honour of Simonetta Vespucci. She was considered to be the most beautiful woman in Renaissance Florence and was nicknamed 'La Bella Simonetta.' She was a model for Sandro Botticelli's painting 'The Birth of Venus' and many of his other female characters.

The Simonetta font is inspired by Italian Humanistic typefaces, but it is contemporary and has many original features. It has one-sided serifs and soft drops, is slightly slanted (some two degrees) and the Italics have the same slant. The Romans and Italics differ from each other only in their shapes, with the italics being much more calligraphic and angular.

Designed by Gayaneh Bagdasaryan for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.

\ No newline at end of file +

+ The Simonetta font is named in honour of Simonetta Vespucci. + She was considered to be the most beautiful woman in Renaissance Florence and was nicknamed 'La Bella Simonetta.' She was a model for Sandro Botticelli's painting 'The Birth of Venus' and many of his other female characters. +

+

+ The Simonetta font is inspired by Italian Humanistic typefaces, but it is contemporary and has many original features. + It has one-sided serifs and soft drops, is slightly slanted (some two degrees) and the Italics have the same slant. + The Romans and Italics differ from each other only in their shapes, with the italics being much more calligraphic and angular. +

+

+ Designed by Gayaneh Bagdasaryan for Brownfox. + To contribute to the project contact + + Gayaneh Bagdasaryan + + . +

diff --git a/ofl/singleday/DESCRIPTION.en_us.html b/ofl/singleday/DESCRIPTION.en_us.html index a1f4f3638c..fd9407524a 100644 --- a/ofl/singleday/DESCRIPTION.en_us.html +++ b/ofl/singleday/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Single Day is a Korean and Latin font.

\ No newline at end of file +

+ Single Day is a Korean and Latin font. +

diff --git a/ofl/sintony/DESCRIPTION.en_us.html b/ofl/sintony/DESCRIPTION.en_us.html index 55f128bcdc..b5fd2cbb5a 100644 --- a/ofl/sintony/DESCRIPTION.en_us.html +++ b/ofl/sintony/DESCRIPTION.en_us.html @@ -1,3 +1,4 @@ -

Sintony is a modern sans serif typeface, drawn with a slightly square -structure and smooth stroke modulation. Great for long passages of text, he -provides any text with a calm and clear feeling.

\ No newline at end of file +

+ Sintony is a modern sans serif typeface, drawn with a slightly square structure and smooth stroke modulation. + Great for long passages of text, he provides any text with a calm and clear feeling. +

diff --git a/ofl/sirinstencil/DESCRIPTION.en_us.html b/ofl/sirinstencil/DESCRIPTION.en_us.html index 63caec761a..7e0251c398 100644 --- a/ofl/sirinstencil/DESCRIPTION.en_us.html +++ b/ofl/sirinstencil/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Sirin Stencil is a display humanist sans typeface by Olga Karpushina with careful brush-inspired detailing. It is designed for large sizes, but works surprizingly well in small body copy, when its stencil gaps merge. Sirin will work well on colored backgrounds creating an optical 3D effect.

\ No newline at end of file +

+ Sirin Stencil is a display humanist sans typeface by Olga Karpushina with careful brush-inspired detailing. + It is designed for large sizes, but works surprizingly well in small body copy, when its stencil gaps merge. + Sirin will work well on colored backgrounds creating an optical 3D effect. +

diff --git a/ofl/sitara/DESCRIPTION.en_us.html b/ofl/sitara/DESCRIPTION.en_us.html index 052f09b797..b1d4911f16 100644 --- a/ofl/sitara/DESCRIPTION.en_us.html +++ b/ofl/sitara/DESCRIPTION.en_us.html @@ -1,13 +1,14 @@

-Sitara is a Devanagari and Latin typeface family, with swift strokes and delicate terminals that flare to a sharp point. + Sitara is a Devanagari and Latin typeface family, with swift strokes and delicate terminals that flare to a sharp point.

-

-The Devanagari glyphs are designed by Neelakash Kshetrimayum. -The Latin is from Steve Matteson at Monotype, originally published as Droid Serif. + The Devanagari glyphs are designed by Neelakash Kshetrimayum. + The Latin is from Steve Matteson at Monotype, originally published as Droid Serif.

-

-This project is led by Neelakash Kshetrimayum, a type designer based in New Delhi, India, who designs contemporary Indian typeface families. -To contribute, see github.com/Neelakash/sitara + This project is led by Neelakash Kshetrimayum, a type designer based in New Delhi, India, who designs contemporary Indian typeface families. + To contribute, see + + github.com/Neelakash/sitara +

diff --git a/ofl/sixcaps/DESCRIPTION.en_us.html b/ofl/sixcaps/DESCRIPTION.en_us.html index 704923d81f..7c0bcb5ede 100644 --- a/ofl/sixcaps/DESCRIPTION.en_us.html +++ b/ofl/sixcaps/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Six Caps is a highly condensed and tight display font. It is a stripped down and 'normalised' version of the classic grotesk display forms.

\ No newline at end of file +

+ Six Caps is a highly condensed and tight display font. + It is a stripped down and 'normalised' version of the classic grotesk display forms. +

diff --git a/ofl/sixtyfour/DESCRIPTION.en_us.html b/ofl/sixtyfour/DESCRIPTION.en_us.html index f4a4bd44f0..e195167787 100644 --- a/ofl/sixtyfour/DESCRIPTION.en_us.html +++ b/ofl/sixtyfour/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Sixtyfour and Workbench fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago.

- -

The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays.

- -

Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs.

- -

To contribute, see github.com/jenskutilek/homecomputer-fonts

+

+ Sixtyfour and + + Workbench + + fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. + They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. +

+

+ The fonts now include two custom axes: + + Scanlines + + , which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. + And + + Bleed + + to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. +

+

+ Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. +

+

+ To contribute, see + + github.com/jenskutilek/homecomputer-fonts + +

diff --git a/ofl/skranji/DESCRIPTION.en_us.html b/ofl/skranji/DESCRIPTION.en_us.html index 58477c7ae5..802598ad19 100644 --- a/ofl/skranji/DESCRIPTION.en_us.html +++ b/ofl/skranji/DESCRIPTION.en_us.html @@ -1,3 +1,7 @@ -

Like the call of Ricola being yodelled from the top of the Swiss Alps from a satisfied customer, Skranji soothes as it relieves all your design aches. Both primitive and exotic at the same time, Skranji evokes the thunder of Norse gods with the utility of a Swiss Army Knife!

- -

Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.)

\ No newline at end of file +

+ Like the call of Ricola being yodelled from the top of the Swiss Alps from a satisfied customer, Skranji soothes as it relieves all your design aches. + Both primitive and exotic at the same time, Skranji evokes the thunder of Norse gods with the utility of a Swiss Army Knife! +

+

+ Designed by Dave 'Squid' Cohen of Neapolitan (a DBA of Font Diner, Inc.) +

diff --git a/ofl/slabo13px/DESCRIPTION.en_us.html b/ofl/slabo13px/DESCRIPTION.en_us.html index 24623d1ceb..2c603bfbe9 100644 --- a/ofl/slabo13px/DESCRIPTION.en_us.html +++ b/ofl/slabo13px/DESCRIPTION.en_us.html @@ -1,2 +1,17 @@ -

Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name.

-

The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.

+

+ Slabo is a collection of size-specific fonts for use in online advertising and other web uses. + The collection currently includes this font, Slabo 13px, and + + Slabo 27px + + . + Each font in the collection is fine-tuned for use at the pixel size in its name. +

+

+ The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. + To contribute, see + + Slabo + + on GitHub. +

diff --git a/ofl/slabo27px/DESCRIPTION.en_us.html b/ofl/slabo27px/DESCRIPTION.en_us.html index 2929de3630..035ae3a66d 100644 --- a/ofl/slabo27px/DESCRIPTION.en_us.html +++ b/ofl/slabo27px/DESCRIPTION.en_us.html @@ -1,2 +1,17 @@ -

Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name.

-

The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.

+

+ Slabo is a collection of size-specific fonts for use in online advertising and other web uses. + The collection currently includes this font, Slabo 27px, and + + Slabo 13px + + . + Each font in the collection is fine-tuned for use at the pixel size in its name. +

+

+ The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. + To contribute, see + + Slabo + + on GitHub. +

diff --git a/ofl/slacksideone/DESCRIPTION.en_us.html b/ofl/slacksideone/DESCRIPTION.en_us.html index f4beb2dbd9..1627429488 100644 --- a/ofl/slacksideone/DESCRIPTION.en_us.html +++ b/ofl/slacksideone/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Newly designed only for Google Fonts: sophisticated handwritten Japanese font. Slackside means loose end. + Newly designed only for Google Fonts: sophisticated handwritten Japanese font. + Slackside means loose end.

-To contribute to the project, visit github.com/ManiackersDesign/slackside + To contribute to the project, visit + + github.com/ManiackersDesign/slackside +

diff --git a/ofl/smooch/DESCRIPTION.en_us.html b/ofl/smooch/DESCRIPTION.en_us.html index 008fbf0813..d1fa02dc2e 100644 --- a/ofl/smooch/DESCRIPTION.en_us.html +++ b/ofl/smooch/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Smooch is a brushy handwritten script font full of speedy personality. It has a contemporary feel often accomplished with stranded brush strokes. + Smooch is a brushy handwritten script font full of speedy personality. + It has a contemporary feel often accomplished with stranded brush strokes.

-It is slightly bolder than other hand-lettered scripts by its creator and has up to five stylistic sets as well as initial and final positional forms expanding its utility. + It is slightly bolder than other hand-lettered scripts by its creator and has up to five stylistic sets as well as initial and final positional forms expanding its utility.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/smooch. + To contribute, see + + github.com/googlefonts/smooch + + .

diff --git a/ofl/smoochsans/DESCRIPTION.en_us.html b/ofl/smoochsans/DESCRIPTION.en_us.html index a1d34373d4..5615c3cd25 100644 --- a/ofl/smoochsans/DESCRIPTION.en_us.html +++ b/ofl/smoochsans/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Smooch Sans was originally designed as a truncated font to be used to compliment the Smooch brush script file. It has been updated with an extensive character set and designed as a Variable font to a offer nine weight variations of this clean sans font. + Smooch Sans was originally designed as a truncated font to be used to compliment the Smooch brush script file. + It has been updated with an extensive character set and designed as a Variable font to a offer nine weight variations of this clean sans font.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/smooch-sans. + To contribute, see + + github.com/googlefonts/smooch-sans + + .

diff --git a/ofl/smythe/DESCRIPTION.en_us.html b/ofl/smythe/DESCRIPTION.en_us.html index 4fc8fbc028..3f3a75638f 100644 --- a/ofl/smythe/DESCRIPTION.en_us.html +++ b/ofl/smythe/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Smythe is a reworking and mashing together of various typefaces from the late nineteenth and early twentieth centuries that can be best described as 'Arts and Crafts', or, 'Art Deco'. Smythe also has a touch of Batfink too!

\ No newline at end of file +

+ Smythe is a reworking and mashing together of various typefaces from the late nineteenth and early twentieth centuries that can be best described as 'Arts and Crafts', or, 'Art Deco'. + Smythe also has a touch of Batfink too! +

diff --git a/ofl/sniglet/DESCRIPTION.en_us.html b/ofl/sniglet/DESCRIPTION.en_us.html index 92e5614971..5f0a236c09 100644 --- a/ofl/sniglet/DESCRIPTION.en_us.html +++ b/ofl/sniglet/DESCRIPTION.en_us.html @@ -1,5 +1,17 @@ -

A rounded display face that’s great for headlines.

- -

Updated September 2013: Originally designed in 2008 by Haley Fiege in Extra-bold. In 2013 Brenda Gallo and Pablo Impallari added 42 new glyphs, kerning, and a whole new Regular weight.

- -

To contribute to the project contact Pablo Impallari (impallari@gmail.com)

\ No newline at end of file +

+ A rounded display face that’s great for headlines. +

+

+ + Updated September 2013: + + Originally designed in 2008 by Haley Fiege in Extra-bold. + In 2013 Brenda Gallo and Pablo Impallari added 42 new glyphs, kerning, and a whole new Regular weight. +

+

+ To contribute to the project contact Pablo Impallari ( + + impallari@gmail.com + + ) +

diff --git a/ofl/snippet/DESCRIPTION.en_us.html b/ofl/snippet/DESCRIPTION.en_us.html index c99f0af9cd..9fe53eebe3 100644 --- a/ofl/snippet/DESCRIPTION.en_us.html +++ b/ofl/snippet/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Snippet’s light weight and unusual construction give texts a special flow and make you want to look twice! In headlines Snippet’s many details show and help you create a clean but witty look.

\ No newline at end of file +

+ Snippet’s light weight and unusual construction give texts a special flow and make you want to look twice! + In headlines Snippet’s many details show and help you create a clean but witty look. +

diff --git a/ofl/snowburstone/DESCRIPTION.en_us.html b/ofl/snowburstone/DESCRIPTION.en_us.html index f3806792aa..417050641d 100644 --- a/ofl/snowburstone/DESCRIPTION.en_us.html +++ b/ofl/snowburstone/DESCRIPTION.en_us.html @@ -1,12 +1,29 @@ -

Foundry: Sorkin Type Co

- -

Snowburst One is a low contrast serifed display typeface inspired by one of -Annet Stirling's distinctive styles of lettering. Snowburst One's personality -consistently shows in both small and large sizes. Because of the thin stokes -this font is best used from medium to large sizes. Despite its surprising -forms Snowburst is highly legible. Readers are likely to be both surprised and -entertained by its unusual but friendly forms.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Snowburst One is a low contrast serifed display typeface inspired by one of Annet Stirling's distinctive styles of lettering. + Snowburst One's personality consistently shows in both small and large sizes. + Because of the thin stokes this font is best used from medium to large sizes. + Despite its surprising forms Snowburst is highly legible. + Readers are likely to be both surprised and entertained by its unusual but friendly forms. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/sofadione/DESCRIPTION.en_us.html b/ofl/sofadione/DESCRIPTION.en_us.html index 5800684cd9..15ba89c283 100644 --- a/ofl/sofadione/DESCRIPTION.en_us.html +++ b/ofl/sofadione/DESCRIPTION.en_us.html @@ -1,3 +1,3 @@

-Sofadi is a fun font that blends jungle thoughts and liquid minds. + Sofadi is a fun font that blends jungle thoughts and liquid minds.

diff --git a/ofl/sofia/DESCRIPTION.en_us.html b/ofl/sofia/DESCRIPTION.en_us.html index ccc6bd2df1..f18f86152e 100644 --- a/ofl/sofia/DESCRIPTION.en_us.html +++ b/ofl/sofia/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Sofia designed by Paula Nazal and Daniel Hernández, is an upright script font with some unconventional ligatures. It is a coquettish, friendly and versatile typeface.

\ No newline at end of file +

+ Sofia designed by Paula Nazal and Daniel Hernández, is an upright script font with some unconventional ligatures. + It is a coquettish, friendly and versatile typeface. +

diff --git a/ofl/sofiasans/DESCRIPTION.en_us.html b/ofl/sofiasans/DESCRIPTION.en_us.html index e40416ba4f..5fc3b5b3bb 100644 --- a/ofl/sofiasans/DESCRIPTION.en_us.html +++ b/ofl/sofiasans/DESCRIPTION.en_us.html @@ -1,15 +1,33 @@

- Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. + Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths ( + + Normal + + , + + SemiCondensed + + , + + Condensed + + and + + ExtraCondensed + + ) with extended coverage of the Latin, Greek, and Cyrillic Scripts.

-

- Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. + Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting.

-

- With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. + With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. + Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others.

-

- To contribute, see github.com/lettersoup/Sofia-Sans. + To contribute, see + + github.com/lettersoup/Sofia-Sans + + .

diff --git a/ofl/sofiasanscondensed/DESCRIPTION.en_us.html b/ofl/sofiasanscondensed/DESCRIPTION.en_us.html index e40416ba4f..5fc3b5b3bb 100644 --- a/ofl/sofiasanscondensed/DESCRIPTION.en_us.html +++ b/ofl/sofiasanscondensed/DESCRIPTION.en_us.html @@ -1,15 +1,33 @@

- Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. + Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths ( + + Normal + + , + + SemiCondensed + + , + + Condensed + + and + + ExtraCondensed + + ) with extended coverage of the Latin, Greek, and Cyrillic Scripts.

-

- Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. + Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting.

-

- With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. + With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. + Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others.

-

- To contribute, see github.com/lettersoup/Sofia-Sans. + To contribute, see + + github.com/lettersoup/Sofia-Sans + + .

diff --git a/ofl/sofiasansextracondensed/DESCRIPTION.en_us.html b/ofl/sofiasansextracondensed/DESCRIPTION.en_us.html index e40416ba4f..5fc3b5b3bb 100644 --- a/ofl/sofiasansextracondensed/DESCRIPTION.en_us.html +++ b/ofl/sofiasansextracondensed/DESCRIPTION.en_us.html @@ -1,15 +1,33 @@

- Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. + Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths ( + + Normal + + , + + SemiCondensed + + , + + Condensed + + and + + ExtraCondensed + + ) with extended coverage of the Latin, Greek, and Cyrillic Scripts.

-

- Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. + Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting.

-

- With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. + With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. + Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others.

-

- To contribute, see github.com/lettersoup/Sofia-Sans. + To contribute, see + + github.com/lettersoup/Sofia-Sans + + .

diff --git a/ofl/sofiasanssemicondensed/DESCRIPTION.en_us.html b/ofl/sofiasanssemicondensed/DESCRIPTION.en_us.html index e40416ba4f..5fc3b5b3bb 100644 --- a/ofl/sofiasanssemicondensed/DESCRIPTION.en_us.html +++ b/ofl/sofiasanssemicondensed/DESCRIPTION.en_us.html @@ -1,15 +1,33 @@

- Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths (Normal, SemiCondensed, Condensed and ExtraCondensed) with extended coverage of the Latin, Greek, and Cyrillic Scripts. + Originaly designed as a typeface for the capital city of Bulgaria, Sofia Sans is a comprehensive type system in four widths ( + + Normal + + , + + SemiCondensed + + , + + Condensed + + and + + ExtraCondensed + + ) with extended coverage of the Latin, Greek, and Cyrillic Scripts.

-

- Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting. + Inspired by the early-twentieth-century so-called technical sans serifs typefaces with confident letterforms, a pronounced vertical impetus, and tense curves, Sofia Sans also has nice humanistic details and soft round corners that reminds print work with hot metal typesetting.

-

- With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others. + With narrow proportions and a generous x-height, is a space-saving workhorse that would work well in very diverse environments. + Sofia Sans is also a feature-rich OpenType family with a large character set including small caps, several figure styles, arrows, numerals in circles among others.

-

- To contribute, see github.com/lettersoup/Sofia-Sans. + To contribute, see + + github.com/lettersoup/Sofia-Sans + + .

diff --git a/ofl/solitreo/DESCRIPTION.en_us.html b/ofl/solitreo/DESCRIPTION.en_us.html index 8a5bb995b6..cb0b8d1dab 100644 --- a/ofl/solitreo/DESCRIPTION.en_us.html +++ b/ofl/solitreo/DESCRIPTION.en_us.html @@ -1,18 +1,42 @@

-This font was developed by the Documenting Judeo-Spanish Project. + This font was developed by the + + Documenting Judeo-Spanish Project + + .

-Documenting Judeo-Spanish is a digital humanities project that began in 2019 under the leadership of Dr. Bryan Kirschen. Recalling his initial fascination with Solitreo and the limited resources available to learn this script, Dr. Kirschen decided to focus this project on the cursive variety that was once common to speakers of Judeo-Spanish around the world. A nearly-extinct alphabet to an endangered language, this style of writing can be found in documents ranging from journal entries and ledgers to personal correspondence and community minutes. Many of these very documents are sitting in basements and attics today and, to the untrained eye, are mistaken for Hebrew. + Documenting Judeo-Spanish is a digital humanities project that began in 2019 under the leadership of Dr. + Bryan Kirschen. + Recalling his initial fascination with Solitreo and the limited resources available to learn this script, Dr. + Kirschen decided to focus this project on the cursive variety that was once common to speakers of Judeo-Spanish around the world. + A nearly-extinct alphabet to an endangered language, this style of writing can be found in documents ranging from journal entries and ledgers to personal correspondence and community minutes. + Many of these very documents are sitting in basements and attics today and, to the untrained eye, are mistaken for Hebrew.

-Judeo-Spanish (Ladino) refers to the variety of Spanish that developed among Jewish populations who were expelled from Spain in 1492 and subsequently settled throughout Turkey and the Balkans, then of the Ottoman Empire. These Jews, known as Sephardim, preserved many features of Medieval (varieties of) Spanish, while incorporating linguistic elements from the languages spoken in their surroundings, including: Turkish, Greek, Serbo-Croatian, French, Italian, and Arabic. As a Jewish language, the Spanish of the Sephardim has always been in contact with Hebrew. And while Judeo-Spanish may sound like other Romance languages, in writing, it would have traditionally appeared more similar to a Semitic language. + Judeo-Spanish (Ladino) refers to the variety of Spanish that developed among Jewish populations who were expelled from Spain in 1492 and subsequently settled throughout Turkey and the Balkans, then of the Ottoman Empire. + These Jews, known as Sephardim, preserved many features of Medieval (varieties of) Spanish, while incorporating linguistic elements from the languages spoken in their surroundings, including: Turkish, Greek, Serbo-Croatian, French, Italian, and Arabic. + As a Jewish language, the Spanish of the Sephardim has always been in contact with Hebrew. + And while Judeo-Spanish may sound like other Romance languages, in writing, it would have traditionally appeared more similar to a Semitic language.

-Solitreo refers to the Hebrew-based cursive script once used by Sephardim; it is the cursive variety of the Rashi alphabet. Solitreo, or Soletreo, is derived from Galician/Portuguese, meaning ‘to spell.’ For many Sephardim, Solitreo was simply known as ganchos, meaning ‘hooks,’ due to the ligatures that form between letters. This style of writing is distinct from the Ashkenazi-based alphabet used for cursive Hebrew today, making documents in Solitreo undecipherable to the untrained eye. A similar style of writing can also be found in documents written in Judeo-Arabic. Today, Solitreo is a relic of the past, as most writers of the language utilize Roman characters. + Solitreo refers to the Hebrew-based cursive script once used by Sephardim; it is the cursive variety of the Rashi alphabet. + Solitreo, or Soletreo, is derived from Galician/Portuguese, meaning ‘to spell.’ For many Sephardim, Solitreo was simply known as ganchos, meaning ‘hooks,’ due to the ligatures that form between letters. + This style of writing is distinct from the Ashkenazi-based alphabet used for cursive Hebrew today, making documents in Solitreo undecipherable to the untrained eye. + A similar style of writing can also be found in documents written in Judeo-Arabic. + Today, Solitreo is a relic of the past, as most writers of the language utilize Roman characters.

-Most non-Hebrew glyphs in this font were forked from Kalam. + Most non-Hebrew glyphs in this font were forked from + + Kalam + + .

-To contribute, see github.com/ladinoprojects/solitreo. + To contribute, see + + github.com/ladinoprojects/solitreo + + .

diff --git a/ofl/solway/DESCRIPTION.en_us.html b/ofl/solway/DESCRIPTION.en_us.html index 03582ef97f..3a92cf93d6 100644 --- a/ofl/solway/DESCRIPTION.en_us.html +++ b/ofl/solway/DESCRIPTION.en_us.html @@ -1,7 +1,18 @@ -

Solway is a playful slab-serif with a charming and understated tone of voice, inspired by the warmth of community and the idyll of rural-living.

- -

It is a contemporary family defined by the soft corners, ball terminals, rounded slabs that give it a welcoming and friendly appeal. Its monoline structure and minimal stroke contrast aspire to cohesion and stability.

- -

Available in five weights, it is suitable for a variety of projects. It could find perfect expression within lifestyle brands or nature, travel and foodie blogs.

- -

To contribute, see github.com/mashavp/Solway.

+

+ Solway is a playful slab-serif with a charming and understated tone of voice, inspired by the warmth of community and the idyll of rural-living. +

+

+ It is a contemporary family defined by the soft corners, ball terminals, rounded slabs that give it a welcoming and friendly appeal. + Its monoline structure and minimal stroke contrast aspire to cohesion and stability. +

+

+ Available in five weights, it is suitable for a variety of projects. + It could find perfect expression within lifestyle brands or nature, travel and foodie blogs. +

+

+ To contribute, see + + github.com/mashavp/Solway + + . +

diff --git a/ofl/sometypemono/DESCRIPTION.en_us.html b/ofl/sometypemono/DESCRIPTION.en_us.html index 981c453637..39d00960b4 100644 --- a/ofl/sometypemono/DESCRIPTION.en_us.html +++ b/ofl/sometypemono/DESCRIPTION.en_us.html @@ -1,5 +1,13 @@ -

Sometype Mono is a monospaced font family for coding and tabular layout.

- -

It is designed by Ryoichi Tsunekawa, a type designer based in Japan.

- -

To contribute, see github.com/googlefonts/sometype-mono.

+

+ Sometype Mono is a monospaced font family for coding and tabular layout. +

+

+ It is designed by Ryoichi Tsunekawa, a type designer based in Japan. +

+

+ To contribute, see + + github.com/googlefonts/sometype-mono + + . +

diff --git a/ofl/songmyung/DESCRIPTION.en_us.html b/ofl/songmyung/DESCRIPTION.en_us.html index c3c202ec3a..18579a5d5b 100644 --- a/ofl/songmyung/DESCRIPTION.en_us.html +++ b/ofl/songmyung/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Song Myung is a Korean and Latin font. The Latin is based on Source Serif Pro.

\ No newline at end of file +

+ Song Myung is a Korean and Latin font. + The Latin is based on + + Source Serif Pro + + . +

diff --git a/ofl/sono/DESCRIPTION.en_us.html b/ofl/sono/DESCRIPTION.en_us.html index 8a1132425a..0fc9e25b35 100644 --- a/ofl/sono/DESCRIPTION.en_us.html +++ b/ofl/sono/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Sono is a soft monospace (or proportional!) variable font. It has seven weights: ExtraLight through ExtraBold. -The default style is fixed-width (and obviously not kerned), but thanks to the "mono" axis, you can add kerning and make the design proportional.

-

To contribute, see github.com/sursly/sono.

+

+ Sono is a soft monospace (or proportional!) variable font. + It has seven weights: ExtraLight through ExtraBold. + The default style is fixed-width (and obviously not kerned), but thanks to the "mono" axis, you can add kerning and make the design proportional. +

+

+ To contribute, see + + github.com/sursly/sono + + . +

diff --git a/ofl/sonsieone/DESCRIPTION.en_us.html b/ofl/sonsieone/DESCRIPTION.en_us.html index 8d989e5c74..ed8efefcc5 100644 --- a/ofl/sonsieone/DESCRIPTION.en_us.html +++ b/ofl/sonsieone/DESCRIPTION.en_us.html @@ -1,7 +1,28 @@ -

Foundry: Sorkin Type Co

- -

Sonsie One is a heavy, medium contrast, large x-height script font. It was inspired by hand painted signs seen in Munich. Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. Sonsie One is best used for display purposes at medium to large sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Sonsie One is a heavy, medium contrast, large x-height script font. + It was inspired by hand painted signs seen in Munich. + Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. + Sonsie One is best used for display purposes at medium to large sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/sora/DESCRIPTION.en_us.html b/ofl/sora/DESCRIPTION.en_us.html index 43a6980c02..0777d8f3c9 100644 --- a/ofl/sora/DESCRIPTION.en_us.html +++ b/ofl/sora/DESCRIPTION.en_us.html @@ -1,3 +1,18 @@ -

Sora, meaning sky in Japanese, is a typeface family commissioned for the Sora decentralized autonomous economy focused on empowering projects that benefit society. Soramitsu, the developer of Sora, is a Japanese technology company specializing in blockchain development and well-known for creating the first central bank digital currency.

-

Sora typeface was designed to capture Soramitsu's spirit and heritage resulting in a type family with cues of low-resolution aesthetics and early screen typography but without nostalgia, as every decision was considered towards the crisp digital environment of today. The particularly big x-height combined with evidently generous counters turns the family into a convenient tool for app and web interfaces, where clarity and effectiveness at any size is an imperative.

-

To contribute, see github.com/sora-xor/sora-font

+

+ Sora, meaning sky in Japanese, is a typeface family commissioned for the + + Sora + + decentralized autonomous economy focused on empowering projects that benefit society. + Soramitsu, the developer of Sora, is a Japanese technology company specializing in blockchain development and well-known for creating the first central bank digital currency. +

+

+ Sora typeface was designed to capture Soramitsu's spirit and heritage resulting in a type family with cues of low-resolution aesthetics and early screen typography but without nostalgia, as every decision was considered towards the crisp digital environment of today. + The particularly big x-height combined with evidently generous counters turns the family into a convenient tool for app and web interfaces, where clarity and effectiveness at any size is an imperative. +

+

+ To contribute, see + + github.com/sora-xor/sora-font + +

diff --git a/ofl/sortsmillgoudy/DESCRIPTION.en_us.html b/ofl/sortsmillgoudy/DESCRIPTION.en_us.html index 9137427107..6d4bad79ed 100644 --- a/ofl/sortsmillgoudy/DESCRIPTION.en_us.html +++ b/ofl/sortsmillgoudy/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

A revival of Frederic Goudy's 'Goudy Oldstyle' with Regular and Italic styles, and extended Latin character coverage.

\ No newline at end of file +

+ A revival of Frederic Goudy's 'Goudy Oldstyle' with Regular and Italic styles, and extended Latin character coverage. +

diff --git a/ofl/souliyo/DESCRIPTION.en_us.html b/ofl/souliyo/DESCRIPTION.en_us.html index 3fb0b724fa..d8d45a593f 100644 --- a/ofl/souliyo/DESCRIPTION.en_us.html +++ b/ofl/souliyo/DESCRIPTION.en_us.html @@ -1,4 +1,8 @@ -

Souliyo is a Unicode Font for the Lao language, used in the Lao People's -Democratic Republic. It was designed by Souliyo -Vongdala with OpenType engineering support from Danh Hong.

\ No newline at end of file +

+ Souliyo is a Unicode Font for the Lao language, used in the Lao People's Democratic Republic. + It was designed by + + Souliyo Vongdala + + with OpenType engineering support from Danh Hong. +

diff --git a/ofl/sourcecodepro/DESCRIPTION.en_us.html b/ofl/sourcecodepro/DESCRIPTION.en_us.html index f06a462c99..521bf34fef 100644 --- a/ofl/sourcecodepro/DESCRIPTION.en_us.html +++ b/ofl/sourcecodepro/DESCRIPTION.en_us.html @@ -1,8 +1,24 @@ -

Source Code was designed by Paul D. Hunt as a companion to Source Sans.This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights.

- -

Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design.Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set.

- -

As an open source project, it is expected that incremental updates will be made over time to extend glyph set coverage and functionality. In 2019, we have updated the family to Roman v2.030 and Italic v1.050. This update now supports Greek, Cyrillic, Vietnamese and Italic styles.

- -

To contribute, see github.com/adobe-fonts/source-code-pro.

- +

+ Source Code was designed by Paul D. + Hunt as a companion to Source Sans.This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. + Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights. +

+

+ Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design.Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set. +

+

+ As an open source project, it is expected that incremental updates will be made over time to extend glyph set coverage and functionality. + In 2019, we have updated the family to + + Roman v2.030 and Italic v1.050 + + . + This update now supports Greek, Cyrillic, Vietnamese and Italic styles. +

+

+ To contribute, see + + github.com/adobe-fonts/source-code-pro + + . +

diff --git a/ofl/sourcesans3/DESCRIPTION.en_us.html b/ofl/sourcesans3/DESCRIPTION.en_us.html index 68b7229ea7..7965613c69 100644 --- a/ofl/sourcesans3/DESCRIPTION.en_us.html +++ b/ofl/sourcesans3/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Source® Sans Pro, Adobe's first open source typeface family, was designed by Paul D. Hunt. It is a sans serif typeface intended to work well in user interfaces.

- -

To contribute, see github.com/adobe-fonts/source-sans

+

+ Source® Sans Pro, Adobe's first open source typeface family, was designed by Paul D. + Hunt. + It is a sans serif typeface intended to work well in user interfaces. +

+

+ To contribute, see + + github.com/adobe-fonts/source-sans + +

diff --git a/ofl/sourceserif4/DESCRIPTION.en_us.html b/ofl/sourceserif4/DESCRIPTION.en_us.html index e6f0bd1418..eea3334c0a 100644 --- a/ofl/sourceserif4/DESCRIPTION.en_us.html +++ b/ofl/sourceserif4/DESCRIPTION.en_us.html @@ -1,7 +1,31 @@ -

Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans Pro family. The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age.

- -

Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grießhammer, Source Sans was designed by Paul Hunt. Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. Either design feels confident on its own but also works in combination with the other — just like their designers do.

- -

Source Serif continues Adobe’s line of high-quality open source typefaces. Designed for a digital environment, the letter shapes are simplified and highly readable. Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen.

- -

Source Serif is an active Open Source project – if you are interested in contributing, please visit source-serif-pro on Github for more information.

+

+ Source Serif 4 is a serif typeface in the transitional style, designed to complement the + + Source Sans Pro + + family. + The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color. + Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif. + Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age. +

+

+ Both typeface families have different personalities because they spring from the hands of different designers: Source Serif was designed by Frank Grießhammer, Source Sans was designed by Paul Hunt. + Robert Slimbach consulted on both designs, which helped maintain the overall family harmony. + Either design feels confident on its own but also works in combination with the other — just like their designers do. +

+

+ Source Serif continues + + Adobe’s line of high-quality open source typefaces + + . + Designed for a digital environment, the letter shapes are simplified and highly readable. + Its historical roots, combined with expert guidance give the typeface a strong character of its own that will shine when used for extended text on paper or screen. +

+

+ Source Serif is an active Open Source project – if you are interested in contributing, please visit + + source-serif-pro + + on Github for more information. +

diff --git a/ofl/spacegrotesk/DESCRIPTION.en_us.html b/ofl/spacegrotesk/DESCRIPTION.en_us.html index 875495c6b2..67d370b1ba 100644 --- a/ofl/spacegrotesk/DESCRIPTION.en_us.html +++ b/ofl/spacegrotesk/DESCRIPTION.en_us.html @@ -1,12 +1,21 @@

-Space Grotesk is a proportional sans-serif typeface variant based on Colophon Foundry's fixed-width Space Mono family (2016). Originally designed by Florian Karsten in 2018, Space Grotesk retains the monospace's idiosyncratic details while optimizing for improved readability at non-display sizes. + Space Grotesk is a proportional sans-serif typeface variant based on Colophon Foundry's fixed-width Space Mono family (2016). + Originally designed by Florian Karsten in 2018, Space Grotesk retains the monospace's idiosyncratic details while optimizing for improved readability at non-display sizes.

-→ floriankarsten.github.io/space-grotesk + + + → floriankarsten.github.io/space-grotesk + +

-Space Grotesk includes Latin Vietnamese, Pinyin, and all Western, Central, and South-Eastern European language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates). + Space Grotesk includes Latin Vietnamese, Pinyin, and all Western, Central, and South-Eastern European language support, as well as several OpenType features (old-style and tabular figures, superscript and subscript numerals, fractions, stylistic alternates).

-To contribute, see github.com/floriankarsten/space-grotesk. + To contribute, see + + github.com/floriankarsten/space-grotesk + + .

diff --git a/ofl/spacemono/DESCRIPTION.en_us.html b/ofl/spacemono/DESCRIPTION.en_us.html index 167d02e9fb..f383709815 100644 --- a/ofl/spacemono/DESCRIPTION.en_us.html +++ b/ofl/spacemono/DESCRIPTION.en_us.html @@ -1,20 +1,40 @@

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

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

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

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

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

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

\ No newline at end of file + To learn more, read + + Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts + + . +

diff --git a/ofl/spectral/DESCRIPTION.en_us.html b/ofl/spectral/DESCRIPTION.en_us.html index baa1efbbdc..237a56df8b 100644 --- a/ofl/spectral/DESCRIPTION.en_us.html +++ b/ofl/spectral/DESCRIPTION.en_us.html @@ -1,9 +1,18 @@

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

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

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

\ No newline at end of file + To learn more, read + + Spectral: A New Screen-First Typeface + + . +

diff --git a/ofl/spectralsc/DESCRIPTION.en_us.html b/ofl/spectralsc/DESCRIPTION.en_us.html index e275a80f7d..55c21620c6 100644 --- a/ofl/spectralsc/DESCRIPTION.en_us.html +++ b/ofl/spectralsc/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. -Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading. -Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. -

\ No newline at end of file + Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. + Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading. + Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. +

diff --git a/ofl/spicyrice/DESCRIPTION.en_us.html b/ofl/spicyrice/DESCRIPTION.en_us.html index 44e6145f4c..b374bb667f 100644 --- a/ofl/spicyrice/DESCRIPTION.en_us.html +++ b/ofl/spicyrice/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Casual and exciting, Spicy Rice has a festive flair to it that works for winter holidays as well as summertime jams. The extra heavy letterforms imbued with a little exotic flavor are waiting for you to bring it to the party!

\ No newline at end of file +

+ Casual and exciting, Spicy Rice has a festive flair to it that works for winter holidays as well as summertime jams. + The extra heavy letterforms imbued with a little exotic flavor are waiting for you to bring it to the party! +

diff --git a/ofl/spinnaker/DESCRIPTION.en_us.html b/ofl/spinnaker/DESCRIPTION.en_us.html index a61a77e461..6496238a9d 100644 --- a/ofl/spinnaker/DESCRIPTION.en_us.html +++ b/ofl/spinnaker/DESCRIPTION.en_us.html @@ -1,7 +1,31 @@ -

Foundry: Sorkin Type Co

- -

Spinnaker is based on French and UK lettering found on posters for travel by ship. Spinnaker is a low contrast and slightly wide Sans Serif design. It has a whimsy youthful sense of play to offer, in addition to the expected utility that a sans design commonly offers. Spinnaker is suitable for use in medium to large sizes.

Updated in January 2012.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Spinnaker is based on French and UK lettering found on posters for travel by ship. + Spinnaker is a low contrast and slightly wide Sans Serif design. + It has a whimsy youthful sense of play to offer, in addition to the expected utility that a sans design commonly offers. + Spinnaker is suitable for use in medium to large sizes. +

+

+ Updated in January 2012. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/spirax/DESCRIPTION.en_us.html b/ofl/spirax/DESCRIPTION.en_us.html index c61f5059bf..c96a406550 100644 --- a/ofl/spirax/DESCRIPTION.en_us.html +++ b/ofl/spirax/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@ -

In geometry, a spirax is a curved line starting from a central point and -moving progressively away and around that point. The Spirax font is inspired -in this concept, trying to make you feel that you can go away from your -starting point but you’ll never be foreign. Spirax has a pronounced contrast -and original curves. It can be used for headlines and shorter texts. Spirax is -cute at all sizes!

- -

Designed by Brenda -Gallo and Gustavo -Dipre.

\ No newline at end of file +

+ In geometry, a spirax is a curved line starting from a central point and moving progressively away and around that point. + The Spirax font is inspired in this concept, trying to make you feel that you can go away from your starting point but you’ll never be foreign. + Spirax has a pronounced contrast and original curves. + It can be used for headlines and shorter texts. + Spirax is cute at all sizes! +

+

+ Designed by + + Brenda Gallo + + and + + Gustavo Dipre + + . +

diff --git a/ofl/splash/DESCRIPTION.en_us.html b/ofl/splash/DESCRIPTION.en_us.html index 2afe067a8c..5658743611 100644 --- a/ofl/splash/DESCRIPTION.en_us.html +++ b/ofl/splash/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Inspired by the splatters that come from a heavily inked architectural ruling pen gliding along the surface of a highly textured watercolor page — Splash! Just as water droplets splash the ocean’s shore, no two splashes are exactly alike. The result is wonderfully organic and natural. + Inspired by the splatters that come from a heavily inked architectural ruling pen gliding along the surface of a highly textured watercolor page — Splash! + Just as water droplets splash the ocean’s shore, no two splashes are exactly alike. + The result is wonderfully organic and natural.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/splash. + To contribute, see + + github.com/googlefonts/splash + + .

diff --git a/ofl/splinesans/DESCRIPTION.en_us.html b/ofl/splinesans/DESCRIPTION.en_us.html index d35587770b..ca9bc30519 100644 --- a/ofl/splinesans/DESCRIPTION.en_us.html +++ b/ofl/splinesans/DESCRIPTION.en_us.html @@ -1,14 +1,21 @@

-Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. -Space efficiency is accomplished by condensing traditional grotesque proportions. -The cool and restrained tone is accented with strategic "thorn" traps, which blossom into view when set at larger sizes. -

+ Spline Sans is a grotesque sans serif typeface family, purpose-built for UI interfaces, checkout processes, and paragraphs of text. + Space efficiency is accomplished by condensing traditional grotesque proportions. + The cool and restrained tone is accented with strategic "thorn" traps, which blossom into view when set at larger sizes. +

-Spline Sans is an original typeface initiated by the Spline Team, and designed by Eben Sorkin and Mirko Velimirović, with project management by Faride Mereb, testing and design feedback by Gonçalo Teixeira, and concept by Alejandro León. + Spline Sans is an original typeface initiated by the + + Spline Team + + , and designed by Eben Sorkin and Mirko Velimirović, with project management by Faride Mereb, testing and design feedback by Gonçalo Teixeira, and concept by Alejandro León.

-Spline Sans supports an extended Latin glyph set, enabling the typesetting of English, Western, Central and Eastern European languages. + Spline Sans supports an extended Latin glyph set, enabling the typesetting of English, Western, Central and Eastern European languages.

-To contribute ideas and feedback, see github.com/SorkinType/SplineSans + To contribute ideas and feedback, see + + github.com/SorkinType/SplineSans +

diff --git a/ofl/splinesansmono/DESCRIPTION.en_us.html b/ofl/splinesansmono/DESCRIPTION.en_us.html index d6848180e9..b0d211b766 100644 --- a/ofl/splinesansmono/DESCRIPTION.en_us.html +++ b/ofl/splinesansmono/DESCRIPTION.en_us.html @@ -1,13 +1,23 @@

-Spline Sans Mono is a Monospaced Grotesque purpose-built for UI interfaces, checkout processes, and programming. The cool and restrained tone is accented with strategic "thorn" traps, which blossom into view when set at larger sizes. -

+ Spline Sans Mono is a Monospaced Grotesque purpose-built for UI interfaces, checkout processes, and programming. + The cool and restrained tone is accented with strategic "thorn" traps, which blossom into view when set at larger sizes. +

-Spline Sans Mono is an original typeface initiated by the Spline Team and designed by Eben Sorkin and Mirko Velimirovic. Project manager - Faride Mereb. Testing and design feedback - Gonçalo Teixeira. Concept - Alejandro León. + Spline Sans Mono is an original typeface initiated by the + + Spline Team + + and designed by Eben Sorkin and Mirko Velimirovic. + Project manager - Faride Mereb. + Testing and design feedback - Gonçalo Teixeira. + Concept - Alejandro León.

-Spline Sans Mono supports English, and Western European languages. + Spline Sans Mono supports English, and Western European languages.

-To contribute ideas and feedback, see github.com/SorkinType/SplineSansMono + To contribute ideas and feedback, see + + github.com/SorkinType/SplineSansMono +

- diff --git a/ofl/squadaone/DESCRIPTION.en_us.html b/ofl/squadaone/DESCRIPTION.en_us.html index 5f10cc41cc..0cf95c66bb 100644 --- a/ofl/squadaone/DESCRIPTION.en_us.html +++ b/ofl/squadaone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Squada One is the perfect font to make a lasting impression on any webpage. Its bold presence and geometric, condensed form allow for setting in any context. Squada One can be used at any size while still maintaining clarity and smoothness.

\ No newline at end of file +

+ Squada One is the perfect font to make a lasting impression on any webpage. + Its bold presence and geometric, condensed form allow for setting in any context. + Squada One can be used at any size while still maintaining clarity and smoothness. +

diff --git a/ofl/squarepeg/DESCRIPTION.en_us.html b/ofl/squarepeg/DESCRIPTION.en_us.html index f7a751b5bb..44c26349db 100644 --- a/ofl/squarepeg/DESCRIPTION.en_us.html +++ b/ofl/squarepeg/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-This happy font is great for scrapping and casual situations. Square Peg has a shaky, rough, and almost mono-weight with slightly heavier horizontal strokes. It's hand written style lends itself to situations that require playful and casual themes. + This happy font is great for scrapping and casual situations. + Square Peg has a shaky, rough, and almost mono-weight with slightly heavier horizontal strokes. + It's hand written style lends itself to situations that require playful and casual themes.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/square-peg. + To contribute, see + + github.com/googlefonts/square-peg + + .

diff --git a/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html b/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html index c1e5fd7691..00981e5a6c 100644 --- a/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html +++ b/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html @@ -1,12 +1,20 @@

-Sree Krushnadevaraya is a Telugu font suitable for headlines, invitations and posters and is best used in large sizes. -It is named after the king who encouraged Telugu literature and poetry through his court, Bhuavana-Vijayam. + Sree Krushnadevaraya is a Telugu font suitable for headlines, invitations and posters and is best used in large sizes. + It is named after the king who encouraged Telugu literature and poetry through his court, Bhuavana-Vijayam.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One. -The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as + + Cantata One + + . + The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.

-To contribute, see github.com/appajid/sreekrushnadevaraya. + To contribute, see + + github.com/appajid/sreekrushnadevaraya + + .

diff --git a/ofl/sriracha/DESCRIPTION.en_us.html b/ofl/sriracha/DESCRIPTION.en_us.html index f86469cf4d..6c10bca91b 100644 --- a/ofl/sriracha/DESCRIPTION.en_us.html +++ b/ofl/sriracha/DESCRIPTION.en_us.html @@ -1,13 +1,14 @@

-Sriracha is a new Thai + Latin handwriting typeface, with an informal loopless + sans serif design. -It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting. + Sriracha is a new Thai + Latin handwriting typeface, with an informal loopless + sans serif design. + It has 2 stylistic set alternate glyph designs and intelligent OpenType features to recreate the impression of handwriting.

-

-Thanks to Pablo Impallari for the initial OpenType handwriting feature development. + Thanks to Pablo Impallari for the initial OpenType handwriting feature development.

-

-The Sriracha project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/sriracha -

\ No newline at end of file + The Sriracha project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/sriracha + +

diff --git a/ofl/srisakdi/DESCRIPTION.en_us.html b/ofl/srisakdi/DESCRIPTION.en_us.html index 4d3c499447..009c4d6d82 100644 --- a/ofl/srisakdi/DESCRIPTION.en_us.html +++ b/ofl/srisakdi/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Srisakdi is a Thai and Latin family which was inspired by the Rattanakosin period. Its hand written appearance works well for articles of a retrospective nature.

+

+ Srisakdi is a Thai and Latin family which was inspired by the Rattanakosin period. + Its hand written appearance works well for articles of a retrospective nature. +

diff --git a/ofl/staatliches/DESCRIPTION.en_us.html b/ofl/staatliches/DESCRIPTION.en_us.html index f444cb65ca..bd647eddb2 100644 --- a/ofl/staatliches/DESCRIPTION.en_us.html +++ b/ofl/staatliches/DESCRIPTION.en_us.html @@ -1,5 +1,9 @@

-Staatliches is a clean cut display face with charmingly unconventional proportions. -The alphabet was designed in response to Herbert Bayer’s title lettering on the cover of the first Bauhaus exhibition catalogue, which was published in 1923. -It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents. + Staatliches is a clean cut display face with charmingly unconventional proportions. + The alphabet was designed in response to Herbert Bayer’s title lettering on the cover of the first Bauhaus exhibition + + catalogue + + , which was published in 1923. + It features full sets of capitals, numbers, punctuation, and symbols, in addition to alternate widths, discretionary ligatures, and common Latin accents.

diff --git a/ofl/stalemate/DESCRIPTION.en_us.html b/ofl/stalemate/DESCRIPTION.en_us.html index a222da6287..cb285a5d5c 100644 --- a/ofl/stalemate/DESCRIPTION.en_us.html +++ b/ofl/stalemate/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@ -

Stalemate is a script of vintage origins but still modern flair. This -script exudes confidence and carefree attitude and makes a bold -statement in any design.

- -

Designed by Jim Lyles for Astigmatic (AOETI).

- -

To contribute to the project contact -Brian J. Bonislawsky.

\ No newline at end of file +

+ Stalemate is a script of vintage origins but still modern flair. + This script exudes confidence and carefree attitude and makes a bold statement in any design. +

+

+ Designed by Jim Lyles for Astigmatic (AOETI). +

+

+ To contribute to the project contact + + Brian J. + Bonislawsky + + . +

diff --git a/ofl/stalinistone/DESCRIPTION.en_us.html b/ofl/stalinistone/DESCRIPTION.en_us.html index 764fc1f864..508fc492d4 100644 --- a/ofl/stalinistone/DESCRIPTION.en_us.html +++ b/ofl/stalinistone/DESCRIPTION.en_us.html @@ -1,15 +1,18 @@

-Imagine a post-apocalyptic world in the future. -Imagine hiding in the underground: people, dirty air and despair. -To transfer information, they still use fonts. -But they have become simple, with a utilitarian and strong spirit. -Stalinist is typeface for a post-apocalyptic time. -Stalinist is a font made in Moscow at the end of the 21st century. -That's the way it is. + Imagine a post-apocalyptic world in the future. + Imagine hiding in the underground: people, dirty air and despair. + To transfer information, they still use fonts. + But they have become simple, with a utilitarian and strong spirit. + Stalinist is typeface for a post-apocalyptic time. + Stalinist is a font made in Moscow at the end of the 21st century. + That's the way it is.

-Stalinist One was designed collaboratively between Alexey Maslov and Jovanny Lemonad. + Stalinist One was designed collaboratively between Alexey Maslov and Jovanny Lemonad.

-Updated September 2015: Internal metadata corrected. + + Updated September 2015: + + Internal metadata corrected.

diff --git a/ofl/stardosstencil/DESCRIPTION.en_us.html b/ofl/stardosstencil/DESCRIPTION.en_us.html index d452bd6287..d8ae38f87a 100644 --- a/ofl/stardosstencil/DESCRIPTION.en_us.html +++ b/ofl/stardosstencil/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Stardos is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems.

Stardos Stencil is a stencilled serif font designed to be used a display-only webfont. Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems.

\ No newline at end of file +

+ Stardos is a stencilled serif font designed to be used a display-only webfont. + Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems. +

+

+ Stardos Stencil is a stencilled serif font designed to be used a display-only webfont. + Stardos Stencil has been designed to be used freely across the internet by web browsers on desktop computers, laptops, mobile devices, and Cloud systems. +

diff --git a/ofl/stick/DESCRIPTION.en_us.html b/ofl/stick/DESCRIPTION.en_us.html index e8603b9a4d..784d289369 100644 --- a/ofl/stick/DESCRIPTION.en_us.html +++ b/ofl/stick/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-True to its name, Stick is designed with straight lines that create a cute and playful feel. The pastoral ambience also gives this font wide versatility for use in both paper mediums and digital content. + True to its name, Stick is designed with straight lines that create a cute and playful feel. + The pastoral ambience also gives this font wide versatility for use in both paper mediums and digital content.

-To contribute to the project, visit github.com/fontworks-fonts/Stick + To contribute to the project, visit + + github.com/fontworks-fonts/Stick +

diff --git a/ofl/sticknobills/DESCRIPTION.en_us.html b/ofl/sticknobills/DESCRIPTION.en_us.html index 47db532126..e1245d84ef 100644 --- a/ofl/sticknobills/DESCRIPTION.en_us.html +++ b/ofl/sticknobills/DESCRIPTION.en_us.html @@ -1,9 +1,20 @@

- Stick No Bills is a stencil style typeface supporting Sinhala and Latin scripts. - The Latin typeface was first developed by Mooniak as the bespoke brand typeface for Stick No Bills poster gallery in Galle, Sri Lanka. - Mooniak in collaboration with Stick No Bills open sourced the project and designed Sinhala glyph set to match the Latin set. + Stick No Bills is a stencil style typeface supporting Sinhala and Latin scripts. + The Latin typeface was first developed by Mooniak as the bespoke brand typeface for + + Stick No Bills + + poster gallery in Galle, Sri Lanka. + Mooniak in collaboration with Stick No Bills open sourced the project and designed Sinhala glyph set to match the Latin set.

- The project is led by Mooniak and is hosted and developed on Github - Mooniak welcomes suggestions and contributions to further develop the project. + The project is led by + + Mooniak + + and is hosted and developed on + + Github + + Mooniak welcomes suggestions and contributions to further develop the project.

diff --git a/ofl/stintultracondensed/DESCRIPTION.en_us.html b/ofl/stintultracondensed/DESCRIPTION.en_us.html index 3a13ca9fe3..74284ad4d5 100644 --- a/ofl/stintultracondensed/DESCRIPTION.en_us.html +++ b/ofl/stintultracondensed/DESCRIPTION.en_us.html @@ -1 +1,16 @@ -

Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle.

Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.

\ No newline at end of file +

+ Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the + + Syncopate Family + + . + While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. + This is the opposite of the + + Stint Ultra Expanded + + typestyle. +

+

+ Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs. +

diff --git a/ofl/stintultraexpanded/DESCRIPTION.en_us.html b/ofl/stintultraexpanded/DESCRIPTION.en_us.html index 195aba2410..1937a9a1e5 100644 --- a/ofl/stintultraexpanded/DESCRIPTION.en_us.html +++ b/ofl/stintultraexpanded/DESCRIPTION.en_us.html @@ -1 +1,23 @@ -

Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle.

Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern.

To contribute to the project contact Brian J. Bonislawsky at astigma@astigmatic.com

\ No newline at end of file +

+ Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the + + Syncopate Family + + . + Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. + This is the opposite of the + + Stint Ultra Condensed + + typestyle. +

+

+ Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern. +

+

+ To contribute to the project contact Brian J. + Bonislawsky at + + astigma@astigmatic.com + +

diff --git a/ofl/stixtwomath/DESCRIPTION.en_us.html b/ofl/stixtwomath/DESCRIPTION.en_us.html index 070d25e7f7..4b6b76a8e1 100644 --- a/ofl/stixtwomath/DESCRIPTION.en_us.html +++ b/ofl/stixtwomath/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. + The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields.

-The STIX Two fonts consist of one Math font, two variable text fonts (Roman and Italic), and eight static text (Regular to Bold in both roman and italic variants). Together, they provide a uniform set of fonts that can be used throughout the production process. + The STIX Two fonts consist of one Math font, two variable text fonts (Roman and Italic), and eight static text (Regular to Bold in both roman and italic variants). + Together, they provide a uniform set of fonts that can be used throughout the production process.

-The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. + The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. + These companies are collectively known as the STI Pub companies.

-To contribute, see github.com/stipub/stixfonts. + To contribute, see + + github.com/stipub/stixfonts + + .

diff --git a/ofl/stixtwotext/DESCRIPTION.en_us.html b/ofl/stixtwotext/DESCRIPTION.en_us.html index e15b07cb16..da794b6826 100644 --- a/ofl/stixtwotext/DESCRIPTION.en_us.html +++ b/ofl/stixtwotext/DESCRIPTION.en_us.html @@ -1,12 +1,18 @@

-The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields. + The Scientific and Technical Information eXchange (STIX) fonts are intended to satisfy the demanding needs of authors, publishers, printers, and others working in the scientific, medical, and technical fields.

-The STIX Two fonts consist of two variable text fonts (Roman and Italic), eight static text (Regular to Bold in both roman and italic variants) and one Math font (currently only available for direct download from the repository). Together, they provide a uniform set of fonts that can be used throughout the production process. + The STIX Two fonts consist of two variable text fonts (Roman and Italic), eight static text (Regular to Bold in both roman and italic variants) and one Math font (currently only available for direct download from the repository). + Together, they provide a uniform set of fonts that can be used throughout the production process.

-The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. These companies are collectively known as the STI Pub companies. + The STIX project began through the joint efforts of American Mathematical Society (AMS), American Institute of Physics (AIP), American Physical Society (APS), American Chemical Society (ACS), The Institute of Electrical and Electronic Engineers (IEEE), and Elsevier. + These companies are collectively known as the STI Pub companies.

-To contribute, see github.com/stipub/stixfonts. + To contribute, see + + github.com/stipub/stixfonts + + .

diff --git a/ofl/stoke/DESCRIPTION.en_us.html b/ofl/stoke/DESCRIPTION.en_us.html index 045a9904e6..cf3f7b3faf 100644 --- a/ofl/stoke/DESCRIPTION.en_us.html +++ b/ofl/stoke/DESCRIPTION.en_us.html @@ -1,9 +1,40 @@ -

Foundry: Sorkin Type Co

- -

Stoke is a semi-wide high contrast serifed text typeface. Stoke is inspired by letters found on 20th century UK posters showing an odd combination of seriousness of form and whimsical proportions and details. Stoke's low x height make it most suitable for use at medium to large sizes.

-

Stoke is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2: Eastern Europe, Turkish, Macintosh Character Set.

-

Stoke was updated in July 2012 with a slightly darker regular weight to allow ttfautohint to create high quality hinting for Windows. The optimization of the design for screen rendering involved changes to glyph sizes, letter spacing, and serif where bends were reduced to solve rendering problem in Windows XP. The character set was also expanded.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Stoke is a semi-wide high contrast serifed text typeface. + Stoke is inspired by letters found on 20th century UK posters showing an odd combination of seriousness of form and whimsical proportions and details. + Stoke's low x height make it most suitable for use at medium to large sizes. +

+

+ Stoke is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. + More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2: Eastern Europe, Turkish, Macintosh Character Set. +

+

+ Stoke was updated in July 2012 with a slightly darker regular weight to allow + + ttfautohint + + to create high quality hinting for Windows. + The optimization of the design for screen rendering involved changes to glyph sizes, letter spacing, and serif where bends were reduced to solve rendering problem in Windows XP. + The character set was also expanded. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/strait/DESCRIPTION.en_us.html b/ofl/strait/DESCRIPTION.en_us.html index 72c6fde32a..832d92e581 100644 --- a/ofl/strait/DESCRIPTION.en_us.html +++ b/ofl/strait/DESCRIPTION.en_us.html @@ -1,7 +1,14 @@ -

When the space available is small, Strait becomes very useful. A great -quality condensed typeface that is suitable for both display and text usage, -and with excellent reading performance at 12 point size.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/Strait.

+

+ When the space available is small, Strait becomes very useful. + A great quality condensed typeface that is suitable for both display and text usage, and with excellent reading performance at 12 point size. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/Strait + + . +

diff --git a/ofl/strong/DESCRIPTION.en_us.html b/ofl/strong/DESCRIPTION.en_us.html index 0edb4f8a5c..f6bf243606 100644 --- a/ofl/strong/DESCRIPTION.en_us.html +++ b/ofl/strong/DESCRIPTION.en_us.html @@ -1,5 +1,10 @@ -

Strong is a clean contemporary geometrical sans with humanist proportions. It -is designed mainly for headlines, navigation and short blocks of text over 14 -px.

Its features like splayed terminals and contour inflections improve -the overall dymamics of letterforms, which is especially appreciated in Cyrillic -script.

Designed by Roman Shchyukin from Gaslight.

+

+ Strong is a clean contemporary geometrical sans with humanist proportions. + It is designed mainly for headlines, navigation and short blocks of text over 14 px. +

+

+ Its features like splayed terminals and contour inflections improve the overall dymamics of letterforms, which is especially appreciated in Cyrillic script. +

+

+ Designed by Roman Shchyukin from Gaslight. +

diff --git a/ofl/stylescript/DESCRIPTION.en_us.html b/ofl/stylescript/DESCRIPTION.en_us.html index d83c1e65b7..4854310917 100644 --- a/ofl/stylescript/DESCRIPTION.en_us.html +++ b/ofl/stylescript/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics. + Style Script is a beautiful upright script with looks that vary from Casual to Formal in appearance. + It takes the look and simplicity of 1950s and 60s advertising and combines it with up to date design characteristics.

-With three main stylistic sets, Plain, Script and Formal, Style Script transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design. + With three main stylistic sets, Plain, Script and Formal, Style Script transforms the Retro look into a versatile, and powerful font that can be used for nostalgic work, or 21st Century design.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/style-script. + To contribute, see + + github.com/googlefonts/style-script + + .

diff --git a/ofl/stylish/DESCRIPTION.en_us.html b/ofl/stylish/DESCRIPTION.en_us.html index cca9ec01d1..631496aa8b 100644 --- a/ofl/stylish/DESCRIPTION.en_us.html +++ b/ofl/stylish/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Stylish is a Korean and Latin font

+

+ Stylish is a Korean and Latin font +

diff --git a/ofl/sueellenfrancisco/DESCRIPTION.en_us.html b/ofl/sueellenfrancisco/DESCRIPTION.en_us.html index 13bffe122d..077fb54f65 100644 --- a/ofl/sueellenfrancisco/DESCRIPTION.en_us.html +++ b/ofl/sueellenfrancisco/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Sue Ellen Francisco is a tall, skinny font based on my own handwriting. It was created in Adobe Illustrator, using a Wacom tablet. It is named after a nickname I used for a friend. It is one of my earlier fonts and is imperfect, but I still enjoy the tall, slender lines.

\ No newline at end of file +

+ Sue Ellen Francisco is a tall, skinny font based on my own handwriting. + It was created in Adobe Illustrator, using a Wacom tablet. + It is named after a nickname I used for a friend. + It is one of my earlier fonts and is imperfect, but I still enjoy the tall, slender lines. +

diff --git a/ofl/suezone/DESCRIPTION.en_us.html b/ofl/suezone/DESCRIPTION.en_us.html index 1b75d683ec..097ccbc579 100644 --- a/ofl/suezone/DESCRIPTION.en_us.html +++ b/ofl/suezone/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Suez One is an original Hebrew and Latin display serif typeface with a single weight. -The Hebrew design for a modern serif is inspired by Hebrew calligraphy. -It is intended for use in headline and display typography that needs a strong contemporary style. + Suez One is an original Hebrew and Latin display serif typeface with a single weight. + The Hebrew design for a modern serif is inspired by Hebrew calligraphy. + It is intended for use in headline and display typography that needs a strong contemporary style.

-The Suez project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. -To contribute, see github.com/MichalSahar/Suez -

\ No newline at end of file + The Suez project is led by Michal Sahar, a type designer based in Tel Aviv, Israel. + To contribute, see + + github.com/MichalSahar/Suez + +

diff --git a/ofl/sulphurpoint/DESCRIPTION.en_us.html b/ofl/sulphurpoint/DESCRIPTION.en_us.html index 01a12cb854..a6350c0613 100644 --- a/ofl/sulphurpoint/DESCRIPTION.en_us.html +++ b/ofl/sulphurpoint/DESCRIPTION.en_us.html @@ -1,10 +1,14 @@

-Sulphur Point is a geometric sans serif typeface, with low contrast stems, high x-height, restrained ascenders and descenders and minimal optical adjustments away from pure geometric form. Sulphur Point is intended for both display and copy use. + Sulphur Point is a geometric sans serif typeface, with low contrast stems, high x-height, restrained ascenders and descenders and minimal optical adjustments away from pure geometric form. + Sulphur Point is intended for both display and copy use.

-The typeface is the result of an exploration of theories of the political production of space as manifested in the port and recreational marine facilities of Sulphur Point in Tauranga, New Zealand. + The typeface is the result of an exploration of theories of the political production of space as manifested in the port and recreational marine facilities of Sulphur Point in Tauranga, New Zealand.

-The Sulphur Point project is led by Dale Sattler, a type designer based in New Zealand. -To contribute, see github.com/noponies/sulphur-point -

\ No newline at end of file + The Sulphur Point project is led by Dale Sattler, a type designer based in New Zealand. + To contribute, see + + github.com/noponies/sulphur-point + +

diff --git a/ofl/sumana/DESCRIPTION.en_us.html b/ofl/sumana/DESCRIPTION.en_us.html index 3334d12ffa..77d5e2629c 100644 --- a/ofl/sumana/DESCRIPTION.en_us.html +++ b/ofl/sumana/DESCRIPTION.en_us.html @@ -1,23 +1,26 @@

-Sumana is a family of Latin and Devanagari fonts for text setting and web usage. -Designed by Alexei Vanyashin in 2014-2015 for Cyreal. + Sumana is a family of Latin and Devanagari fonts for text setting and web usage. + Designed by Alexei Vanyashin in 2014-2015 for Cyreal.

-

-The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. -Its vertical and horizontal metrics are adjusted to better match with the Devanagari. -The meaning of Sumana in Sanskrit is flower, which is the meaning of Lora in Spanish. -It was quite a challenge to match the graphical characteristics of each script and took many iterations to finalise the first release. -I tried to keep the Devanagari closer to a traditional Indian calligraphic model while flavouring it with graphic solutions derived from Lora's Latin. + The Latin counterpart is derived from Lora by Olga Karpushina, Cyreal. + Its vertical and horizontal metrics are adjusted to better match with the Devanagari. + The meaning of Sumana in Sanskrit is flower, which is the meaning of Lora in Spanish. + It was quite a challenge to match the graphical characteristics of each script and took many iterations to finalise the first release. + I tried to keep the Devanagari closer to a traditional Indian calligraphic model while flavouring it with graphic solutions derived from Lora's Latin.

-

-It is my first attempt to design a Devanagari, and I am thankful to Google Fonts for making this project happen, and to all experts who consulted with me on this project, including: -Fiona Ross, Eric McLaughlin, Vaishnavi Murthy, Pria Ravichandran, and Wei Huang. -The comments and revision history can be found in this discussion in the Google Fonts forum. + It is my first attempt to design a Devanagari, and I am thankful to Google Fonts for making this project happen, and to all experts who consulted with me on this project, including: Fiona Ross, Eric McLaughlin, Vaishnavi Murthy, Pria Ravichandran, and Wei Huang. + The comments and revision history can be found in + + this discussion in the Google Fonts forum + + .

-

-This project is led by Cyreal, an international type foundry focused on designing contemporary Latin and Cyrillic typefaces. -To contribute, visit github.com/cyrealtype/Sumana + This project is led by Cyreal, an international type foundry focused on designing contemporary Latin and Cyrillic typefaces. + To contribute, visit + + github.com/cyrealtype/Sumana +

diff --git a/ofl/sunflower/DESCRIPTION.en_us.html b/ofl/sunflower/DESCRIPTION.en_us.html index ee7ea1ac9a..df3e1b7075 100644 --- a/ofl/sunflower/DESCRIPTION.en_us.html +++ b/ofl/sunflower/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Sunflower is a Korean and Latin font

+

+ Sunflower is a Korean and Latin font +

diff --git a/ofl/supermercadoone/DESCRIPTION.en_us.html b/ofl/supermercadoone/DESCRIPTION.en_us.html index 539632d4f9..af5e730f5c 100644 --- a/ofl/supermercadoone/DESCRIPTION.en_us.html +++ b/ofl/supermercadoone/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. Supermercado One is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals. Supermercado One is surprisingly versatile: it is certainly quite distinctive when set at larges sizes but it can also work at fairly small sizes and in blocks of text.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. + Supermercado One is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals. + Supermercado One is surprisingly versatile: it is certainly quite distinctive when set at larges sizes but it can also work at fairly small sizes and in blocks of text. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/sura/DESCRIPTION.en_us.html b/ofl/sura/DESCRIPTION.en_us.html index ad00d0c684..915bcc02ca 100644 --- a/ofl/sura/DESCRIPTION.en_us.html +++ b/ofl/sura/DESCRIPTION.en_us.html @@ -1,15 +1,20 @@

-Sura is a Devanagari typeface family designed by Carolina Giovagnoli. -It is based on the original Latin typeface Andada, a serif typeface for text. + Sura is a Devanagari typeface family designed by Carolina Giovagnoli. + It is based on the original Latin typeface + + Andada + + , a serif typeface for text.

-

-Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. -This font has received an award at the 2010 Ibero-America Design Biennial. -The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela. + Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. + This font has received an award at the 2010 Ibero-America Design Biennial. + The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela.

-

-The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. -To contribute, see github.com/CaroGiovagnoli/sura -

\ No newline at end of file + The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. + To contribute, see + + github.com/CaroGiovagnoli/sura + +

diff --git a/ofl/suranna/DESCRIPTION.en_us.html b/ofl/suranna/DESCRIPTION.en_us.html index 8fa41d07aa..90e2d7a200 100644 --- a/ofl/suranna/DESCRIPTION.en_us.html +++ b/ofl/suranna/DESCRIPTION.en_us.html @@ -1,11 +1,18 @@

-Suranna is a Telugu font developed mainly for the use in news publications. -It has a unique shape due its heavy weight at the bottom of letters, and it includes many conjunct glyphs. -Suranna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there. + Suranna is a Telugu font developed mainly for the use in news publications. + It has a unique shape due its heavy weight at the bottom of letters, and it includes many conjunct glyphs. + Suranna is named after the Telugu poet from the court of the king Krishnadevaraya, and was one of the Astadiggajalu (literally eight legends) there.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata. -The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/suranna

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as + + Prata + + . + The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/suranna +

diff --git a/ofl/suravaram/DESCRIPTION.en_us.html b/ofl/suravaram/DESCRIPTION.en_us.html index 618ccfe0d5..0404924bff 100644 --- a/ofl/suravaram/DESCRIPTION.en_us.html +++ b/ofl/suravaram/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Suravaram is a brush script font, suitable for headings, posters, invitations and anywhere you want to use a handwriting style. -It is named after Suravaram Gurajada, whose literature and poetry enriched the Telugu people. + Suravaram is a brush script font, suitable for headings, posters, invitations and anywhere you want to use a handwriting style. + It is named after Suravaram Gurajada, whose literature and poetry enriched the Telugu people.

-The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Vernon Adams and originally published as Tienne. -The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/suravaram

+ The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Vernon Adams and originally published as + + Tienne + + . + The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/suravaram +

diff --git a/ofl/suwannaphum/DESCRIPTION.en_us.html b/ofl/suwannaphum/DESCRIPTION.en_us.html index 1c65c0642f..d95ce26be9 100644 --- a/ofl/suwannaphum/DESCRIPTION.en_us.html +++ b/ofl/suwannaphum/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Suwannaphum is a Khmer font for body text, that pairs well with Latin serif fonts. + Suwannaphum is a Khmer font for body text, that pairs well with Latin serif fonts.

-To contribute, see github.com/danhhong/Suwannaphum. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Suwannaphum + + . +

diff --git a/ofl/swankyandmoomoo/DESCRIPTION.en_us.html b/ofl/swankyandmoomoo/DESCRIPTION.en_us.html index 2da3789285..33b2efcc8b 100644 --- a/ofl/swankyandmoomoo/DESCRIPTION.en_us.html +++ b/ofl/swankyandmoomoo/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Swanky and Moo Moo is based on the handwriting of a young mom. I love the uniqueness of the letters and the personality it conveys. The name comes from the writer’s family nicknames.

\ No newline at end of file +

+ Swanky and Moo Moo is based on the handwriting of a young mom. + I love the uniqueness of the letters and the personality it conveys. + The name comes from the writer’s family nicknames. +

diff --git a/ofl/syne/DESCRIPTION.en_us.html b/ofl/syne/DESCRIPTION.en_us.html index 0c645d54c8..c8171df60e 100644 --- a/ofl/syne/DESCRIPTION.en_us.html +++ b/ofl/syne/DESCRIPTION.en_us.html @@ -1,9 +1,31 @@ -

The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles.

- -

Syne Regular is the starting point of the family. It is quite an archetypal geometric sans-serif, giving the art center a practical asset for their daily use. When getting bolder, the typeface also gets wider, forcing radical graphic design choices.

- -

Checkout the other two members of this heteroclite family: Syne Mono and Syne Tactile.

- -

A Greek script designed by George Triantafyllakos has been added in March 2022.

- -

Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface

+

+ The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. + The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. + Based on that idea, Syne is an exploration of atypical associations of weights and styles. +

+

+ Syne Regular is the starting point of the family. + It is quite an archetypal geometric sans-serif, giving the art center a practical asset for their daily use. + When getting bolder, the typeface also gets wider, forcing radical graphic design choices. +

+

+ Checkout the other two members of this heteroclite family: + + Syne Mono + + and + + Syne Tactile + + . +

+

+ A Greek script designed by George Triantafyllakos has been added in March 2022. +

+

+ Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. + To contribute, see + + gitlab.com/bonjour-monde/fonderie/syne-typeface + +

diff --git a/ofl/synemono/DESCRIPTION.en_us.html b/ofl/synemono/DESCRIPTION.en_us.html index dc752bc886..ab1bc684fb 100644 --- a/ofl/synemono/DESCRIPTION.en_us.html +++ b/ofl/synemono/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles.

- -

Syne Mono is another take on letting go of control. Based on Syne Regular, it has been processed by Bonjour Monde’s DataFace tool, automatically switching on-curve points into off-curve ones and vice-versa.

- -

Checkout the other two members of this heteroclite family: Syne and Syne Tactile.

- -

Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface

+

+ The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. + The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. + Based on that idea, Syne is an exploration of atypical associations of weights and styles. +

+

+ Syne Mono is another take on letting go of control. + Based on Syne Regular, it has been processed by Bonjour Monde’s DataFace tool, automatically switching on-curve points into off-curve ones and vice-versa. +

+

+ Checkout the other two members of this heteroclite family: + + Syne + + and + + Syne Tactile + + . +

+

+ Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. + To contribute, see + + gitlab.com/bonjour-monde/fonderie/syne-typeface + +

diff --git a/ofl/synetactile/DESCRIPTION.en_us.html b/ofl/synetactile/DESCRIPTION.en_us.html index 71122e8f7d..1c7100c077 100644 --- a/ofl/synetactile/DESCRIPTION.en_us.html +++ b/ofl/synetactile/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. Based on that idea, Syne is an exploration of atypical associations of weights and styles.

- -

Syne Tactile shares its x-height and optical weight with Syne Regular. The unusual exercice of trackpad-calligraphy, in association with handwriting models from the Renaissance, gives the font a rough yet flourished look.

- -

Checkout the other two members of this heteroclite family: Syne and Syne Mono.

- -

Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. To contribute, see gitlab.com/bonjour-monde/fonderie/syne-typeface

+

+ The Syne family was originally designed in 2017 for the Art Center "Synesthésie", based in Saint-Denis — a suburb of Paris. + The Art Center aims to gather diverse artistic personalities in order to create new and enriching situations. + Based on that idea, Syne is an exploration of atypical associations of weights and styles. +

+

+ Syne Tactile shares its x-height and optical weight with Syne Regular. + The unusual exercice of trackpad-calligraphy, in association with handwriting models from the Renaissance, gives the font a rough yet flourished look. +

+

+ Checkout the other two members of this heteroclite family: + + Syne + + and + + Syne Mono + + . +

+

+ Syne was conceptualized by Bonjour Monde and designed by Lucas Descroix with the help of Arman Mohtadji. + To contribute, see + + gitlab.com/bonjour-monde/fonderie/syne-typeface + +

diff --git a/ofl/tacone/DESCRIPTION.en_us.html b/ofl/tacone/DESCRIPTION.en_us.html index 0b8cb2d6bf..27c45a1656 100644 --- a/ofl/tacone/DESCRIPTION.en_us.html +++ b/ofl/tacone/DESCRIPTION.en_us.html @@ -1,3 +1,12 @@ -

Tac One is a single-weight, bold Sans Serif inspired by the wordmark of one of the most significant festivals in Africa's post-colonial history, Festac '77. It's a revival that expands upon the six lowercase letters, single quotes and number 7 in the wordmark, resulting in a full Google SSA character set. Tac is the second project from Afrotype.

- -

To contribute, see github.com/Afrotype/tac.

+

+ Tac One is a single-weight, bold Sans Serif inspired by the wordmark of one of the most significant festivals in Africa's post-colonial history, Festac '77. + It's a revival that expands upon the six lowercase letters, single quotes and number 7 in the wordmark, resulting in a full Google SSA character set. + Tac is the second project from Afrotype. +

+

+ To contribute, see + + github.com/Afrotype/tac + + . +

diff --git a/ofl/taiheritagepro/DESCRIPTION.en_us.html b/ofl/taiheritagepro/DESCRIPTION.en_us.html index 987f1007c7..e0c78c75a6 100644 --- a/ofl/taiheritagepro/DESCRIPTION.en_us.html +++ b/ofl/taiheritagepro/DESCRIPTION.en_us.html @@ -1,3 +1,18 @@ -

Tai Heritage Pro is an open source font designed to reflect the traditional hand-written style of the Tai Viet script. The font is Unicode-encoded, based on The Unicode Standard version 5.2 or later, and is available in regular and bold weights, with both OpenType and Graphite rendering.

-

Learn more at software.sil.org/taiheritage.

-

To contribute, see github.com/silnrsi/font-taiheritagepro.

+

+ Tai Heritage Pro is an open source font designed to reflect the traditional hand-written style of the Tai Viet script. + The font is Unicode-encoded, based on The Unicode Standard version 5.2 or later, and is available in regular and bold weights, with both OpenType and Graphite rendering. +

+

+ Learn more at + + software.sil.org/taiheritage + + . +

+

+ To contribute, see + + github.com/silnrsi/font-taiheritagepro + + . +

diff --git a/ofl/tajawal/DESCRIPTION.en_us.html b/ofl/tajawal/DESCRIPTION.en_us.html index 5492e312bd..52a5091d5e 100644 --- a/ofl/tajawal/DESCRIPTION.en_us.html +++ b/ofl/tajawal/DESCRIPTION.en_us.html @@ -1,8 +1,10 @@

-Tajawal is a distinctive low contrast Arabic and sans serif Latin typeface family in 7 weights was created and designed by Boutros™ following a modern geometric style while still respecting the calligraphy rules of the Arabic script. -Its fluid geometry makes it the perfect choice to use in both print and web applications, and alongside other Latin typefaces. + Tajawal is a distinctive low contrast Arabic and sans serif Latin typeface family in 7 weights was created and designed by Boutros™ following a modern geometric style while still respecting the calligraphy rules of the Arabic script. + Its fluid geometry makes it the perfect choice to use in both print and web applications, and alongside other Latin typefaces.

-To contribute, see github.com/googlefonts/tajawal + To contribute, see + + github.com/googlefonts/tajawal +

- diff --git a/ofl/tangerine/DESCRIPTION.en_us.html b/ofl/tangerine/DESCRIPTION.en_us.html index ac1ef00389..f5580d9ce5 100644 --- a/ofl/tangerine/DESCRIPTION.en_us.html +++ b/ofl/tangerine/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-Tangerine is a calligraphic typeface inspired by many italic chancery hands from the 16th and 17th centuries. -Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. -Use Tangerine for titles or short texts at large sizes because of the short height of lowercase letters. -Tangerine was named after a woman who encouraged Toshi to begin this work. + Tangerine is a calligraphic typeface inspired by many italic chancery hands from the 16th and 17th centuries. + Its tall ascender, the most distinct characteristic of this type, takes a wide line space between lines and gives a graceful texture. + Use Tangerine for titles or short texts at large sizes because of the short height of lowercase letters. + Tangerine was named after a woman who encouraged Toshi to begin this work.

diff --git a/ofl/tapestry/DESCRIPTION.en_us.html b/ofl/tapestry/DESCRIPTION.en_us.html index 23a83d5996..d71571cfa4 100644 --- a/ofl/tapestry/DESCRIPTION.en_us.html +++ b/ofl/tapestry/DESCRIPTION.en_us.html @@ -1,9 +1,15 @@

-Tapestry is a Roman calligraphic family with a slight rustic and country appearance. Its thick and thin strokes emulate the strokes of a flat nib pen. The capital letters are inspired by Roman serif forms, whilst the extra thin movements in the lowercase letters compliment the capitals and allows Tapestry to dance on the page. + Tapestry is a Roman calligraphic family with a slight rustic and country appearance. + Its thick and thin strokes emulate the strokes of a flat nib pen. + The capital letters are inspired by Roman serif forms, whilst the extra thin movements in the lowercase letters compliment the capitals and allows Tapestry to dance on the page.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/tapestry. + To contribute, see + + github.com/googlefonts/tapestry + + .

diff --git a/ofl/taprom/DESCRIPTION.en_us.html b/ofl/taprom/DESCRIPTION.en_us.html index 1d0ac10ed1..ad18d6b6cd 100644 --- a/ofl/taprom/DESCRIPTION.en_us.html +++ b/ofl/taprom/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Taprom is a Khmer font for body text. The design is inspired by a popular style of Khmer handwriting letterforms. + Taprom is a Khmer font for body text. + The design is inspired by a popular style of Khmer handwriting letterforms.

-To contribute, see github.com/danhhong/Taprom. -

\ No newline at end of file + To contribute, see + + github.com/danhhong/Taprom + + . +

diff --git a/ofl/tauri/DESCRIPTION.en_us.html b/ofl/tauri/DESCRIPTION.en_us.html index 924393c360..8d50bd6df4 100644 --- a/ofl/tauri/DESCRIPTION.en_us.html +++ b/ofl/tauri/DESCRIPTION.en_us.html @@ -1,12 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Tauri is a semi condensed sans typeface with a sense of restraint, clarity -and rigor. Tauri's unique qualities do not shout and instead emerge slowly and -organically as it is used. Tauri is useful from small to medium sizes but has -enough subtle detail to be used at large sizes as well if it is more tightly -spaced.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

- +

+ + Foundry: + + Sorkin Type Co + + +

+

+ Tauri is a semi condensed sans typeface with a sense of restraint, clarity and rigor. + Tauri's unique qualities do not shout and instead emerge slowly and organically as it is used. + Tauri is useful from small to medium sizes but has enough subtle detail to be used at large sizes as well if it is more tightly spaced. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/taviraj/DESCRIPTION.en_us.html b/ofl/taviraj/DESCRIPTION.en_us.html index 7f607f31dd..7c151aeceb 100644 --- a/ofl/taviraj/DESCRIPTION.en_us.html +++ b/ofl/taviraj/DESCRIPTION.en_us.html @@ -1,22 +1,26 @@

-Taviraj is a serif Latin and looped Thai typeface that has a wide structure that ensures readability and legibility. -It is well-suited for formal usage. -Thai letters have thick and thin strokes, similar to the Latin, together with rounded and airy looped terminals. -Taviraj is a 9 weight family that includes italics. + Taviraj is a serif Latin and looped Thai typeface that has a wide structure that ensures readability and legibility. + It is well-suited for formal usage. + Thai letters have thick and thin strokes, similar to the Latin, together with rounded and airy looped terminals. + Taviraj is a 9 weight family that includes italics.

-Taviraj is a Thai word that refers to the last two kings of Krungsri Ayutthaya, the former capital of Thailand. -People also metaphorically refer to Taviraj as the fall of a dynasty, and that is the reason why it appeared in the poem written by King Rama V regarding the situation of Siam being threatened by French expansionism, with his majesty expressing his sorrow towards the possibility of the end of his era. -A traditional Thai style of typeface is called “farangses,” which means french, and Taviraj is in this genre. This contradiction highlights its origin. + Taviraj is a Thai word that refers to the last two kings of Krungsri Ayutthaya, the former capital of Thailand. + People also metaphorically refer to Taviraj as the fall of a dynasty, and that is the reason why it appeared in the poem written by King Rama V regarding the situation of Siam being threatened by French expansionism, with his majesty expressing his sorrow towards the possibility of the end of his era. + A traditional Thai style of typeface is called “farangses,” which means french, and Taviraj is in this genre. + This contradiction highlights its origin.

-A similarity between some glyphs such as ก ถ ภ ฤ ฦ and ฎ ฏ is something to take into consideration because it might lead to confusion when typesetting very short texts. -Taviraj takes a specific approach when dealing with the thick and thin strokes of Thai glyphs. -Other type designers of Thai fonts may like to use this approach as a reference. -Formal looped Thai typefaces have delicate details so care must be taken when expanding them to heavier weights, to retain all the details. -The size and position of Thai vowel and tone marks has been managed carefully because they are all relevant to readability, legibility, and overall texture. + A similarity between some glyphs such as ก ถ ภ ฤ ฦ and ฎ ฏ is something to take into consideration because it might lead to confusion when typesetting very short texts. + Taviraj takes a specific approach when dealing with the thick and thin strokes of Thai glyphs. + Other type designers of Thai fonts may like to use this approach as a reference. + Formal looped Thai typefaces have delicate details so care must be taken when expanding them to heavier weights, to retain all the details. + The size and position of Thai vowel and tone marks has been managed carefully because they are all relevant to readability, legibility, and overall texture.

-The Taviraj project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/taviraj -

\ No newline at end of file + The Taviraj project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/taviraj + +

diff --git a/ofl/teko/DESCRIPTION.en_us.html b/ofl/teko/DESCRIPTION.en_us.html index d6ff2831a7..8b82ca3b4f 100644 --- a/ofl/teko/DESCRIPTION.en_us.html +++ b/ofl/teko/DESCRIPTION.en_us.html @@ -1,11 +1,31 @@ -

Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. This font family has been created for use in headlines and other display-sized text on screen. Five font styles make up the initial release.

- -

Display families with extensive character sets are rare for any script. With Indian typefaces, however, large character sets are even less common. ITF’s designs are an exception. The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple.

- -

The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. At display sizes, Teko works equally well on screen or in print. Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.)

- -

Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014.

- -

In 2023, Marc Foley converted the family to a variable font.

- -

To contribute, see github.com/googlefonts/teko.

\ No newline at end of file +

+ Teko is an Open Source typeface that currently supports the Devanagari and Latin scripts. + This font family has been created for use in headlines and other display-sized text on screen. + Five font styles make up the initial release. +

+

+ Display families with extensive character sets are rare for any script. + With Indian typefaces, however, large character sets are even less common. + ITF’s designs are an exception. + The Teko typeface features letterforms with low stroke contrast, square proportions and a structure that appears visually simple. +

+

+ The Regular, Medium and Semibold fonts are recommended for use in long headlines, while Bold is intended primarily for setting just one or two words. + The Light is a beautiful variant that may be put to exceptionally good use in large headlines on websites. + At display sizes, Teko works equally well on screen or in print. + Each font contains 1090 glyphs, offering full support for the conjuncts and ligatures required by languages written with the Devanagari script. + Teko is an excellent choice for use in advertising or for news tickers on television screens (breaking news, etc.) +

+

+ Manushi Parikh designed the Teko typeface for the Indian Type Foundry, who published it in 2014. +

+

+ In 2023, Marc Foley converted the family to a variable font. +

+

+ To contribute, see + + github.com/googlefonts/teko + + . +

diff --git a/ofl/tektur/DESCRIPTION.en_us.html b/ofl/tektur/DESCRIPTION.en_us.html index a0ba3a988d..36f97c7046 100644 --- a/ofl/tektur/DESCRIPTION.en_us.html +++ b/ofl/tektur/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Tektur is a constructed typeface featuring octagonal outlines and rectangular counters. This rudimentary principle is applied where rounds are typically found, but most of the diagonals are left intact which helps preserve good readability and a familiar stance. The x-height is set high and ascenders are aligned with the cap height allowing for compact typesetting.

- -

To contribute, see github.com/hyvyys/Tektur

\ No newline at end of file +

+ Tektur is a constructed typeface featuring octagonal outlines and rectangular counters. + This rudimentary principle is applied where rounds are typically found, but most of the diagonals are left intact which helps preserve good readability and a familiar stance. + The x-height is set high and ascenders are aligned with the cap height allowing for compact typesetting. +

+

+ To contribute, see + + github.com/hyvyys/Tektur + +

diff --git a/ofl/telex/DESCRIPTION.en_us.html b/ofl/telex/DESCRIPTION.en_us.html index 6ad4b70b5c..17c0d4c18a 100644 --- a/ofl/telex/DESCRIPTION.en_us.html +++ b/ofl/telex/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Telex is a humanist sans serif conceived to be a web font with nice legibility at normal text sizes. Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness.

- -

Designed by Andrés Torresi for Huerta Tipográfica.

+

+ Telex is a humanist sans serif conceived to be a web font with nice legibility at normal text sizes. + Originally based on grid fitting shapes it became a multi-purpose typeface with low contrast, open counter forms, wide proportions and a touch of freshness. +

+

+ Designed by Andrés Torresi for + + Huerta Tipográfica + + . +

diff --git a/ofl/tenaliramakrishna/DESCRIPTION.en_us.html b/ofl/tenaliramakrishna/DESCRIPTION.en_us.html index 10e63d2e63..0cb7a482fa 100644 --- a/ofl/tenaliramakrishna/DESCRIPTION.en_us.html +++ b/ofl/tenaliramakrishna/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Tenali Ramakrishna is an Open Source typeface developed for use in news publications and is suitable for text, headings, posters, and invitations. + Tenali Ramakrishna is an Open Source typeface developed for use in news publications and is suitable for text, headings, posters, and invitations.

-The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Latin is designed by Wojciech Kalinowski and originally published as Classica. -The Tenali Ramakrishna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/tenaliramakrishna

+ The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Latin is designed by Wojciech Kalinowski and originally published as + + Classica + + . + The Tenali Ramakrishna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/tenaliramakrishna +

diff --git a/ofl/tenorsans/DESCRIPTION.en_us.html b/ofl/tenorsans/DESCRIPTION.en_us.html index 9f603d5df7..f66dbc8c5f 100644 --- a/ofl/tenorsans/DESCRIPTION.en_us.html +++ b/ofl/tenorsans/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Tenor Sans is a humanist sans-serif typeface designed by Denis Masharov. Intended for the setting of body text, it can also be applied to headlines. Optimized for print and web, it has excellent legibility characteristics in its letterforms. It contains an extended Latin and extended Cyrillic alphabets, Western and Central European, Cyrillic, Turkish, Baltic, Icelandic and Celtic. \ No newline at end of file +

+ Tenor Sans is a humanist sans-serif typeface designed by Denis Masharov. + Intended for the setting of body text, it can also be applied to headlines. + Optimized for print and web, it has excellent legibility characteristics in its letterforms. + It contains an extended Latin and extended Cyrillic alphabets, Western and Central European, Cyrillic, Turkish, Baltic, Icelandic and Celtic. +

diff --git a/ofl/textmeone/DESCRIPTION.en_us.html b/ofl/textmeone/DESCRIPTION.en_us.html index f7f360cfa4..fb83a7207f 100644 --- a/ofl/textmeone/DESCRIPTION.en_us.html +++ b/ofl/textmeone/DESCRIPTION.en_us.html @@ -1,7 +1,12 @@ -

Text Me One is a monolinear font that plays with the shapes of open -counters and un-connecting lines. A relatively large x-height and prominent -in-strokes and out-strokes aid legibility. Its flavour is playful, with a hint -of pop, and is ideal for large format lettering or continuous body text.

- -

To contribute to the project contact -Julia Petretta.

\ No newline at end of file +

+ Text Me One is a monolinear font that plays with the shapes of open counters and un-connecting lines. + A relatively large x-height and prominent in-strokes and out-strokes aid legibility. + Its flavour is playful, with a hint of pop, and is ideal for large format lettering or continuous body text. +

+

+ To contribute to the project contact + + Julia Petretta + + . +

diff --git a/ofl/texturina/DESCRIPTION.en_us.html b/ofl/texturina/DESCRIPTION.en_us.html index 774345d795..fbc9d243ea 100644 --- a/ofl/texturina/DESCRIPTION.en_us.html +++ b/ofl/texturina/DESCRIPTION.en_us.html @@ -1,2 +1,11 @@ -

Texturina is a highly applicable typeface with the richness of Blackletter, yet maintaining fluidity by combining broken and softened curves.

-

Texturina is designed by Guillermo Torres. To contribute, see github.com/Omnibus-Type/Texturina.

+

+ Texturina is a highly applicable typeface with the richness of Blackletter, yet maintaining fluidity by combining broken and softened curves. +

+

+ Texturina is designed by Guillermo Torres. + To contribute, see + + github.com/Omnibus-Type/Texturina + + . +

diff --git a/ofl/thabit/DESCRIPTION.en_us.html b/ofl/thabit/DESCRIPTION.en_us.html index 159d9dac17..a9676e735e 100644 --- a/ofl/thabit/DESCRIPTION.en_us.html +++ b/ofl/thabit/DESCRIPTION.en_us.html @@ -1,4 +1,11 @@ -

Thabit (from Arabic ثابت; fixed) is a fixed-width OpenType font family that -supports Arabic script. It is developed by Arabeyes.org as part of the Khotot project by -Khaled Hosny

\ No newline at end of file +

+ Thabit (from Arabic ثابت; fixed) is a fixed-width OpenType font family that supports Arabic script. + It is developed by + + Arabeyes.org + + as part of the Khotot project by + + Khaled Hosny + +

diff --git a/ofl/tharlon/DESCRIPTION.en_us.html b/ofl/tharlon/DESCRIPTION.en_us.html index 9749f5a99a..31eef7f7bd 100644 --- a/ofl/tharlon/DESCRIPTION.en_us.html +++ b/ofl/tharlon/DESCRIPTION.en_us.html @@ -1,15 +1,23 @@ -

TharLon is an authentic Myanmar typeface which covers several languages, -such as Burmese, Mon, Shan, Karen, Pa'o, Asho Chin, Kayah and Karenni, for use -on the web and in all other digital typography software. The name TharLon was -the name of the King who standardized the units of measurement during the -ancient Burmese Kingdom Era.

- -

The TharLon font is designed by Ngwe Tun, and distributed under the SIL -Open Font License with the Reserved Font Name 'TharLon.' The Tharlon font is -a Myanmar Unicode font, and it works well on GNU+Linux, Windows, iOS -and Mac OS X. It builds on Sai Zin -Di Di Zone's Yunghkio, and -Arimo.

- -

Read more about the project at -www.tharlon.org.

\ No newline at end of file +

+ TharLon is an authentic Myanmar typeface which covers several languages, such as Burmese, Mon, Shan, Karen, Pa'o, Asho Chin, Kayah and Karenni, for use on the web and in all other digital typography software. + The name TharLon was the name of the King who standardized the units of measurement during the ancient Burmese Kingdom Era. +

+

+ The TharLon font is designed by Ngwe Tun, and distributed under the SIL Open Font License with the Reserved Font Name 'TharLon.' The Tharlon font is a Myanmar Unicode font, and it works well on GNU+Linux, Windows, iOS and Mac OS X. + It builds on + + Sai Zin Di Di Zone + + 's Yunghkio, and + + Arimo + + . +

+

+ Read more about the project at + + www.tharlon.org + + . +

diff --git a/ofl/thasadith/DESCRIPTION.en_us.html b/ofl/thasadith/DESCRIPTION.en_us.html index c07c0501f0..45ee818365 100644 --- a/ofl/thasadith/DESCRIPTION.en_us.html +++ b/ofl/thasadith/DESCRIPTION.en_us.html @@ -1 +1,9 @@ -

Thasadith is a Thai and Latin family. It's a humanist sans serif with rounded corners. It was originally developed as part of the Srisakdi family.

\ No newline at end of file +

+ Thasadith is a Thai and Latin family. + It's a humanist sans serif with rounded corners. + It was originally developed as part of the + + Srisakdi + + family. +

diff --git a/ofl/thegirlnextdoor/DESCRIPTION.en_us.html b/ofl/thegirlnextdoor/DESCRIPTION.en_us.html index 8e2de90d5c..275402a39d 100644 --- a/ofl/thegirlnextdoor/DESCRIPTION.en_us.html +++ b/ofl/thegirlnextdoor/DESCRIPTION.en_us.html @@ -1 +1,7 @@ -

'the girl next door' is based on the handwriting of a middle school geography teacher.

From her personality to her handwriting, she is the typical girl next door - she puts you at ease in every situation and is perfectly comfortable and confident in who she is. Her handwriting reflects that and is readable, neat, and yet comfortable and welcoming.

\ No newline at end of file +

+ 'the girl next door' is based on the handwriting of a middle school geography teacher. +

+

+ From her personality to her handwriting, she is the typical girl next door - she puts you at ease in every situation and is perfectly comfortable and confident in who she is. + Her handwriting reflects that and is readable, neat, and yet comfortable and welcoming. +

diff --git a/ofl/thenautigal/DESCRIPTION.en_us.html b/ofl/thenautigal/DESCRIPTION.en_us.html index 1c436cac91..0d071fa80e 100644 --- a/ofl/thenautigal/DESCRIPTION.en_us.html +++ b/ofl/thenautigal/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Inspired by the hand lettering design for a friend’s yacht, this contemporary script style, The Nautigal is fluid yet formal with beautiful connectors. + Inspired by the hand lettering design for a friend’s yacht, this contemporary script style, The Nautigal is fluid yet formal with beautiful connectors.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/the-nautigal. + To contribute, see + + github.com/googlefonts/the-nautigal + + .

diff --git a/ofl/tienne/DESCRIPTION.en_us.html b/ofl/tienne/DESCRIPTION.en_us.html index cecafeed1f..38489d6f77 100644 --- a/ofl/tienne/DESCRIPTION.en_us.html +++ b/ofl/tienne/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Tienne is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

It was designed by 'remixing' Droid Serif and Artifika, two other fonts in the Google Font Directory that are available under the SIL Open Font License which allows for remixing fonts with interpolation techniques.

\ No newline at end of file +

+ Tienne is a display and text serif webfont designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. +

+

+ It was designed by 'remixing' Droid Serif and Artifika, two other fonts in the Google Font Directory that are available under the SIL Open Font License which allows for remixing fonts with interpolation techniques. +

diff --git a/ofl/tillana/DESCRIPTION.en_us.html b/ofl/tillana/DESCRIPTION.en_us.html index 018f56d3ca..114aecf8f1 100644 --- a/ofl/tillana/DESCRIPTION.en_us.html +++ b/ofl/tillana/DESCRIPTION.en_us.html @@ -1,28 +1,28 @@

-Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. -The fonts were first published by the Indian Type Foundry as an open source project in 2014. -Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. -The Tillana family includes five styles, which range in weight from Regular through Extra Bold. -Tillana’s Latin do not connect; this part of the family is a non-joining script type. -The Devanagari part is one of the few “true cursive” designs currently available for the script. + Tillana is a refreshingly informal family of typefaces for Devanagari and Latin. + The fonts were first published by the Indian Type Foundry as an open source project in 2014. + Coming in at 1,021 glyphs per weight, Tillana has all of the characters necessary to set a variety of European languages, as well as Indian languages like Hindi, Marathi, Nepali, and more. + The Tillana family includes five styles, which range in weight from Regular through Extra Bold. + Tillana’s Latin do not connect; this part of the family is a non-joining script type. + The Devanagari part is one of the few “true cursive” designs currently available for the script.

-

-Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. -Tillana’s letterforms are slanted at a 10 degree angle. -The strokes are show visible contrast, and the dynamic counter forms are one of the design’s most prominent features. -The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. -All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters’ central vertical strokes almost always break through the headline. -Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q. + Characters from both writing systems appear as if they were fluidly handwritten, particularly the Devanagari. + Tillana’s letterforms are slanted at a 10 degree angle. + The strokes are show visible contrast, and the dynamic counter forms are one of the design’s most prominent features. + The forms involve many loops and hooks and most of the knots are loops rather than closed, black forms. + All vertical strokes in both scripts have swelling at their tops and bottoms, and the Devanagari characters’ central vertical strokes almost always break through the headline. + Handwriting artefacts are present in the Latin letters, too, such as hook on the descender of the lowercase q.

-

-Tillana’s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. -The Latin characters have a small x-height and long ascenders and descenders. -Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin. + Tillana’s Devanagari base character height falls vertically between the Latin upper and lowercase letter heights. + The Latin characters have a small x-height and long ascenders and descenders. + Lipi Raval designed the Devanagari components of Tillana, and worked together with Jonny Pinhorn on the Latin.

-

-This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. -To contribute, see github.com/itfoundry/tillana + This project is led by Indian Type Foundry, a type foundry based in Ahmedabad, Gujurat, India, who design contemporary Indian typeface families. + To contribute, see + + github.com/itfoundry/tillana +

diff --git a/ofl/tiltneon/DESCRIPTION.en_us.html b/ofl/tiltneon/DESCRIPTION.en_us.html index 84a9c547c7..44e16d02fb 100644 --- a/ofl/tiltneon/DESCRIPTION.en_us.html +++ b/ofl/tiltneon/DESCRIPTION.en_us.html @@ -1,19 +1,27 @@

- Tilt is a family of type inspired by the dimensional lettering found in storefront signage. - It’s comprised of three related variable font styles that you might find in a shop window — Tilt Neon, - Tilt Prism, - and Tilt Warp. + Tilt is a family of type inspired by the dimensional lettering found in storefront signage. + It’s comprised of three related variable font styles that you might find in a shop window — Tilt Neon, + + Tilt Prism + + , and + + Tilt Warp + + .

- All three are based around the same letter model of a sign painter’s geometric sans serif, - similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see - when the letter is built up with a brush. + All three are based around the same letter model of a sign painter’s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush.

- The three styles are designed and built as variable fonts. - They allow users to rotate the orientation of their glyphs with “Rotation in X” and - “Rotation in Y” axes. The rotation is limited to ±45° so that the letterforms never rotate past a readable - range. + The three styles are designed and built as variable fonts. + They allow users to rotate the orientation of their glyphs with “Rotation in X” and “Rotation in Y” axes. + The rotation is limited to ±45° so that the letterforms never rotate past a readable range. +

+

+ To contribute, see + + github.com/googlefonts/Tilt-Fonts + + .

- -

To contribute, see github.com/googlefonts/Tilt-Fonts.

diff --git a/ofl/tiltprism/DESCRIPTION.en_us.html b/ofl/tiltprism/DESCRIPTION.en_us.html index 59f5fbacca..992ee1ad31 100644 --- a/ofl/tiltprism/DESCRIPTION.en_us.html +++ b/ofl/tiltprism/DESCRIPTION.en_us.html @@ -1,20 +1,27 @@

- Tilt is a family of type inspired by the dimensional lettering found in storefront signage. - It’s comprised of three related variable font styles that you might find in a shop window — - Tilt Neon, - Tilt Prism, - and Tilt Warp. + Tilt is a family of type inspired by the dimensional lettering found in storefront signage. + It’s comprised of three related variable font styles that you might find in a shop window — + + Tilt Neon + + , Tilt Prism, and + + Tilt Warp + + .

- All three are based around the same letter model of a sign painter’s geometric sans serif, - similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see - when the letter is built up with a brush. + All three are based around the same letter model of a sign painter’s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush.

- The three styles are designed and built as variable fonts. - They allow users to rotate the orientation of their glyphs with “Rotation in X” and - “Rotation in Y” axes. The rotation is limited to ±45° so that the letterforms never rotate past a readable - range. + The three styles are designed and built as variable fonts. + They allow users to rotate the orientation of their glyphs with “Rotation in X” and “Rotation in Y” axes. + The rotation is limited to ±45° so that the letterforms never rotate past a readable range. +

+

+ To contribute, see + + github.com/googlefonts/Tilt-Fonts + + .

- -

To contribute, see github.com/googlefonts/Tilt-Fonts.

diff --git a/ofl/tiltwarp/DESCRIPTION.en_us.html b/ofl/tiltwarp/DESCRIPTION.en_us.html index b436d6f138..4decc0f513 100644 --- a/ofl/tiltwarp/DESCRIPTION.en_us.html +++ b/ofl/tiltwarp/DESCRIPTION.en_us.html @@ -1,20 +1,27 @@

- Tilt is a family of type inspired by the dimensional lettering found in storefront signage. - It’s comprised of three related variable font styles that you might find in a shop window — - Tilt Neon, - Tilt Prism, - and Tilt Warp. + Tilt is a family of type inspired by the dimensional lettering found in storefront signage. + It’s comprised of three related variable font styles that you might find in a shop window — + + Tilt Neon + + , + + Tilt Prism + + , and Tilt Warp.

- All three are based around the same letter model of a sign painter’s geometric sans serif, - similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see - when the letter is built up with a brush. + All three are based around the same letter model of a sign painter’s geometric sans serif, similar to the typefaces Futura or Avant Garde, but with the kinds of details you might expect to see when the letter is built up with a brush.

- The three styles are designed and built as variable fonts. - They allow users to rotate the orientation of their glyphs with “Rotation in X” and - “Rotation in Y” axes. The rotation is limited to ±45° so that the letterforms never rotate past a readable - range. + The three styles are designed and built as variable fonts. + They allow users to rotate the orientation of their glyphs with “Rotation in X” and “Rotation in Y” axes. + The rotation is limited to ±45° so that the letterforms never rotate past a readable range. +

+

+ To contribute, see + + github.com/googlefonts/Tilt-Fonts + + .

- -

To contribute, see github.com/googlefonts/Tilt-Fonts.

diff --git a/ofl/timmana/DESCRIPTION.en_us.html b/ofl/timmana/DESCRIPTION.en_us.html index 14e8204f39..863f7eef10 100644 --- a/ofl/timmana/DESCRIPTION.en_us.html +++ b/ofl/timmana/DESCRIPTION.en_us.html @@ -1,9 +1,12 @@

-Timmana is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. -As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt. + Timmana is a Telugu display typeface, mainly suitable for headings, posters and decorative invitations. + As a web font it should be used in very large pixel sizes, while in print the design may be used in a broader range of sizes, perhaps even as small as at 16pt.

-Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. -The Timmana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. -To contribute, see github.com/appajid/timmana

+ Designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1. + The Timmana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India. + To contribute, see + + github.com/appajid/timmana +

diff --git a/ofl/tirobangla/DESCRIPTION.en_us.html b/ofl/tirobangla/DESCRIPTION.en_us.html index d6112df76c..b2bae17f62 100644 --- a/ofl/tirobangla/DESCRIPTION.en_us.html +++ b/ofl/tirobangla/DESCRIPTION.en_us.html @@ -1,14 +1,24 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirodevanagarihindi/DESCRIPTION.en_us.html b/ofl/tirodevanagarihindi/DESCRIPTION.en_us.html index 48be4b37f7..6b3301509f 100644 --- a/ofl/tirodevanagarihindi/DESCRIPTION.en_us.html +++ b/ofl/tirodevanagarihindi/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirodevanagarimarathi/DESCRIPTION.en_us.html b/ofl/tirodevanagarimarathi/DESCRIPTION.en_us.html index f97698853d..7c82ebb178 100644 --- a/ofl/tirodevanagarimarathi/DESCRIPTION.en_us.html +++ b/ofl/tirodevanagarimarathi/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirodevanagarisanskrit/DESCRIPTION.en_us.html b/ofl/tirodevanagarisanskrit/DESCRIPTION.en_us.html index 0d479146c3..338eb63d1b 100644 --- a/ofl/tirodevanagarisanskrit/DESCRIPTION.en_us.html +++ b/ofl/tirodevanagarisanskrit/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirogurmukhi/DESCRIPTION.en_us.html b/ofl/tirogurmukhi/DESCRIPTION.en_us.html index a5dbd6c304..4eefd3b9b9 100644 --- a/ofl/tirogurmukhi/DESCRIPTION.en_us.html +++ b/ofl/tirogurmukhi/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirokannada/DESCRIPTION.en_us.html b/ofl/tirokannada/DESCRIPTION.en_us.html index b6918fa692..aa554000fe 100644 --- a/ofl/tirokannada/DESCRIPTION.en_us.html +++ b/ofl/tirokannada/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

\ No newline at end of file + To learn more, read + + Modern Tiro Indic collection for classical South Asian texts + + . +

diff --git a/ofl/tirotamil/DESCRIPTION.en_us.html b/ofl/tirotamil/DESCRIPTION.en_us.html index b005f4da0d..88b7e849bf 100644 --- a/ofl/tirotamil/DESCRIPTION.en_us.html +++ b/ofl/tirotamil/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

diff --git a/ofl/tirotelugu/DESCRIPTION.en_us.html b/ofl/tirotelugu/DESCRIPTION.en_us.html index 813fc38341..44127b8c05 100644 --- a/ofl/tirotelugu/DESCRIPTION.en_us.html +++ b/ofl/tirotelugu/DESCRIPTION.en_us.html @@ -1,15 +1,25 @@

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

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

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

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

diff --git a/ofl/titanone/DESCRIPTION.en_us.html b/ofl/titanone/DESCRIPTION.en_us.html index 053977f253..8ce7421566 100644 --- a/ofl/titanone/DESCRIPTION.en_us.html +++ b/ofl/titanone/DESCRIPTION.en_us.html @@ -1 +1,5 @@ -

Titan One is a really fat display type with a happy and cheerful personality. It takes most of its essence from hand lettering with big brushes. It is designed to be used mainly on headers and short texts.

\ No newline at end of file +

+ Titan One is a really fat display type with a happy and cheerful personality. + It takes most of its essence from hand lettering with big brushes. + It is designed to be used mainly on headers and short texts. +

diff --git a/ofl/titilliumweb/DESCRIPTION.en_us.html b/ofl/titilliumweb/DESCRIPTION.en_us.html index 99c6c3b9c2..36733416dc 100644 --- a/ofl/titilliumweb/DESCRIPTION.en_us.html +++ b/ofl/titilliumweb/DESCRIPTION.en_us.html @@ -1,22 +1,30 @@ -

Titillium is born inside the Accademia di Belle Arti di Urbino as a -didactic project Course Type design of the Master of Visual Design Campi -Visivi.

- -

The aim of the project is the creation of a collective fonts released under -OFL. Each academic year, a dozen students work on the project, developing it -further and solving problems. Any type designer interested in the amendment or -revision of Titillium is invited to co-operate with us, or develop their own -variants of the typeface according to the terms specified in the Open Font -license. We also ask all graphic designers who use Titillium in their projects -to email us some examples -of the typeface family in use, in order to prepare a case histories -database.

- -

Three years after the birth of Titillium, the project is still evolving, -and even we don’t know what it will become in the future.

- -

Special thanks go to:
-Prof. Luciano Perondi, design and curation
-Prof. Marcello Signorile, coordination
-Prof. Manuel Zanettin, web project supervision
-Diego Giusti, design of the first prototype

\ No newline at end of file +

+ Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi. +

+

+ The aim of the project is the creation of a collective fonts released under OFL. + Each academic year, a dozen students work on the project, developing it further and solving problems. + Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. + We also ask all graphic designers who use Titillium in their projects to + + email us some examples + + of the typeface family in use, in order to prepare a case histories database. +

+

+ Three years after the birth of Titillium, the project is still evolving, and even we don’t know what it will become in the future. +

+

+ Special thanks go to: +
+ Prof. + Luciano Perondi, design and curation +
+ Prof. + Marcello Signorile, coordination +
+ Prof. + Manuel Zanettin, web project supervision +
+ Diego Giusti, design of the first prototype +

diff --git a/ofl/tomorrow/DESCRIPTION.en_us.html b/ofl/tomorrow/DESCRIPTION.en_us.html index 475d2b88bf..a81ab06b76 100644 --- a/ofl/tomorrow/DESCRIPTION.en_us.html +++ b/ofl/tomorrow/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Tomorrow is a geometric family ranging from a neutral Thin weight to a vibrant contrast-based Black. -It is an excellent fit for small sizes and big headlines. -Easy to read and hard to forget. + Tomorrow is a geometric family ranging from a neutral Thin weight to a vibrant contrast-based Black. + It is an excellent fit for small sizes and big headlines. + Easy to read and hard to forget.

-The Tomorrow project is led by Just in Type, a type design foundry based in Brazil. -To contribute, see github.com/MonicaRizzolli/Tomorrow + The Tomorrow project is led by + + Just in Type + + , a type design foundry based in Brazil. + To contribute, see + + github.com/MonicaRizzolli/Tomorrow +

diff --git a/ofl/tourney/DESCRIPTION.en_us.html b/ofl/tourney/DESCRIPTION.en_us.html index f66dca9932..001e7ca59e 100644 --- a/ofl/tourney/DESCRIPTION.en_us.html +++ b/ofl/tourney/DESCRIPTION.en_us.html @@ -1,4 +1,14 @@

-Tourney is a collaboration of tech and sport. At least, that is where the inspiration came from. Tourney would feel at home on a space ship or in a stadium. The lightest weight of Tourney (100) is almost an outline and that "stroke" thickens as the weights increase. 900 is completely solid. + Tourney is a collaboration of tech and sport. + At least, that is where the inspiration came from. + Tourney would feel at home on a space ship or in a stadium. + The lightest weight of Tourney (100) is almost an outline and that "stroke" thickens as the weights increase. + 900 is completely solid. +

+

+ To contribute, see + + github.com/Etcetera-Type-Co/Tourney + + .

-

To contribute, see github.com/Etcetera-Type-Co/Tourney.

diff --git a/ofl/tradewinds/DESCRIPTION.en_us.html b/ofl/tradewinds/DESCRIPTION.en_us.html index a1c5dec9aa..8ce32dfa57 100644 --- a/ofl/tradewinds/DESCRIPTION.en_us.html +++ b/ofl/tradewinds/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Ahoy, matey! Prepare to set sail on the high seas! Let TradeWinds guide you to exotic ports of call where your next adventure begins. This breezy font by Squid and Sideshow will blow you away!

\ No newline at end of file +

+ Ahoy, matey! + Prepare to set sail on the high seas! + Let TradeWinds guide you to exotic ports of call where your next adventure begins. + This breezy font by Squid and Sideshow will blow you away! +

diff --git a/ofl/trainone/DESCRIPTION.en_us.html b/ofl/trainone/DESCRIPTION.en_us.html index 48256f1cd1..f755b75eb1 100644 --- a/ofl/trainone/DESCRIPTION.en_us.html +++ b/ofl/trainone/DESCRIPTION.en_us.html @@ -1,6 +1,11 @@

-Train is a gothic-style typeface made with an outer and inner line. It is open and vibrant, and its strong first impression makes it suitable for logos and titles. It is distributed under the name "Railway" in Japan by FontWorks. + Train is a gothic-style typeface made with an outer and inner line. + It is open and vibrant, and its strong first impression makes it suitable for logos and titles. + It is distributed under the name "Railway" in Japan by FontWorks.

-To contribute to the project, visit github.com/fontworks-fonts/Train + To contribute to the project, visit + + github.com/fontworks-fonts/Train +

diff --git a/ofl/trirong/DESCRIPTION.en_us.html b/ofl/trirong/DESCRIPTION.en_us.html index 38b76df2db..403481f7da 100644 --- a/ofl/trirong/DESCRIPTION.en_us.html +++ b/ofl/trirong/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

-Trirong means “tricolor flag” in Thai, and represents the flag of Thailand. -A serif Latin and looped Thai typeface, it is characterized by thick and thin strokes, and its narrow and tall structure echoes that of traditional Thai typefaces. -It saves space while preserving readability and legibility with its oval-shape looped terminal. -This looped Thai and Transitional serif Latin works well in formal contexts. + Trirong means “tricolor flag” in Thai, and represents the flag of Thailand. + A serif Latin and looped Thai typeface, it is characterized by thick and thin strokes, and its narrow and tall structure echoes that of traditional Thai typefaces. + It saves space while preserving readability and legibility with its oval-shape looped terminal. + This looped Thai and Transitional serif Latin works well in formal contexts.

-The similarity between some glyphs such as ก ถ ภ ฤ ฦ, and ฎ and ฏ is something to take into consideration because it might lead to confusion when typesetting very short texts. -Trirong takes a specific approach in how it deals with the thick and thin strokes in Thai glyphs. -Other type designers of Thai fonts may like to use this approach as a reference. -Formal looped Thai typefaces have delicate details, so it is important for type designers to take care when extending them into heavy weights and avoid obscuring important details. -The sizes and positions of vowels and tone marks need to be managed carefully too, because they are all relevant to readability, legibility, and overall texture. + The similarity between some glyphs such as ก ถ ภ ฤ ฦ, and ฎ and ฏ is something to take into consideration because it might lead to confusion when typesetting very short texts. + Trirong takes a specific approach in how it deals with the thick and thin strokes in Thai glyphs. + Other type designers of Thai fonts may like to use this approach as a reference. + Formal looped Thai typefaces have delicate details, so it is important for type designers to take care when extending them into heavy weights and avoid obscuring important details. + The sizes and positions of vowels and tone marks need to be managed carefully too, because they are all relevant to readability, legibility, and overall texture.

-The Trirong project is led by Cadson Demak, a type foundry in Thailand. -To contribute, see github.com/cadsondemak/trirong -

\ No newline at end of file + The Trirong project is led by Cadson Demak, a type foundry in Thailand. + To contribute, see + + github.com/cadsondemak/trirong + +

diff --git a/ofl/trispace/DESCRIPTION.en_us.html b/ofl/trispace/DESCRIPTION.en_us.html index 20c3e57280..ceee2b4c30 100644 --- a/ofl/trispace/DESCRIPTION.en_us.html +++ b/ofl/trispace/DESCRIPTION.en_us.html @@ -1,8 +1,11 @@

- Trispace is a typeface where all letters occupy one of three possible widths. - Monospace inspired, but with some proportional touches. + Trispace is a typeface where all letters occupy one of three possible widths. + Monospace inspired, but with some proportional touches.

- Trispace is designed by Tyler Finck (ETC). - To contribute see github.com/Etcetera-Type-Co/Trispace + Trispace is designed by Tyler Finck (ETC). + To contribute see + + github.com/Etcetera-Type-Co/Trispace +

diff --git a/ofl/trocchi/DESCRIPTION.en_us.html b/ofl/trocchi/DESCRIPTION.en_us.html index c3345d644f..f621d5b975 100644 --- a/ofl/trocchi/DESCRIPTION.en_us.html +++ b/ofl/trocchi/DESCRIPTION.en_us.html @@ -1,8 +1,17 @@ -

Trocchi is a design derived from a number of old faces from the English -typecutter Vincent Figgins (1766-1844) including Nebiolo’s ‘Egiziano’, and -Caslon & Co’s ‘Antique No.4′ and ‘Ionic No.2′. Trocchi derivates from these -earlier designs to produce a more casual slab serif. Trocchi is designed for use -both as text and display type. The font is named after the Scottish novelist -Alexander Trocchi.

To contribute to the project contact -Vernon Adams and see -Trocchi on GitHub.

+

+ Trocchi is a design derived from a number of old faces from the English typecutter Vincent Figgins (1766-1844) including Nebiolo’s ‘Egiziano’, and Caslon & Co’s ‘Antique No.4′ and ‘Ionic No.2′. + Trocchi derivates from these earlier designs to produce a more casual slab serif. + Trocchi is designed for use both as text and display type. + The font is named after the Scottish novelist Alexander Trocchi. +

+

+ To contribute to the project contact + + Vernon Adams + + and see + + Trocchi on GitHub + + . +

diff --git a/ofl/trochut/DESCRIPTION.en_us.html b/ofl/trochut/DESCRIPTION.en_us.html index 67d64119c5..64b5d3f820 100644 --- a/ofl/trochut/DESCRIPTION.en_us.html +++ b/ofl/trochut/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Trochut is a funny geometric typeface developed by Andreu Balius as an homage to Joan Trochut Blanchart (1920-1980) from its Bisonte type specimen. Useful for your cool magazine stuff, it also works quite well on posters, book jackets and other display uses on the web. Trochut currently includes Regular, Italic and Bold styles. More are available from TypeRepublic.

\ No newline at end of file +

+ Trochut is a funny geometric typeface developed by Andreu Balius as an homage to Joan Trochut Blanchart (1920-1980) from its Bisonte type specimen. + Useful for your cool magazine stuff, it also works quite well on posters, book jackets and other display uses on the web. + Trochut currently includes Regular, Italic and Bold styles. + More are available from + + TypeRepublic + + . +

diff --git a/ofl/truculenta/DESCRIPTION.en_us.html b/ofl/truculenta/DESCRIPTION.en_us.html index ec2e4d175e..9ec93228e9 100644 --- a/ofl/truculenta/DESCRIPTION.en_us.html +++ b/ofl/truculenta/DESCRIPTION.en_us.html @@ -1,7 +1,13 @@

-Truculenta is an irregular sans serif typeface based on mid-century lettering works, yet with a little twist. This quirky grotesque is a variable font with three axes (weight, width and optical size), allowing a wide range of text sizes without losing readability. This vibrant typeface is highly suitable for packaging, branding, book covers, illustrated editions, and film titles. + Truculenta is an irregular sans serif typeface based on mid-century lettering works, yet with a little twist. + This quirky grotesque is a variable font with three axes (weight, width and optical size), allowing a wide range of text sizes without losing readability. + This vibrant typeface is highly suitable for packaging, branding, book covers, illustrated editions, and film titles.

-

-Truculenta was designed by Ivan Castro, Eva Sanz and Omnibus-Type Team. To contribute, see github.com/Omnibus-Type/Truculenta. + Truculenta was designed by Ivan Castro, Eva Sanz and Omnibus-Type Team. + To contribute, see + + github.com/Omnibus-Type/Truculenta + + .

diff --git a/ofl/trykker/DESCRIPTION.en_us.html b/ofl/trykker/DESCRIPTION.en_us.html index 13efb8160d..7aa02ea8e6 100644 --- a/ofl/trykker/DESCRIPTION.en_us.html +++ b/ofl/trykker/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Trykker is a high contrast serifed text face. Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. Trykker can be used from small sizes to larger display settings.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Trykker is a high contrast serifed text face. + Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. + Trykker can be used from small sizes to larger display settings. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/tsukimirounded/DESCRIPTION.en_us.html b/ofl/tsukimirounded/DESCRIPTION.en_us.html index 7eb61cfac3..e953f0bb1e 100644 --- a/ofl/tsukimirounded/DESCRIPTION.en_us.html +++ b/ofl/tsukimirounded/DESCRIPTION.en_us.html @@ -1,6 +1,10 @@

-Tsukimi Rounded is kana font that is based san-go(Japanese traditional go-number sized type, #3) in Tsukiji Type Foundry’s specimen books. Original san-go type is Mincho style but Tsukimi Rounded is sans-serif typeface with rounded terminals. + Tsukimi Rounded is kana font that is based san-go(Japanese traditional go-number sized type, #3) in Tsukiji Type Foundry’s specimen books. + Original san-go type is Mincho style but Tsukimi Rounded is sans-serif typeface with rounded terminals.

-To contribute to the project, visit github.com/mt-funa/Tsukimi-Rounded + To contribute to the project, visit + + github.com/mt-funa/Tsukimi-Rounded +

diff --git a/ofl/tuffy/DESCRIPTION.en_us.html b/ofl/tuffy/DESCRIPTION.en_us.html index 948e45fdf5..9988938819 100644 --- a/ofl/tuffy/DESCRIPTION.en_us.html +++ b/ofl/tuffy/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Tuffy is a grotesque sans-serif type.

+

+ Tuffy is a grotesque sans-serif type. +

diff --git a/ofl/tulpenone/DESCRIPTION.en_us.html b/ofl/tulpenone/DESCRIPTION.en_us.html index 8a340d4ef7..72f01b0599 100644 --- a/ofl/tulpenone/DESCRIPTION.en_us.html +++ b/ofl/tulpenone/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

Tulpen is a tall sans serif type, suitable for display uses in headlines and other large text.

\ No newline at end of file +

+ Tulpen is a tall sans serif type, suitable for display uses in headlines and other large text. +

diff --git a/ofl/turretroad/DESCRIPTION.en_us.html b/ofl/turretroad/DESCRIPTION.en_us.html index bb3286d36c..a89277a13a 100644 --- a/ofl/turretroad/DESCRIPTION.en_us.html +++ b/ofl/turretroad/DESCRIPTION.en_us.html @@ -1,5 +1,18 @@ -

Turret Road is a geometric sans serif typeface, with very low contrast, high x-height, high glyph height, and playful diacritics.

- -

Turret Road delves into eugenics, solar evolution, science fiction and homeward conversations. For more information, see its project overview.

- -

To contribute, see github.com/noponies/Turret-Road.

+

+ Turret Road is a geometric sans serif typeface, with very low contrast, high x-height, high glyph height, and playful diacritics. +

+

+ Turret Road delves into eugenics, solar evolution, science fiction and homeward conversations. + For more information, see its + + project overview + + . +

+

+ To contribute, see + + github.com/noponies/Turret-Road + + . +

diff --git a/ofl/twinklestar/DESCRIPTION.en_us.html b/ofl/twinklestar/DESCRIPTION.en_us.html index 640ea08935..a330bffc9f 100644 --- a/ofl/twinklestar/DESCRIPTION.en_us.html +++ b/ofl/twinklestar/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Twinkle Star is a cute and fun juvenile script. It comes in two stylistic styles: A Script with a more curvy quality and a casual style with more children writing resemblance. + Twinkle Star is a cute and fun juvenile script. + It comes in two stylistic styles: A Script with a more curvy quality and a casual style with more children writing resemblance.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/twinkle-star. + To contribute, see + + github.com/googlefonts/twinkle-star + + .

diff --git a/ofl/uchen/DESCRIPTION.en_us.html b/ofl/uchen/DESCRIPTION.en_us.html index d4d6b92bd6..fd9d050e5a 100644 --- a/ofl/uchen/DESCRIPTION.en_us.html +++ b/ofl/uchen/DESCRIPTION.en_us.html @@ -1,6 +1,15 @@

-Uchen is a free, Unicode compatible, Tibetan script font designed in Uchen style, it is suitable for use in desktop publishing. -

-Created for the Dzongkha Development Commission. -Uchen is also available here. + Uchen is a free, Unicode compatible, Tibetan script font designed in Uchen style, it is suitable for use in desktop publishing. +

+

+ Created for the + + Dzongkha Development Commission + + . + Uchen is also available + + here + + .

diff --git a/ofl/unbounded/DESCRIPTION.en_us.html b/ofl/unbounded/DESCRIPTION.en_us.html index 64adf4bd8d..13fddfe99f 100644 --- a/ofl/unbounded/DESCRIPTION.en_us.html +++ b/ofl/unbounded/DESCRIPTION.en_us.html @@ -1,18 +1,34 @@

- Unbounded is possibly the first open source, freely available and on-chain funded font in the world, thanks to the - Polkadot treasury. + Unbounded is possibly the first open source, freely available and on-chain funded font in the world, thanks to the Polkadot treasury.

- Unbounded by both name and nature, it is available in eight display weights ranging from Light to Black as a - variable font. The typeface supports both Latin and Cyrillic scripts with over 1300 individual glyphs, - including a collection of symbols and a unique figure building system. In addition the sizeable glyph set - accommodates for hundreds of languages worldwide. + Unbounded by both name and nature, it is available in eight display weights ranging from Light to Black as a variable font. + The typeface supports both Latin and Cyrillic scripts with over 1300 individual glyphs, including a collection of symbols and a unique figure building system. + In addition the sizeable glyph set accommodates for hundreds of languages worldwide.

- Unbounded is the product of a joint collaboration between Studio Koto, NaN, Parity Technologies and Web3 Foundation - for Polkadot Network. + Unbounded is the product of a joint collaboration between + + Studio Koto + + , NaN, + + Parity Technologies + + and + + Web3 Foundation + + for + + Polkadot Network + + .

- To contribute, please see github.com/googlefonts/unbounded. -

\ No newline at end of file + To contribute, please see + + github.com/googlefonts/unbounded + + . +

diff --git a/ofl/uncialantiqua/DESCRIPTION.en_us.html b/ofl/uncialantiqua/DESCRIPTION.en_us.html index de195be3ae..f104ebbf15 100644 --- a/ofl/uncialantiqua/DESCRIPTION.en_us.html +++ b/ofl/uncialantiqua/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Uncial Antiqua is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context.

\ No newline at end of file +

+ Uncial Antiqua is a hybrid typeface which combines the speedier penned styles of Uncial and Half Uncial letterforms together in a formal text representation. + Signature letterforms to the Uncial & Half Uncial styles are not sacrificed in this compilation, yet readability is surprisingly maintained when read in context. +

diff --git a/ofl/underdog/DESCRIPTION.en_us.html b/ofl/underdog/DESCRIPTION.en_us.html index 95689247a7..d6679aeb3f 100644 --- a/ofl/underdog/DESCRIPTION.en_us.html +++ b/ofl/underdog/DESCRIPTION.en_us.html @@ -1,14 +1,12 @@ -

Underdog is an informal typeface with broken corner lines. It can serve -many different purposes, in posters, magazine headlines or on food packaging. -It changes its mood as the context of use changes: it can be playful in a -childish design, feel punk in musical posters, unceremonious in fashion -magazines or aggressive in a warning poster.

- -

The inspiration for this typeface comes from hand-made signs seen on the -street, and also the lettering found in musical culture. All shapes, lines and -corners look like they are improvised, yet each of them has common rules to -make the whole typeface work together, in both short words and longer -sentences.

- -

The typeface was designed by Sergey Steblina, and the font was technically -engineered and published by Jovanny Lemonad.

\ No newline at end of file +

+ Underdog is an informal typeface with broken corner lines. + It can serve many different purposes, in posters, magazine headlines or on food packaging. + It changes its mood as the context of use changes: it can be playful in a childish design, feel punk in musical posters, unceremonious in fashion magazines or aggressive in a warning poster. +

+

+ The inspiration for this typeface comes from hand-made signs seen on the street, and also the lettering found in musical culture. + All shapes, lines and corners look like they are improvised, yet each of them has common rules to make the whole typeface work together, in both short words and longer sentences. +

+

+ The typeface was designed by Sergey Steblina, and the font was technically engineered and published by Jovanny Lemonad. +

diff --git a/ofl/unicaone/DESCRIPTION.en_us.html b/ofl/unicaone/DESCRIPTION.en_us.html index eeb50bfc3d..eae4269b9a 100644 --- a/ofl/unicaone/DESCRIPTION.en_us.html +++ b/ofl/unicaone/DESCRIPTION.en_us.html @@ -1,7 +1,15 @@ -

Unica One is a condensed unicase sans serif style. Good performance for - composing headlines and short texts. Readbility and simplicity are some of the - virtues of this unique typeface.

- -

Since Junuary 2023, the glyphset is completed and and the font has a bigger language support

- -

To contribute, see github.com/etunni/unica.

+

+ Unica One is a condensed unicase sans serif style. + Good performance for composing headlines and short texts. + Readbility and simplicity are some of the virtues of this unique typeface. +

+

+ Since Junuary 2023, the glyphset is completed and and the font has a bigger language support +

+

+ To contribute, see + + github.com/etunni/unica + + . +

diff --git a/ofl/unifrakturcook/DESCRIPTION.en_us.html b/ofl/unifrakturcook/DESCRIPTION.en_us.html index d094b456b2..df610b371d 100644 --- a/ofl/unifrakturcook/DESCRIPTION.en_us.html +++ b/ofl/unifrakturcook/DESCRIPTION.en_us.html @@ -1 +1,41 @@ -

UnifrakturCook is a blackletter font. It is based on Peter Wiegel’s font Koch fette deutsche Schrift which is in turn based on a 1910 typeface by Rudolf Koch. While the glyph design of Peter Wiegel’s font has hardly been changed at all, UnifrakturCook uses smart font technologies for displaying the font’s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures ‹ch, ck, ſt, tz› that must be kept when letterspacing is increased, and regular ligatures (for instance, ‹fi, fl›) that are broken up when letterspacing is increased.

Using the ligatures: Whenever you type a sequence such as ‹tz›, it will automatically be displayed as a ligature. When you want to oppress a ligature, for instance in the German word «Zeitzone» ‘time zone’ that should have no tz-ligature, then you put a zero width non-joiner between the ‹t› and the ‹z› or, alternatively, you write «Zeit&zwnj;zone» in the HTML code. Unfortunately, this will only work on a browser that is capable of displaying ligatures.

Of course, UnifrakturMaguntia provides the character ‹ſ› (U+017F LATIN SMALL LETTER LONG S)!

UnifrakturCook is optimized for @font-face linking on the internet by combining standards compliance with a permissive license.

UnifrakturCook has first been published in 2010 at UnifrakturCook. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.

\ No newline at end of file +

+ UnifrakturCook is a blackletter font. + It is based on Peter Wiegel’s font + + Koch fette deutsche Schrift + + which is in turn based on a 1910 typeface by Rudolf Koch. + While the glyph design of Peter Wiegel’s font has hardly been changed at all, UnifrakturCook uses smart font technologies for displaying the font’s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). + An experimental feature is the distinction of good blackletter typography between required ligatures ‹ch, ck, ſt, tz› that must be kept when letterspacing is increased, and regular ligatures (for instance, ‹fi, fl›) that are broken up when letterspacing is increased. +

+

+ Using the ligatures: Whenever you type a sequence such as ‹tz›, it will automatically be displayed as a ligature. + When you want to oppress a ligature, for instance in the German word «Zeitzone» ‘time zone’ that should have no tz-ligature, then you put a + + zero width non-joiner + + between the ‹t› and the ‹z› or, alternatively, you write «Zeit‌zone» in the HTML code. + Unfortunately, this will only work on a browser that is capable of displaying ligatures. +

+

+ Of course, UnifrakturMaguntia provides the character ‹ſ› (U+017F LATIN SMALL LETTER LONG S)! +

+

+ UnifrakturCook is optimized for @font-face linking on the internet by combining standards compliance with a permissive license. +

+

+ UnifrakturCook has first been published in 2010 at + + UnifrakturCook + + . + It has been edited with FontForge, the libre outline font editor. + OpenType features have been added with FontForge directly. + AAT features have been added with ftxenhancer of the Apple Font Tools. + Graphite has been added with the Graphite Compiler. + For more information about AAT and Graphite, you may want to check out the + + Free Tengwar Font Project: Adding Graphite and AAT to a font + + . +

diff --git a/ofl/unifrakturmaguntia/DESCRIPTION.en_us.html b/ofl/unifrakturmaguntia/DESCRIPTION.en_us.html index 248a6b345e..57fe11181c 100644 --- a/ofl/unifrakturmaguntia/DESCRIPTION.en_us.html +++ b/ofl/unifrakturmaguntia/DESCRIPTION.en_us.html @@ -1 +1,28 @@ -

UnifrakturMaguntia is based on Peter Wiegel’s font Berthold Mainzer Fraktur which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. While the glyph design of Peter Wiegel’s font has hardly been changed at all, UnifrakturMaguntia uses smart font technologies for displaying the font’s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). An experimental feature is the distinction of good blackletter typography between required ligatures ‹ch, ck, ſt, tz› that must be kept when letterspacing is increased, and regular ligatures (for instance, ‹fi, fl›) that are broken up when letterspacing is increased.

UnifrakturMaguntia is optimized for @font-face linking on the internet by combining standards compliance with a permissive license.

UnifrakturMaguntia has first been published in 2010 at UnifrakturMaguntia. It has been edited with FontForge, the libre outline font editor. OpenType features have been added with FontForge directly. AAT features have been added with ftxenhancer of the Apple Font Tools. Graphite has been added with the Graphite Compiler. For more information about AAT and Graphite, you may want to check out the Free Tengwar Font Project: Adding Graphite and AAT to a font.

\ No newline at end of file +

+ UnifrakturMaguntia is based on Peter Wiegel’s font + + Berthold Mainzer Fraktur + + which is in turn based on a 1901 typeface by Carl Albert Fahrenwaldt. + While the glyph design of Peter Wiegel’s font has hardly been changed at all, UnifrakturMaguntia uses smart font technologies for displaying the font’s ligatures (OpenType, Apple Advanced Typography and SIL Graphite). + An experimental feature is the distinction of good blackletter typography between required ligatures ‹ch, ck, ſt, tz› that must be kept when letterspacing is increased, and regular ligatures (for instance, ‹fi, fl›) that are broken up when letterspacing is increased. +

+

+ UnifrakturMaguntia is optimized for @font-face linking on the internet by combining standards compliance with a permissive license. +

+

+ UnifrakturMaguntia has first been published in 2010 at + + UnifrakturMaguntia + + . + It has been edited with FontForge, the libre outline font editor. + OpenType features have been added with FontForge directly. + AAT features have been added with ftxenhancer of the Apple Font Tools. + Graphite has been added with the Graphite Compiler. + For more information about AAT and Graphite, you may want to check out the + + Free Tengwar Font Project: Adding Graphite and AAT to a font + + . +

diff --git a/ofl/unlock/DESCRIPTION.en_us.html b/ofl/unlock/DESCRIPTION.en_us.html index 463d5dcd4d..ef86757df2 100644 --- a/ofl/unlock/DESCRIPTION.en_us.html +++ b/ofl/unlock/DESCRIPTION.en_us.html @@ -1,5 +1,20 @@ -

Unlock is a geometric typeface with vertical stress, short descenders and a significant "x" height . Basic shapes from rectangles, some with rounded corners (the only presence of curves), completely rectangular counterpounchs and innovative solutions for the joints, make Unlock has a unique style.

Their rough appearance, reminiscent of the old types of wood although the design of many of the signs we associate also a futuristic design.

Unlock is ideal for the composition of headlines and short texts but its design provides for the possibility of using it in small sizes.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/unlock.

+

+ Unlock is a geometric typeface with vertical stress, short descenders and a significant "x" height . + Basic shapes from rectangles, some with rounded corners (the only presence of curves), completely rectangular counterpounchs and innovative solutions for the joints, make Unlock has a unique style. +

+

+ Their rough appearance, reminiscent of the old types of wood although the design of many of the signs we associate also a futuristic design. +

+

+ Unlock is ideal for the composition of headlines and short texts but its design provides for the possibility of using it in small sizes. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/unlock + + . +

diff --git a/ofl/unna/DESCRIPTION.en_us.html b/ofl/unna/DESCRIPTION.en_us.html index 8f7a350a82..f03f54fb38 100644 --- a/ofl/unna/DESCRIPTION.en_us.html +++ b/ofl/unna/DESCRIPTION.en_us.html @@ -1,4 +1,4 @@

-Unna has a soft look that is expressed through delicated serifs and strong stems, thus accentuating the typical neoclassical vertical texture. -The type designer, Jorge de Buen, was inspired to name this design with the surname of his mother. + Unna has a soft look that is expressed through delicated serifs and strong stems, thus accentuating the typical neoclassical vertical texture. + The type designer, Jorge de Buen, was inspired to name this design with the surname of his mother.

diff --git a/ofl/updock/DESCRIPTION.en_us.html b/ofl/updock/DESCRIPTION.en_us.html index ce4a3084c3..fb7c0dffd7 100644 --- a/ofl/updock/DESCRIPTION.en_us.html +++ b/ofl/updock/DESCRIPTION.en_us.html @@ -1,11 +1,17 @@

-What's Updock? Other than a famous query by an even more famous bunny, it's a beautiful script font with a nearly upright stress. + What's Updock? + Other than a famous query by an even more famous bunny, it's a beautiful script font with a nearly upright stress.

-

Updock is an extremely legible formal script with clean connectors and a variety of of discretionary ligatures. +

+ Updock is an extremely legible formal script with clean connectors and a variety of of discretionary ligatures.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/updock. + To contribute, see + + github.com/googlefonts/updock + + .

diff --git a/ofl/urbanist/DESCRIPTION.en_us.html b/ofl/urbanist/DESCRIPTION.en_us.html index 313f6d14fb..81faa15389 100644 --- a/ofl/urbanist/DESCRIPTION.en_us.html +++ b/ofl/urbanist/DESCRIPTION.en_us.html @@ -1,10 +1,20 @@

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

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

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

\ No newline at end of file + To learn more, read + + New font family: Urbanist by Corey Hu + + . +

diff --git a/ofl/vampiroone/DESCRIPTION.en_us.html b/ofl/vampiroone/DESCRIPTION.en_us.html index 7fe36f035a..2cb9638855 100644 --- a/ofl/vampiroone/DESCRIPTION.en_us.html +++ b/ofl/vampiroone/DESCRIPTION.en_us.html @@ -1,14 +1,26 @@

-Foundry: Sorkin Type Co + + Foundry: + + Sorkin Type Co + +

-Vampiro One is a low contrast script font. -It was inspired by the 20th century Italian tradition of monoline scripts. -Vampiro One is best used for display purposes at medium to large sizes. + Vampiro One is a low contrast script font. + It was inspired by the 20th century Italian tradition of monoline scripts. + Vampiro One is best used for display purposes at medium to large sizes.

-To contribute to the project contact Eben Sorkin. + To contribute to the project contact + + Eben Sorkin + + .

-Updated September 2015: Internal metadata corrected. + + Updated September 2015: + + Internal metadata corrected.

diff --git a/ofl/varela/DESCRIPTION.en_us.html b/ofl/varela/DESCRIPTION.en_us.html index 42583cef7b..a68f7186a2 100644 --- a/ofl/varela/DESCRIPTION.en_us.html +++ b/ofl/varela/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Varela is a modern sans-serif font that blends styles of many great typefaces. Its uniqueness stems from vertical cuts on lowercase letters such as "a, c, e, g, s" and uppercase letters such as "C, G, J, S". Because it is extremely clean and minimalistic in design, it is able to sit well in body text at small sizes, or be used for headlines and menu items. Varela is a great font for anything containing text or content.

\ No newline at end of file +

+ Varela is a modern sans-serif font that blends styles of many great typefaces. + Its uniqueness stems from vertical cuts on lowercase letters such as "a, c, e, g, s" and uppercase letters such as "C, G, J, S". + Because it is extremely clean and minimalistic in design, it is able to sit well in body text at small sizes, or be used for headlines and menu items. + Varela is a great font for anything containing text or content. +

diff --git a/ofl/varelaround/DESCRIPTION.en_us.html b/ofl/varelaround/DESCRIPTION.en_us.html index 5c186e723f..41384d09b6 100644 --- a/ofl/varelaround/DESCRIPTION.en_us.html +++ b/ofl/varelaround/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Varela Round is based on the well known font Varela. Its rounded corners make it perfect for a soft feel and work great at any size. It is suitable for headlines and printed collateral, and maintains its distinct properties amongst other objects. Varela Round is a great font for any website.

\ No newline at end of file +

+ Varela Round is based on the well known font Varela. + Its rounded corners make it perfect for a soft feel and work great at any size. + It is suitable for headlines and printed collateral, and maintains its distinct properties amongst other objects. + Varela Round is a great font for any website. +

diff --git a/ofl/varta/DESCRIPTION.en_us.html b/ofl/varta/DESCRIPTION.en_us.html index eabe0f1363..a3098f3442 100644 --- a/ofl/varta/DESCRIPTION.en_us.html +++ b/ofl/varta/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

Varta is a sans serif family that fuses warm humanity with bright clarity and professional crispness whos congenial personality emerges at larger sizes.

-

It is a variable font that has been designed to render well down to surprisingly small sizes and on both low and high-quality screens, which provides a broad range of utility.

-

Its features make it well suited to a variety of tasks, including sign systems, editorial design, packaging, and extended reading on screens.

- -

To contribute, see https://github.com/SorkinType/Varta

- -

Varta is published by Sorkin Type.

+

+ Varta is a sans serif family that fuses warm humanity with bright clarity and professional crispness whos congenial personality emerges at larger sizes. +

+

+ It is a variable font that has been designed to render well down to surprisingly small sizes and on both low and high-quality screens, which provides a broad range of utility. +

+

+ Its features make it well suited to a variety of tasks, including sign systems, editorial design, packaging, and extended reading on screens. +

+

+ To contribute, see + + https://github.com/SorkinType/Varta + +

+

+ Varta is published by + + Sorkin Type + + . +

diff --git a/ofl/vastshadow/DESCRIPTION.en_us.html b/ofl/vastshadow/DESCRIPTION.en_us.html index 784d075daf..92b88e01d7 100644 --- a/ofl/vastshadow/DESCRIPTION.en_us.html +++ b/ofl/vastshadow/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Vast is a Victorian slab serif advertising type. + Vast has a feeling of sturdy solidity combined with just a little bit of refinement. + Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/vazirmatn/DESCRIPTION.en_us.html b/ofl/vazirmatn/DESCRIPTION.en_us.html index b45f345e06..5c693e22ac 100644 --- a/ofl/vazirmatn/DESCRIPTION.en_us.html +++ b/ofl/vazirmatn/DESCRIPTION.en_us.html @@ -1,16 +1,27 @@

- Vazirmatn is a Persian/Arabic font project that started in 2015 under the name Vazir with the idea of a new - simple and legible typeface suitable for web pages and applications. - Thanks to DejaVu Sans font (v2.35) published in public domain there was a free software base to start the Vazir - project. Although Vazir was a completely different typeface, still the original software was common. - For the Latin glyphset, Vazirmatn is combined with Roboto. + Vazirmatn is a Persian/Arabic font project that started in 2015 under the name Vazir with the idea of a new simple and legible typeface suitable for web pages and applications. + Thanks to DejaVu Sans font (v2.35) published in public domain there was a free software base to start the Vazir project. + Although Vazir was a completely different typeface, still the original software was common. + For the Latin glyphset, Vazirmatn is combined with + + Roboto + + .

- -

The last release in June 2022, fixes some bugs, improves the design, and offers a more expanded glyphset.

-

- Check out the font's website! + The last release in June 2022, fixes some bugs, improves the design, and offers a more expanded glyphset.

- To contribute, see github.com/rastikerdar/vazirmatn. + Check out the font's + + website + + ! +

+

+ To contribute, see + + github.com/rastikerdar/vazirmatn + + .

diff --git a/ofl/vesperlibre/DESCRIPTION.en_us.html b/ofl/vesperlibre/DESCRIPTION.en_us.html index 5df5e4759b..7795239aa1 100644 --- a/ofl/vesperlibre/DESCRIPTION.en_us.html +++ b/ofl/vesperlibre/DESCRIPTION.en_us.html @@ -1,24 +1,29 @@

-Vesper has a classical foundation, but with an entirely modern appearance, making reading comfortable, but never boring. + Vesper has a classical foundation, but with an entirely modern appearance, making reading comfortable, but never boring.

-

-Vesper's Devanagari design was started by Rob Keller in 2006 and inspired Vesper's Latin letterforms. -This process was featured in a I Love Typography article in 2009. -The Devanagari character set was completed in 2014 through a collaboration with Kimya Gandhi. + Vesper's Devanagari design was started by Rob Keller in 2006 and inspired Vesper's Latin letterforms. + This process was featured in a + + I Love Typography article in 2009 + + . + The Devanagari character set was completed in 2014 through a collaboration with Kimya Gandhi.

-

-Vesper Libre is a special web version that has been optimized for online use. -Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading. + Vesper Libre is a special web version that has been optimized for online use. + Tiny details have been simplified and the character set is reduced for the perfect balance of beautiful web typography with fast page loading.

-

-Update, April 2015: -A major revision was made that adjusted the character set, OpenType features and vertical merics. + + Update, April 2015: + + A major revision was made that adjusted the character set, OpenType features and vertical merics.

-

-The Vesper Libre project is led by Mota Italic, a type design foundry based in Mumbai, India. -To contribute, see github.com/motaitalic/vesper-libre -

\ No newline at end of file + The Vesper Libre project is led by Mota Italic, a type design foundry based in Mumbai, India. + To contribute, see + + github.com/motaitalic/vesper-libre + +

diff --git a/ofl/viaodalibre/DESCRIPTION.en_us.html b/ofl/viaodalibre/DESCRIPTION.en_us.html index e187c7373d..36021e260a 100644 --- a/ofl/viaodalibre/DESCRIPTION.en_us.html +++ b/ofl/viaodalibre/DESCRIPTION.en_us.html @@ -1,17 +1,20 @@

- Viaoda Libre is a display family inspired by Vietnamese cultural symbolism. - Its design feels traditional yet it features some modern elements. Viaoda - Libre works well in large titles and subtitles. + Viaoda Libre is a display family inspired by Vietnamese cultural symbolism. + Its design feels traditional yet it features some modern elements. + Viaoda Libre works well in large titles and subtitles.

- We're actively working on the family. We hope to improve the Vietnamese in - future releases. + We're actively working on the family. + We hope to improve the Vietnamese in future releases.

- Contact at gydient.com -
- Contribute at - github.com/bettergui/ViaodaLibre + Contact at + + gydient.com + +
+ Contribute at + + github.com/bettergui/ViaodaLibre +

diff --git a/ofl/vibes/DESCRIPTION.en_us.html b/ofl/vibes/DESCRIPTION.en_us.html index 3103a186e1..f00b211ba8 100644 --- a/ofl/vibes/DESCRIPTION.en_us.html +++ b/ofl/vibes/DESCRIPTION.en_us.html @@ -1,3 +1,13 @@ -

Vibes is a typeface designed for Arabic, as well as English languages. It was designed to be a mixture that radiates energy, flexibility, and cuteness. It is specially designed to be used for title texts. Acknowledgements goes to Nadine Chahine, where this work wouldn't incepted without her help.

- -

To contribute, see github.com/bluemix/vibes-typeface.

+

+ Vibes is a typeface designed for Arabic, as well as English languages. + It was designed to be a mixture that radiates energy, flexibility, and cuteness. + It is specially designed to be used for title texts. + Acknowledgements goes to Nadine Chahine, where this work wouldn't incepted without her help. +

+

+ To contribute, see + + github.com/bluemix/vibes-typeface + + . +

diff --git a/ofl/vibur/DESCRIPTION.en_us.html b/ofl/vibur/DESCRIPTION.en_us.html index aa0319fd6b..41880fc74b 100644 --- a/ofl/vibur/DESCRIPTION.en_us.html +++ b/ofl/vibur/DESCRIPTION.en_us.html @@ -1 +1,6 @@ -

Vibur is a font based on handwriting. Author of the typeface Johan Kallas set out to create a display font from his own handwriting by making it more pronounced and re-modelling the strokes - making it nicer than his actual handwriting is - that can be used for various typesetting contexts. It comes with numerous ligatures that can be activated with OpenType features. The curvy style is best combined with playful and bright designs.

\ No newline at end of file +

+ Vibur is a font based on handwriting. + Author of the typeface Johan Kallas set out to create a display font from his own handwriting by making it more pronounced and re-modelling the strokes - making it nicer than his actual handwriting is - that can be used for various typesetting contexts. + It comes with numerous ligatures that can be activated with OpenType features. + The curvy style is best combined with playful and bright designs. +

diff --git a/ofl/victormono/DESCRIPTION.en_us.html b/ofl/victormono/DESCRIPTION.en_us.html index fb826b0528..d2fec9308d 100644 --- a/ofl/victormono/DESCRIPTION.en_us.html +++ b/ofl/victormono/DESCRIPTION.en_us.html @@ -1,15 +1,30 @@

- Victor Mono is a monospaced font with optional semi-connected cursive italics and programming symbol ligatures. The typeface is slender, crisp and narrow, with a large x-height and clear punctuation, making it legible and ideal for code. + Victor Mono is a monospaced font with optional semi-connected cursive italics and programming symbol ligatures. + The typeface is slender, crisp and narrow, with a large x-height and clear punctuation, making it legible and ideal for code.

- -

The typeface was created to meet specific requirements for code and programming: -

+

+ The typeface was created to meet specific requirements for code and programming: +

+

+

+ To contribute, see + + github.com/rubjo/victor-mono-font +

- -

To contribute, see github.com/rubjo/victor-mono-font

diff --git a/ofl/vidaloka/DESCRIPTION.en_us.html b/ofl/vidaloka/DESCRIPTION.en_us.html index e5e8a58e00..3a02199ad5 100644 --- a/ofl/vidaloka/DESCRIPTION.en_us.html +++ b/ofl/vidaloka/DESCRIPTION.en_us.html @@ -1 +1,11 @@ -

Vidaloka is a Didone display typeface for headlines and short blocks of text. Because of its high contrast it will work best from 16px and above.

The main features are curlified drops and sloped terminals. Tail of Q has a distinctive baroque inspired form.

Vidaloka is designed by Alexei Vanyashin and Olga Karpushina.

\ No newline at end of file +

+ Vidaloka is a Didone display typeface for headlines and short blocks of text. + Because of its high contrast it will work best from 16px and above. +

+

+ The main features are curlified drops and sloped terminals. + Tail of Q has a distinctive baroque inspired form. +

+

+ Vidaloka is designed by Alexei Vanyashin and Olga Karpushina. +

diff --git a/ofl/viga/DESCRIPTION.en_us.html b/ofl/viga/DESCRIPTION.en_us.html index 7d9f929336..cb651a9e30 100644 --- a/ofl/viga/DESCRIPTION.en_us.html +++ b/ofl/viga/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Viga is a sans serif with a good performance on screen. Its anatomy gives it a great personality and also makes it useful for reading on screen.

\ No newline at end of file +

+ Viga is a sans serif with a good performance on screen. + Its anatomy gives it a great personality and also makes it useful for reading on screen. +

diff --git a/ofl/vinasans/DESCRIPTION.en_us.html b/ofl/vinasans/DESCRIPTION.en_us.html index 9d3d00b521..a3cd68cc6d 100644 --- a/ofl/vinasans/DESCRIPTION.en_us.html +++ b/ofl/vinasans/DESCRIPTION.en_us.html @@ -1,7 +1,11 @@ -

Vina Sans is an open-source font inspired by the letters on street signs, flyers, and posters found throughout - Vietnam. In addition, the font also incorporates an element of font errors that appear a lot on publications with a - low level of perfection. +

+ Vina Sans is an open-source font inspired by the letters on street signs, flyers, and posters found throughout Vietnam. + In addition, the font also incorporates an element of font errors that appear a lot on publications with a low level of perfection.

- To contribute, please visit github.com/nguyentype/vinasans. + To contribute, please visit + + github.com/nguyentype/vinasans + + .

diff --git a/ofl/voces/DESCRIPTION.en_us.html b/ofl/voces/DESCRIPTION.en_us.html index 92a949d761..79ec661ba0 100644 --- a/ofl/voces/DESCRIPTION.en_us.html +++ b/ofl/voces/DESCRIPTION.en_us.html @@ -1,16 +1,20 @@

-Voces is a new graphic solution for the glyphs of the International Phonetic Alphabet (IPA), considering the specific use-case of bilingual dictionaries. -For this purpose, the typeface was conceived as a sans serif with gradual strokes, generous counterforms, a large "x" height, and short ascenders and descenders. -These features attempt to solve the problems of spatial economy and print fidelity that dictionary typesetting presents. -Ink traps were applied with consideration for the aesthetic and functional requirements. -Voces was selected for exhibition in Tipos Latinos 2010. + Voces is a new graphic solution for the glyphs of the International Phonetic Alphabet (IPA), considering the specific use-case of bilingual dictionaries. + For this purpose, the typeface was conceived as a sans serif with gradual strokes, generous counterforms, a large "x" height, and short ascenders and descenders. + These features attempt to solve the problems of spatial economy and print fidelity that dictionary typesetting presents. + Ink traps were applied with consideration for the aesthetic and functional requirements. + Voces was selected for exhibition in Tipos Latinos 2010.

-

-Voces is designed by Ana Paula Megda and Pablo Ugerman. -To contribute to the project contact them at info@ugrdesign.com.ar + Voces is designed by Ana Paula Megda and Pablo Ugerman. + To contribute to the project contact them at + + info@ugrdesign.com.ar +

-

-Updated January 2016: The non-breaking space character is now empty and set to the same width as the space character. -

\ No newline at end of file + + Updated January 2016: + + The non-breaking space character is now empty and set to the same width as the space character. +

diff --git a/ofl/volkhov/DESCRIPTION.en_us.html b/ofl/volkhov/DESCRIPTION.en_us.html index 90bbd9d0b4..8a46c1400c 100644 --- a/ofl/volkhov/DESCRIPTION.en_us.html +++ b/ofl/volkhov/DESCRIPTION.en_us.html @@ -1 +1,14 @@ -

Volkhov is a low-contrast seriffed typeface with a robust character, intended for providing a motivating reading experience.

As a four-weight family it is well-suited for complex text environments being economic and legible, contemporary and prominent. Many of its design solutions relate to this purpose: large open counters, rather short descenders, and brutal asymmetric serifs.

Spacing in Bold is slightly increased compared to the normal weight, because the bold mass is mostly grown inwards. The Italic has a steep angle and a distinctive calligraphically reminiscent character, as a counterpart to the rigorous Regular.

Designed by Ivan Petrov.

\ No newline at end of file +

+ Volkhov is a low-contrast seriffed typeface with a robust character, intended for providing a motivating reading experience. +

+

+ As a four-weight family it is well-suited for complex text environments being economic and legible, contemporary and prominent. + Many of its design solutions relate to this purpose: large open counters, rather short descenders, and brutal asymmetric serifs. +

+

+ Spacing in Bold is slightly increased compared to the normal weight, because the bold mass is mostly grown inwards. + The Italic has a steep angle and a distinctive calligraphically reminiscent character, as a counterpart to the rigorous Regular. +

+

+ Designed by Ivan Petrov. +

diff --git a/ofl/vollkorn/DESCRIPTION.en_us.html b/ofl/vollkorn/DESCRIPTION.en_us.html index c65abbef97..0a9fb3c4ea 100644 --- a/ofl/vollkorn/DESCRIPTION.en_us.html +++ b/ofl/vollkorn/DESCRIPTION.en_us.html @@ -1,18 +1,21 @@

-Vollkorn came into being as the first typeface design by Friedrich Althausen. -First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects. + Vollkorn came into being as the first typeface design by Friedrich Althausen. + First published in 2005 under a Creative Commons license, it was soon downloaded thousands of times and used in all kinds of web and print projects.

-It intends to be a quiet, modest and high quality text face for bread and butter use. -Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. -It might be used in body copy, or just as well for headlines and titles. -»Vollkorn« (pronounced »Follkorn«) is German for »wholemeal« which refers to the old term »Brotschrift«. -It stood for the small fonts for every day use in hand setting times. + It intends to be a quiet, modest and high quality text face for bread and butter use. + Unlike many text typefaces from the Renaissance period until now, it has dark and meaty serifs and a bouncing and healthy look. + It might be used in body copy, or just as well for headlines and titles. + »Vollkorn« (pronounced »Follkorn«) is German for »wholemeal« which refers to the old term »Brotschrift«. + It stood for the small fonts for every day use in hand setting times.

-In May 2020, it was updated to be a Variable Font with a "Weight" axis in both Roman and Italic. + In May 2020, it was updated to be a Variable Font with a "Weight" axis in both Roman and Italic.

-The Vollkorn project is led by Friedrich Althausen, a typeface designer in Germany. -To contribute, see github.com/FAlthausen/Vollkorn-Typeface + The Vollkorn project is led by Friedrich Althausen, a typeface designer in Germany. + To contribute, see + + github.com/FAlthausen/Vollkorn-Typeface +

diff --git a/ofl/vollkornsc/DESCRIPTION.en_us.html b/ofl/vollkornsc/DESCRIPTION.en_us.html index f2f7d7d2d6..d0b92d1a3b 100644 --- a/ofl/vollkornsc/DESCRIPTION.en_us.html +++ b/ofl/vollkornsc/DESCRIPTION.en_us.html @@ -1,3 +1,17 @@ -

Vollkorn came into being as my first type designing attempt. I published the Regular in 2005 under a Creative-Commons-License. Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. It intends to be a quiet, modest and well working text face for bread and butter use. Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. It might be used as body type as well as for headlines or titles. »Vollkorn« (pronounced »Follkorn«) is German for »wholemeal« which refers to the old term »Brotschrift«. It stood for the small fonts for every day use in hand setting times.

- -

This is the Small Cap sister family to the main Vollkorn family.

\ No newline at end of file +

+ Vollkorn came into being as my first type designing attempt. + I published the Regular in 2005 under a Creative-Commons-License. + Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. + It intends to be a quiet, modest and well working text face for bread and butter use. + Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. + It might be used as body type as well as for headlines or titles. + »Vollkorn« (pronounced »Follkorn«) is German for »wholemeal« which refers to the old term »Brotschrift«. + It stood for the small fonts for every day use in hand setting times. +

+

+ This is the Small Cap sister family to the main + + Vollkorn + + family. +

diff --git a/ofl/voltaire/DESCRIPTION.en_us.html b/ofl/voltaire/DESCRIPTION.en_us.html index 2fad85c4fb..e098212deb 100644 --- a/ofl/voltaire/DESCRIPTION.en_us.html +++ b/ofl/voltaire/DESCRIPTION.en_us.html @@ -1,5 +1,15 @@ -

Voltaire is a low-contrast condensed semi-geometric style sans-serif. Voltaire is highly readable and will work from medium text sizes all the way up to larger display settings. Voltaire was inspired by 20th century Swedish posters whose letters have similar forms.

- -

Latest upgrade from January 2023 expands the Latin script language coverage and kerning added.

- -

To contribute, see github.com/SorkinType/Voltaire.

+

+ Voltaire is a low-contrast condensed semi-geometric style sans-serif. + Voltaire is highly readable and will work from medium text sizes all the way up to larger display settings. + Voltaire was inspired by 20th century Swedish posters whose letters have similar forms. +

+

+ Latest upgrade from January 2023 expands the Latin script language coverage and kerning added. +

+

+ To contribute, see + + github.com/SorkinType/Voltaire + + . +

diff --git a/ofl/vt323/DESCRIPTION.en_us.html b/ofl/vt323/DESCRIPTION.en_us.html index 6b8883558d..0a8c9841db 100644 --- a/ofl/vt323/DESCRIPTION.en_us.html +++ b/ofl/vt323/DESCRIPTION.en_us.html @@ -1 +1,13 @@ -

This font was created from the glyphs of the DEC VT320 text terminal, which I used in college, and for which I have retained an unaccountable nostalgia.

I used a variety of tools, including Gimp, Python/PIL, and of course, FontForge. The VT320 glyphs were designed with a nonrectangular pixel aspect ratio to fit the way the terminal scanned the CRT, so for this VT323 variation I had Python munge the locations and attempt to emulate the way the electron beam actually illuminated the phosphor and smeared the pixels horizontally on the terminal's CRT, so it looks more like what the actual glyph looked like on the screen. Python then drew the proper pixels into a 1:1 pixel grid as a monochrome PNG, which FontForge autoscanned into outlines. I have attempted to support most of the glyphs available on the VT320, but that is a limited set to begin with, so please don't be disappointed that I haven't supported Esperanto or Riograndenser Hunsrückisch or whatever.

There is another earlier variation called "VT321" that uses a more standard 1:1 pixel drawing technique, if you want to grab that as well. I personally like VT323 better, and actually use it as my terminal font when cruising on the command line.

\ No newline at end of file +

+ This font was created from the glyphs of the DEC VT320 text terminal, which I used in college, and for which I have retained an unaccountable nostalgia. +

+

+ I used a variety of tools, including Gimp, Python/PIL, and of course, FontForge. + The VT320 glyphs were designed with a nonrectangular pixel aspect ratio to fit the way the terminal scanned the CRT, so for this VT323 variation I had Python munge the locations and attempt to emulate the way the electron beam actually illuminated the phosphor and smeared the pixels horizontally on the terminal's CRT, so it looks more like what the actual glyph looked like on the screen. + Python then drew the proper pixels into a 1:1 pixel grid as a monochrome PNG, which FontForge autoscanned into outlines. + I have attempted to support most of the glyphs available on the VT320, but that is a limited set to begin with, so please don't be disappointed that I haven't supported Esperanto or Riograndenser Hunsrückisch or whatever. +

+

+ There is another earlier variation called "VT321" that uses a more standard 1:1 pixel drawing technique, if you want to grab that as well. + I personally like VT323 better, and actually use it as my terminal font when cruising on the command line. +

diff --git a/ofl/vujahdayscript/DESCRIPTION.en_us.html b/ofl/vujahdayscript/DESCRIPTION.en_us.html index 50fa1b84f3..0304770ff1 100644 --- a/ofl/vujahdayscript/DESCRIPTION.en_us.html +++ b/ofl/vujahdayscript/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-Vujaday! That eerie feeling that nothing like this has ever happened before. This script font comes with both a plain and a script stylistic set. Its rough edge adds to the handwritten feel. + Vujaday! + That eerie feeling that nothing like this has ever happened before. + This script font comes with both a plain and a script stylistic set. + Its rough edge adds to the handwritten feel.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/vujahday. + To contribute, see + + github.com/googlefonts/vujahday + + .

diff --git a/ofl/waitingforthesunrise/DESCRIPTION.en_us.html b/ofl/waitingforthesunrise/DESCRIPTION.en_us.html index 50ae1a0907..66e2c3ed91 100644 --- a/ofl/waitingforthesunrise/DESCRIPTION.en_us.html +++ b/ofl/waitingforthesunrise/DESCRIPTION.en_us.html @@ -1 +1,10 @@ -

Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.

\ No newline at end of file +

+ Waiting for the Sunrise is based on the handwriting of a high school student. + The title comes from the song + + Lift Me Up by The Afters + + . + Although this font was created during a time of darkness in my life, it is a cheery, perky font. + It is a reminder to me of the joy that comes after mourning. +

diff --git a/ofl/wallpoet/DESCRIPTION.en_us.html b/ofl/wallpoet/DESCRIPTION.en_us.html index aaa590a348..42fa45b893 100644 --- a/ofl/wallpoet/DESCRIPTION.en_us.html +++ b/ofl/wallpoet/DESCRIPTION.en_us.html @@ -1 +1,12 @@ -

Wallpoet is inspired by the often political, short, sometimes provocative, sometimes funny or both, messages found on city walls, sprayed by some anonymous agent. Words, images or both!

The idea behind the font is making a font with a bit of punch, but still easy to use for template graffiti. Print, cut & spray - being the key concept. That's why it has no curves and off course is a stencil font.

With the font, Lars wants to pay respect to the urban guerilla scene, which has inspired him so often with it's total disrespect for the traditional and ingenious ability to break out of the traditional box.

\ No newline at end of file +

+ Wallpoet is inspired by the often political, short, sometimes provocative, sometimes funny or both, messages found on city walls, sprayed by some anonymous agent. + Words, images or both! +

+

+ The idea behind the font is making a font with a bit of punch, but still easy to use for template graffiti. + Print, cut & spray - being the key concept. + That's why it has no curves and off course is a stencil font. +

+

+ With the font, Lars wants to pay respect to the urban guerilla scene, which has inspired him so often with it's total disrespect for the traditional and ingenious ability to break out of the traditional box. +

diff --git a/ofl/warnes/DESCRIPTION.en_us.html b/ofl/warnes/DESCRIPTION.en_us.html index 417658621b..5bee692e26 100644 --- a/ofl/warnes/DESCRIPTION.en_us.html +++ b/ofl/warnes/DESCRIPTION.en_us.html @@ -1,8 +1,14 @@ -

The retro look of this typeface reminds us of the metal badges used in the -past to show car model names. The family name “Warnes” is the name of a street -in the city of Buenos Aires where all the shops are garages selling spare -parts.

- -

The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.

- -

To contribute, see github.com/etunni/warnes.

+

+ The retro look of this typeface reminds us of the metal badges used in the past to show car model names. + The family name “Warnes” is the name of a street in the city of Buenos Aires where all the shops are garages selling spare parts. +

+

+ The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications. +

+

+ To contribute, see + + github.com/etunni/warnes + + . +

diff --git a/ofl/waterbrush/DESCRIPTION.en_us.html b/ofl/waterbrush/DESCRIPTION.en_us.html index 783dfb24ea..c39d8db79a 100644 --- a/ofl/waterbrush/DESCRIPTION.en_us.html +++ b/ofl/waterbrush/DESCRIPTION.en_us.html @@ -1,9 +1,16 @@

-It's cool and refreshing. Water Brush is a contemporary script style. The dry brush texture is indicative of a camel hair brush filled with color on a watercolor textured paper. The characters are loose and expressive— perfect for casual and sophisticated situations. + It's cool and refreshing. + Water Brush is a contemporary script style. + The dry brush texture is indicative of a camel hair brush filled with color on a watercolor textured paper. + The characters are loose and expressive— perfect for casual and sophisticated situations.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/water-brush. + To contribute, see + + github.com/googlefonts/water-brush + + .

diff --git a/ofl/waterfall/DESCRIPTION.en_us.html b/ofl/waterfall/DESCRIPTION.en_us.html index af3103a6bc..12f06c1df1 100644 --- a/ofl/waterfall/DESCRIPTION.en_us.html +++ b/ofl/waterfall/DESCRIPTION.en_us.html @@ -1,9 +1,14 @@

-Waterfall is a calligraphic script that combines elements of traditional hand lettered italic form with more formal, elegant script connecting characters. It's both beautiful and contemporary. + Waterfall is a calligraphic script that combines elements of traditional hand lettered italic form with more formal, elegant script connecting characters. + It's both beautiful and contemporary.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/waterfall. + To contribute, see + + github.com/googlefonts/waterfall + + .

diff --git a/ofl/wavefont/DESCRIPTION.en_us.html b/ofl/wavefont/DESCRIPTION.en_us.html index 4051c9f7dc..610ad0e683 100644 --- a/ofl/wavefont/DESCRIPTION.en_us.html +++ b/ofl/wavefont/DESCRIPTION.en_us.html @@ -1,13 +1,26 @@ -

Wavefont is a variable font with Weight, Round, and Vertical Alignment axes for rendering data like waveforms, spectrums, diagrams, and bars.

- -

Wavefont bars correspond to values from 0 to 100, assigned to different characters: -

-

- -

letter-spacing CSS property with ch units is useful to adjust distance between bars, 1ch === 1 bar width.

- -

To contribute, see github.com/dy/wavefont

+

+ Wavefont is a variable font with Weight, Round, and Vertical Alignment axes for rendering data like waveforms, spectrums, diagrams, and bars. +

+

+ Wavefont bars correspond to values from 0 to 100, assigned to different characters: +

+

+

+ letter-spacing CSS property with ch units is useful to adjust distance between bars, 1ch === 1 bar width. +

+

+ To contribute, see + + github.com/dy/wavefont + +

diff --git a/ofl/wellfleet/DESCRIPTION.en_us.html b/ofl/wellfleet/DESCRIPTION.en_us.html index 95389e12bb..19a4bfd00a 100644 --- a/ofl/wellfleet/DESCRIPTION.en_us.html +++ b/ofl/wellfleet/DESCRIPTION.en_us.html @@ -1,7 +1,27 @@ -

Foundry: Sorkin Type Co

- -

Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering. Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes.

- -

Source files are available from Google Code. -To contribute to the project contact Eben Sorkin.

+

+ + Foundry: + + Sorkin Type Co + + +

+

+ Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. + It was inspired by German poster lettering. + Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes. +

+

+ Source files are available from + + Google Code + + . + To contribute to the project contact + + Eben Sorkin + + . +

+

+

diff --git a/ofl/wendyone/DESCRIPTION.en_us.html b/ofl/wendyone/DESCRIPTION.en_us.html index 288b822428..4982536af0 100644 --- a/ofl/wendyone/DESCRIPTION.en_us.html +++ b/ofl/wendyone/DESCRIPTION.en_us.html @@ -1,13 +1,12 @@ -

Wendy is loosely inspired by the STABILO logotype, a brand that works as a -conceptual and aesthetic reference. It evokes in me design values, form and -style.

- -

The challenge was take a logotype consisting of seven letters as a starting -point to develop an alphabet. I liked the idea of the original logo for the -beauty of its forms: original and risky. I liked to continue the work of -someone whose development was arrested at another time, to animate these -characters, giving them new life through the design of a typeface that finds -the balance between the old and new forms.

- -

The font was developed by Alejandro Inler in conjunction with Julieta -Ulanovsky.

\ No newline at end of file +

+ Wendy is loosely inspired by the STABILO logotype, a brand that works as a conceptual and aesthetic reference. + It evokes in me design values, form and style. +

+

+ The challenge was take a logotype consisting of seven letters as a starting point to develop an alphabet. + I liked the idea of the original logo for the beauty of its forms: original and risky. + I liked to continue the work of someone whose development was arrested at another time, to animate these characters, giving them new life through the design of a typeface that finds the balance between the old and new forms. +

+

+ The font was developed by Alejandro Inler in conjunction with Julieta Ulanovsky. +

diff --git a/ofl/whisper/DESCRIPTION.en_us.html b/ofl/whisper/DESCRIPTION.en_us.html index 4cd92d13ff..f62a5c55d6 100644 --- a/ofl/whisper/DESCRIPTION.en_us.html +++ b/ofl/whisper/DESCRIPTION.en_us.html @@ -1,10 +1,17 @@

-Designed in the early nineties, it still holds up well as a contemporary calligraphic script with non-Roman script capitals.

-

It has an a strong italic with angular strokes and a warm, flowing look. Use Whisper for situations that call for a strong elegance. + Designed in the early nineties, it still holds up well as a contemporary calligraphic script with non-Roman script capitals.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It has an a strong italic with angular strokes and a warm, flowing look. + Use Whisper for situations that call for a strong elegance.

-To contribute, see github.com/googlefonts/whisper. + It comes with Latin Character sets including Western, Central, and Vietnamese language support. +

+

+ To contribute, see + + github.com/googlefonts/whisper + + .

diff --git a/ofl/windsong/DESCRIPTION.en_us.html b/ofl/windsong/DESCRIPTION.en_us.html index e2f37ab97f..dc265113cf 100644 --- a/ofl/windsong/DESCRIPTION.en_us.html +++ b/ofl/windsong/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-WindSong is a beautiful elongated script with multiple stylistic sets that gives a powerful solution to the design needs of the graphic design professional. + WindSong is a beautiful elongated script with multiple stylistic sets that gives a powerful solution to the design needs of the graphic design professional.

-It comes with Latin Character sets including Western, Central, and Vietnamese language support. + It comes with Latin Character sets including Western, Central, and Vietnamese language support.

-To contribute, see github.com/googlefonts/windsong. + To contribute, see + + github.com/googlefonts/windsong + + .

diff --git a/ofl/wireone/DESCRIPTION.en_us.html b/ofl/wireone/DESCRIPTION.en_us.html index 3abcecc495..15b641f7f6 100644 --- a/ofl/wireone/DESCRIPTION.en_us.html +++ b/ofl/wireone/DESCRIPTION.en_us.html @@ -1,13 +1,23 @@

- Wire One is a condensed monoline sans brought to you by Alexei Vanyashin and Gayaneh Bagdasaryan from Cyreal Type Foundry. + Wire One is a condensed monoline sans brought to you by Alexei Vanyashin and Gayaneh Bagdasaryan from + + Cyreal Type Foundry + + .

- Its modular-based characters are flavored with a sense of art nouveau. Nearly hairline thickness suggests usage for - body text above 12px. While at display sizes it reveals its tiny dot terminals to create a sharp mood in headlines. + Its modular-based characters are flavored with a sense of art nouveau. + Nearly hairline thickness suggests usage for body text above 12px. + While at display sizes it reveals its tiny dot terminals to create a sharp mood in headlines.

- It is recommended to adjust letter-spacing for sizes below 30px to 0.033em and up. For 12 px we recommend the value - of 0.085em. + It is recommended to adjust letter-spacing for sizes below 30px to 0.033em and up. + For 12 px we recommend the value of 0.085em. +

+

+ To contribute, see + + github.com/cyrealtype/Wire-One + + .

-

To contribute, see github.com/cyrealtype/Wire-One.

\ No newline at end of file diff --git a/ofl/wixmadefordisplay/DESCRIPTION.en_us.html b/ofl/wixmadefordisplay/DESCRIPTION.en_us.html index 5d4fffbff2..6b86f644a0 100644 --- a/ofl/wixmadefordisplay/DESCRIPTION.en_us.html +++ b/ofl/wixmadefordisplay/DESCRIPTION.en_us.html @@ -1,13 +1,14 @@

-Wix Madefor is a compact font family of three weights for display setting, and four text weights for use in user interfaces. -The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface’s geometric structure, -allowing Wix to have different expressions, from functional to more playful. + Wix Madefor is a compact font family of three weights for display setting, and four text weights for use in user interfaces. + The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface’s geometric structure, allowing Wix to have different expressions, from functional to more playful.

-

-The typeface was designed to carry subtle features with an engaging and clean appearance. + The typeface was designed to carry subtle features with an engaging and clean appearance.

-

-To contribute, see github.com/wix/wixmadefor. + To contribute, see + + github.com/wix/wixmadefor + + .

diff --git a/ofl/wixmadefortext/DESCRIPTION.en_us.html b/ofl/wixmadefortext/DESCRIPTION.en_us.html index f4cd051a8e..49b6a2cb26 100644 --- a/ofl/wixmadefortext/DESCRIPTION.en_us.html +++ b/ofl/wixmadefortext/DESCRIPTION.en_us.html @@ -1,5 +1,18 @@ -

Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful.

- -

The typeface was designed to carry subtle features with an engaging and clean appearance.

- -

To contribute, see github.com/wix/wixmadefor.

+

+ Wix Madefor is a compact font family of + + five weights for display setting, + + and four text weights for use in user interfaces. + The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful. +

+

+ The typeface was designed to carry subtle features with an engaging and clean appearance. +

+

+ To contribute, see + + github.com/wix/wixmadefor + + . +

diff --git a/ofl/workbench/DESCRIPTION.en_us.html b/ofl/workbench/DESCRIPTION.en_us.html index 8cc1998e3b..78acb93ba8 100644 --- a/ofl/workbench/DESCRIPTION.en_us.html +++ b/ofl/workbench/DESCRIPTION.en_us.html @@ -1,7 +1,29 @@ -

Workbench and Sixtyfour fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago.

- -

The fonts now include two custom axes: Scanlines, which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. And Bleed to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays.

- -

Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs.

- -

To contribute, see github.com/jenskutilek/homecomputer-fonts

+

+ Workbench and + + Sixtyfour + + fonts are inspired by the article Raster CRT Typography (According to DEC) by Norbert Landsteiner. + They are a rework of some old pixel versions of the Commodore 64 and Amiga Workbench fonts the author created years ago. +

+

+ The fonts now include two custom axes: + + Scanlines + + , which allows control of the height of the lines and, as a result of this, the amount of vertical space between the lines. + And + + Bleed + + to change the amount of horizontal bleed of the pixels due to the phosphor latency found in CRT displays. +

+

+ Due to this project's specificity and the fonts' historical origin, they only support a limited set of glyphs. +

+

+ To contribute, see + + github.com/jenskutilek/homecomputer-fonts + +

diff --git a/ofl/worksans/DESCRIPTION.en_us.html b/ofl/worksans/DESCRIPTION.en_us.html index f3a26a15cd..5acd444e22 100644 --- a/ofl/worksans/DESCRIPTION.en_us.html +++ b/ofl/worksans/DESCRIPTION.en_us.html @@ -1,22 +1,41 @@

-Work Sans is a typeface family based loosely on early Grotesques, such as those by Stephenson Blake, Miller & Richard and Bauerschen Giesserei. -The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px-48px) and can also be used in print design. -The fonts closer to the extreme weights are designed more for display use both on the web and in print. -Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than how they would be in print. -A version optimised for desktop applications is available from the Work Sans github project page. + Work Sans is a typeface family based loosely on early Grotesques, such as those by + + Stephenson Blake + + , + + Miller & Richard + + and + + Bauerschen Giesserei + + . + The Regular weight and others in the middle of the family are optimised for on-screen text usage at medium-sizes (14px-48px) and can also be used in print design. + The fonts closer to the extreme weights are designed more for display use both on the web and in print. + Overall, features are simplified and optimised for screen resolutions; for example, diacritic marks are larger than how they would be in print. + A version optimised for desktop applications is available from the Work Sans github project page.

-

-The Work Sans project is led by Wei Huang, a type designer from Australia. -To contribute, see github.com/weiweihuanghuang/Work-Sans + The Work Sans project is led by Wei Huang, a type designer from Australia. + To contribute, see + + github.com/weiweihuanghuang/Work-Sans +

-

-Updated August 2015: All styles were updated to v1.40 to change the Thin (100) style to be the same as 'HairLine' in previous versions - even thinner! -This avoids the complication of a second "Hairline" family. -The ExtraLight (200) and Light (300) styles also changed accordingly. -Reflow will occur from previous versions on these weights. + + Updated August 2015: + + All styles were updated to v1.40 to change the Thin (100) style to be the same as 'HairLine' in previous versions - even thinner! + This avoids the complication of a second "Hairline" family. + The ExtraLight (200) and Light (300) styles also changed accordingly. + Reflow will occur from previous versions on these weights.

-Updated February 2020: Family has been upgraded to a variable font family. + + Updated February 2020: + + Family has been upgraded to a variable font family.

diff --git a/ofl/xanhmono/DESCRIPTION.en_us.html b/ofl/xanhmono/DESCRIPTION.en_us.html index cc1207f6b0..dae2c00e14 100644 --- a/ofl/xanhmono/DESCRIPTION.en_us.html +++ b/ofl/xanhmono/DESCRIPTION.en_us.html @@ -1,10 +1,16 @@

-Xanh Mono is a mono-serif typeface, designed by Lam Bao and Duy Dao. -In Vietnamese, “Xanh” has a lot of meanings, including blue; green; young; etc. We believe that Xanh Mono will not only present a fresh and gentle look, but also a stylish and unique approach for both reading and display purposes. + Xanh Mono is a mono-serif typeface, designed by Lam Bao and Duy Dao. + In Vietnamese, “Xanh” has a lot of meanings, including blue; green; young; etc. + We believe that Xanh Mono will not only present a fresh and gentle look, but also a stylish and unique approach for both reading and display purposes.

-Xanh Mono là một mặt chữ mono có chân, được thiết kế bởi Lâm Bảo và Duy Đào từ xưởng đúc chữ kĩ thuật số đầu tiên tại Việt Nam, còn được biết đến là Yellow Type Foundry. Xanh Mono theo sự lắng đọng, nhẹ nhàng nhưng vẫn đủ cá tính để vừa sử dụng cho trải nghiệm đọc và tiêu đề lớn.Bảo và Duy hy vọng Xanh Mono sẽ là sự lựa chọn phông chữ tuyệt vời dành cho bạn. + Xanh Mono là một mặt chữ mono có chân, được thiết kế bởi Lâm Bảo và Duy Đào từ xưởng đúc chữ kĩ thuật số đầu tiên tại Việt Nam, còn được biết đến là Yellow Type Foundry. + Xanh Mono theo sự lắng đọng, nhẹ nhàng nhưng vẫn đủ cá tính để vừa sử dụng cho trải nghiệm đọc và tiêu đề lớn.Bảo và Duy hy vọng Xanh Mono sẽ là sự lựa chọn phông chữ tuyệt vời dành cho bạn.

-To contribute see https://github.com/yellow-type-foundry/xanhmono. + To contribute see + + https://github.com/yellow-type-foundry/xanhmono + + .

diff --git a/ofl/yaldevi/DESCRIPTION.en_us.html b/ofl/yaldevi/DESCRIPTION.en_us.html index e109868a32..6b8da4be62 100644 --- a/ofl/yaldevi/DESCRIPTION.en_us.html +++ b/ofl/yaldevi/DESCRIPTION.en_us.html @@ -1,14 +1,24 @@

- Yaldevi is a narrow font intended for titles and short texts in the web supporing Latin and Sinhala scripts. + Yaldevi is a narrow font intended for titles and short texts in the web supporing Latin and Sinhala scripts.

- Condensed shapes and dimensions make it possible to fit more text in a line. The x-height of Latin and body height of Sinhala is generous, and has short ascenders and descenders, increasing the space efficiency. - It has a somewhat neutral personality with a touch of soft and smooth curves that add some whimsy. - Yaldevi will perform well when used in headlines, subheads and shorter text blocks such as pull quotes. - Sinhala glyphs have some peculiarities and experimental shapes that were invented to perform well as a display face while belonging in the formal text typeface category. Make sure you check out all these features before using it. + Condensed shapes and dimensions make it possible to fit more text in a line. + The x-height of Latin and body height of Sinhala is generous, and has short ascenders and descenders, increasing the space efficiency. + It has a somewhat neutral personality with a touch of soft and smooth curves that add some whimsy. + Yaldevi will perform well when used in headlines, subheads and shorter text blocks such as pull quotes. + Sinhala glyphs have some peculiarities and experimental shapes that were invented to perform well as a display face while belonging in the formal text typeface category. + Make sure you check out all these features before using it.

- The project is led by Mooniak Latin set is designed by Sol Matas. - Initial development and release was funded by Google Fonts in 2015. - Project sources are hosted and developed on Github and Mooniak welcomes suggestions and contributions to the development. + The project is led by + + Mooniak + + Latin set is designed by Sol Matas. + Initial development and release was funded by Google Fonts in 2015. + Project sources are hosted and developed on + + Github + + and Mooniak welcomes suggestions and contributions to the development.

diff --git a/ofl/yaldevicolombo/DESCRIPTION.en_us.html b/ofl/yaldevicolombo/DESCRIPTION.en_us.html index 9e66fa799b..46b8dcad38 100644 --- a/ofl/yaldevicolombo/DESCRIPTION.en_us.html +++ b/ofl/yaldevicolombo/DESCRIPTION.en_us.html @@ -1,16 +1,19 @@

-Yaldevi is designed for display use, such as headlines, subheads, and short paragraphs, such as pull quotes. -The almost neutral personality has a touch of whimsicality with the soft and smooth curves. -The lighter weights are pleasingly beautiful and stylish, making it a delightful headline font. -Slightly condensed shapes and dimensions make it possible to fit more text into single lines. -The name means ‘Princes of Jaffna’ in Tamil and Sinhala, and is taken from the name of the intercity train in Sri Lanka that runs between Colombo and the Northern city of Jaffna. + Yaldevi is designed for display use, such as headlines, subheads, and short paragraphs, such as pull quotes. + The almost neutral personality has a touch of whimsicality with the soft and smooth curves. + The lighter weights are pleasingly beautiful and stylish, making it a delightful headline font. + Slightly condensed shapes and dimensions make it possible to fit more text into single lines. + The name means ‘Princes of Jaffna’ in Tamil and Sinhala, and is taken from the name of the intercity train in Sri Lanka that runs between Colombo and the Northern city of Jaffna.

-Yaldevi Colombo includes Sinhala and Latin glyphs, and some peculiar and experimental shapes that were invented to enhance the performance as a display typeface. -Yaldevi Jaffna includes Tamil and Latin glyphs, and is designed with open counters and an overall friendly feel. -Both are available in 6 weights, ExtraLight to ExtraBold, and can be used together in multilingual projects as they share the same vertical metrics. -The Sinhala is designed by Denzil Rajitha, the Tamil by Pathum Egodawatta and Kosala Senevirathne, and the Latin by Sol Matas. + Yaldevi Colombo includes Sinhala and Latin glyphs, and some peculiar and experimental shapes that were invented to enhance the performance as a display typeface. + Yaldevi Jaffna includes Tamil and Latin glyphs, and is designed with open counters and an overall friendly feel. + Both are available in 6 weights, ExtraLight to ExtraBold, and can be used together in multilingual projects as they share the same vertical metrics. + The Sinhala is designed by Denzil Rajitha, the Tamil by Pathum Egodawatta and Kosala Senevirathne, and the Latin by Sol Matas.

-To learn more, see github.com/mooniak/yaldevi-fonts + To learn more, see + + github.com/mooniak/yaldevi-fonts +

diff --git a/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html b/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html index 02921aa0c7..0cb79d3f8e 100644 --- a/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html +++ b/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html @@ -1,17 +1,42 @@ -

"Yanone Kaffeesatz" was first published in 2004 and is Yanone’s first ever finished typeface. Its - Bold is - reminiscent of 1920s coffee house typography, while the rather thin fonts bridge the gap to present times. Lacking - self confidence and knowledge about the type scene, Yanone decided to publish the family for free under a Creative Commons License. A decision that - should turn out one of the best he ever made. It has been downloaded over 100,000 times to date, and you can witness - Kaffeesatz use on German fresh-water gyms, Dubai mall promos and New Zealand McDonalds ads. And of course on coffee - and foodstuff packaging and café design around the globe.

-

In 2009 he reworked much of the typeface and it got published in FontShop’s FontFont Library under the new name FF Kava. You can read more about it in an extensive article by - Yves Peters on FontFeed.

- -

Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at Huerta Tipográfica.

- -

To contribute, see github.com/yanone/kaffeesatz.

\ No newline at end of file +

+ "Yanone Kaffeesatz" was first published in 2004 and is Yanone’s first ever finished typeface. + Its Bold is reminiscent of 1920s coffee house typography, while the rather thin fonts bridge the gap to present times. + Lacking self confidence and knowledge about the type scene, Yanone decided to publish the family for free under a + + Creative Commons License + + . + A decision that should turn out one of the best he ever made. + It has been downloaded over 100,000 times to date, and you can witness Kaffeesatz use on German fresh-water gyms, Dubai mall promos and New Zealand McDonalds ads. + And of course on coffee and foodstuff packaging and café design around the globe. +

+

+ In 2009 he reworked much of the typeface and it got published in FontShop’s + + FontFont Library + + under the new name + + FF Kava + + . + You can read more about it in an extensive article by Yves Peters on + + FontFeed + + . +

+

+ Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at + + Huerta Tipográfica + + . +

+

+ To contribute, see + + github.com/yanone/kaffeesatz + + . +

diff --git a/ofl/yantramanav/DESCRIPTION.en_us.html b/ofl/yantramanav/DESCRIPTION.en_us.html index 012ad61b71..8fd4196efb 100644 --- a/ofl/yantramanav/DESCRIPTION.en_us.html +++ b/ofl/yantramanav/DESCRIPTION.en_us.html @@ -1,12 +1,17 @@

-Yantramanav (यंत्रमानव) is a Devanagari typeface family designed by Erin McLaughlin. + Yantramanav (यंत्रमानव) is a Devanagari typeface family designed by Erin McLaughlin.

-

-The style and weights of Yantramanav's Devanagari were designed as a compliment to Roboto, a Latin family designed by Christian Robertson. + The style and weights of Yantramanav's Devanagari were designed as a compliment to + + Roboto + + , a Latin family designed by Christian Robertson.

-

-This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. -To contribute, see github.com/erinmclaughlin/Yantramanav + This project is led by Erin McLaughlin, an independent typeface designer, font developer, and consultant who specializes in Indic fonts. + To contribute, see + + github.com/erinmclaughlin/Yantramanav +

diff --git a/ofl/yarndings12charted/DESCRIPTION.en_us.html b/ofl/yarndings12charted/DESCRIPTION.en_us.html index 0174e8e680..50548167ba 100644 --- a/ofl/yarndings12charted/DESCRIPTION.en_us.html +++ b/ofl/yarndings12charted/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's.

- -

Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 12.

- -

In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface.

- -

To contribute, see github.com/scfried/soft-type-yarndings.

+

+ The Soft Type Collection is designed for knitters to chart out their typographic projects. + Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. +

+

+ Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. + Check out the non-charted version + + Yarndings 12 + + . +

+

+ In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. +

+

+ To contribute, see + + github.com/scfried/soft-type-yarndings + + . +

diff --git a/ofl/yarndings20/DESCRIPTION.en_us.html b/ofl/yarndings20/DESCRIPTION.en_us.html index 9c2a030b69..a6d6f05de6 100644 --- a/ofl/yarndings20/DESCRIPTION.en_us.html +++ b/ofl/yarndings20/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's.

- -

Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the charted version Yarndings 20 Charted.

- -

In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface.

- -

To contribute, see github.com/scfried/soft-type-yarndings.

+

+ The Soft Type Collection is designed for knitters to chart out their typographic projects. + Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. +

+

+ Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. + Check out the charted version + + Yarndings 20 Charted + + . +

+

+ In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. +

+

+ To contribute, see + + github.com/scfried/soft-type-yarndings + + . +

diff --git a/ofl/yarndings20charted/DESCRIPTION.en_us.html b/ofl/yarndings20charted/DESCRIPTION.en_us.html index 2e20b2e1a6..23eed5d280 100644 --- a/ofl/yarndings20charted/DESCRIPTION.en_us.html +++ b/ofl/yarndings20charted/DESCRIPTION.en_us.html @@ -1,7 +1,22 @@ -

The Soft Type Collection is designed for knitters to chart out their typographic projects. Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's.

- -

Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. Check out the non-charted version Yarndings 20.

- -

In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface.

- -

To contribute, see github.com/scfried/soft-type-yarndings.

+

+ The Soft Type Collection is designed for knitters to chart out their typographic projects. + Yarndings is an ornamental typeface inspired by a mix of typographic ornamentation, traditional Fair Isle & Nordic knitting patterns, and dingbat fonts from the 1990's. +

+

+ Each typeface has a “Regular” and “Charted” version, and some include multiple scales so you can fit type on your knits, no matter the project's size. + Check out the non-charted version + + Yarndings 20 + + . +

+

+ In this collection, the number following the typeface's name indicates the height of the capital letters for that typeface. +

+

+ To contribute, see + + github.com/scfried/soft-type-yarndings + + . +

diff --git a/ofl/yatraone/DESCRIPTION.en_us.html b/ofl/yatraone/DESCRIPTION.en_us.html index 15f9633055..103998d946 100644 --- a/ofl/yatraone/DESCRIPTION.en_us.html +++ b/ofl/yatraone/DESCRIPTION.en_us.html @@ -1,10 +1,13 @@

-Yatra One is a Devanagari and Latin libre font inspired by the hand-painted signage of the Mumbai local railway. -This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots. -Notably, the Latin adopts a Devanagari brush angle. -A Mumbai native, Yatra offers basic Marathi alternates. + Yatra One is a Devanagari and Latin libre font inspired by the hand-painted signage of the Mumbai local railway. + This heavy weight high-contrast display face preserves the idiosyncratic character of brush-painted signage by featuring angular cuts and open knots. + Notably, the Latin adopts a Devanagari brush angle. + A Mumbai native, Yatra offers basic Marathi alternates.

-The Yatra One project is led by Catherine Leigh Schmidt, a type designer based in the USA. -To contribute, see github.com/cathschmidt/yatra-one -

\ No newline at end of file + The Yatra One project is led by Catherine Leigh Schmidt, a type designer based in the USA. + To contribute, see + + github.com/cathschmidt/yatra-one + +

diff --git a/ofl/yeonsung/DESCRIPTION.en_us.html b/ofl/yeonsung/DESCRIPTION.en_us.html index 8adb3caf59..5b2c42f18c 100644 --- a/ofl/yeonsung/DESCRIPTION.en_us.html +++ b/ofl/yeonsung/DESCRIPTION.en_us.html @@ -1 +1,3 @@ -

BM YEONSUNG is a Korean and Latin font.

\ No newline at end of file +

+ BM YEONSUNG is a Korean and Latin font. +

diff --git a/ofl/yesevaone/DESCRIPTION.en_us.html b/ofl/yesevaone/DESCRIPTION.en_us.html index 680e8d5f48..528b303e4e 100644 --- a/ofl/yesevaone/DESCRIPTION.en_us.html +++ b/ofl/yesevaone/DESCRIPTION.en_us.html @@ -1,6 +1,6 @@

-A serif display type that is very feminine. -I think that this is the only type in the world with such a feminine essence. -Yeseva's name is from the phrase "Yes, Eva." As a sign of complete agreement between a man and a woman. -I dedicate this font to my beloved wife. + A serif display type that is very feminine. + I think that this is the only type in the world with such a feminine essence. + Yeseva's name is from the phrase "Yes, Eva." As a sign of complete agreement between a man and a woman. + I dedicate this font to my beloved wife.

diff --git a/ofl/yesteryear/DESCRIPTION.en_us.html b/ofl/yesteryear/DESCRIPTION.en_us.html index be589bb432..6f6b98e7da 100644 --- a/ofl/yesteryear/DESCRIPTION.en_us.html +++ b/ofl/yesteryear/DESCRIPTION.en_us.html @@ -1 +1,4 @@ -

Yesteryear is a flat nib connecting script font loosely based on the title screen from the 1942 film "The Palm Beach Story". Taking on a slightly sharper feel than its source, it evokes comparisons to chrome scripts of vintage automobilia.

\ No newline at end of file +

+ Yesteryear is a flat nib connecting script font loosely based on the title screen from the 1942 film "The Palm Beach Story". + Taking on a slightly sharper feel than its source, it evokes comparisons to chrome scripts of vintage automobilia. +

diff --git a/ofl/yinmar/DESCRIPTION.en_us.html b/ofl/yinmar/DESCRIPTION.en_us.html index c1d15599ad..3b71171611 100644 --- a/ofl/yinmar/DESCRIPTION.en_us.html +++ b/ofl/yinmar/DESCRIPTION.en_us.html @@ -1,5 +1,14 @@

-Yinmar is designed for readable and beautiful rendering of text in the Myanmar script. + Yinmar is designed for readable and beautiful rendering of text in the Myanmar script.

-

The designer, Danh Hong, has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the KhmerOS project, dedicated to a vision where Cambodians can learn and use computers in their own language. +

+ The designer, + + Danh Hong + + , has many years of experience creating fonts for Khmer and other Southeast Asian languages, and is actively involved in the + + KhmerOS + + project, dedicated to a vision where Cambodians can learn and use computers in their own language.

diff --git a/ofl/yomogi/DESCRIPTION.en_us.html b/ofl/yomogi/DESCRIPTION.en_us.html index a9c9c9fa36..3a69e72022 100644 --- a/ofl/yomogi/DESCRIPTION.en_us.html +++ b/ofl/yomogi/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

-Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs. + Yomogi is extra thin hand writing font that is easy to read and makes a strong impression. + It includes Google Latin Plus, hiragana, katakana, JIS level 1 and 2 kanji glyphs.

-The design of the letters combined cuteness and readability, and it is made into a monospaced font that could also be used in the vertical writing style. + The design of the letters combined cuteness and readability, and it is made into a monospaced font that could also be used in the vertical writing style.

-To contribute to the project, visit github.com/satsuyako/YomogiFont + To contribute to the project, visit + + github.com/satsuyako/YomogiFont +

diff --git a/ofl/youngserif/DESCRIPTION.en_us.html b/ofl/youngserif/DESCRIPTION.en_us.html index a4dba8187a..54cf45f695 100644 --- a/ofl/youngserif/DESCRIPTION.en_us.html +++ b/ofl/youngserif/DESCRIPTION.en_us.html @@ -1,3 +1,11 @@ -

Young Serif is a heavy weight old style serif typeface, taking inspiration from Plantin Infant or ITC Italian Old Style. The lowercase b and f feature rounded curves, adding a tender and generous quality to this font.

- -

To contribute, please see github.com/noirblancrouge/YoungSerif.

+

+ Young Serif is a heavy weight old style serif typeface, taking inspiration from Plantin Infant or ITC Italian Old Style. + The lowercase b and f feature rounded curves, adding a tender and generous quality to this font. +

+

+ To contribute, please see + + github.com/noirblancrouge/YoungSerif + + . +

diff --git a/ofl/yrsa/DESCRIPTION.en_us.html b/ofl/yrsa/DESCRIPTION.en_us.html index cbe901f4b2..ed4ba45ed7 100644 --- a/ofl/yrsa/DESCRIPTION.en_us.html +++ b/ofl/yrsa/DESCRIPTION.en_us.html @@ -1,15 +1,29 @@

-Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92 -languages. A special consideration was given to Central and East European languages and proper shaping of their -accents. -A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of -Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font. + Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92 languages. + A special consideration was given to Central and East European languages and proper shaping of their accents. + A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as + + Rasa + + . + In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font.

-It is a deliberate experiment in remixing existing typefaces: -The Latin part began with Eben Sorkin's Merriweather. -The Gujarati began with David Březina’s Skolar Gujarati. + It is a deliberate experiment in remixing existing typefaces: The Latin part began with Eben Sorkin's + + Merriweather + + . + The Gujarati began with David Březina’s + + Skolar Gujarati + + .

-To contribute, see github.com/rosettatype/yrsa. -

\ No newline at end of file + To contribute, see + + github.com/rosettatype/yrsa + + . +

diff --git a/ofl/ysabeau/DESCRIPTION.en_us.html b/ofl/ysabeau/DESCRIPTION.en_us.html index 329aaaa843..af1185e0e3 100644 --- a/ofl/ysabeau/DESCRIPTION.en_us.html +++ b/ofl/ysabeau/DESCRIPTION.en_us.html @@ -1,13 +1,24 @@

- Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean - low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic - extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look - back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes - and revel in its elegance. + Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. + Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. + Try it on your e-reader and never look back! + Pair it with + + EB Garamond + + or + + Cormorant + + for a perfect match, or blow it up to page-filling sizes and revel in its elegance.

- Ysabeau offers extensive Latin, Greek and Cyrillic. + Ysabeau offers extensive Latin, Greek and Cyrillic.

- To contribute, see github.com/CatharsisFonts/Ysabeau. -

\ No newline at end of file + To contribute, see + + github.com/CatharsisFonts/Ysabeau + + . +

diff --git a/ofl/ysabeauinfant/DESCRIPTION.en_us.html b/ofl/ysabeauinfant/DESCRIPTION.en_us.html index 329aaaa843..af1185e0e3 100644 --- a/ofl/ysabeauinfant/DESCRIPTION.en_us.html +++ b/ofl/ysabeauinfant/DESCRIPTION.en_us.html @@ -1,13 +1,24 @@

- Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean - low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic - extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look - back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes - and revel in its elegance. + Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. + Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. + Try it on your e-reader and never look back! + Pair it with + + EB Garamond + + or + + Cormorant + + for a perfect match, or blow it up to page-filling sizes and revel in its elegance.

- Ysabeau offers extensive Latin, Greek and Cyrillic. + Ysabeau offers extensive Latin, Greek and Cyrillic.

- To contribute, see github.com/CatharsisFonts/Ysabeau. -

\ No newline at end of file + To contribute, see + + github.com/CatharsisFonts/Ysabeau + + . +

diff --git a/ofl/ysabeauoffice/DESCRIPTION.en_us.html b/ofl/ysabeauoffice/DESCRIPTION.en_us.html index 329aaaa843..af1185e0e3 100644 --- a/ofl/ysabeauoffice/DESCRIPTION.en_us.html +++ b/ofl/ysabeauoffice/DESCRIPTION.en_us.html @@ -1,13 +1,24 @@

- Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean - low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic - extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look - back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes - and revel in its elegance. + Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. + Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. + Try it on your e-reader and never look back! + Pair it with + + EB Garamond + + or + + Cormorant + + for a perfect match, or blow it up to page-filling sizes and revel in its elegance.

- Ysabeau offers extensive Latin, Greek and Cyrillic. + Ysabeau offers extensive Latin, Greek and Cyrillic.

- To contribute, see github.com/CatharsisFonts/Ysabeau. -

\ No newline at end of file + To contribute, see + + github.com/CatharsisFonts/Ysabeau + + . +

diff --git a/ofl/ysabeausc/DESCRIPTION.en_us.html b/ofl/ysabeausc/DESCRIPTION.en_us.html index 329aaaa843..af1185e0e3 100644 --- a/ofl/ysabeausc/DESCRIPTION.en_us.html +++ b/ofl/ysabeausc/DESCRIPTION.en_us.html @@ -1,13 +1,24 @@

- Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean - low-contrast sans serif. Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic - extenders of the world's favorite book face for unmitigated reading comfort. Try it on your e-reader and never look - back! Pair it with EB Garamond or Cormorant for a perfect match, or blow it up to page-filling sizes - and revel in its elegance. + Ysabeau combines the familiar timeless letterforms of the Garamond legacy with the unencumbered crispness of a clean low-contrast sans serif. + Unlike other humanist sans, Ysabeau retains the confident wide stride and unapologetic extenders of the world's favorite book face for unmitigated reading comfort. + Try it on your e-reader and never look back! + Pair it with + + EB Garamond + + or + + Cormorant + + for a perfect match, or blow it up to page-filling sizes and revel in its elegance.

- Ysabeau offers extensive Latin, Greek and Cyrillic. + Ysabeau offers extensive Latin, Greek and Cyrillic.

- To contribute, see github.com/CatharsisFonts/Ysabeau. -

\ No newline at end of file + To contribute, see + + github.com/CatharsisFonts/Ysabeau + + . +

diff --git a/ofl/yujiboku/DESCRIPTION.en_us.html b/ofl/yujiboku/DESCRIPTION.en_us.html index b2c31ec0ef..2c4f3c9e9f 100644 --- a/ofl/yujiboku/DESCRIPTION.en_us.html +++ b/ofl/yujiboku/DESCRIPTION.en_us.html @@ -1,14 +1,26 @@

- "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Boku is a new and joyful design. It has both simplicity and warmth. + "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. + Yuji Boku is a new and joyful design. + It has both simplicity and warmth.

-

- Fonts in the Yuji Family: -

- + Fonts in the Yuji Family: + +

-To contribute to the project, visit github.com/Kinutafontfactory/Yuji + To contribute to the project, visit + + github.com/Kinutafontfactory/Yuji +

diff --git a/ofl/yujihentaiganaakari/DESCRIPTION.en_us.html b/ofl/yujihentaiganaakari/DESCRIPTION.en_us.html index 6b3c6cceba..07f5d6dd51 100644 --- a/ofl/yujihentaiganaakari/DESCRIPTION.en_us.html +++ b/ofl/yujihentaiganaakari/DESCRIPTION.en_us.html @@ -1,17 +1,39 @@

- "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akari is a "Hentaigana" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. + "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. + Akari is a "Hentaigana" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform.

- As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. + As there are no Hentaigana for Katakana, no Katakana are included. + Latin is all-caps / small caps.

- Fonts in the Yuji Family: -

+ Fonts in the Yuji Family: + +

-To contribute to the project, visit github.com/Kinutafontfactory/Yuji + To contribute to the project, visit + + github.com/Kinutafontfactory/Yuji +

diff --git a/ofl/yujihentaiganaakebono/DESCRIPTION.en_us.html b/ofl/yujihentaiganaakebono/DESCRIPTION.en_us.html index 88255736e7..db704fa424 100644 --- a/ofl/yujihentaiganaakebono/DESCRIPTION.en_us.html +++ b/ofl/yujihentaiganaakebono/DESCRIPTION.en_us.html @@ -1,17 +1,39 @@

- "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Akebono is a "Hentaigana" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform. + "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. + Akebono is a "Hentaigana" font which contains stylistic alternate versions of the standard Hiragana set that were abandoned in 1900 during a script reform.

- As there are no Hentaigana for Katakana, no Katakana are included. Latin is all-caps / small caps. + As there are no Hentaigana for Katakana, no Katakana are included. + Latin is all-caps / small caps.

- Fonts in the Yuji Family: -

+ Fonts in the Yuji Family: + +

-To contribute to the project, visit github.com/Kinutafontfactory/Yuji + To contribute to the project, visit + + github.com/Kinutafontfactory/Yuji +

diff --git a/ofl/yujimai/DESCRIPTION.en_us.html b/ofl/yujimai/DESCRIPTION.en_us.html index 6f7b74c415..90913c9c1d 100644 --- a/ofl/yujimai/DESCRIPTION.en_us.html +++ b/ofl/yujimai/DESCRIPTION.en_us.html @@ -1,12 +1,26 @@

-"Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Mai expresses a free, unrestrained, emotional beauty. The Latin alphabets were written to match the kana strokes. + "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. + Yuji Mai expresses a free, unrestrained, emotional beauty. + The Latin alphabets were written to match the kana strokes.

- Fonts in the Yuji Family: -

+ Fonts in the Yuji Family: + +

-To contribute to the project, visit github.com/Kinutafontfactory/Yuji + To contribute to the project, visit + + github.com/Kinutafontfactory/Yuji +

diff --git a/ofl/yujisyuku/DESCRIPTION.en_us.html b/ofl/yujisyuku/DESCRIPTION.en_us.html index 3020989bf8..eb5ca74932 100644 --- a/ofl/yujisyuku/DESCRIPTION.en_us.html +++ b/ofl/yujisyuku/DESCRIPTION.en_us.html @@ -1,12 +1,26 @@

- "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. Yuji Syuku has tradition and dignity, but is also approachable. This design can be widely accepted by the general public. + "Yuji" is a series of fonts digitizing handwriting by the calligrapher Yuji Kataoka. + Yuji Syuku has tradition and dignity, but is also approachable. + This design can be widely accepted by the general public.

- Fonts in the Yuji Family: -

+ Fonts in the Yuji Family: + +

-To contribute to the project, visit github.com/Kinutafontfactory/Yuji + To contribute to the project, visit + + github.com/Kinutafontfactory/Yuji +

diff --git a/ofl/yuseimagic/DESCRIPTION.en_us.html b/ofl/yuseimagic/DESCRIPTION.en_us.html index a22cc3886c..b48c92b002 100644 --- a/ofl/yuseimagic/DESCRIPTION.en_us.html +++ b/ofl/yuseimagic/DESCRIPTION.en_us.html @@ -1,6 +1,12 @@

-Yusei Magic is a font based on handwritten letters written with permanent marker. It has a thick vertical stroke and a thin horizontal stroke, so it is highly visible. The design of the letters has both the strength of bold lines and the softness of spaciousness. Highly recommended for handwriting on blackboards and pop art designs. + Yusei Magic is a font based on handwritten letters written with permanent marker. + It has a thick vertical stroke and a thin horizontal stroke, so it is highly visible. + The design of the letters has both the strength of bold lines and the softness of spaciousness. + Highly recommended for handwriting on blackboards and pop art designs.

-To contribute to the project, visit github.com/tanukifont/YuseiMagic + To contribute to the project, visit + + github.com/tanukifont/YuseiMagic +

diff --git a/ofl/zcoolkuaile/DESCRIPTION.en_us.html b/ofl/zcoolkuaile/DESCRIPTION.en_us.html index 6378e08f5f..ef86e16f89 100644 --- a/ofl/zcoolkuaile/DESCRIPTION.en_us.html +++ b/ofl/zcoolkuaile/DESCRIPTION.en_us.html @@ -1,6 +1,5 @@

-ZCool Kuaile was created by a team of font design trainees under the leadership of typographer Liu Bingke. -First, Liu created the character shape framework and design standards; -then, a group of over 100 typography apprentices participated in building out the character set. -Finally, Liu and other designers from his workshop, including Yang Kang and Wu Shaojie, edited and adjusted the characters to unify the design. + ZCool Kuaile was created by a team of font design trainees under the leadership of typographer Liu Bingke. + First, Liu created the character shape framework and design standards; then, a group of over 100 typography apprentices participated in building out the character set. + Finally, Liu and other designers from his workshop, including Yang Kang and Wu Shaojie, edited and adjusted the characters to unify the design.

diff --git a/ofl/zcoolqingkehuangyou/DESCRIPTION.en_us.html b/ofl/zcoolqingkehuangyou/DESCRIPTION.en_us.html index 18ebb30c57..541d041691 100644 --- a/ofl/zcoolqingkehuangyou/DESCRIPTION.en_us.html +++ b/ofl/zcoolqingkehuangyou/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-ZCool QingKe HuangYou was designed and produced by Zheng Qingke, and donated to the ZCOOL font project for public use. -It features innovative character shapes and rounded lines, with right angles adjusted to a rounded 4pt corner radius. -The lower right corner of the radicals are notched at a 45 degree angle, which raises the visual center of the font, effectively solving readability issues due to stroke crossing. + ZCool QingKe HuangYou was designed and produced by Zheng Qingke, and donated to the ZCOOL font project for public use. + It features innovative character shapes and rounded lines, with right angles adjusted to a rounded 4pt corner radius. + The lower right corner of the radicals are notched at a 45 degree angle, which raises the visual center of the font, effectively solving readability issues due to stroke crossing.

diff --git a/ofl/zcoolxiaowei/DESCRIPTION.en_us.html b/ofl/zcoolxiaowei/DESCRIPTION.en_us.html index 6f1e087446..c21e30d000 100644 --- a/ofl/zcoolxiaowei/DESCRIPTION.en_us.html +++ b/ofl/zcoolxiaowei/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-ZCOOL XiaoWei was contributed to the ZCOOL font project by designer Li Dawei and the team at Zuozi, who created the typeface as a gift for David’s daughter, “Little Fern”, on her third birthday. -It is intended to help fill the dearth of logo-ready Chinese display fonts. -The brush strokes are agile and recognizable, with spacing optimized to display at small or large sizes. + ZCOOL XiaoWei was contributed to the ZCOOL font project by designer Li Dawei and the team at Zuozi, who created the typeface as a gift for David’s daughter, “Little Fern”, on her third birthday. + It is intended to help fill the dearth of logo-ready Chinese display fonts. + The brush strokes are agile and recognizable, with spacing optimized to display at small or large sizes.

diff --git a/ofl/zenantique/DESCRIPTION.en_us.html b/ofl/zenantique/DESCRIPTION.en_us.html index 6e374751de..d236e9d1c7 100644 --- a/ofl/zenantique/DESCRIPTION.en_us.html +++ b/ofl/zenantique/DESCRIPTION.en_us.html @@ -1,19 +1,46 @@

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

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

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

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

- 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), and 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). -

\ No newline at end of file + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zenantiquesoft/DESCRIPTION.en_us.html index 47dde50a97..367ca54cf7 100644 --- a/ofl/zenantiquesoft/DESCRIPTION.en_us.html +++ b/ofl/zenantiquesoft/DESCRIPTION.en_us.html @@ -1,17 +1,43 @@

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

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

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

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

- 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), and 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). -

\ No newline at end of file + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zendots/DESCRIPTION.en_us.html index 871be50225..3f69101a2f 100644 --- a/ofl/zendots/DESCRIPTION.en_us.html +++ b/ofl/zendots/DESCRIPTION.en_us.html @@ -1,9 +1,13 @@

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

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

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

diff --git a/ofl/zenkakugothicantique/DESCRIPTION.en_us.html b/ofl/zenkakugothicantique/DESCRIPTION.en_us.html index 13f73c3278..a4d86685df 100644 --- a/ofl/zenkakugothicantique/DESCRIPTION.en_us.html +++ b/ofl/zenkakugothicantique/DESCRIPTION.en_us.html @@ -1,23 +1,53 @@

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

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

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

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

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

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

- 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), and 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). + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zenkakugothicnew/DESCRIPTION.en_us.html index 63dae969f6..04680b3603 100644 --- a/ofl/zenkakugothicnew/DESCRIPTION.en_us.html +++ b/ofl/zenkakugothicnew/DESCRIPTION.en_us.html @@ -1,24 +1,53 @@

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

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

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

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

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

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

- 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), and 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). -

\ No newline at end of file + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zenkurenaido/DESCRIPTION.en_us.html index cb0a2a1e72..59265ec1a5 100644 --- a/ofl/zenkurenaido/DESCRIPTION.en_us.html +++ b/ofl/zenkurenaido/DESCRIPTION.en_us.html @@ -1,16 +1,39 @@

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

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

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

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

- 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), and 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). -

\ No newline at end of file + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zenloop/DESCRIPTION.en_us.html index ff5a11a9ff..9421b9568f 100644 --- a/ofl/zenloop/DESCRIPTION.en_us.html +++ b/ofl/zenloop/DESCRIPTION.en_us.html @@ -1,11 +1,14 @@

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

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

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

diff --git a/ofl/zenmarugothic/DESCRIPTION.en_us.html b/ofl/zenmarugothic/DESCRIPTION.en_us.html index 1e93a4e000..27d183501e 100644 --- a/ofl/zenmarugothic/DESCRIPTION.en_us.html +++ b/ofl/zenmarugothic/DESCRIPTION.en_us.html @@ -1,17 +1,36 @@

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

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

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

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

- 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), and 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). + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zenoldmincho/DESCRIPTION.en_us.html index 4b1a2fb3c8..900ceaaf45 100644 --- a/ofl/zenoldmincho/DESCRIPTION.en_us.html +++ b/ofl/zenoldmincho/DESCRIPTION.en_us.html @@ -1,18 +1,39 @@

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

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

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

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

- 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), and 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). -

\ No newline at end of file + 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), and + + 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/DESCRIPTION.en_us.html b/ofl/zentokyozoo/DESCRIPTION.en_us.html index 5320a05e44..6532dda986 100644 --- a/ofl/zentokyozoo/DESCRIPTION.en_us.html +++ b/ofl/zentokyozoo/DESCRIPTION.en_us.html @@ -1,10 +1,14 @@

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

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

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

diff --git a/ofl/zeyada/DESCRIPTION.en_us.html b/ofl/zeyada/DESCRIPTION.en_us.html index 16d70a927c..098a69c647 100644 --- a/ofl/zeyada/DESCRIPTION.en_us.html +++ b/ofl/zeyada/DESCRIPTION.en_us.html @@ -1 +1,8 @@ -

Zeyada is based on the handwriting of a warm and generous young mom.

Her family sponsors an amazing Ethiopian young woman named Zeyada and pays for her to continue to be in school. This font has curls and curves and is not a typical cursive, nor a typical print. It is slightly connected, but not a traditional script in any way.

\ No newline at end of file +

+ Zeyada is based on the handwriting of a warm and generous young mom. +

+

+ Her family sponsors an amazing Ethiopian young woman named Zeyada and pays for her to continue to be in school. + This font has curls and curves and is not a typical cursive, nor a typical print. + It is slightly connected, but not a traditional script in any way. +

diff --git a/ofl/zhimangxing/DESCRIPTION.en_us.html b/ofl/zhimangxing/DESCRIPTION.en_us.html index 50709314e3..40fdf57079 100644 --- a/ofl/zhimangxing/DESCRIPTION.en_us.html +++ b/ofl/zhimangxing/DESCRIPTION.en_us.html @@ -1,5 +1,5 @@

-ZhiMang is a classic running script based on the handwritten calligraphy of Wei Zhimang. -Running script is a semi-cursive style in which strokes within the character run together, but the characters themselves remain separated. -In its singularity and richness, ZhiMang is reminiscent of works by celebrated calligrapher Wu Changshuo. + ZhiMang is a classic running script based on the handwritten calligraphy of Wei Zhimang. + Running script is a semi-cursive style in which strokes within the character run together, but the characters themselves remain separated. + In its singularity and richness, ZhiMang is reminiscent of works by celebrated calligrapher Wu Changshuo.

diff --git a/ofl/zillaslab/DESCRIPTION.en_us.html b/ofl/zillaslab/DESCRIPTION.en_us.html index 47bc6b175f..9f9768c59c 100644 --- a/ofl/zillaslab/DESCRIPTION.en_us.html +++ b/ofl/zillaslab/DESCRIPTION.en_us.html @@ -1,8 +1,15 @@

-Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. -A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. + Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. + A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights.

-Designed by Typotheque, this project is led by Mozilla. -To contribute, see github.com/mozilla/zilla-slab + Designed + + by Typotheque + + , this project is led by Mozilla. + To contribute, see + + github.com/mozilla/zilla-slab +

diff --git a/ofl/zillaslabhighlight/DESCRIPTION.en_us.html b/ofl/zillaslabhighlight/DESCRIPTION.en_us.html index 6c45d32ae2..35ca0a311e 100644 --- a/ofl/zillaslabhighlight/DESCRIPTION.en_us.html +++ b/ofl/zillaslabhighlight/DESCRIPTION.en_us.html @@ -1,9 +1,19 @@

-Zilla Slab is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. -A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. -This is the Highlight sister family. + + Zilla Slab + + is Mozilla's core typeface, used for the Mozilla wordmark, headlines and throughout their designs. + A contemporary slab serif, based on Typotheque's Tesla, it is constructed with smooth curves and true italics, which gives text an unexpectedly sophisticated industrial look and a friendly approachability in all weights. + This is the Highlight sister family.

-Designed by Typotheque, this project is led by Mozilla. -To contribute, see github.com/mozilla/zilla-slab + Designed + + by Typotheque + + , this project is led by Mozilla. + To contribute, see + + github.com/mozilla/zilla-slab +

diff --git a/ufl/ubuntu/DESCRIPTION.en_us.html b/ufl/ubuntu/DESCRIPTION.en_us.html index 8a8d0c0731..7339a5624a 100644 --- a/ufl/ubuntu/DESCRIPTION.en_us.html +++ b/ufl/ubuntu/DESCRIPTION.en_us.html @@ -1,19 +1,27 @@

-The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. -The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. -The technical font design work and implementation is being undertaken by Dalton Maag. + The + + Ubuntu Font Family + + are a set of matching new libre/open fonts in development during 2010-2011. + The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. + The technical font design work and implementation is being undertaken by + + Dalton Maag + + .

-Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. + Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve.

-The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. -The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. + The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. + The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens.

-The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. -So the Ubuntu Font Family project will be extended to cover many more written languages. + The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. + So the Ubuntu Font Family project will be extended to cover many more written languages.

-Ubuntu and Canonical are registered trademarks of Canonical Ltd. + Ubuntu and Canonical are registered trademarks of Canonical Ltd.

diff --git a/ufl/ubuntucondensed/DESCRIPTION.en_us.html b/ufl/ubuntucondensed/DESCRIPTION.en_us.html index 9bd57edb02..736ceecf14 100644 --- a/ufl/ubuntucondensed/DESCRIPTION.en_us.html +++ b/ufl/ubuntucondensed/DESCRIPTION.en_us.html @@ -1,27 +1,33 @@

-The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. -The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. -The technical font design work and implementation is being undertaken by Dalton Maag. + The + + Ubuntu Font Family + + are a set of matching new libre/open fonts in development during 2010-2011. + The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. + The technical font design work and implementation is being undertaken by + + Dalton Maag + + .

-

-Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. + Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve.

-

-The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. -The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. + The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. + The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens.

-

-The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. -So the Ubuntu Font Family project will be extended to cover many more written languages. + The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. + So the Ubuntu Font Family project will be extended to cover many more written languages.

-

-Ubuntu and Canonical are registered trademarks of Canonical Ltd. + Ubuntu and Canonical are registered trademarks of Canonical Ltd.

-

-Updated August 2014: All styles were updated to 0.83 to fix a problem where some characters were not displayed as expected in some OS X applications. + + Updated August 2014: + + All styles were updated to 0.83 to fix a problem where some characters were not displayed as expected in some OS X applications.

diff --git a/ufl/ubuntumono/DESCRIPTION.en_us.html b/ufl/ubuntumono/DESCRIPTION.en_us.html index 1bc9f67071..7339a5624a 100644 --- a/ufl/ubuntumono/DESCRIPTION.en_us.html +++ b/ufl/ubuntumono/DESCRIPTION.en_us.html @@ -1 +1,27 @@ -

The Ubuntu Font Family are a set of matching new libre/open fonts in development during 2010-2011. The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag.

Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve.

The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens.

The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages.

Ubuntu and Canonical are registered trademarks of Canonical Ltd.

\ No newline at end of file +

+ The + + Ubuntu Font Family + + are a set of matching new libre/open fonts in development during 2010-2011. + The development is being funded by Canonical Ltd on behalf the wider Free Software community and the Ubuntu project. + The technical font design work and implementation is being undertaken by + + Dalton Maag + + . +

+

+ Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. +

+

+ The new Ubuntu Font Family was started to enable the personality of Ubuntu to be seen and felt in every menu, button and dialog. + The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens. +

+

+ The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu's philosophy which states that every user should be able to use their software in the language of their choice. + So the Ubuntu Font Family project will be extended to cover many more written languages. +

+

+ Ubuntu and Canonical are registered trademarks of Canonical Ltd. +