Merge branch 'main' of github.com:google/fonts

.github/workflows/ci.yaml

@@ -1,5 +1,5 @@
 # Check to_sandbox.txt and to_production.txt do not contain typos
-name: Continuous Test + Deploy
+name: Continuous Test
 
 on:
   push:

README.md

@@ -1,4 +1,4 @@
-[![CI Status](https://github.com/google/fonts/workflows/Continuous%20Test%20+%20Deploy/badge.svg?branch=main)](https://github.com/google/fonts/actions/workflows/ci.yml?query=workflow%3ATest+branch%3Amain)
+[![CI Status](https://github.com/google/fonts/workflows/Continuous%20Test/badge.svg?branch=main)](https://github.com/google/fonts/actions/workflows/ci.yml?query=workflow%3ATest+branch%3Amain)
 
 
 # Google Fonts Files

axisregistry/casual.textproto

@@ -14,6 +14,7 @@ fallback {
   value: 1
 }
 fallback_only: false
+illustration_url: "casual.svg"
 description:
   "Along this axis, letterforms adjust in stroke curvature, contrast, and"
   " terminals to go from a sturdy, rational 'Linear' style to a friendly,"

axisregistry/cursive.textproto

@@ -20,6 +20,7 @@ fallback {
   display_name: "On"
 }
 fallback_only: true
+illustration_url: "cursive.svg"
 description:
   "Controls the substitution of cursive forms along the Slant axis. 'Off' (0)"
   " maintains Roman letterforms such as a double-storey a and g, 'Auto' (0.5)"

axisregistry/fill.textproto

@@ -13,6 +13,7 @@ fallback {
   value: 1.0
 }
 fallback_only: false
+illustration_url: "fill.svg"
 description: "The Fill axis is intended to provide a treatment of the design"
   " that fills in transparent forms with opaque ones (and sometimes interior"
   " opaque forms become transparent, to maintain contrasting shapes)."

axisregistry/grade.textproto

@@ -10,6 +10,7 @@ fallback {
   value: 0
 }
 fallback_only: false
+illustration_url: "grade.svg"
 description:
   "Finesse the style from lighter to bolder in typographic color, by varying"
   " stroke thicknesses or other forms, without any changes overall width,"

axisregistry/italic.textproto

@@ -14,6 +14,7 @@ fallback {
   value: 1
 }
 fallback_only: true
+illustration_url: "italic.svg"
 description:
   "Adjust the style from roman to italic. This can be provided as"
   " a continuous range within a single font file, like most axes, or as a"

axisregistry/monospace.textproto

@@ -15,6 +15,7 @@ fallback {
   value: 1
 }
 fallback_only: false
+illustration_url: "monospace.svg"
 description:
   "Adjust the style from proportional (natural widths, default) to"
   " monospace (fixed width). Monospace is when all glyphs have the same"

axisregistry/optical_size.textproto

@@ -92,6 +92,7 @@ fallback {
   value: 144
 }
 fallback_only: false
+illustration_url: "optical_size.svg"
 description:
   "Adapt the style to specific text sizes, specified in Points. At smaller"
   " sizes, letters typically become optimized for more legibility, with loose"

axisregistry/slant.textproto

@@ -10,6 +10,7 @@ fallback {
   value: 0
 }
 fallback_only: false
+illustration_url: "slant.svg"
 description:
   "Adjust the style from upright to slanted, also known to typographers"
   " as an 'oblique' style. Rarely, slant can work in the other direction,"

axisregistry/softness.textproto

@@ -18,4 +18,5 @@ fallback {
   value: 100
 }
 fallback_only: false
+illustration_url: "softness.svg"
 description: "Letterforms become more soft and rounded."

axisregistry/weight.textproto

@@ -42,6 +42,7 @@ fallback {
   value: 900
 }
 fallback_only: false
+illustration_url: "weight.svg"
 description:
   "Adjust the style from lighter to bolder in typographic color, by varying"
   " stroke thicknesses or other forms. This typically changes overall width,"

axisregistry/width.textproto

@@ -47,6 +47,7 @@ fallback {
   value: 200
 }
 fallback_only: false
+illustration_url: "width.svg"
 description:
   "Adjust the style from narrower to wider, by varying the proportions of"
   " counters, stems, and other forms including overall spacing and kerning."

axisregistry/wonky.textproto

@@ -14,6 +14,7 @@ fallback {
   value: 1
 }
 fallback_only: true
+illustration_url: "wonky.svg"
 description:
   "Binary axis to control the subsitution of wonky forms along the"
   " optical size axis. 'Off' (0) maintains more normalized letterforms,"

catalog/designers/alexandresaumierdemers/bio.html

@@ -1,2 +1,2 @@
 <p>Alexandre Saumier Demers is a type designer and sign painter based in Montreal, Canada. He sometimes develops fonts for Coppers and Brasses-foundry he initially co-founded in 2011.</p>
-<p><a href="https://asaumierdemers.com/">asaumierdemers.com/</a></p>
+<p><a href="https://asaumierdemers.com/">asaumierdemers.com</a></p>

catalog/designers/coppersandbrasses/bio.html

@@ -1,3 +1,3 @@
 <p>Coppers and Brasses is a digital type foundry developing retail and custom typefaces for local and international clients. Based in Montreal, the award-winning foundry was founded in 2011 by Étienne Aubert Bonn and Alexandre Saumier Demers. Their debut retail typeface, Martha, was released in 2012. Étienne now runs the foundry and collaborates regularly with designers and consultants from all around the globe. Their typefaces are meticulously created for print as well as screen use. Coppers and Brasses takes their pride in bringing the the smoothest bezier curves, the most regular rhythm and the nicest text color.
 They also design bespoke typographic solutions for a variety of clients, either through advertising agencies, creative studios, or directly. Whether it is for a complete typeface family or a lettering piece, they take interest in every project that involves the drawing of letterforms.</p>
-<p><a href="https://coppersandbrasses.com/">coppersandbrasses.com/</a></p>
+<p><a href="https://coppersandbrasses.com/">coppersandbrasses.com</a></p>

catalog/designers/familjensthlmab/bio.html

@@ -0,0 +1,2 @@
+<p>Familjen is an advertising and design-bureau located in Stockholm, Sweden.</p>
+<p><a href="https://www.familjen.se">familjen.se</a></p>

catalog/designers/familjensthlmab/info.pb

@@ -0,0 +1,5 @@
+designer: "Familjen STHLM AB"
+link: ""
+avatar {
+  file_name: "familjensthlmab.png"
+}

catalog/designers/fernandomello/bio.html

@@ -0,0 +1,6 @@
+<p>
+Fernando Mello has diplomas from ‘MATD’/University of Reading, ‘Expert class Type design’/Plantin Institute of Typography, and ‘Condensed Program’/Type@Cooper, He has worked for 13 years as a type designer for Fontsmith and Monotype, and created several retail plus custom fonts for global clients. He also worked for Tiro, Adobe and Microsoft with Tamil fonts.
+</p>
+<p>
+<a href="https://www.linkedin.com/in/fermello78/" target="_blank">LinkedIn</a>
+</p>

catalog/designers/fernandomello/info.pb

@@ -0,0 +1,5 @@
+designer: "Fernando Mello"
+link: ""
+avatar {
+  file_name: "fernandomello.png"
+}

catalog/designers/neelakashkshetrimayum/bio.html

@@ -0,0 +1,2 @@
+<p>Typeface and graphic designer from Manipur (India), Neelakash is the co-founder of Brand New Type, India. He has developed typefaces for Adobe, Google, Microsoft and Monotype, frequently collaborating with Fiona Ross and John Hudson. His work centers around identity, culture, and multi-script typeface design. He studied graphic design at the National Institute of Design, India and has a Master’s degree in Typeface Design from the University of Reading, United Kingdom.</p>
+<p><a href="http://neelakash.webflow.io" target="_blank">neelakash.com</a></p>

catalog/designers/neelakashkshetrimayum/info.pb

@@ -0,0 +1,5 @@
+designer: "Neelakash Kshetrimayum"
+link: ""
+avatar {
+  file_name: "neelakashkshetrimayum.png"
+}

catalog/designers/tallchai/bio.html

@@ -0,0 +1,6 @@
+<p>
+    Tall Chai is an indie type foundry dedicated to Indic and Latin font development. Fonts are made with heart, soul
+    and spice.
+</p>
+<p><a href="https://tallchai.com/" target="_blank">tallchai.com</a> | <a href="https://www.instagram.com/tallchai/"
+        target="_blank">Instagram</a></p>

catalog/designers/tallchai/info.pb

@@ -0,0 +1,5 @@
+designer: "Tall Chai"
+link: ""
+avatar {
+  file_name: "logo.png"
+}

cc-by-sa/knowledge/glossary/terms/alignment_justification/content.md

@@ -1,5 +1,5 @@
 
-In paragraphs of (western) [text](/glossary/text_copy), alignment refers to the invisible vertical line(s) implied by a block of [type](/glossary/type), which aids readability. When type is left-aligned, each new line begins from the same point on the X axis.
+In  paragraphs of (western) [text](/glossary/text_copy), alignment refers to the invisible vertical line(s) implied by a block of [type](/glossary/type), which aids readability. When type is left-aligned, each new line begins from the same point on the X axis.
 
 <figure>
 

cc-by-sa/knowledge/glossary/terms/axis_in_variable_fonts/content.md

@@ -1,5 +1,5 @@
 
-In [variable fonts](/glossary/variable_fonts), the axis usually refers to a single aspect of a [typeface](/glossary/typeface)’s design that can be altered by the user.
+In [variable fonts](/glossary/variable_fonts), “axis” usually refers to a single aspect of a [typeface](/glossary/typeface)’s design that can be altered by the user.
 
 <figure>
 
@@ -7,4 +7,4 @@ In [variable fonts](/glossary/variable_fonts), the axis usually refers to a sing
 
 </figure>
 
-Common axes include [italic](/glossary/italic_axis), [optical size](/glossary/optical_size_axis), [slant](/glossary/slant_axis), [weight](/glossary/weight_axis), [width](/glossary/width_axis), and these five are registered (defined) in the OpenType file format specification. However, any property of a typeface’s design can be mapped to an axis—the choice is up to the [type designer](/glossary/type_designer). Using axes is possible in CSS via the `font-variation-settings` attribute.
+Common axes include [italic](/glossary/italic_axis), [optical size](/glossary/optical_size_axis), [slant](/glossary/slant_axis), [weight](/glossary/weight_axis), and [width](/glossary/width_axis), all five of which are registered (defined) in the OpenType file format specification. However, any property of a typeface’s design can be mapped to an axis—the choice is up to the [type designer](/glossary/type_designer). Using axes is possible in CSS via the `font-variation-settings` attribute.

cc-by-sa/knowledge/glossary/terms/casual_axis/content.md

@@ -1,4 +1,4 @@
-“Casual” (`CASL` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). Along this axis, [letterforms](/glossary/letterform) adjust from a more serious style to a more casual style, in a manner determined by the [type designer](/glossary/type_designer). This can mean adjustments in [stroke](/glossary/stroke) curvature, [contrast](/glossary/contrast), and [terminals](/glossary/terminal) to go from a sturdy, rational “linear” style to a friendly, energetic “casual” style.
+“Casual” (`CASL` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). Along this axis, [letterforms](/glossary/letterform) adjust from a more serious style to a more casual style, in a manner determined by the [type designer](/glossary/type_designer). For example, adjusting [stroke](/glossary/stroke) curvature, [contrast](/glossary/contrast), and [terminals](/glossary/terminal) can turn a sturdy and linear (serious) style into a friendly and energetic (casual) style.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/cursive_axis/content.md

@@ -1,4 +1,4 @@
-“Cursive” (`CRSV` in CSS)  is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts), and controls the substitution of cursive forms. “Off” (0) maintains upright [letterforms](/glossary/letterform) such as a double-storey a and g, “auto” (0.5) allows for cursive substitution of cursive forms when combined with the [slant axis](/glossary/slant_axis), and “on” (1) asserts cursive forms even in [upright](/glossary/regular_upright) text with a slant of 0.
+“Cursive” (`CRSV` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts) that controls the substitution of cursive forms. “Off” (0) maintains upright [letterforms](/glossary/letterform) such as the double-storey "a" and "g," “auto” (0.5) allows for cursive substitution of cursive forms when combined with the [slant axis](/glossary/slant_axis), and “on” (1) asserts cursive forms even in [upright](/glossary/regular_upright) text with a slant of 0.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/em/content.md

@@ -18,4 +18,4 @@ The [em dash](/glossary/dashes) is so named because its width, in theory, is one
 
 </figure>
 
-Historically, the em unit itself was named after the width of the capital M; however, in any digital font, the M may be wider or narrower than the em square of that font.
+Historically, the em unit itself was named after the width of the capital “M;” however, in any digital font, the “M” may be wider or narrower than the em square of that font.

cc-by-sa/knowledge/glossary/terms/fill_axis/content.md

@@ -1,4 +1,4 @@
-“Fill” (`FILL` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts), intended to provide a treatment of the design that fills in transparent forms with opaque ones (and sometimes interior opaque forms become transparent, to maintain contrasting shapes). Transitions often occur from the center, a side, or a corner, but can go in any direction. This can be useful in animation or interaction to convey a state transition. The numbers indicate proportion filled, from 0 (no treatment) to 1 (completely filled).
+“Fill” (`FILL` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts) that can be used to turn transparent forms opaque. (Sometimes the corresponding interior opaque forms become transparent to maintain contrasting shapes.) Transitions often occur from the center, a side, or a corner, but can go in any direction. This can be useful in animation or interaction to convey a state transition. The numbers indicate proportion filled, from 0 (no treatment) to 1 (completely filled).
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/grade_axis/content.md

@@ -1,5 +1,5 @@
 
-“Grade” (`GRAD` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). Changing [grade](/glossary/grade) allows us to finesse the style from lighter to heavier in typographic [color](/glossary/color) by varying [stroke](/glossary/stroke) thicknesses (or other forms) without any changes to the [type](/glossary/type)’s overall [width](width), inter-letter spacing, or [kerning](/glossary/kerning)—unlike altering [weight](/glossary/weight). This means there are no changes to line breaks or page layout.
+“Grade” (`GRAD` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts) that can be used to alter [stroke](/glossary/stroke) thicknesses (or other forms) without affecting the [type](/glossary/type)’s overall [width](width), inter-letter spacing, or [kerning](/glossary/kerning)—unlike altering [weight](/glossary/weight). This means there are no changes to line breaks or page layout.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/greek_script/content.md

@@ -9,6 +9,6 @@ Greek script is the writing system used for the Greek language. It should not be
 
 </figure>
 
-The first [typefaces](/glossary/typeface) for the Greek script appeared in the 15th century. The [lowercase](/glossary/uppercase_lowercase) letters closely followed key scribal hands of the period, while the capitals retained their inscriptional roots. Over time Greek typefaces evolved to maintain elements of their cursive roots in the lowercase, while developing a wider range of typographically appropriate forms.
+The first [typefaces](/glossary/typeface) for the Greek script appeared in the 15th century. The [lowercase](/glossary/uppercase_lowercase) letters closely followed key scribal hands of the period, while the capitals retained their inscriptional roots. Over time, Greek typefaces evolved to maintain elements of their cursive roots in the lowercase, while developing a wider range of typographically appropriate forms.
 
 The original [Cyrillic script](/glossary/cyrillic) was based on uppercase Greek [letterforms](/glossary/letterform).

cc-by-sa/knowledge/glossary/terms/hierarchy/content.md

@@ -1,9 +1,9 @@
 
-Hierarchy refers to the overall structure of a document and the relationship between elements within the [text](/glossary/text). A heading placed above a paragraph gives meaning and context to that paragraph, and implies a hierarchy to the text as a whole. Different levels of headings (in HTML, `h1`, `h2`, `h3`, etc.) further delineate hierarchy within sections of the text.
+Hierarchy refers to the overall structure of a document and the relationship between elements within the [text](/glossary/text). A heading placed above a paragraph gives meaning and context to that paragraph and implies a hierarchy to the text as a whole. Different levels of headings (in HTML, `h1`, `h2`, `h3`, etc.) further delineate hierarchy within sections of the text.
 
 <figure>
 
-![An article-like layout, with each element wrapped in a bounding box, from the level-one heading that serves as a heading for the entire content, to the level-two heading that relates to the second paragraph, to the pullquote off to one side.](images/thumbnail.svg)
+![An article-like layout, with each element wrapped in a bounding box, from the level-one heading that serves as a heading for the entire content, to the level-two heading that relates to the second paragraph, to the pull quote off to one side.](images/thumbnail.svg)
 
 <figcaption>Typeface: <a href="https://fonts.google.com/specimen/Source+Serif+Pro">Source Serif Pro</a></figcaption>
 

cc-by-sa/knowledge/glossary/terms/homoglyph/content.md

@@ -1,7 +1,7 @@
 
 A homoglyph is a [glyph](/glossary/glyph) with a design that can appear indistinguishable from—or least very similar to—another glyph with a separate meaning.
 
-An uppercase I, lowercase l, and numeral 1 can appear near-identical in some typefaces, which presents a [legibility](/glossary/legibility_readability) problem. If the wrong character is used, it can confuse screen reading software and cause potential issues with searching and sorting. In some typefaces, there can be too subtle a distinction between different [dashes](/glossary/dashes) and the minus [character](/glossary/character).
+An uppercase I, lowercase l, and numeral 1 can appear near-identical in some typefaces, which presents a [legibility](/glossary/legibility_readability) problem. If the wrong [character](/glossary/character) is used, it can confuse screen reading software and cause potential issues with searching and sorting. In some typefaces, there can be too subtle a distinction between different [dashes](/glossary/dashes) and the minus character.
 
 <figure>
 
@@ -9,6 +9,6 @@ An uppercase I, lowercase l, and numeral 1 can appear near-identical in some typ
 
 </figure>
 
-Homoglyphs also manifest themselves across different languages and/or scripts. An “H” glyph in English is not the same, semantically, as the lookalike “H” glyph (for the “eta” character) in [Greek](/glossary/greek_script), for instance. This isn’t a problem in print, but is an issue for any on-screen type, which is subject to being copied and pasted, and read aloud by screen reading software.
+Homoglyphs also manifest themselves across different languages and/or scripts. An “H” glyph in English is not the same, semantically, as the look-alike “H” glyph (for the “eta” character) in [Greek](/glossary/greek_script), for instance. This isn’t a problem in print, but is an issue for any on-screen type, which is subject to being copied and pasted, and read aloud by screen reading software.
 
 Max Halford has written more on this topic on [Homoglyphs: different characters that look identical](https://maxhalford.github.io/blog/homoglyphs/).

cc-by-sa/knowledge/glossary/terms/italic_axis/content.md

@@ -1,5 +1,5 @@
 
-Italic (`ital` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [italic](/glossary/italic) parameter, with italics either turned “off” or “on”, rather than gradually changing over a range.
+“Italic” (`ital` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [italic](/glossary/italic) parameter, with italics either turned “off” or “on”, rather than gradually changing over a range.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/optical_size_axis/content.md

@@ -1,5 +1,5 @@
 
-Optical size (controlled with `font-optical-sizing` or `font-variation-setting: ‘opsz’ VALUE` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [optical size](/glossary/optical_sizes) optimizations.
+“Optical size” (controlled with `font-optical-sizing` or `font-variation-setting: ‘opsz’ VALUE` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [optical size](/glossary/optical_sizes) optimizations.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 

cc-by-sa/knowledge/glossary/terms/placeholder_text/content.md

@@ -1,5 +1,7 @@
 
-[Text](/glossary/text_copy) that is set temporarily in place of actual copy is called “placeholder text” or “dummy text.” It often takes the form of “lorem ipsum”—a sequence of words from a work of classical literature that is deliberately intended to not be read (in modern times). This is often erroneously called “Greeked.” The term can also mean display of placeholder text that is rendered as gray bars to speed rendering of the page.
+[Text](/glossary/text_copy) that is set temporarily in place of actual copy is called “placeholder text” or “dummy text.” It often takes the form of “lorem ipsum”—a sequence of words from a work of classical literature that is deliberately intended to not be read (in modern times). This is often referred to as “Latin” and—erroneously—“Greek,” or “Greeked.”
+
+The term can also mean display of placeholder text that is rendered as gray bars to speed rendering of the page.
 
 <figure>
 
@@ -7,4 +9,4 @@
 
 </figure>
 
-The purpose of any placeholder text, including lorem ipsum, is to indicate that the text is not there to be read, which is why it’s used in design mockups, where the viewer should be focussing on the overall design, and in type specimens, where the reader should be focussing on the [characters](/glossary/character)’ personality and design, and overall [typographic color](color).
+The purpose of any placeholder text, including lorem ipsum, is to indicate that the text is not there to be read, which is why it’s used in design mockups, where the viewer should be focussing on the overall design, and in type specimens, where the reader should be focussing on the [characters](/glossary/character)’s personality and design, and overall [typographic color](color).

cc-by-sa/knowledge/glossary/terms/regular_upright/content.md

@@ -1,12 +1,14 @@
 
-“Regular” can refer to the regular [weight](/glossary/weight), usually assigned the `font-weight` value of 400 in CSS, or the regular/upright (i.e., non-[italic](/glossary/italic) or [oblique](/glossary/oblique)) [style](/glossary/style) of a [typeface](/glossary/typeface).
+“Regular” can refer to the regular [weight](/glossary/weight), usually assigned the `font-weight` value of 400 in CSS, or the regular/upright/roman (i.e., non-[italic](/glossary/italic) or [oblique](/glossary/oblique)) [style](/glossary/style) of a [typeface](/glossary/typeface).
 
 <figure>
 
-![Italic forms side-by-side with upright forms.](images/thumbnail.svg)
+![Italic/cursive forms side-by-side with roman/upright forms.](images/thumbnail.svg)
 
 </figure>
 
-When referring to the style—that is, whether the typeface is changing between and upright and italic (or oblique)—it’s usually best to add clarity by referring to the Regular as “upright” type. However, note that in CSS, the upright style is referred to as “normal”; i.e., `font-style: normal;`.
+When referring to this style it’s usually best to add clarity, by avoiding “regular” as a label on its own.
+When the typeface is changing between a roman and italic (or upright and cursive, or oblique), say “regular roman”, “regular italic” or “regular upright”.
+Note that in CSS, the style is referred to as “normal”; i.e., `font-style: normal;`.
 
-“Regular” might also refer to type’s [width](/glossary/width) when there are [condensed](/glossary/condensed_narrow_compressed) or [wide](/glossary/wide_extended) variants available, although this is not often named explicitly.
+“Regular” might also casually refer to type’s [width](/glossary/width) when there are [condensed](/glossary/condensed_narrow_compressed) or [wide](/glossary/wide_extended) variants available, although this is less often named explicitly, and then more often is called “normal” as in “regular normal roman” or “bold condensed italic”.

cc-by-sa/knowledge/glossary/terms/softness_axis/content.md

@@ -7,7 +7,7 @@ The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) de
 | --- | --- | --- | --- |
 | 0 | 0 | 100 | 0.1 |
 
-In the [Fraunces](https://fonts.google.com/specimen/Fraunces) [typeface](/glossary/typeface), the softness axis can turn the sharpness and [high-contrast](/glossary/contrast) [serifs](/glossary/serif) into bubble-like forms, and at its softest, the typeface starts to resemble the style of typefaces such as Souvenir or Bookman.
+In the [Fraunces](https://fonts.google.com/specimen/Fraunces) [typeface](/glossary/typeface), the softness axis can turn the sharp and [high-contrast](/glossary/contrast) [serifs](/glossary/serif) into bubble-like forms. At its softest, Fraunces starts to resemble the style of typefaces such as Souvenir or Bookman.
 
 <figure>
 

cc-by-sa/knowledge/glossary/terms/variable_fonts/content.md

@@ -10,8 +10,8 @@ Variable [fonts](/glossary/font)—or, more specifically, [OpenType](/glossary/o
 
 There are three main benefits offered by variable fonts:
 
-1. **To compress:** The unified delivery of multiple [instances](/glossary/instance)—such as different weights, widths, optical sizes—in a single font file that is much smaller than the total file size of a collection of individual font files.
-2. **To express:** The control given to users to select axes values _directly_, such as a custom weight that is between two named instances of weight. For example, between Regular (400) and Medium (500), a weight of 427 might be just the right one to express a design intent perfectly.
-3. **To finesse:** The control given to programs to select axes values _indirectly_, based on context. For example, to automatically select an [optical size](/glossary/optical_sizes) instance using the current [point size](/glossary/point_size).
+1. **To compress:** the unified delivery of multiple [instances](/glossary/instance)—such as different weights, widths, optical sizes—in a single font file that is much smaller than the total file size of a collection of individual font files.
+2. **To express:** the control given to users to select axes values _directly_, such as a custom weight that is between two named instances of weight. For example, between Regular (400) and Medium (500), a weight of 427 might be just the right one to express a design intent perfectly.
+3. **To finesse:** the control given to programs to select axes values _indirectly_, based on context. For example, to automatically select an [optical size](/glossary/optical_sizes) instance using the current [point size](/glossary/point_size).
 
-The variables within variable fonts are controlled by [axes](/glossary/axis_in_variable_fonts) or instances. If the type designer, chooses, any variable in the type design can be assigned to a user-controllable axis.
+The variables within variable fonts are controlled by [axes](/glossary/axis_in_variable_fonts) or instances. Any variable in the type design can be assigned to a user-controllable axis by the type designer.

cc-by-sa/knowledge/glossary/terms/weight_axis/content.md

@@ -1,5 +1,5 @@
 
-Weight (`wght` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in many [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [weight](/glossary/weight) parameter.
+“Weight” (`wght` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in many [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [weight](/glossary/weight) parameter.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 
@@ -28,4 +28,4 @@ strong {
 }
 ```
 
-Unlike in non-variable fonts, the `font-weight` values no longer have to be declared in units of 100. Rather than have [body copy](/glossary/text_copy) set in a Regular weight, which would usually sit at 400, we can set it a little lighter, at 350. Similarly, whereas `strong` text would usually be set in a Bold weight, most often with a value of 700, we’re setting it at 780: heavier than a Bold, but not quite as heavy as an Extra Bold.
+Unlike in non-variable fonts, the `font-weight` values no longer have to be declared in units of 100. Rather than have [body copy](/glossary/text_copy) set in a regular weight, which would usually sit at 400, we can set it a little lighter, at 350. Similarly, whereas `strong` text would usually be set in a bold weight, most often with a value of 700, we’re setting it at 780: heavier than a bold, but not quite as heavy as an extra bold.

cc-by-sa/knowledge/glossary/terms/width_axis/content.md

@@ -1,5 +1,5 @@
 
-Width (`wdth` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [width](/glossary/width) parameter.
+“Width” (`wdth` in CSS) is an [axis](/glossary/axis_in_variable_fonts) found in some [variable fonts](/glossary/variable_fonts). It controls the [font](/glossary/font) file’s [width](/glossary/width) parameter.
 
 The [Google Fonts CSS v2 API ](https://developers.google.com/fonts/docs/css2) defines the axis as:
 
@@ -26,4 +26,4 @@ strong {
 }
 ```
 
-Here, our text will be quite narrow—50% is what the type designer has decided is half of the regular (100%) width—and the `strong` text will be almost twice the width of the regular. Width values are always above 0, with 100% being the regular width.
+Here, our text will be quite narrow—the type designer has set 50% as half of the regular (100%) width—and the `strong` text will be almost twice the width of the regular. Width values are always above 0, with 100% being the regular width.

cc-by-sa/knowledge/modules/choosing_type/lessons/a_checklist_for_choosing_type/content.md

@@ -7,12 +7,12 @@ We’ll start off with the checklist itself—which is also [available on GitHub
     - Its design fits the intended use
 2. **The typeface’s design is comprehensive**
     - It has enough multi-language support
-    - It contains legible details
-    - It has at least the basic weights and styles
-    - Even better: It has alternate glyphs
-    - Even better: It has additional weights and styles (or grades)
-    - Even better: It has multiple widths
-    - Even better: It has different optical sizes
+    - It contains [legible](/glossary/legibility_readability) details
+    - It has at least the basic [weights](/glossary/weight) and [styles](/glossary/style)
+    - Even better: It has [alternate glyphs](/glossary/alternates)
+    - Even better: It has additional weights and styles (or [grades](/glossary/grade))
+    - Even better: It has multiple [widths](/glossary/width)
+    - Even better: It has different [optical sizes](/glossary/optical_sizes)
 3. **The font files are reliable**
     - All of the design features checked above are actually included in the font files being used
     - The fonts are properly spaced
@@ -38,7 +38,7 @@ The emotional response to the shape of [letterforms](/glossary/letterform) is a
 
 Readers needn’t know anything about type to have an emotive response to it. It’s fair to say that most people have a subliminal awareness of historical and cultural trends in design, of which type has played a part. This means we can use some of these conventions to our advantage—as long as we’re aware of how those associations might differ around the globe and change from audience to audience.
 
-Note that although it can be useful to consider emotive considerations as a way of making an initial selection, be sure to follow the rest of this checklist for the more practical ones.
+Note that although it can be useful to consider emotive considerations as a way of making an initial selection, we should be sure to follow the rest of this checklist for the more practical ones.
 
 Comic Sans is perfect for setting children’s activity timetables that are displayed in a school playground. It’s perhaps not as appropriate for announcing scientific breakthroughs.
 
@@ -64,7 +64,7 @@ An elaborate [script](/glossary/script_typeface_style) typeface, full of flouris
 
 ## 2. The typeface’s design is comprehensive
 
-Before we get into the specifics of actual font files, we need to consider the details in the design of the typeface itself. Has the [type designer](/glossary/type_designer) provided support for multiple languages, included legible details, and made the minimum [weights](/glossary/weight) and [styles](/glossary/style) necessary? Beyond that, does the typeface contain [alternate glyphs](/glossary/alternates), more weights and styles, different [widths](/glossary/width), and perhaps even [optical sizes](/glossary/optical_sizes)?
+Before we get into the specifics of actual font files, we need to consider the details in the design of the typeface itself. Has the [type designer](/glossary/type_designer) provided support for multiple languages, included legible details, and made the minimum weights and styles necessary? Beyond that, does the typeface contain alternate glyphs, more weights and styles, different widths, and perhaps even optical sizes?
 
 Let’s explore each in turn and, for detail, be sure to read our article [“Choosing reliable typefaces.”](/lesson/choosing_reliable_typefaces)
 
@@ -167,7 +167,6 @@ If a project requires the use of just one typeface, it can be useful to employ d
 
 <figcaption>Typeface: <a href="https://github.com/googlefonts/amstelvar">Amstelvar</a></figcaption>
 
-
 </figure>
 
 Some foundries present their different optical sizes with names such as text (or caption), deck, headline, and display—although it’s worth remembering that such finite distinctions are blurred when using [variable fonts](/glossary/variable_fonts). A variable font with an [optical size axis](/glossary/optical_size_axis) can offer a smooth range of choices all the way from text to display.
@@ -231,7 +230,7 @@ Whether fonts are sold or given away for free, each has an associated license (a
 
 We should always check that the end use of our type is covered by the font’s license. There’s often a different license required for web fonts to desktop fonts, or even usage in apps and ebooks. The price to license a font for a personal logo may differ from the cost of using it on a news website served to millions of users, and it’s up to us or our client to confirm the correct usage.
 
-Because price can vary depending on the fonts we choose and their end uses, affordability should also be another constraint to help us narrow our choices.
+Because price can vary depending on the fonts we choose and their end uses, affordability is another constraint that can help narrow our choices.
 
 <figure>
 

cc-by-sa/knowledge/modules/choosing_type/lessons/choosing_typefaces_that_have_optical_sizes/content.md

@@ -16,13 +16,13 @@ Phototypesetting and early digital type ignored optical sizing for expediency. A
 
 <figure>
 
-![The characters “A” and “a” are rendered twice: on the left, they appears in a “display“ optical size; on the right, a “body” one. The stroke contrast on the left is considerably greater. Beneath both versions are representations of the variable axes.](images/2.5.2.svg)
+![The characters “A” and “a” are rendered twice: On the left, they appear in a “display“ optical size; on the right, a “body” one. The stroke contrast on the left is considerably greater. Beneath both versions are representations of the variable axes.](images/2.5.2.svg)
 
 </figure>
 
-For the novice [typographer](/glossary/typographer), the need for different optical sizes might not be immediately apparent, but taking it on board as a technical consideration in the type-choosing process can have a very strong influence on your choice of typeface or [type family](/glossary/family_or_type_family_or_font_family).
+For the novice [typographer](/glossary/typographer), the need for different optical sizes might not be immediately apparent, but once you better understand their role, this is a technical consideration that can have a very strong influence on your choice of typeface or [type family](/glossary/family_or_type_family_or_font_family).
 
-Regardless of media, if we’re creating a brand that will require text to be set very small and also very large, optical sizes will undoubtedly be useful to employ. The small body type can focus on enhanced legibility; the large display type can show off the intricacies of the letterforms; both will sit better alongside each other.
+Regardless of media, if we’re creating a brand that will require text to be set very small and also very large, optical sizes will undoubtedly be useful. The small body type can focus on enhanced legibility; the large display type can show off the intricacies of the letterforms; both will sit better alongside each other.
 
 <figure>
 
@@ -30,7 +30,7 @@ Regardless of media, if we’re creating a brand that will require text to be se
 
 </figure>
 
-And it’s not just relevant for those of us creating large-scale graphics, either. Consider the humble television set: If we’re designing something to appear primarily on TVs, we could easily be forgiven for thinking that we have a large viewport to work with and therefore can afford to use our type’s “display” version, which is optimized for rendering at huge sizes. But hang on: While the average TV might indeed be quite large, its position in the average sitting room relative to the person watching the TV means its perceived size is more like a mobile device.
+And it’s not just relevant for those of us creating large-scale graphics, either. Consider the humble television set: If we’re designing something to appear primarily on TVs, we could easily be forgiven for thinking that we have a large viewport to work with—and therefore can afford to use our type’s “display” version, which is optimized for rendering at huge sizes. But hang on: While the average TV might indeed be quite large, its position in the average sitting room relative to the person watching the TV means its perceived size is more like a mobile device.
 
 <figure>
 
@@ -38,6 +38,6 @@ And it’s not just relevant for those of us creating large-scale graphics, eith
 
 </figure>
 
-With this in mind, it’s generally more appropriate to design for TVs as you would for mobile, and use a body optical size for your type (i.e., one that with lower contrast and more generous spacing). And, although mobile phones and TVs are constantly improving their resolution and pixel density, we can never assume that all of our users will have access to the higher-quality screens, or that their vision will be unimpaired.
+With this in mind, it’s generally more appropriate to design for TVs as you would for mobile and use a body optical size for your type (i.e., one with lower contrast and more generous spacing). And, although mobile phones and TVs are constantly improving their resolution and pixel density, we can never assume that all of our users will have access to the higher-quality screens, or that their vision will be unimpaired.
 
 When designing for film (and TV), we also have a huge range of screen sizes to consider: from the massive, such as movie theaters, to the tiny, such as low-resolution, in-seat airplane screens. Employing optical sizes, if available, will lead to a better reading experience in these different scenarios.

cc-by-sa/knowledge/modules/choosing_type/lessons/emotive_considerations_for_choosing_typefaces/content.md

@@ -9,9 +9,9 @@ So, for this article, we’ll explore the emotive considerations that come into
 
 </figure>
 
-But first: A warning! Selecting a typeface based on the emotional reactions it stirs in us and our readers is perfectly valid, but it’s important to not base our decisions on them alone. By all means use emotive considerations as a way of making an initial selection, but be sure to quickly analyze against technical suitability—there’s no point in choosing something that feels perfect if it [only has one weight, or lacks character support for a language we need to cover](/lesson/choosing_reliable_typefaces).
+But first: A warning! Selecting a typeface based on the emotional reactions it stirs in us and our readers is perfectly valid, but it’s important to not base our decisions on them alone. By all means, use emotive considerations as a way of making an initial selection, but be sure to quickly analyze for technical suitability, too—there’s no point in choosing something that feels perfect if it [only has one weight, or lacks character support for a language we need to cover](/lesson/choosing_reliable_typefaces).
 
-In his book, "Stop Stealing Sheep and Find Out How Type Works," Erik Spiekermann shows a few examples of type set in appropriate typefaces that invoke either trust or distrust from the reader:
+In his book, “Stop Stealing Sheep and Find Out How Type Works,” Erik Spiekermann shows a few examples of type set in appropriate typefaces that invoke either trust or distrust from the reader:
 
 <figure>
 
@@ -20,7 +20,7 @@ In his book, "Stop Stealing Sheep and Find Out How Type Works," Erik Spiekermann
 
 </figure>
 
-And it’s not just about trust. It’s important to remember that readers needn’t know anything about type to have an emotive response to it. It’s fair to say that most people have at least some awareness of general cultural and design trends of which type has played a part, and this means we can use some of these shared cultural conventions to our advantage—as long as we’re aware of how those associations might differ around the globe, and change from audience to audience. These associations can change over time, too: Just a few years ago, calligraphic faces usually evoked a 70s or 80s design aesthetic, but today are enjoying a resurgence.
+And it’s not just about trust. It’s important to remember that readers needn’t know anything about type to have an emotive response to it. It’s fair to say that most people have at least some awareness of general cultural and design trends of which type has played a part, and this means we can use some of these shared cultural conventions to our advantage—as long as we’re aware of how those associations might differ around the globe and change from audience to audience. These associations can change over time, too: Just a few years ago, calligraphic faces usually evoked a 1970s or ’80s design aesthetic, but today are enjoying a resurgence.
 
 It’s our job as [typographers](/glossary/typographer)—as people who *do* know about type—to help guide our audience by invoking the most appropriate emotional response.
 
@@ -59,4 +59,4 @@ Lastly, let’s consider the work of David Carson, a designer known for challeng
 
 </figure>
 
-David Carson is known for saying, “Don’t mistake legibility for communication.” In other words, legible letterforms don’t convey meaning by themselves, their arrangement contributes to the message being conveyed. Whether his style is one we love or hate, it’s important for us to remember that typography is not technically about choosing typefaces—it is, in fact, their arrangement.
+David Carson is known for saying, “Don’t mistake legibility for communication.” In other words, [legible](/glossary/legible) letterforms don’t convey meaning by themselves, their arrangement contributes to the message being conveyed. Whether his style is one we love or hate, it’s important for us to remember that typography is not technically about choosing typefaces—it is, in fact, their arrangement.

cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_typefaces_with_multiple_weights_or_grades/content.md

@@ -1,11 +1,11 @@
 
-With most [typefaces](/glossary/typeface) offering [regular](/glossary/regular_upright), [bold](/glossary/bold), [italic](/glossary/italic), and bold italic [weights](/glossary/weight) and [styles](/glossary/style), it’s reasonable to ask why we might need yet more variation. Those four—as we’ve covered in [our introduction to weights and styles](/lesson/introducing_weights_styles)—are usually enough to convey the required emphasis and hierarchy, especially when paired with other typographic elements, such as changes in [font](/glossary/font) size.
+With most [typefaces](/glossary/typeface) offering [regular](/glossary/regular_upright), [bold](/glossary/bold), [italic](/glossary/italic), and bold italic [weights](/glossary/weight) and [styles](/glossary/style), it’s reasonable to ask why we might need yet more variation. Those four—as we’ve covered in [our introduction to weights and styles](/lesson/introducing_weights_styles)—are usually enough to convey the required emphasis and [hierarchy](/glossary/hierarchy), especially when paired with other typographic elements, such as changes in [font](/glossary/font) size.
 
 However, there are in fact many scenarios where multiple weights—if not multiple styles—are not just desired, but *essential.*
 
 ## Using weights for hierarchy, emphasis, and contrast
 
-The first and most obvious reason to switch to a different weight is to introduce contrast to a piece of text. This contrast can imply hierarchy, such as a heavier weight for headings; it can show emphasis, with bold type used to highlight particular words or sentences; or it can simply create visual interest, to catch the eye and stop the reader from getting bored as they read the text—a useful trick to employ for posters, magazine covers, or social media materials.
+The first and most obvious reason to switch to a different weight is to introduce [contrast](/glossary/contrast) to a piece of text. This contrast can imply hierarchy, such as a heavier weight for headings; it can show emphasis, with bold type used to highlight particular words or sentences; or it can simply create visual interest, to catch the eye and stop the reader from getting bored as they read the text—a useful trick to employ for posters, magazine covers, or social media materials.
 
 And while hierarchy, emphasis, and contrast can each be achieved with the basic regular and bold weights, far more freedom is afforded to us if we can employ more extreme differentiations, such as moving from a hairline to a black weight.
 
@@ -39,7 +39,7 @@ When working in print, we have the opposite problem. If, for instance, we’re d
 
 </figure>
 
-However, the less common type property known as grade is even more useful than weight in these scenarios. Weight usually has an effect on width as well, while grade alters only the thickness of the [stroke](/glossary/stroke) without changing the width of the [glyph](/glossary/glyph).
+However, the less-common type property known as [grade](/glossary/grade)  is even more useful than weight in these scenarios. [Weight](/glossary/weight)  usually has an effect on width as well, while grade alters only the thickness of the [stroke](/glossary/stroke) without changing the width of the [glyph](/glossary/glyph).
 
 Although grade can alter [contrast](/glossary/contrast), it differs from [optical sizing](/glossary/optical_sizes) because its purpose is to compensate for degradations in appearance and bring it back towards the intended design.
 

cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_width_in_type/content.md

@@ -17,7 +17,7 @@ Like weights, different widths share the typeface’s skeletal structure, meanin
 
 </figure>
 
-Or how about using multiple widths to set headings of different lengths at the same size to simplify the layout process? Headings with very few words can be set in a wide variant, and headings with lots of words in an extra condensed variant.
+Or how about using multiple widths to set headings of different lengths at the same size to simplify the layout process? Headings with very few words can be set in a wide variant and headings with lots of words in an extra condensed variant.
 
 <figure>
 
@@ -25,15 +25,15 @@ Or how about using multiple widths to set headings of different lengths at the s
 
 </figure>
 
-With typographic treatments like these, it’s easy to see how—when combined with a few choice weights—a robust typographic system could start to take shape.
+With typographic treatments like these, it’s easy to see how—if combined with a few choice weights—a robust typographic system could start to take shape.
 
 [//]: # (above, link to “typographic system” when article is live.)
 
 ## Variable width
 
-With variable fonts, the [type designer](/glossary/type_designer) can choose to offer an [axis](/glossary/axis_in_variable_fonts) for width much in the same way they might offer one for weight. Therefore, it’s now possible for us as typographers to have a very granular level of control over exactly how narrow or wide our type appears—without having to choose from limited and preconceived points on that scale, as we have traditionally.
+With variable fonts, the [type designer](/glossary/type_designer) can choose to include an [axis](/glossary/axis_in_variable_fonts) for width much in the same way they might offer one for weight. Therefore, it’s now possible for us as typographers to have a very granular level of control over exactly how narrow or wide our type appears—without having to choose from limited and preconceived points on that scale (as we have traditionally).
 
-This can be particularly useful, for instance, when stacking type in social media stories. Their vertical nature makes the possibility to fit each word to an exact width very appealing.
+This can be particularly useful, for instance, when stacking type in social media stories. The vertical nature of that format makes it very appealing to be able to fit each word to an exact width.
 
 <figure>
 
@@ -49,4 +49,4 @@ A subtly different width value is used for each line so that they appear perfect
 
 Much like weights, the names of different widths are arbitrary and down to the personal preferences of the type designer or [type foundry](/glossary/type_foundry). Typically, slightly narrow widths are referred to as either “narrow” or “condensed;” the narrower they get, the more likely they are to be called either “extra condensed” or “compressed.” At the other end of the scale, we have wider faces often being called “wide,” “extra wide,” or “extended.”
 
-Bold fonts are typically designed to be somewhat wider than light fonts—otherwise they tend to look rather cramped. Sometimes, there’s a need for a typeface whose weight variations are all exactly the same width, allowing us to change the weight without causing the text to reflow. Such fonts are called [“multiplexed” or “duplexed” or “uniwidth”](/glossary/multiplexed_duplexed_uniwidth). Process Type’s [Recent Grotesk](https://processtypefoundry.com/fonts/recent-grotesk/try-it) typeface challenges that notion by embracing the opposite: The heavier the weight, the wider the width; the lighter the weight, the narrower the width.
+Bold fonts are typically designed to be somewhat wider than light fonts—otherwise they tend to look rather cramped. Sometimes there’s a need for a typeface whose weight variations are all exactly the same width; this allows us to change the weight without causing the text to reflow. Such fonts are called [“multiplexed,” or “duplexed,” or “uniwidth”](/glossary/multiplexed_duplexed_uniwidth). Process Type’s [Recent Grotesk](https://processtypefoundry.com/fonts/recent-grotesk/try-it) typeface challenges that notion by embracing the opposite: The heavier the weight, the wider the width; the lighter the weight, the narrower the width.

cc-by-sa/knowledge/modules/choosing_type/lessons/exploring_x_height_the_em_square/content.md

@@ -1,7 +1,7 @@
 
 When we swap fonts, or we introduce another font, there’s very often a slight change in layout. Although it can be subtle, it’s disruptive enough to cause some big issues for our designs, especially further down the line. Let’s explore what’s going on there.
 
-To start, it’s important to know that, when [typefaces](/glossary/typeface) are designed, the [letterforms](/glossary/letterform) adhere to a number of measurements called vertical metrics, which sit inside a box called an [em square](/glossary/em). In [Latin](/glossary/latin) [type](/glossary/type), the line where [ascenders](/glossary/ascenders_descenders) reach is usually the top-most measurement, followed very closely by [cap height](/glossary/cap_height) (although occasionally these two lines are the same). The next one down is the [x-height](/glossary/x_height), followed by the [baseline](/glossary/baseline), and then the [descender](/glossary/ascenders_descenders) line at the lowest point.
+To start, it’s important to know that when [typefaces](/glossary/typeface) are designed, the [letterforms](/glossary/letterform) adhere to a number of measurements called vertical metrics, which sit inside a box called an [em square](/glossary/em). In [Latin](/glossary/latin) [type](/glossary/type), the line where [ascenders](/glossary/ascenders_descenders) reach is usually the top-most measurement, followed very closely by [cap height](/glossary/cap_height) (although occasionally these two lines are the same). The next one down is the [x-height](/glossary/x_height), followed by the [baseline](/glossary/baseline), and then the [descender](/glossary/ascenders_descenders) line at the lowest point.
 
 ![A diagram showing the different vertical metrics in a typeface.](images/2.9.1.svg)
 
@@ -15,14 +15,14 @@ In this article, we’ll focus on the x-height—the height of a typeface’s [l
 
 X-height is an important factor in [readability](/glossary/legibility_readability) because, at any given [font](/glossary/font) size, it determines how large or small the typeface actually looks. Put simply: When the x-height is large, the typeface will probably be easier to read at small sizes.
 
-The term itself was established because the height of each lowercase letter varies slightly, and the flat edges at the top and bottom of the x character make it a good representative for the typical height of *all* lowercase letters. As x-heights become taller, white space is redistributed from outside the letters to inside letters (e.g. the counters become larger). To offset or balance this redistribution of white space, it’s usually a good idea to increase the [line height](/glossary/line_height_leading).
+The term itself was established because while the height of each lowercase letter varies slightly, the flat edges at the top and bottom of the x character make it a good representative for the typical height of *all* lowercase letters. As x-heights become taller, white space is redistributed from outside the letters to inside letters (e.g. the [counters](/glossary/counters) become larger). To offset or balance this redistribution of white space, it’s usually a good idea to increase the [line height](/glossary/line_height_leading).
 
 X-heights vary between typefaces, causing some typefaces to appear larger or smaller than others when typed, even though the actual font size remains the same. This might not always matter—especially for headline or [display](/glossary/display) type—but even just changing fonts in a word processor makes it immediately clear how some words and whole lines can shift to different points on the page.
 
 <figure>
 
 ![The word “boxy” is set in two different typefaces. Faint lines indicate the ascender and descender heights respectively, while a block of color shows the varying x-heights between both faces.](images/2.9.3.svg)
-<figcaption>The typeface on the right has a slightly smaller x-height, and also considerably lower descenders.</figcaption>
+<figcaption>The typeface on the right has a slightly smaller x-height and also considerably lower descenders.</figcaption>
 
 </figure>
 
@@ -33,7 +33,7 @@ X-heights vary between typefaces, causing some typefaces to appear larger or sma
 
 </figure>
 
-The effect can be even more obvious and potentially disruptive in other circumstances. We might notice that when we swap out one typeface for another at the same font size, the new one doesn’t necessarily sit in the same vertical position. If we’re updating brand guidelines, or a user interface, such a change in alignment could unbalance a button design on a website or app, or, worse, break the alignment throughout an entire design system. It’s also a consideration if we decide to use two typefaces next to each other, as we might if we use a [secondary typeface](/lesson/pairing_typefaces) in place of a bold weight.
+The effect can be even more obvious and potentially disruptive in other circumstances. We might notice that when we swap out one typeface for another at the same font size, the new one doesn’t necessarily sit in the same vertical position. If we’re updating brand guidelines or a user interface, this change in alignment could unbalance a button design on a website or app, or, worse, break the alignment throughout an entire design system. It’s also a consideration if we decide to use two typefaces next to each other, as we might if we use a [secondary typeface](/lesson/pairing_typefaces) in place of a bold weight.
 
 <figure>
 
@@ -42,7 +42,7 @@ The effect can be even more obvious and potentially disruptive in other circumst
 
 </figure>
 
-Why is this happening, exactly? The answer is in the [em](/glossary/em) square: The transparent canvas on which each [glyph](/glossary/glyph) is drawn and which was originally based on the proportions of an uppercase “M” character. It’s also sometimes called the “glyph space” or “em size” and is a [cartesian grid space,](https://en.wikipedia.org/wiki/Cartesian_coordinate_system) with an origin on the left edge that creates the baseline. The top and bottom edges are called the ascent and descent, and the coarseness of its grid or “units per em” (UPM) is typically 1000, with an ascent 800 units up and the descent 200 units below.
+Why is this happening, exactly? The answer is in the [em](/glossary/em) square: the transparent canvas on which each [glyph](/glossary/glyph) is drawn and which was originally based on the proportions of an uppercase “M” character. It’s also sometimes called the “glyph space” or “em size” and is a [cartesian grid space,](https://en.wikipedia.org/wiki/Cartesian_coordinate_system) with an origin on the left edge that creates the baseline. The top and bottom edges are called the ascent and descent, and the coarseness of its grid or “units per em” (UPM) is typically 1000, with an ascent 800 units up and the descent 200 units below.
 
 And while the em square *is* a containing structure—and very much adhered to by [monospaced](/glossary/monospaced) typefaces—parts of some letters can actually go outside of that block, such as a [swash](/glossary/swash_glyph).
 
@@ -56,8 +56,8 @@ When we set the font size (e.g. 14px), what we’re *actually* doing is setting
 
 <figure>
 
-![Two typefaces shown side-by-side, with radically different perceived sizes. Despite these typefaces being set at the exact same font-size, the one on the left appears to be dramatically “bigger” thanks to its large x-height and short ascenders and descenders.](images/2.9.7.svg)
-<figcaption>Despite these typefaces being set at the exact same font-size, the one on the left appears to be dramatically “bigger” thanks to its large x-height and short ascenders and descenders. Long ascenders and descenders, as shown in the right, don’t contribute to the overall perceived size—although they do require more generous line height settings.</figcaption>
+![Two typefaces shown side-by-side, with radically different perceived sizes. Despite these typefaces being set at the exact same font size, the one on the left appears to be dramatically “bigger” thanks to its large x-height and short ascenders and descenders.](images/2.9.7.svg)
+<figcaption>Despite these typefaces being set at the exact same font size, the one on the left appears to be dramatically “bigger” thanks to its large x-height and short ascenders and descenders. Long ascenders and descenders, as shown in the right, don’t contribute to the overall perceived size—although they do require more generous line height settings.</figcaption>
 
 </figure>
 

cc-by-sa/knowledge/modules/choosing_type/lessons/pairing_typefaces/content.md

@@ -79,5 +79,5 @@ While pairing typefaces usually refers to the combination of two, the same logic
 
 - [*On Web Typography* by Jason Santa Maria](https://abookapart.com/products/on-web-typography)
 - [*Upping Your Type Game* by Jessica Hische](https://www.jessicahische.is/talkingtype)
-- *Stop stealing sheep and find out how type works* by Erik Spiekermann
-- *Combining Typefaces* by Tim Brown
+- “Stop stealing sheep and find out how type works” by Erik Spiekermann
+- “Combining Typefaces” by Tim Brown

cc-by-sa/knowledge/modules/introducing_type/lessons/an_overview_of_latin_type_anatomy/content.md

@@ -19,7 +19,7 @@ We often discuss vertical proportions (or vertical metrics) when talking about o
 
 </figure>
 
-The Latin script has two cases, which means that each letter has an [uppercase and lowercase](/glossary/uppercase_lowercase) form. Some common building blocks of [characters](/glossary/character) include varying flavors of [diacritics or accent marks](/glossary/diacritic_accent_marks), commonly used in Latin alphabets other than English (although they do appear in some loan words, such as “café” or “naïve”). [Serifs](/glossary/serif) are the marks or lines that can appear at the end of a character’s stroke, and lend their name to the collective name for typefaces that use serifs in their design. A [ligature](/glossary/ligature) is a [glyph](/glossary/glyph) that combines the shapes of certain sequences of characters into a new form that can make for a more harmonious reading experience. As in the illustration, the character sequence of “f” and “i” is often replaced with a “fi” ligature. [Small caps](/glossary/small_caps) are uppercase letterforms with their proportions adjusted for setting within lowercase type, used for acronyms, single words, or a few words at the start of a chapter.
+The Latin script has two cases, which means that each letter has an [uppercase and lowercase](/glossary/uppercase_lowercase) form. Some common building blocks of [characters](/glossary/character) include varying flavors of [diacritics or accent marks](/glossary/diacritic_accent_marks), commonly used in Latin alphabets other than English (although they do appear in some loan words, such as “café” or “naïve”). [Serifs](/glossary/serif) are the marks or lines that can appear at the end of a character’s stroke; they lend their name to the collective name for typefaces that use serifs in their design. A [ligature](/glossary/ligature) is a [glyph](/glossary/glyph) that combines the shapes of certain sequences of characters into a new form in order to make for a more harmonious reading experience. As in the illustration, the character sequence of “f” and “i” is often replaced with a “fi” ligature. [Small caps](/glossary/small_caps) are uppercase letterforms with their proportions adjusted for setting within lowercase type, used for acronyms, single words, or a few words at the start of a chapter.
 
 <figure>
 
@@ -29,4 +29,4 @@ The Latin script has two cases, which means that each letter has an [uppercase a
 
 </figure>
 
-There are many elements that make up whole letterforms. A counter refers to the opening of a round letterform such as a “c”. A diagonal stroke is quite literally a diagonal stroke, found on characters such as “y”, “v”, and “k”. [Ink traps](/glossary/ink_trap) are exaggerated incisions where strokes join, intended to lighten parts that would otherwise look too heavy. With the evolution of print technology and on-screen use of type, ink traps in modern typefaces often serve a more stylistic purpose rather than their traditional intent of trapping ink, although they do still make corners look sharper. Bold fonts at small sizes benefit especially, and at large sizes the effect makes for a distinctive stylistic choice. A stem is a letterform’s main vertical stroke. A [terminal](/glossary/terminal) refers to the ending of the stroke. The way a type designer treats terminals is a key factor in the overall typeface design, and has significant effects on legibility as well as stylistic expression.
+There are many elements that make up whole letterforms. A counter is the opening of a round letterform such as in a “c”. A diagonal stroke is quite literally a diagonal stroke, found on characters such as “y”, “v”, and “k." [Ink traps](/glossary/ink_trap) are exaggerated incisions where strokes join, intended to lighten parts that would otherwise look too heavy. With the evolution of print technology and on-screen use of type, ink traps in modern typefaces often serve a more stylistic purpose rather than their traditional intent of trapping ink, although they do still make corners look sharper. Bold fonts at small sizes benefit especially. And at large sizes, the effect makes for a distinctive stylistic choice. A stem is a letterform’s main vertical stroke. A [terminal](/glossary/terminal) refers to the ending of the stroke. The way a type designer treats terminals is a key factor in the overall typeface design and has significant effects on legibility, as well as stylistic expression.

cc-by-sa/knowledge/modules/introducing_type/lessons/understanding_numerals/content.md

@@ -14,7 +14,7 @@ Numbers, like letters, can be conveyed in different ways with typography to comm
 
 It’s advisable to have an understanding of how the four numeral variations compare, to ensure we’re working with the appropriate ones in any given scenario.
 
-Just because these four flavors exist, it doesn’t mean they’re present in every [font](/glossary/font). It’s common to find that the [type designer](/glossary/type_designer) only drew one of them. But if they’re present in the file, you can choose the one you want using [OpenType feature](/lesson/implementing_ot_features_in_desktop_apps) controls. If in doubt, use the figure style the type designer has chosen as the default. If they believe the typeface will be used primarily for [body copy](/glossary/body), they’ll make different choices than if they believe their typeface will be used to style financial data.
+Just because these four flavors exist, it doesn’t mean they’re present in every [font](/glossary/font). It’s common to find that the [type designer](/glossary/type_designer) only drew one of them. But if they’re present in the file, you can choose the one you want using [OpenType feature](/glossary/open_type) controls. If in doubt, use the figure style the type designer has chosen as the default. If they believe the typeface will be used primarily for [body copy](/glossary/body), they’ll make different choices than if they believe their typeface will be used to style financial data.
 
 <figure>
 

ofl/alumnisanscollegiateone/DESCRIPTION.en_us.html

@@ -0,0 +1,13 @@
+<p>
+    Alumni Sans Collegiate One is a stand-alone font based on <a href="https://fonts.google.com/specimen/Alumni+Sans" target="_blank">Alumni Sans</a>, which is a variable font containing Roman and Italic styles. This version is a display cut of the ExtraBold which adds a decorative outline. Use this variation for situations requiring a sporty look.
+    </p>
+    <p>
+    Collegiate One is designed to be used as a display font above 32pt in print (assuming 300 dpi) and above 72px in digital media. 
+    </p>
+    <p>
+    It comes with Latin Character sets including Western, Central, and Vietnamese language support.
+    </p>
+    <p>
+    To contribute, see <a href="https://github.com/googlefonts/alumni-sans-collegiate" target="_blank">github.com/googlefonts/alumni-sans-collegiate</a>.
+    </p>
+    

ofl/alumnisanscollegiateone/METADATA.pb

@@ -0,0 +1,256 @@
+name: "Alumni Sans Collegiate One"
+designer: "Robert Leuschke"
+license: "OFL"
+category: "DISPLAY"
+category: "SANS_SERIF"
+date_added: "2022-04-09"
+fonts {
+  name: "Alumni Sans Collegiate One"
+  style: "normal"
+  weight: 400
+  filename: "AlumniSansCollegiateOne-Regular.ttf"
+  post_script_name: "AlumniSansCollegiateOne-Regular"
+  full_name: "Alumni Sans Collegiate One Regular"
+  copyright: "Copyright 2014 The Alumni Sans Collegiate Project Authors (https://github.com/googlefonts/alumni-sans-collegiate)"
+}
+subsets: "cyrillic"
+subsets: "latin"
+subsets: "latin-ext"
+subsets: "menu"
+subsets: "vietnamese"
+source {
+  repository_url: "https://github.com/googlefonts/alumni-sans-collegiate"
+  commit: "b46653d1fe947d6ec06438b1606ae3bb1928b69a"
+}
+languages: "aa_Latn"  # Afar
+languages: "abq_Cyrl"  # Abaza
+languages: "ace_Latn"  # Achinese
+languages: "af_Latn"  # Afrikaans
+languages: "aln_Latn"  # Gheg Albanian
+languages: "an_Latn"  # Aragonese
+languages: "aoz_Latn"  # Uab Meto
+languages: "arn_Latn"  # Mapuche
+languages: "asa_Latn"  # Asu
+languages: "ay_Latn"  # Aymara
+languages: "az_Latn"  # Azerbaijani
+languages: "ban_Latn"  # Balinese
+languages: "bbc_Latn"  # Batak Toba
+languages: "be_Cyrl"  # Belarusian
+languages: "bem_Latn"  # Bemba
+languages: "bez_Latn"  # Bena
+languages: "bg_Cyrl"  # Bulgarian
+languages: "bi_Latn"  # Bislama
+languages: "bik_Latn"  # Bikol
+languages: "bin_Latn"  # Bini
+languages: "br_Latn"  # Breton
+languages: "bs_Cyrl"  # Bosnian (Cyrillic)
+languages: "bs_Latn"  # Bosnian
+languages: "bto_Latn"  # Rinconada Bikol
+languages: "ca_Latn"  # Catalan
+languages: "ceb_Latn"  # Cebuano
+languages: "cgg_Latn"  # Chiga
+languages: "ch_Latn"  # Chamorro
+languages: "chk_Latn"  # Chuukese
+languages: "co_Latn"  # Corsican
+languages: "crh_Cyrl"  # Crimean Turkish
+languages: "crs_Latn"  # Seselwa Creole French
+languages: "cs_Latn"  # Czech
+languages: "csb_Latn"  # Kashubian
+languages: "ctd_Latn"  # Tedim Chin
+languages: "cy_Latn"  # Welsh
+languages: "da_Latn"  # Danish
+languages: "dav_Latn"  # Taita
+languages: "de_Latn"  # German
+languages: "del_Latn"  # Delaware
+languages: "dsb_Latn"  # Lower Sorbian
+languages: "dyo_Latn"  # Jola-Fonyi
+languages: "ebu_Latn"  # Embu
+languages: "en_Latn"  # English
+languages: "eo_Latn"  # Esperanto
+languages: "es_Latn"  # Spanish
+languages: "et_Latn"  # Estonian
+languages: "eu_Latn"  # Basque
+languages: "fbl_Latn"  # West Albay Bikol
+languages: "fi_Latn"  # Finnish
+languages: "fil_Latn"  # Filipino
+languages: "fj_Latn"  # Fijian
+languages: "fo_Latn"  # Faroese
+languages: "fr_Latn"  # French
+languages: "fur_Latn"  # Friulian
+languages: "ga_Latn"  # Irish
+languages: "gag_Latn"  # Gagauz
+languages: "gd_Latn"  # Scottish Gaelic
+languages: "gil_Latn"  # Gilbertese
+languages: "gl_Latn"  # Galician
+languages: "gsw_Latn"  # Swiss German
+languages: "guc_Latn"  # Wayuu
+languages: "guz_Latn"  # Gusii
+languages: "gv_Latn"  # Manx
+languages: "gwi_Latn"  # Gwichʼin
+languages: "hil_Latn"  # Hiligaynon
+languages: "hmn_Latn"  # Hmong
+languages: "hop_Latn"  # Hopi
+languages: "hr_Latn"  # Croatian
+languages: "hsb_Latn"  # Upper Sorbian
+languages: "ht_Latn"  # Haitian Creole
+languages: "hu_Latn"  # Hungarian
+languages: "ia_Latn"  # Interlingua
+languages: "id_Latn"  # Indonesian
+languages: "ilo_Latn"  # Iloko
+languages: "is_Latn"  # Icelandic
+languages: "it_Latn"  # Italian
+languages: "jam_Latn"  # Jamaican Creole English
+languages: "jmc_Latn"  # Machame
+languages: "jv_Latn"  # Javanese
+languages: "kam_Latn"  # Kamba
+languages: "kde_Latn"  # Makonde
+languages: "kea_Latn"  # Kabuverdianu
+languages: "kg_Latn"  # Kongo
+languages: "kgp_Latn"  # Kaingang
+languages: "kha_Latn"  # Khasi
+languages: "ki_Latn"  # Kikuyu
+languages: "kiu_Latn"  # Kirmanjki
+languages: "kj_Latn"  # Kuanyama
+languages: "kl_Latn"  # Kalaallisut
+languages: "kln_Latn"  # Kalenjin
+languages: "kmb_Latn"  # Kimbundu
+languages: "knf_Latn"  # Mankanya
+languages: "krc_Cyrl"  # Karachay-Balkar
+languages: "krl_Latn"  # Karelian
+languages: "ksb_Latn"  # Shambala
+languages: "ksh_Latn"  # Colognian
+languages: "ku_Cyrl"  # Kurdish
+languages: "ku_Latn"  # Kurdish, Latin
+languages: "kum_Cyrl"  # Kumyk
+languages: "kw_Latn"  # Cornish
+languages: "la_Latn"  # Latin
+languages: "lb_Latn"  # Luxembourgish
+languages: "lg_Latn"  # Ganda
+languages: "lij_Latn"  # Ligurian
+languages: "lmo_Latn"  # Lombard
+languages: "loz_Latn"  # Lozi
+languages: "lt_Latn"  # Lithuanian
+languages: "ltg_Latn"  # Latgalian
+languages: "lua_Latn"  # Luba-Lulua
+languages: "luo_Latn"  # Luo
+languages: "luy_Latn"  # Luyia
+languages: "lv_Latn"  # Latvian
+languages: "mdf_Cyrl"  # Moksha
+languages: "mer_Latn"  # Meru
+languages: "mfe_Latn"  # Morisyen
+languages: "mfv_Latn"  # Mandjak
+languages: "mg_Latn"  # Malagasy
+languages: "mgh_Latn"  # Makhuwa-Meetto
+languages: "mi_Latn"  # Maori
+languages: "min_Latn"  # Minangkabau
+languages: "mk_Cyrl"  # Macedonian
+languages: "moe_Latn"  # Innu
+languages: "moh_Latn"  # Mohawk
+languages: "ms_Latn"  # Malay
+languages: "mt_Latn"  # Maltese
+languages: "mus_Latn"  # Muscogee
+languages: "mwl_Latn"  # Mirandese
+languages: "myv_Cyrl"  # Erzya
+languages: "nap_Latn"  # Neapolitan
+languages: "nd_Latn"  # North Ndebele
+languages: "nds_Latn"  # Low German
+languages: "ng_Latn"  # Ndonga
+languages: "niu_Latn"  # Niuean
+languages: "njo_Latn"  # Ao Naga
+languages: "no_Latn"  # Norwegian
+languages: "nog_Cyrl"  # Nogai
+languages: "nov_Latn"  # Novial
+languages: "nr_Latn"  # South Ndebele
+languages: "nso_Latn"  # Northern Sotho
+languages: "ny_Latn"  # Nyanja
+languages: "nyn_Latn"  # Nyankole
+languages: "oc_Latn"  # Occitan
+languages: "om_Latn"  # Oromo
+languages: "pam_Latn"  # Pampanga
+languages: "pap_Latn"  # Papiamento
+languages: "pau_Latn"  # Palauan
+languages: "pcd_Latn"  # Picard
+languages: "pko_Latn"  # Pökoot
+languages: "pl_Latn"  # Polish
+languages: "pms_Latn"  # Piedmontese
+languages: "pon_Latn"  # Pohnpeian
+languages: "pt_Latn"  # Portuguese
+languages: "qu_Latn"  # Quechua
+languages: "quc_Latn"  # Kʼicheʼ
+languages: "qug_Latn"  # Chimborazo Highland Quichua
+languages: "rar_Latn"  # Rarotongan
+languages: "rm_Latn"  # Romansh
+languages: "rn_Latn"  # Rundi
+languages: "ro_Latn"  # Romanian
+languages: "rof_Latn"  # Rombo
+languages: "ru_Cyrl"  # Russian
+languages: "rup_Latn"  # Aromanian
+languages: "rw_Latn"  # Kinyarwanda
+languages: "rwk_Latn"  # Rwa
+languages: "saq_Latn"  # Samburu
+languages: "sbp_Latn"  # Sangu
+languages: "sc_Latn"  # Sardinian
+languages: "scn_Latn"  # Sicilian
+languages: "sdc_Latn"  # Sassarese Sardinian
+languages: "se_Latn"  # Northern Sami
+languages: "seh_Latn"  # Sena
+languages: "sei_Latn"  # Seri
+languages: "sg_Latn"  # Sango
+languages: "sk_Latn"  # Slovak
+languages: "sl_Latn"  # Slovenian
+languages: "sm_Latn"  # Samoan
+languages: "sma_Latn"  # Southern Sami
+languages: "smj_Latn"  # Lule Sami
+languages: "smn_Latn"  # Inari Sami
+languages: "sn_Latn"  # Shona
+languages: "snk_Latn"  # Soninke
+languages: "so_Latn"  # Somali
+languages: "sq_Latn"  # Albanian
+languages: "sr_Cyrl"  # Serbian
+languages: "sr_Latn"  # Serbian (Latin)
+languages: "srn_Latn"  # Sranan Tongo
+languages: "ss_Latn"  # Swati
+languages: "su_Latn"  # Sundanese
+languages: "sv_Latn"  # Swedish
+languages: "sw_Latn"  # Swahili
+languages: "swb_Latn"  # Comorian, Latin
+languages: "szl_Latn"  # Silesian
+languages: "teo_Latn"  # Teso
+languages: "tet_Latn"  # Tetum
+languages: "tiv_Latn"  # Tiv
+languages: "tk_Arab"  # Turkmen
+languages: "tk_Latn"  # Turkmen, Latin
+languages: "tkl_Latn"  # Tokelau
+languages: "tkr_Latn"  # Tsakhur, Latin
+languages: "tly_Latn"  # Talysh, Latin
+languages: "tn_Latn"  # Tswana
+languages: "tpi_Latn"  # Tok Pisin
+languages: "tr_Latn"  # Turkish
+languages: "ts_Latn"  # Tsonga
+languages: "ttt_Latn"  # Muslim Tat, Latin
+languages: "tum_Latn"  # Tumbuka
+languages: "tvl_Latn"  # Tuvalu
+languages: "ty_Latn"  # Tahitian
+languages: "ug_Latn"  # Uyghur, Latin
+languages: "umb_Latn"  # Umbundu
+languages: "vec_Latn"  # Venetian
+languages: "vep_Latn"  # Veps
+languages: "vi_Latn"  # Vietnamese
+languages: "vmw_Latn"  # Makhuwa
+languages: "vo_Latn"  # Volapük
+languages: "vro_Latn"  # Võro
+languages: "vun_Latn"  # Vunjo
+languages: "wa_Latn"  # Walloon
+languages: "wae_Latn"  # Walser
+languages: "war_Latn"  # Waray
+languages: "wbp_Latn"  # Warlpiri
+languages: "wo_Latn"  # Wolof
+languages: "xav_Latn"  # Xavánte
+languages: "xh_Latn"  # Xhosa
+languages: "xog_Latn"  # Soga
+languages: "yao_Latn"  # Yao
+languages: "yap_Latn"  # Yapese
+languages: "yua_Latn"  # Yucateco
+languages: "zu_Latn"  # Zulu
+languages: "zun_Latn"  # Zuni
+languages: "zza_Latn"  # Zaza

ofl/alumnisanscollegiateone/OFL.txt

@@ -0,0 +1,93 @@
+Copyright 2014 The Alumni Sans Collegiate Project Authors (https://github.com/googlefonts/alumni-sans-collegiate)
+
+This Font Software is licensed under the SIL Open Font License, Version 1.1.
+This license is copied below, and is also available with a FAQ at:
+https://scripts.sil.org/OFL
+
+
+-----------------------------------------------------------
+SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
+-----------------------------------------------------------
+
+PREAMBLE
+The goals of the Open Font License (OFL) are to stimulate worldwide
+development of collaborative font projects, to support the font creation
+efforts of academic and linguistic communities, and to provide a free and
+open framework in which fonts may be shared and improved in partnership
+with others.
+
+The OFL allows the licensed fonts to be used, studied, modified and
+redistributed freely as long as they are not sold by themselves. The
+fonts, including any derivative works, can be bundled, embedded, 
+redistributed and/or sold with any software provided that any reserved
+names are not used by derivative works. The fonts and derivatives,
+however, cannot be released under any other type of license. The
+requirement for fonts to remain under this license does not apply
+to any document created using the fonts or their derivatives.
+
+DEFINITIONS
+"Font Software" refers to the set of files released by the Copyright
+Holder(s) under this license and clearly marked as such. This may
+include source files, build scripts and documentation.
+
+"Reserved Font Name" refers to any names specified as such after the
+copyright statement(s).
+
+"Original Version" refers to the collection of Font Software components as
+distributed by the Copyright Holder(s).
+
+"Modified Version" refers to any derivative made by adding to, deleting,
+or substituting -- in part or in whole -- any of the components of the
+Original Version, by changing formats or by porting the Font Software to a
+new environment.
+
+"Author" refers to any designer, engineer, programmer, technical
+writer or other person who contributed to the Font Software.
+
+PERMISSION & CONDITIONS
+Permission is hereby granted, free of charge, to any person obtaining
+a copy of the Font Software, to use, study, copy, merge, embed, modify,
+redistribute, and sell modified and unmodified copies of the Font
+Software, subject to the following conditions:
+
+1) Neither the Font Software nor any of its individual components,
+in Original or Modified Versions, may be sold by itself.
+
+2) Original or Modified Versions of the Font Software may be bundled,
+redistributed and/or sold with any software, provided that each copy
+contains the above copyright notice and this license. These can be
+included either as stand-alone text files, human-readable headers or
+in the appropriate machine-readable metadata fields within text or
+binary files as long as those fields can be easily viewed by the user.
+
+3) No Modified Version of the Font Software may use the Reserved Font
+Name(s) unless explicit written permission is granted by the corresponding
+Copyright Holder. This restriction only applies to the primary font name as
+presented to the users.
+
+4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
+Software shall not be used to promote, endorse or advertise any
+Modified Version, except to acknowledge the contribution(s) of the
+Copyright Holder(s) and the Author(s) or with their explicit written
+permission.
+
+5) The Font Software, modified or unmodified, in part or in whole,
+must be distributed entirely under this license, and must not be
+distributed under any other license. The requirement for fonts to
+remain under this license does not apply to any document created
+using the Font Software.
+
+TERMINATION
+This license becomes null and void if any of the above conditions are
+not met.
+
+DISCLAIMER
+THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
+EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
+MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
+OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
+COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
+INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
+DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
+FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
+OTHER DEALINGS IN THE FONT SOFTWARE.

ofl/alumnisanscollegiateone/upstream.yaml

@@ -0,0 +1,5 @@
+branch: main
+files:
+  OFL.txt: OFL.txt
+  documentation/DESCRIPTION.en_us.html: DESCRIPTION.en_us.html
+  fonts/ttf/AlumniSansCollegiateOne-Regular.ttf: AlumniSansCollegiateOne-Regular.ttf

ofl/amiriqurancolored/METADATA.pb

@@ -7,7 +7,7 @@ fonts {
   name: "Amiri Quran Colored"
   style: "normal"
   weight: 400
-  filename: "AmiriQuranColored-Regular.otf"
+  filename: "AmiriQuranColored-Regular.ttf"
   post_script_name: "AmiriQuranColored"
   full_name: "Amiri Quran Colored"
   copyright: "Copyright 2010-2021 The Amiri Project Authors (https://github.com/aliftype/amiri)."
@@ -21,4 +21,3 @@ languages: "sd_Arab"  # Sindhi
 languages: "tk_Arab"  # Turkmen
 languages: "ug_Arab"  # Uyghur
 languages: "ur_Arab"  # Urdu
-source_type: TYPE_OTF

ofl/arefruqaaink/METADATA.pb

@@ -7,7 +7,7 @@ fonts {
   name: "Aref Ruqaa Ink"
   style: "normal"
   weight: 400
-  filename: "ArefRuqaaInk-Regular.otf"
+  filename: "ArefRuqaaInk-Regular.ttf"
   post_script_name: "ArefRuqaaInk-Regular"
   full_name: "Aref Ruqaa Ink Regular"
   copyright: "Copyright 2015-2022 The Aref Ruqaa Project Authors (https://github.com/aliftype/aref-ruqaa), with Reserved Font Name EURM10."
@@ -16,7 +16,7 @@ fonts {
   name: "Aref Ruqaa Ink"
   style: "normal"
   weight: 700
-  filename: "ArefRuqaaInk-Bold.otf"
+  filename: "ArefRuqaaInk-Bold.ttf"
   post_script_name: "ArefRuqaaInk-Bold"
   full_name: "Aref Ruqaa Ink Bold"
   copyright: "Copyright 2015-2022 The Aref Ruqaa Project Authors (https://github.com/aliftype/aref-ruqaa), with Reserved Font Name EURM10."
@@ -25,7 +25,6 @@ subsets: "arabic"
 subsets: "latin"
 subsets: "latin-ext"
 subsets: "menu"
-source_type: TYPE_OTF
 languages: "aa_Latn"  # Afar
 languages: "ace_Latn"  # Achinese
 languages: "af_Latn"  # Afrikaans

ofl/arizonia/DESCRIPTION.en_us.html

@@ -1 +1,12 @@
-<p>Arizonia was inspired by the flowing forms created by a sign painter's camel hair brush.</p>
+<p>
+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. 
+</p>
+<p>
+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.
+</p>
+<p>
+It comes with Latin Character sets including Western, Central, and Vietnamese language support.
+</p>
+<p>
+To contribute, see <a href="https://github.com/googlefonts/arizonia" target="_blank">github.com/googlefonts/arizonia</a>.
+</p>

ofl/arizonia/METADATA.pb

@@ -1,5 +1,5 @@
 name: "Arizonia"
-designer: "TypeSETit"
+designer: "Robert Leuschke"
 license: "OFL"
 category: "HANDWRITING"
 date_added: "2011-12-19"
@@ -10,11 +10,16 @@ fonts {
   filename: "Arizonia-Regular.ttf"
   post_script_name: "Arizonia-Regular"
   full_name: "Arizonia Regular"
-  copyright: "Copyright (c) 2011 TypeSETit, LLC (typesetit@att.net), with Reserved Font Name \"Arizonia\""
+  copyright: "Copyright 2007-2021 The Arizonia Project Authors (https://github.com/googlefonts/arizonia)"
 }
 subsets: "latin"
 subsets: "latin-ext"
 subsets: "menu"
+subsets: "vietnamese"
+source {
+  repository_url: "https://github.com/googlefonts/arizonia"
+  commit: "e135e3351c17de6f0f12066e98d7af9abe1cd76e"
+}
 languages: "aa_Latn"  # Afar
 languages: "ace_Latn"  # Achinese
 languages: "af_Latn"  # Afrikaans

ofl/arizonia/OFL.txt

@@ -1,13 +1,12 @@
-Copyright (c) 2011 TypeSETit, LLC (typesetit@att.net),
-with Reserved Font Name "Arizonia"
+Copyright 2007-2021 The Arizonia Project Authors (https://github.com/googlefonts/arizonia)
 
 This Font Software is licensed under the SIL Open Font License, Version 1.1.
 This license is copied below, and is also available with a FAQ at:
-http://scripts.sil.org/OFL
+https://scripts.sil.org/OFL
 
 
 -----------------------------------------------------------
-SIL OPEN FONT LICENSE Version 1.1 - 1 February 2007
+SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
 -----------------------------------------------------------
 
 PREAMBLE
@@ -20,8 +19,8 @@ with others.
 The OFL allows the licensed fonts to be used, studied, modified and
 redistributed freely as long as they are not sold by themselves. The
 fonts, including any derivative works, can be bundled, embedded, 
-redistributed and/or sold with any software provided that the font
-names of derivative works are changed. The fonts and derivatives,
+redistributed and/or sold with any software provided that any reserved
+names are not used by derivative works. The fonts and derivatives,
 however, cannot be released under any other type of license. The
 requirement for fonts to remain under this license does not apply
 to any document created using the fonts or their derivatives.

ofl/arizonia/upstream.yaml

@@ -0,0 +1,5 @@
+branch: main
+files:
+  OFL.txt: OFL.txt
+  documentation/DESCRIPTION.en_us.html: DESCRIPTION.en_us.html
+  fonts/ttf/Arizonia-Regular.ttf: Arizonia-Regular.ttf

ofl/blakaink/DESCRIPTION.en_us.html

@@ -0,0 +1 @@
+TODO

ofl/blakaink/METADATA.pb

@@ -0,0 +1,17 @@
+name: "Blaka Ink"
+designer: "Mohamed Gaber"
+license: "OFL"
+category: "SERIF"
+date_added: "2022-02-26"
+fonts {
+  name: "Blaka Ink"
+  style: "normal"
+  weight: 400
+  filename: "BlakaInk-Regular.ttf"
+  post_script_name: "BlakaInk-Regular"
+  full_name: "Blaka Ink Regular"
+  copyright: "Copyright 2019 The Blaka Project Authors (https://github.com/Gue3bara/Blaka)"
+}
+subsets: "arabic"
+subsets: "latin"
+subsets: "menu"

ofl/blakaink/OFL.txt

@@ -0,0 +1,87 @@
+Copyright 2015-2022 The Aref Ruqaa Project Authors (https://github.com/aliftype/aref-ruqaa), with Reserved Font Name EURM10.
+
+This Font Software is licensed under the SIL Open Font License, Version 1.1.
+This license is copied below, and is also available with a FAQ at:
+http://scripts.sil.org/OFL
+
+---------------------------------------------------------------------------
+SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
+---------------------------------------------------------------------------
+
+PREAMBLE
+
+The goals of the Open Font License (OFL) are to stimulate worldwide development
+of collaborative font projects, to support the font creation efforts of academic
+and linguistic communities, and to provide a free and open framework in which
+fonts may be shared and improved in partnership with others.
+
+The OFL allows the licensed fonts to be used, studied, modified and redistributed
+freely as long as they are not sold by themselves. The fonts, including any
+derivative works, can be bundled, embedded, redistributed and/or sold with any
+software provided that any reserved names are not used by derivative works. The
+fonts and derivatives, however, cannot be released under any other type of license.
+The requirement for fonts to remain under this license does not apply to any
+document created using the fonts or their derivatives.
+
+DEFINITIONS
+
+"Font Software" refers to the set of files released by the Copyright Holder(s) under
+this license and clearly marked as such. This may include source files, build
+scripts and documentation.
+
+"Reserved Font Name" refers to any names specified as such after the copyright
+statement(s).
+
+"Original Version" refers to the collection of Font Software components as
+distributed by the Copyright Holder(s).
+
+"Modified Version" refers to any derivative made by adding to, deleting, or
+substituting -- in part or in whole -- any of the components of the Original Version,
+by changing formats or by porting the Font Software to a new environment.
+
+"Author" refers to any designer, engineer, programmer, technical writer or other
+person who contributed to the Font Software.
+
+PERMISSION & CONDITIONS
+
+Permission is hereby granted, free of charge, to any person obtaining a copy of the
+Font Software, to use, study, copy, merge, embed, modify, redistribute, and sell
+modified and unmodified copies of the Font Software, subject to the following
+conditions:
+
+1) Neither the Font Software nor any of its individual components, in Original or
+Modified Versions, may be sold by itself.
+
+2) Original or Modified Versions of the Font Software may be bundled, redistributed
+and/or sold with any software, provided that each copy contains the above copyright
+notice and this license. These can be included either as stand-alone text files,
+human-readable headers or in the appropriate machine-readable metadata fields within
+text or binary files as long as those fields can be easily viewed by the user.
+
+3) No Modified Version of the Font Software may use the Reserved Font Name(s) unless
+explicit written permission is granted by the corresponding Copyright Holder. This
+restriction only applies to the primary font name as presented to the users.
+
+4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font Software shall
+not be used to promote, endorse or advertise any Modified Version, except to
+acknowledge the contribution(s) of the Copyright Holder(s) and the Author(s) or with
+their explicit written permission.
+
+5) The Font Software, modified or unmodified, in part or in whole, must be distributed
+entirely under this license, and must not be distributed under any other license. The
+requirement for fonts to remain under this license does not apply to any document
+created using the Font Software.
+
+TERMINATION
+
+This license becomes null and void if any of the above conditions are not met.
+
+DISCLAIMER
+
+THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED,
+INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, FITNESS FOR A
+PARTICULAR PURPOSE AND NONINFRINGEMENT OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER
+RIGHT. IN NO EVENT SHALL THE COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER
+LIABILITY, INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL DAMAGES,
+WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF THE USE OR
+INABILITY TO USE THE FONT SOFTWARE OR FROM OTHER DEALINGS IN THE FONT SOFTWARE.

ofl/bungeecolor/METADATA.pb

@@ -2,7 +2,7 @@ name: "Bungee Color"
 designer: "David Jonathan Ross"
 license: "OFL"
 category: "DISPLAY"
-date_added: "2021-12-01"
+date_added: "2022-04-05"
 fonts {
   name: "Bungee Color"
   style: "normal"

ofl/bungeespice/METADATA.pb

@@ -2,7 +2,7 @@ name: "Bungee Spice"
 designer: "David Jonathan Ross"
 license: "OFL"
 category: "DISPLAY"
-date_added: "2021-12-07"
+date_added: "2022-04-05"
 fonts {
   name: "Bungee Spice"
   style: "normal"

ofl/librebodoni/DESCRIPTION.en_us.html

@@ -0,0 +1,3 @@
+<p>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.</p>
+
+<p>To contribute, see <a href="https://github.com/googlefonts/Libre-Bodoni" target="_blank">github.com/googlefonts/Libre-Bodoni</a>.</p>

ofl/librebodoni/METADATA.pb

@@ -0,0 +1,254 @@
+name: "Libre Bodoni"
+designer: "Pablo Impallari, Rodrigo Fuenzalida"
+license: "OFL"
+category: "SERIF"
+date_added: "2022-04-13"
+fonts {
+  name: "Libre Bodoni"
+  style: "normal"
+  weight: 400
+  filename: "LibreBodoni[wght].ttf"
+  post_script_name: "LibreBodoni-Regular"
+  full_name: "Libre Bodoni Regular"
+  copyright: "Copyright 2012 The Libre Bodoni Project Authors (https://github.com/googlefonts/Libre-Bodoni/)"
+}
+fonts {
+  name: "Libre Bodoni"
+  style: "italic"
+  weight: 400
+  filename: "LibreBodoni-Italic[wght].ttf"
+  post_script_name: "LibreBodoni-Italic"
+  full_name: "Libre Bodoni Italic"
+  copyright: "Copyright 2012 The Libre Bodoni Project Authors (https://github.com/googlefonts/Libre-Bodoni/)"
+}
+subsets: "latin"
+subsets: "latin-ext"
+subsets: "menu"
+subsets: "vietnamese"
+axes {
+  tag: "wght"
+  min_value: 400.0
+  max_value: 700.0
+}
+source {
+  repository_url: "https://github.com/googlefonts/Libre-Bodoni"
+  commit: "1f06b4544f846b1a9cafd855a5b767483d536f34"
+}
+languages: "aa_Latn"  # Afar
+languages: "ace_Latn"  # Achinese
+languages: "af_Latn"  # Afrikaans
+languages: "aln_Latn"  # Gheg Albanian
+languages: "an_Latn"  # Aragonese
+languages: "aoz_Latn"  # Uab Meto
+languages: "arn_Latn"  # Mapuche
+languages: "asa_Latn"  # Asu
+languages: "ay_Latn"  # Aymara
+languages: "az_Latn"  # Azerbaijani
+languages: "ban_Latn"  # Balinese
+languages: "bbc_Latn"  # Batak Toba
+languages: "bem_Latn"  # Bemba
+languages: "bez_Latn"  # Bena
+languages: "bi_Latn"  # Bislama
+languages: "bik_Latn"  # Bikol
+languages: "bin_Latn"  # Bini
+languages: "br_Latn"  # Breton
+languages: "bs_Latn"  # Bosnian
+languages: "bto_Latn"  # Rinconada Bikol
+languages: "ca_Latn"  # Catalan
+languages: "ceb_Latn"  # Cebuano
+languages: "cgg_Latn"  # Chiga
+languages: "ch_Latn"  # Chamorro
+languages: "chk_Latn"  # Chuukese
+languages: "co_Latn"  # Corsican
+languages: "crs_Latn"  # Seselwa Creole French
+languages: "cs_Latn"  # Czech
+languages: "csb_Latn"  # Kashubian
+languages: "ctd_Latn"  # Tedim Chin
+languages: "cy_Latn"  # Welsh
+languages: "da_Latn"  # Danish
+languages: "dav_Latn"  # Taita
+languages: "de_Latn"  # German
+languages: "del_Latn"  # Delaware
+languages: "dsb_Latn"  # Lower Sorbian
+languages: "dyo_Latn"  # Jola-Fonyi
+languages: "ebu_Latn"  # Embu
+languages: "en_Latn"  # English
+languages: "eo_Latn"  # Esperanto
+languages: "es_Latn"  # Spanish
+languages: "et_Latn"  # Estonian
+languages: "eu_Latn"  # Basque
+languages: "fbl_Latn"  # West Albay Bikol
+languages: "fi_Latn"  # Finnish
+languages: "fil_Latn"  # Filipino
+languages: "fj_Latn"  # Fijian
+languages: "fo_Latn"  # Faroese
+languages: "fr_Latn"  # French
+languages: "fur_Latn"  # Friulian
+languages: "ga_Latn"  # Irish
+languages: "gag_Latn"  # Gagauz
+languages: "gd_Latn"  # Scottish Gaelic
+languages: "gil_Latn"  # Gilbertese
+languages: "gl_Latn"  # Galician
+languages: "gsw_Latn"  # Swiss German
+languages: "guc_Latn"  # Wayuu
+languages: "guz_Latn"  # Gusii
+languages: "gv_Latn"  # Manx
+languages: "gwi_Latn"  # Gwichʼin
+languages: "hil_Latn"  # Hiligaynon
+languages: "hmn_Latn"  # Hmong
+languages: "hop_Latn"  # Hopi
+languages: "hr_Latn"  # Croatian
+languages: "hsb_Latn"  # Upper Sorbian
+languages: "ht_Latn"  # Haitian Creole
+languages: "hu_Latn"  # Hungarian
+languages: "ia_Latn"  # Interlingua
+languages: "id_Latn"  # Indonesian
+languages: "ig_Latn"  # Igbo
+languages: "ilo_Latn"  # Iloko
+languages: "is_Latn"  # Icelandic
+languages: "it_Latn"  # Italian
+languages: "jam_Latn"  # Jamaican Creole English
+languages: "jmc_Latn"  # Machame
+languages: "jv_Latn"  # Javanese
+languages: "kam_Latn"  # Kamba
+languages: "kde_Latn"  # Makonde
+languages: "kea_Latn"  # Kabuverdianu
+languages: "kg_Latn"  # Kongo
+languages: "kgp_Latn"  # Kaingang
+languages: "kha_Latn"  # Khasi
+languages: "ki_Latn"  # Kikuyu
+languages: "kj_Latn"  # Kuanyama
+languages: "kl_Latn"  # Kalaallisut
+languages: "kln_Latn"  # Kalenjin
+languages: "kmb_Latn"  # Kimbundu
+languages: "knf_Latn"  # Mankanya
+languages: "krl_Latn"  # Karelian
+languages: "ksb_Latn"  # Shambala
+languages: "ksh_Latn"  # Colognian
+languages: "ku_Cyrl"  # Kurdish
+languages: "ku_Latn"  # Kurdish, Latin
+languages: "kw_Latn"  # Cornish
+languages: "la_Latn"  # Latin
+languages: "lb_Latn"  # Luxembourgish
+languages: "lg_Latn"  # Ganda
+languages: "lij_Latn"  # Ligurian
+languages: "lmo_Latn"  # Lombard
+languages: "loz_Latn"  # Lozi
+languages: "lt_Latn"  # Lithuanian
+languages: "ltg_Latn"  # Latgalian
+languages: "lua_Latn"  # Luba-Lulua
+languages: "luo_Latn"  # Luo
+languages: "luy_Latn"  # Luyia
+languages: "lv_Latn"  # Latvian
+languages: "mad_Latn"  # Madurese
+languages: "mer_Latn"  # Meru
+languages: "mfe_Latn"  # Morisyen
+languages: "mfv_Latn"  # Mandjak
+languages: "mg_Latn"  # Malagasy
+languages: "mgh_Latn"  # Makhuwa-Meetto
+languages: "mi_Latn"  # Maori
+languages: "min_Latn"  # Minangkabau
+languages: "moe_Latn"  # Innu
+languages: "moh_Latn"  # Mohawk
+languages: "ms_Latn"  # Malay
+languages: "mt_Latn"  # Maltese
+languages: "mus_Latn"  # Muscogee
+languages: "mwl_Latn"  # Mirandese
+languages: "nap_Latn"  # Neapolitan
+languages: "nd_Latn"  # North Ndebele
+languages: "nds_Latn"  # Low German
+languages: "ng_Latn"  # Ndonga
+languages: "niu_Latn"  # Niuean
+languages: "njo_Latn"  # Ao Naga
+languages: "no_Latn"  # Norwegian
+languages: "nov_Latn"  # Novial
+languages: "nr_Latn"  # South Ndebele
+languages: "nso_Latn"  # Northern Sotho
+languages: "ny_Latn"  # Nyanja
+languages: "nyn_Latn"  # Nyankole
+languages: "oc_Latn"  # Occitan
+languages: "om_Latn"  # Oromo
+languages: "pam_Latn"  # Pampanga
+languages: "pap_Latn"  # Papiamento
+languages: "pau_Latn"  # Palauan
+languages: "pcd_Latn"  # Picard
+languages: "pko_Latn"  # Pökoot
+languages: "pl_Latn"  # Polish
+languages: "pms_Latn"  # Piedmontese
+languages: "pon_Latn"  # Pohnpeian
+languages: "pt_Latn"  # Portuguese
+languages: "qu_Latn"  # Quechua
+languages: "quc_Latn"  # Kʼicheʼ
+languages: "qug_Latn"  # Chimborazo Highland Quichua
+languages: "rar_Latn"  # Rarotongan
+languages: "rm_Latn"  # Romansh
+languages: "rn_Latn"  # Rundi
+languages: "ro_Latn"  # Romanian
+languages: "rof_Latn"  # Rombo
+languages: "rup_Latn"  # Aromanian
+languages: "rw_Latn"  # Kinyarwanda
+languages: "rwk_Latn"  # Rwa
+languages: "saq_Latn"  # Samburu
+languages: "sbp_Latn"  # Sangu
+languages: "sc_Latn"  # Sardinian
+languages: "scn_Latn"  # Sicilian
+languages: "sdc_Latn"  # Sassarese Sardinian
+languages: "se_Latn"  # Northern Sami
+languages: "seh_Latn"  # Sena
+languages: "sei_Latn"  # Seri
+languages: "sg_Latn"  # Sango
+languages: "sk_Latn"  # Slovak
+languages: "sl_Latn"  # Slovenian
+languages: "sm_Latn"  # Samoan
+languages: "sma_Latn"  # Southern Sami
+languages: "smj_Latn"  # Lule Sami
+languages: "smn_Latn"  # Inari Sami
+languages: "sn_Latn"  # Shona
+languages: "snk_Latn"  # Soninke
+languages: "so_Latn"  # Somali
+languages: "sq_Latn"  # Albanian
+languages: "sr_Latn"  # Serbian (Latin)
+languages: "srn_Latn"  # Sranan Tongo
+languages: "ss_Latn"  # Swati
+languages: "su_Latn"  # Sundanese
+languages: "sv_Latn"  # Swedish
+languages: "sw_Latn"  # Swahili
+languages: "swb_Latn"  # Comorian, Latin
+languages: "szl_Latn"  # Silesian
+languages: "teo_Latn"  # Teso
+languages: "tet_Latn"  # Tetum
+languages: "tiv_Latn"  # Tiv
+languages: "tk_Arab"  # Turkmen
+languages: "tk_Latn"  # Turkmen, Latin
+languages: "tkl_Latn"  # Tokelau
+languages: "tkr_Latn"  # Tsakhur, Latin
+languages: "tly_Latn"  # Talysh, Latin
+languages: "tn_Latn"  # Tswana
+languages: "tpi_Latn"  # Tok Pisin
+languages: "tr_Latn"  # Turkish
+languages: "ts_Latn"  # Tsonga
+languages: "ttt_Latn"  # Muslim Tat, Latin
+languages: "tum_Latn"  # Tumbuka
+languages: "ty_Latn"  # Tahitian
+languages: "ug_Latn"  # Uyghur, Latin
+languages: "umb_Latn"  # Umbundu
+languages: "vec_Latn"  # Venetian
+languages: "vep_Latn"  # Veps
+languages: "vi_Latn"  # Vietnamese
+languages: "vmw_Latn"  # Makhuwa
+languages: "vo_Latn"  # Volapük
+languages: "vro_Latn"  # Võro
+languages: "vun_Latn"  # Vunjo
+languages: "wa_Latn"  # Walloon
+languages: "wae_Latn"  # Walser
+languages: "war_Latn"  # Waray
+languages: "wbp_Latn"  # Warlpiri
+languages: "wo_Latn"  # Wolof
+languages: "xav_Latn"  # Xavánte
+languages: "xh_Latn"  # Xhosa
+languages: "xog_Latn"  # Soga
+languages: "yao_Latn"  # Yao
+languages: "yap_Latn"  # Yapese
+languages: "yua_Latn"  # Yucateco
+languages: "zu_Latn"  # Zulu
+languages: "zun_Latn"  # Zuni

ofl/librebodoni/OFL.txt

@@ -0,0 +1,93 @@
+Copyright 2012 The Libre Bodoni Project Authors (https://github.com/googlefonts/Libre-Bodoni/)
+
+This Font Software is licensed under the SIL Open Font License, Version 1.1.
+This license is copied below, and is also available with a FAQ at:
+https://scripts.sil.org/OFL
+
+
+-----------------------------------------------------------
+SIL OPEN FONT LICENSE Version 1.1 - 26 February 2007
+-----------------------------------------------------------
+
+PREAMBLE
+The goals of the Open Font License (OFL) are to stimulate worldwide
+development of collaborative font projects, to support the font creation
+efforts of academic and linguistic communities, and to provide a free and
+open framework in which fonts may be shared and improved in partnership
+with others.
+
+The OFL allows the licensed fonts to be used, studied, modified and
+redistributed freely as long as they are not sold by themselves. The
+fonts, including any derivative works, can be bundled, embedded, 
+redistributed and/or sold with any software provided that any reserved
+names are not used by derivative works. The fonts and derivatives,
+however, cannot be released under any other type of license. The
+requirement for fonts to remain under this license does not apply
+to any document created using the fonts or their derivatives.
+
+DEFINITIONS
+"Font Software" refers to the set of files released by the Copyright
+Holder(s) under this license and clearly marked as such. This may
+include source files, build scripts and documentation.
+
+"Reserved Font Name" refers to any names specified as such after the
+copyright statement(s).
+
+"Original Version" refers to the collection of Font Software components as
+distributed by the Copyright Holder(s).
+
+"Modified Version" refers to any derivative made by adding to, deleting,
+or substituting -- in part or in whole -- any of the components of the
+Original Version, by changing formats or by porting the Font Software to a
+new environment.
+
+"Author" refers to any designer, engineer, programmer, technical
+writer or other person who contributed to the Font Software.
+
+PERMISSION & CONDITIONS
+Permission is hereby granted, free of charge, to any person obtaining
+a copy of the Font Software, to use, study, copy, merge, embed, modify,
+redistribute, and sell modified and unmodified copies of the Font
+Software, subject to the following conditions:
+
+1) Neither the Font Software nor any of its individual components,
+in Original or Modified Versions, may be sold by itself.
+
+2) Original or Modified Versions of the Font Software may be bundled,
+redistributed and/or sold with any software, provided that each copy
+contains the above copyright notice and this license. These can be
+included either as stand-alone text files, human-readable headers or
+in the appropriate machine-readable metadata fields within text or
+binary files as long as those fields can be easily viewed by the user.
+
+3) No Modified Version of the Font Software may use the Reserved Font
+Name(s) unless explicit written permission is granted by the corresponding
+Copyright Holder. This restriction only applies to the primary font name as
+presented to the users.
+
+4) The name(s) of the Copyright Holder(s) or the Author(s) of the Font
+Software shall not be used to promote, endorse or advertise any
+Modified Version, except to acknowledge the contribution(s) of the
+Copyright Holder(s) and the Author(s) or with their explicit written
+permission.
+
+5) The Font Software, modified or unmodified, in part or in whole,
+must be distributed entirely under this license, and must not be
+distributed under any other license. The requirement for fonts to
+remain under this license does not apply to any document created
+using the Font Software.
+
+TERMINATION
+This license becomes null and void if any of the above conditions are
+not met.
+
+DISCLAIMER
+THE FONT SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND,
+EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF
+MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT
+OF COPYRIGHT, PATENT, TRADEMARK, OR OTHER RIGHT. IN NO EVENT SHALL THE
+COPYRIGHT HOLDER BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY,
+INCLUDING ANY GENERAL, SPECIAL, INDIRECT, INCIDENTAL, OR CONSEQUENTIAL
+DAMAGES, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING
+FROM, OUT OF THE USE OR INABILITY TO USE THE FONT SOFTWARE OR FROM
+OTHER DEALINGS IN THE FONT SOFTWARE.

ofl/librebodoni/upstream.yaml

@@ -0,0 +1,6 @@
+branch: master
+files:
+  OFL.txt: OFL.txt
+  fonts/variable/LibreBodoni[wght].ttf: LibreBodoni[wght].ttf
+  fonts/variable/LibreBodoni-Italic[wght].ttf: LibreBodoni-Italic[wght].ttf
+archive: