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Add content links to font descriptions (#5031)
* Add content links to font descriptions * update to_sandbox.txt * add PR link to to_sandbox.txt * resolve comments - remove target="_blank" - format HTML - update to_sandbox.txt * Update to_sandbox.txt * remove all target="_blank" Co-authored-by: zhao <zhaoxiong2015@u.northwestern.edu> Co-authored-by: Nathan Williams <williamsnathan@google.com>
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<p>
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Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension.
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Atkinson Hyperlegible, named after the founder of the Braille Institute, has been developed specifically to increase legibility for readers with low vision, and to improve comprehension.
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</p>
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<p>
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Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements—and at times, unexpected forms—always with the goal of increasing character recognition and ultimately improve reading.
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Having a traditional grotesque sans-serif at its core, it departs from tradition to incorporate unambiguous, distinctive elements—and at times, unexpected forms—always with the goal of increasing character recognition and ultimately improve reading.
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</p>
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<p>To contribute, see <a href="https://github.com/googlefonts/atkinson-hyperlegible" target="_blank">github.com/googlefonts/atkinson-hyperlegible</a>.
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<p>
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To contribute, see <a href="https://github.com/googlefonts/atkinson-hyperlegible">github.com/googlefonts/atkinson-hyperlegible</a>.
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</p>
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<p>
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To learn more, read <a href="https://material.io/blog/atkinson-hyperlegible-design">From Rebranding to Readability with Atkinson Hyperlegible</a>.
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</p>
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<p>
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モリサワのBIZ UDゴシックは、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。読みやすさとデザインバランスに優れた、すっきりとしたUDゴシック書体で、漢字の省略できるハネやゲタを取ることで、文字をクリアに見せています。大きめな字面でも文字としてのかたちのバランスを損ねないよう、フトコロなどの空間を細かく調整しています。かなは漢字に比べてやや小ぶりに作られており、細いウエイトで長文を組むとほどよい抑揚が生まれます。
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BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights.
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BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms
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are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use
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in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights.
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</p>
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<p>
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UDGothic includes full-width kana. <a href="https://fonts.google.com/specimen/BIZ+UDPGothic">UDPGothic</a> includes proportional-width kana.
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UDGothic includes full-width kana. <a href="https://fonts.google.com/specimen/BIZ+UDPGothic">UDPGothic</a> includes proportional-width kana.
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</p>
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<p>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-gothic">github.com/googlefonts/morisawa-biz-ud-gothic</a>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-gothic">github.com/googlefonts/morisawa-biz-ud-gothic</a>
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</p>
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<p>To learn more, read <a href="https://fonts.googleblog.com/2022/04/morisawa-biz-universal-design-ud.html">Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace</a>.
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</p>
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<p>
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モリサワのBIZ UD明朝は、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。格調高い明朝体の伝統を保ちながら、見やすさ、読みやすさを実現した書体です。一般的な明朝体は、横線が細くデザインされているため、視力が弱い方やディスプレイの表示などでは読みにくいことがあります。BIZ UD明朝は従来の明朝体よりも横線が太い明朝体をベースにしており、濁点や半濁点を大きく見やすいデザインに変更しているほか、字面やふところを大きくとりながらも文字のフォルムを崩さないデザインに調整しています。
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BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters.
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BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD
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Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on
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some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger
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face and wider counters.
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</p>
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<p>
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UD Mincho includes full-width kana. <a href="https://fonts.google.com/specimen/BIZ+UDPMincho">UDPMincho</a> includes proportional-wdith kana.
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UD Mincho includes full-width kana. <a href="https://fonts.google.com/specimen/BIZ+UDPMincho">UDPMincho</a> includes proportional-wdith kana.
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</p>
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<p>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-mincho">github.com/googlefonts/morisawa-biz-ud-mincho</a>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-mincho">github.com/googlefonts/morisawa-biz-ud-mincho</a>
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/04/morisawa-biz-universal-design-ud.html">Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace</a>.
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</p>
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<p>
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モリサワのBIZ UDゴシックは、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。読みやすさとデザインバランスに優れた、すっきりとしたUDゴシック書体で、漢字の省略できるハネやゲタを取ることで、文字をクリアに見せています。大きめな字面でも文字としてのかたちのバランスを損ねないよう、フトコロなどの空間を細かく調整しています。かなは漢字に比べてやや小ぶりに作られており、細いウエイトで長文を組むとほどよい抑揚が生まれます。
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BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights.
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BIZ UD Gothic is a universal design typeface designed to be easy to read and ideal for education and business documentation. It is a highly legible and well-balanced design sans serif. In order to make the kanji more clear and identifiable, the letterforms
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are simplified by omitting hane (hook) and geta (the vertical lines extending beyond horizontal strokes at the bottom of kanji). Counters and other spaces are finely adjusted so that the overall balance of the type is not impaired even with the use
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in relatively large size. The kana are made slightly smaller than the kanji to give a good rhythm and flow when setting long texts in the lighter weights.
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</p>
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<p>
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<a href="https://fonts.google.com/specimen/BIZ+UDGothic">UDGothic</a> includes full-width kana. UDPGothic includes proportional-width kana.
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<a href="https://fonts.google.com/specimen/BIZ+UDGothic">UDGothic</a> includes full-width kana. UDPGothic includes proportional-width kana.
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</p>
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<p>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-gothic">github.com/googlefonts/morisawa-biz-ud-gothic</a>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-gothic">github.com/googlefonts/morisawa-biz-ud-gothic</a>
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/04/morisawa-biz-universal-design-ud.html">Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace</a>.
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</p>
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<p>
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モリサワのBIZ UD明朝は、教育やビジネス文書作成などに活用できるよう、より多くの方にとって読みやすく使いやすいように設計されたユニバーサルデザインフォントです。格調高い明朝体の伝統を保ちながら、見やすさ、読みやすさを実現した書体です。一般的な明朝体は、横線が細くデザインされているため、視力が弱い方やディスプレイの表示などでは読みにくいことがあります。BIZ UD明朝は従来の明朝体よりも横線が太い明朝体をベースにしており、濁点や半濁点を大きく見やすいデザインに変更しているほか、字面やふところを大きくとりながらも文字のフォルムを崩さないデザインに調整しています。
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BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger face and wider counters.
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BIZ UD Mincho is a universal design typeface designed to be easy to read and ideal for education and business documentation. It combines high quality in readability and legibility while carrying on the stately Japanese Mincho type tradition. BIZ UD
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Mincho bases its design on one of the typefaces from the Morisawa font library, which has thicker horizontal lines than the traditional Mincho type style. Because most Mincho types have thin horizontal strokes, the style can be difficult to read on
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some displays or signs and for people with low vision. For the universal design version, dakuten (゛) and handakuten (゜) voicing marks are designed to be more legible, and the letterforms are adjusted to maintain their balance while having a larger
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face and wider counters.
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</p>
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<p>
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<a href="https://fonts.google.com/specimen/BIZ+UDMincho">UDMincho</a> includes full-width kana. UDPMincho includes proportional-width kana.
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<a href="https://fonts.google.com/specimen/BIZ+UDMincho">UDMincho</a> includes full-width kana. UDPMincho includes proportional-width kana.
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</p>
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<p>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-mincho">github.com/googlefonts/morisawa-biz-ud-mincho</a>
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To contribute to the project, visit <a href="https://github.com/googlefonts/morisawa-biz-ud-mincho">github.com/googlefonts/morisawa-biz-ud-mincho</a>
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/04/morisawa-biz-universal-design-ud.html">Morisawa BIZ Universal Design (UD) Japaese fonts added to Google Fonts and Google Workspace</a>.
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</p>
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<p>Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the "Independent" program and the President of the Republic of Poland. The typeface is based on the catalogue entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's <a href="https://brygada1918.eu/?lang=en">website</a> and <a href="https://design.google/library/type-detectives-give-life-brygada-en/">Google Design</a>.</p>
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<p>To contribute, see <a href="https://github.com/kosmynkab/Brygada-1918">github.com/kosmynkab/Brygada-1918</a>.</p>
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<p>
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Brygada 1918 is a revival project created for the celebration of the 100 years of independance of the Republic of Poland in 2018, with the support of the "Independent" program and the President of the Republic of Poland. The typeface is based on the catalogue
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entry of the National Type Foundry from 1954, and a set of matrices found at the Book Arts Museum by Janusz Tryzno in 2016. More information is available on the project's <a href="https://brygada1918.eu/?lang=en">website</a> and <a href="https://design.google/library/type-detectives-give-life-brygada-en/">Google Design</a>.
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</p>
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<p>
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To contribute, see <a href="https://github.com/kosmynkab/Brygada-1918">github.com/kosmynkab/Brygada-1918</a>.
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</p>
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<p>
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To learn more about Brygada, visit: <a href="https://design.google/library/type-detectives-give-life-brygada-en/">Reviving a forgotten font: Type detectives give life to Brygada</a>(English), <a href="https://design.google/library/type-detectives-give-life-to-brygada-pl/">Rewitalizacja zapomnianej czcionki: nowe życie Brygady</a>(Polish).
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</p>
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<p>Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will include italics from May 2011.</p>
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<p>Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience.</p>
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<p>To contribute, see <a href="https://github.com/googlefonts/Expletus-Sans">github.com/googlefonts/Expletus-Sans</a>.</p>
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<p>
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Expletus Sans is a display typeface, which means that it is not recommended for long pieces of text. However, it's very effective for setting headers and other large sized text, due to it's way of pulling in the reader. It comes in 4 weights and will
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include italics from May 2011.
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</p>
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<p>
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Expletus Sans has been upgraded to a variable font in November 2021. Line spacing has also been adjusted to improve user experience.
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</p>
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<p>
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To contribute, see <a href="https://github.com/googlefonts/Expletus-Sans">github.com/googlefonts/Expletus-Sans</a>.
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2011/03/introducing-expletus.html">Introducing Expletus Sans</a>.
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</p>
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<p>Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.</p>
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<p>Flow comes in three styles: <a href="https://fonts.google.com/specimen/Flow+Circular">Circular</a>, <a href="https://fonts.google.com/specimen/Flow+Rounded">Rounded</a> and Block.</p>
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<p>Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.</p>
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<p>To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.</p>
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<p>
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Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.
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</p>
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<p>
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Flow comes in three styles: <a href="https://fonts.google.com/specimen/Flow+Circular">Circular</a>, <a href="https://fonts.google.com/specimen/Flow+Rounded">Rounded</a> and Block.
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</p>
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<p>
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Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.
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</p>
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<p>
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To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/01/flow-and-redacted-check-out-these-new.html">Flow and Redacted: Check out these new options for wireframes and other early-stage designs</a>.
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</p>
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<p>Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.</p>
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<p>Flow comes in three styles: Circular <a href="https://fonts.google.com/specimen/Flow+Rounded">Rounded</a> and <a href="https://fonts.google.com/specimen/Flow+Block">Block</a>.</p>
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<p>Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.</p>
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<p>To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.</p>
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<p>
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Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.
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</p>
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<p>
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Flow comes in three styles: Circular <a href="https://fonts.google.com/specimen/Flow+Rounded">Rounded</a> and <a href="https://fonts.google.com/specimen/Flow+Block">Block</a>.
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</p>
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<p>
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Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.
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</p>
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<p>
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To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/01/flow-and-redacted-check-out-these-new.html">Flow and Redacted: Check out these new options for wireframes and other early-stage designs</a>.
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</p>
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<p>Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.</p>
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<p>Flow comes in three styles: <a href="https://fonts.google.com/specimen/Flow+Circular">Circular</a>, Rounded and <a href="https://fonts.google.com/specimen/Flow+Block">Block</a>.</p>
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<p>Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.</p>
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<p>To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.</p>
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<p>
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Flow is a font family built for abstracting content and code for design mockups, wireframing, presentations, and websites. It's not perfect, but neither are your wireframes. Flow has sub-pixels, artifacts, overlaps and other imperfections.
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</p>
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<p>
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Flow comes in three styles: <a href="https://fonts.google.com/specimen/Flow+Circular">Circular</a>, Rounded and <a href="https://fonts.google.com/specimen/Flow+Block">Block</a>.
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</p>
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<p>
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Check out <a href="http://danross.co/flow/">danross.co/flow/</a>.
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</p>
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<p>
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To contribute, see <a href="https://github.com/HYPD/flow-typeface">github.com/HYPD/flow-typeface</a>.
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</p>
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<p>
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To learn more, read <a href="https://fonts.googleblog.com/2022/01/flow-and-redacted-check-out-these-new.html">Flow and Redacted: Check out these new options for wireframes and other early-stage designs</a>.
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</p>
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<p>Fraunces is a display, "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as <a href="http://fontreviewjournal.com/windsor/">Windsor</a>, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra Charles and Flavia Zimbardi, partners at <a href="http://www.undercase.xyz">Undercase Type</a>.</p>
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|
||||
<p>Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the “wetness” or “inkiness” of the typeface. The Wonky axis controls the manual substitution of “wonky” characters, such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic.</p>
|
||||
|
||||
<p>To contribute, please see <a href="https://github.com/undercasetype/Fraunces">github.com/undercasetype/Fraunces</a>.</p>
|
||||
<p>
|
||||
Fraunces is a display, "Old Style" soft-serif typeface inspired by the mannerisms of early 20th century typefaces such as <a href="http://fontreviewjournal.com/windsor/">Windsor</a>, Souvenir, and the Cooper Series. Fraunces was designed by Phaedra
|
||||
Charles and Flavia Zimbardi, partners at <a href="http://www.undercase.xyz">Undercase Type</a>.
|
||||
</p>
|
||||
<p>
|
||||
Fraunces is a Variable Font with four axes: Weight (wght), Optical Size (opsz), Softness (SOFT), and Wonky (WONK). The Softness axis controls the “wetness” or “inkiness” of the typeface. The Wonky axis controls the manual substitution of “wonky” characters,
|
||||
such as the lean of the h, n, and m glyphs in the Roman, and the flagged ball terminals of the b, d, h, k, l, v, and w glyphs of the Italic.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, please see <a href="https://github.com/undercasetype/Fraunces">github.com/undercasetype/Fraunces</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/wonky-goofy-fraunces-typeface/">Wonky, goofy, playful, elegant and a workhorse: Meet a new breed of "Old Style" typeface</a>.
|
||||
</p>
|
||||
@ -1,23 +1,27 @@
|
||||
<p>
|
||||
Lexend fonts are intended to reduce visual stress and so improve reading performance.
|
||||
Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are also great for everyone else.
|
||||
Lexend fonts are intended to reduce visual stress and so improve reading performance. Initially they were designed with dyslexia and struggling readers in mind, but Bonnie Shaver-Troup, creator of the Lexend project, soon found out that these fonts are
|
||||
also great for everyone else.
|
||||
</p>
|
||||
<p>
|
||||
The first set of Lexend fonts by Thomas Jockin
|
||||
(<a href="https://fonts.google.com/specimen/Lexend+Deca">Deca</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Exa">Exa</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Giga">Giga</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Mega">Mega</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Peta">Peta</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Tera">Tera</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Zetta">Zetta</a>)
|
||||
becomes wider and more openly spaced (also known as "tracked out"). This new version of Lexend is a variable font with a weight axis.
|
||||
</p>
|
||||
<p>Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the same (for now…). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms.</p>
|
||||
<p>
|
||||
True to Bonnie’s vision, Lexend fonts are freely available for all since 2019 in Google Fonts.
|
||||
The first set of Lexend fonts by Thomas Jockin (
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Deca">Deca</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Exa">Exa</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Giga">Giga</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Mega">Mega</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Peta">Peta</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Tera">Tera</a>,
|
||||
<a href="https://fonts.google.com/specimen/Lexend+Zetta">Zetta</a>) becomes wider and more openly spaced (also known as "tracked out"). This new version of Lexend is a variable font with a weight axis.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/googlefonts/lexend">github.com/googlefonts/lexend</a>.
|
||||
For more information, see <a href="https://www.lexend.com">lexend.com</a>.
|
||||
Please note that the initial release of this font had a lighter Regular weight. It has been decided for the update of July 2021 to align the Regular weight with the one of Lexend Deca which is slightly bolder. Lexend and Lexend Deca are therefore the
|
||||
same (for now…). Ultimately this version will offer a HyperExpansion axis which will allow variation of inner and outer space of letterforms.</p>
|
||||
<p>
|
||||
True to Bonnie’s vision, Lexend fonts are freely available for all since 2019 in Google Fonts.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/googlefonts/lexend">github.com/googlefonts/lexend</a>. For more information, see <a href="https://www.lexend.com">lexend.com</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/lexend-readability/">Clean and clear: making reading easier with Lexend</a>(English), <a href="https://fonts.googleblog.com/2022/07/lexend.html">Partnering to change how the world reads</a>(English),
|
||||
and <a href="https://fonts.googleblog.com/2022/07/lexend-deutsch.html">Eine Partnerschaft mit dem Ziel, das Leseerlebnis weltweit zu verändern</a>(Germany).
|
||||
</p>
|
||||
@ -1,16 +1,20 @@
|
||||
<p>
|
||||
CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms.
|
||||
CBC/Radio-Canada is Canada's national public broadcaster. Their mandate is to inform, enlighten and entertain, in order to strengthen Canadian culture on radio, television and digital platforms.
|
||||
</p>
|
||||
<p>
|
||||
The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information font for all the Public Broadcaster’s platforms.
|
||||
Fittingly, for a Public Broadcaster, this is a peoples’ font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital accessibility standards, making it very effective when used in continuous text.
|
||||
The Radio-Canada font was created in 2017 by Montreal-based designer and typographer Charles Daoud, in collaboration with Coppers and Brasses and Alexandre Saumier Demers. It was designed specifically for CBC/Radio-Canada as a brand unifying information
|
||||
font for all the Public Broadcaster’s platforms. Fittingly, for a Public Broadcaster, this is a peoples’ font and the humanistic style stands out with distinctive angles and subtle curves. Its x-height ensures excellent legibility and respects digital
|
||||
accessibility standards, making it very effective when used in continuous text.
|
||||
</p>
|
||||
<p>
|
||||
In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika.
|
||||
</p>
|
||||
<p>
|
||||
Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2022, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages
|
||||
In 2018, the Radio-Canada font won three awards, in the Font Design category at Communication Arts Typography, Applied Arts Design Annual and at Grand Prix Grafika.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/cbcrc/radiocanadafonts">github.com/cbcrc/radiocanadafonts</a>.
|
||||
Several optimizations saw the light of day in 2021. The number of supported languages has increased from 106 to 317 Latin languages. In 2022, Jacques Le Bailly (Baron von Fonthausen) expanded the font to include the support of Indigenous languages
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/cbcrc/radiocanadafonts">github.com/cbcrc/radiocanadafonts</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2022/04/radio-canada-en.html">You can now use Radio-Canada‘s brand typeface: The award-winning variable font comes to Google Fonts</a>(English), <a href="https://fonts.googleblog.com/2022/04/radio-canada-fr.html">Voici Radio-Canada, la police de caractères du diffuseur public canadien, plusieurs fois primée et maintenant disponible sur Google Fonts</a>(French)
|
||||
</p>
|
||||
@ -1,2 +1,9 @@
|
||||
<p>Redacted and <a href="https://fonts.google.com/specimen/Redacted+Script">Redacted Script</a> are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text.</p>
|
||||
<p>To contribute, see <a href="https://github.com/christiannaths/redacted-font">github.com/christiannaths/redacted-font</a>.</p>
|
||||
<p>
|
||||
Redacted and <a href="https://fonts.google.com/specimen/Redacted+Script">Redacted Script</a> are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/christiannaths/redacted-font">github.com/christiannaths/redacted-font</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2022/01/flow-and-redacted-check-out-these-new.html">Flow and Redacted: Check out these new options for wireframes and other early-stage designs</a>.
|
||||
</p>
|
||||
@ -1,2 +1,9 @@
|
||||
<p><a href="https://fonts.google.com/specimen/Redacted">Redacted</a> and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text.</p>
|
||||
<p>To contribute, see <a href="https://github.com/christiannaths/redacted-font">github.com/christiannaths/redacted-font</a>.</p>
|
||||
<p>
|
||||
<a href="https://fonts.google.com/specimen/Redacted">Redacted</a> and Redacted Script are suitable for wireframing and rapid prototyping. Designed to be unreadable, it keeps your wireframes free of distracting Lorem Ipsum or other dummy text.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/christiannaths/redacted-font">github.com/christiannaths/redacted-font</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2022/01/flow-and-redacted-check-out-these-new.html">Flow and Redacted: Check out these new options for wireframes and other early-stage designs</a>.
|
||||
</p>
|
||||
@ -1,31 +1,29 @@
|
||||
<p>
|
||||
Roboto Flex upgrades Roboto so it becomes a more powerful typeface system.
|
||||
With Flex, you can customize Roboto to express and finesse your text in ways never before possible.
|
||||
Today, people are constantly switching between devices, resizing browsers, and spreading our viewports across multiple screens.
|
||||
So Google commissioned Font Bureau to re-imagine Roboto to “flex” along with us, with a special emphasis on large-screen capabilities.
|
||||
This was achieved by amplifying the original design to an extreme range of weights, grades, widths and optical sizes.
|
||||
Roboto Flex upgrades Roboto so it becomes a more powerful typeface system. With Flex, you can customize Roboto to express and finesse your text in ways never before possible. Today, people are constantly switching between devices, resizing browsers, and
|
||||
spreading our viewports across multiple screens. So Google commissioned Font Bureau to re-imagine Roboto to “flex” along with us, with a special emphasis on large-screen capabilities. This was achieved by amplifying the original design to an extreme
|
||||
range of weights, grades, widths and optical sizes.
|
||||
</p>
|
||||
<p>
|
||||
The second benefit of Roboto Flex is the designer’s ability to fitness and fine-tune their designs with <a href="https://fonts.google.com/knowledge/glossary/parametric_axes">parametric axes</a>.
|
||||
Font Bureau first demonstrated the concept of parametric axes in <a href="https://www.axis-praxis.org/specimens/amstelvar">Amstelvar Alpha</a> (2017), to provide the ultimate in typographic flexibility.
|
||||
With early prototypes of Roboto Flex, Font Bureau demonstrated new solutions to the typographic problems that digital designers face.
|
||||
Demonstrations of high quality justification, better dark-mode typography and other uses of parametric axes are documented at <a href="https://variablefonts.typenetwork.com">variablefonts.typenetwork.com</a>
|
||||
The second benefit of Roboto Flex is the designer’s ability to fitness and fine-tune their designs with <a href="https://fonts.google.com/knowledge/glossary/parametric_axes">parametric axes</a>. Font Bureau first demonstrated the concept of parametric
|
||||
axes in <a href="https://www.axis-praxis.org/specimens/amstelvar">Amstelvar Alpha</a> (2017), to provide the ultimate in typographic flexibility. With early prototypes of Roboto Flex, Font Bureau demonstrated new solutions to the typographic problems
|
||||
that digital designers face. Demonstrations of high quality justification, better dark-mode typography and other uses of parametric axes are documented at <a href="https://variablefonts.typenetwork.com">variablefonts.typenetwork.com</a>
|
||||
</p>
|
||||
<p>
|
||||
The needs of developers, designers, and — of course — end-user readers were prioritized and aligned during development.
|
||||
To make Roboto Flex production-ready for all print and digital media, Font Bureau expanded the glyph set with careful planning and development, in partnership with script experts for Cyrillic and Greek.
|
||||
Rigorous testing of each glyph across every axis required new type design tools to be developed, like <a href="https://typetools.typenetwork.com/">typetools</a> and <a href="https://videoproof.typenetwork.com/">videoproof</a>, which can be used to explore the depth of the design.
|
||||
The needs of developers, designers, and — of course — end-user readers were prioritized and aligned during development. To make Roboto Flex production-ready for all print and digital media, Font Bureau expanded the glyph set with careful planning and
|
||||
development, in partnership with script experts for Cyrillic and Greek. Rigorous testing of each glyph across every axis required new type design tools to be developed, like <a href="https://typetools.typenetwork.com/">typetools</a> and <a href="https://videoproof.typenetwork.com/">videoproof</a>,
|
||||
which can be used to explore the depth of the design.
|
||||
</p>
|
||||
<p>
|
||||
The final file size of the complete package is remarkably small, given the range of expressive styles now available.
|
||||
By driving variable fonts technology to its limits, it offers the most interesting and useful typographic tools for end users and designers.
|
||||
With a fully loaded Optical Size axis, Roboto Flex makes the layout of texts with deep hierarchies more straightforward and heightens the quality of every design that uses it.
|
||||
The final file size of the complete package is remarkably small, given the range of expressive styles now available. By driving variable fonts technology to its limits, it offers the most interesting and useful typographic tools for end users and designers.
|
||||
With a fully loaded Optical Size axis, Roboto Flex makes the layout of texts with deep hierarchies more straightforward and heightens the quality of every design that uses it.
|
||||
</p>
|
||||
<p>
|
||||
And none of this would be possible without the long list of contributors involved.
|
||||
Special thanks to David Berlow, Santiago Orozco, Ilya Ruderman, Irene Vlachou, Yury Ostromentsky, Mikhail Strukov, Dave Crossland, Damien Correll, Marc Foley, David Jonathan Ross, Chris Lewis, Eben Sorkin, Viktoriya Grabowska, Adam Twardoch, Roel Nieksens, Laurence Penney, and Thomas Linard.
|
||||
And none of this would be possible without the long list of contributors involved. Special thanks to David Berlow, Santiago Orozco, Ilya Ruderman, Irene Vlachou, Yury Ostromentsky, Mikhail Strukov, Dave Crossland, Damien Correll, Marc Foley, David Jonathan
|
||||
Ross, Chris Lewis, Eben Sorkin, Viktoriya Grabowska, Adam Twardoch, Roel Nieksens, Laurence Penney, and Thomas Linard.
|
||||
</p>
|
||||
<p>
|
||||
Roboto Flex is developed by Font Bureau for Google, based on the design initiated by Christian Robertson.
|
||||
To contribute, see <a href="https://github.com/googlefonts/roboto-flex">github.com/googlefonts/roboto-flex</a>
|
||||
Roboto Flex is developed by Font Bureau for Google, based on the design initiated by Christian Robertson. To contribute, see <a href="https://github.com/googlefonts/roboto-flex">github.com/googlefonts/roboto-flex</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://material.io/blog/roboto-flex">Roboto … But Make It Flex</a>.
|
||||
</p>
|
||||
@ -1,6 +1,10 @@
|
||||
<p>
|
||||
Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media.
|
||||
Roboto Serif is a variable typeface family designed to create a comfortable and frictionless reading experience. Minimal and highly functional, it is useful anywhere (even for app interfaces) due to the extensive set of weights and widths across a broad
|
||||
range of optical sizes. While it was carefully crafted to work well in digital media, across the full scope of sizes and resolutions we have today, it is just as comfortable to read and work in print media.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/googlefonts/roboto-serif">github.com/googlefonts/roboto-serif</a>.
|
||||
To contribute, see <a href="https://github.com/googlefonts/roboto-serif">github.com/googlefonts/roboto-serif</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://material.io/blog/roboto-serif">Say Hello to Roboto Serif</a>.
|
||||
</p>
|
||||
@ -1,19 +1,20 @@
|
||||
<p>
|
||||
Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design.
|
||||
It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages.
|
||||
Space Mono is an original fixed-width type family designed by Colophon Foundry for Google Design. It supports a Latin Extended glyph set, enabling typesetting for English and other Western European languages.
|
||||
</p>
|
||||
<p>
|
||||
Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: <a href="https://en.wikipedia.org/wiki/Microgramma_(typeface)">Microgramma</a>, <a href="https://en.wikipedia.org/wiki/Eurostile">Eurostile</a>), many of which have since been co-opted by science fiction films, television, and literature.
|
||||
Developed for editorial use in headline and display typography, the letterforms infuse a geometric foundation and grotesque details with qualities often found in headline typefaces of the 1960s (See: <a href="https://en.wikipedia.org/wiki/Microgramma_(typeface)">Microgramma</a>,
|
||||
<a href="https://en.wikipedia.org/wiki/Eurostile">Eurostile</a>), many of which have since been co-opted by science fiction films, television, and literature.
|
||||
</p>
|
||||
<p>
|
||||
Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates.
|
||||
Typographic features include old-style figures, superscript and subscript numerals, fractions, center-height and cap-height currency symbols, directional arrows, and multiple stylistic alternates.
|
||||
</p>
|
||||
<p>
|
||||
Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009.
|
||||
Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK).
|
||||
The foundry's commissioned work in type design is complemented by work in editorial design, publishing, curation, and pedagogy.
|
||||
Visit <a href="https://colophon-foundry.org">colophon-foundry.org</a>
|
||||
Colophon Foundry is a London and Los Angeles-based digital type foundry established in 2009. Its members comprise Benjamin Critton (US), Edd Harrington (UK), and Anthony Sheret (UK). The foundry's commissioned work in type design is complemented by work
|
||||
in editorial design, publishing, curation, and pedagogy. Visit <a href="https://colophon-foundry.org">colophon-foundry.org</a>
|
||||
</p>
|
||||
<p>
|
||||
To contribute ideas and feedback, see <a href="https://github.com/googlefonts/spacemono">github.com/googlefonts/spacemono</a>
|
||||
To contribute ideas and feedback, see <a href="https://github.com/googlefonts/spacemono">github.com/googlefonts/spacemono</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://medium.com/google-design/introducing-space-mono-a-new-monospaced-typeface-by-colophon-foundry-for-google-fonts-84367eac6dfb">Introducing Space Mono a new monospaced typeface by Colophon Foundry for Google Fonts</a>.
|
||||
</p>
|
||||
@ -1,8 +1,9 @@
|
||||
<p>
|
||||
Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps.
|
||||
Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading.
|
||||
Spectral is a new and versatile serif face available in seven weights of roman and italic, with small caps. Spectral offers an efficient, beautiful design that’s intended primarily for text-rich, screen-first environments and long-form reading.
|
||||
</p>
|
||||
<p>
|
||||
Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects.
|
||||
To contribute, see <a href="https://github.com/productiontype/spectral">github.com/productiontype/spectral</a>
|
||||
Brought to you by Production Type and commissioned by Google Fonts, Spectral is now free to use across Google Docs, Sheets, and Slides, or in any of your projects. To contribute, see <a href="https://github.com/productiontype/spectral">github.com/productiontype/spectral</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/spectral-new-screen-first-typeface/">Spectral: A New Screen-First Typeface</a>.
|
||||
</p>
|
||||
@ -1,11 +1,14 @@
|
||||
<p>
|
||||
Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Bangla has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design
|
||||
follows manuscript traditions of letterform construction, and was inspired by the proportions and overall texture of handset metal type used by leading Kolkata publishing houses in pre-mechanical typography. For the Open Font License release, Tiro
|
||||
Bangla has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum.
|
||||
Tiro Bangla was designed by John Hudson and Fiona Ross. The italic was adapted by Neelakash Kshetrimayum.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Devanagari Hindi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind.
|
||||
The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters,
|
||||
and strong diagonal strokes and terminals. The Hindi font balances traditional and modern forms of conjuncts. For the Open Font License release, Tiro Devanagari Hindi has been extended to support additional characters, and features a new italic companion.
|
||||
Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
Tiro Devanagari Hindi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Devanagari Marathi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in
|
||||
mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters,
|
||||
and strong diagonal strokes and terminals. The Marathi font favours traditional, vertical forms of many conjuncts as still found in Marathi literary publishing. For the Open Font License release, Tiro Devanagari Marathi has been extended to support
|
||||
additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
Tiro Devanagari Marathi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters, and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Devanagari Sanskrit has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in
|
||||
mind. The Tiro Devanagari design applies a contemporary approach to the traditional styling of 19th and 20th Century metal types exemplified in those of the renowned Nirnaya Sagar Press, and is characterised by broader proportions, more generous counters,
|
||||
and strong diagonal strokes and terminals. The Sanskrit font favours traditional forms of conjuncts. For the Open Font License release, Tiro Devanagari Sanskrit has been extended to support additional characters, including signs for Vedic texts, and
|
||||
features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
Tiro Devanagari Sanskrit was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Gurmukhi has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The
|
||||
design reintroduces the stroke modulation of traditional Punjabi manuscript styles that is absent from the monolinear typefaces that became conventional for the script in the 20th Century. This gives Tiro Gurmukhi a strong traditional flavour while
|
||||
also something fresh in the context of modern typography. For the Open Font License release, Tiro Gurmukhi has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics
|
||||
for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
Tiro Gurmukhi was designed by John Hudson and Fiona Ross. The italic was adapted by Paul Hanslow.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Kannada has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design
|
||||
takes inspiration from several sources: the crisp, open counters of the 19th Century types of the renowned Basel Mission Press; the styling of ligatures in types of the Gujarat Type Foundry from the 1930s; and the dynamic stroke angles of unattributed
|
||||
types found in a 20th Century Kannada textbook. Tiro Kannada features generously proportioned subscript letters for enhanced legibility. For the Open Font License release, Tiro Kannada has been extended to support additional characters, and features
|
||||
a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
Tiro Kannada was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Tamil has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design
|
||||
takes inspiration from Tamil metal types developed in Madras (Chennai) in the 19th and early 20th Century, which were influenced by both traditional palm leaf manuscripts and contemporary writing. The stroke modulation makes for a dynamic design for
|
||||
modern typography, while traditional forms of ligatures are accessible via OpenType Layout features. For the Open Font License release, Tiro Tamil has been extended to support additional characters, and features a new italic companion suitable for
|
||||
traditional slanted Tamil typography. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Kannada was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
Tiro Kannada was designed by Fernando Mello and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,11 +1,15 @@
|
||||
<p>
|
||||
Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
Tiro Telugu has its origins in a typeface designed for the Murty Classical Library of India book series, so is especially suited to traditional literary publishing but also made with the needs of today’s multiple print and screen media in mind. The design
|
||||
combines the proportions of Telugu manuscript tradition, notably in the generous proportions of subscript letters to aid legibility with the pronounced stroke modulation and shaping of counters and finials inspired by the elegant metal types of the
|
||||
Swatantra Type Foundry. Tiro Telugu uses extensive contextual layout behaviour to support arbitrary conjuncts, making it suitable for Sanskrit and Pali as well as Telugu language texts. For the Open Font License release, Tiro Telugu has been extended
|
||||
to support additional characters, and features a new italic companion. Each font also includes a Latin subset including diacritics for transcription of Indian languages.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
Tiro Telugu was designed by John Hudson and Fiona Ross. The italic was adapted by Kaja Słojewska.
|
||||
</p>
|
||||
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo" target="_blank">github.com/TiroTypeworks/Indigo</a>.
|
||||
To contribute, see <a href="https://github.com/TiroTypeworks/Indigo">github.com/TiroTypeworks/Indigo</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://design.google/library/new-Indic-fonts/">Modern Tiro Indic collection for classical South Asian texts</a>.
|
||||
</p>
|
||||
@ -1,2 +1,10 @@
|
||||
<p>Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile display font for print and digital mediums. It is currently available as a variable font with a weight axis.</p>
|
||||
<p>To contribute, see <a href="https://github.com/coreyhu/Urbanist">github.com/coreyhu/Urbanist</a>.</p>
|
||||
<p>
|
||||
Urbanist is a low-contrast, geometric sans-serif inspired by Modernist typography and design. The project was launched by Corey Hu in 2020 with 9 weights and accompanying italics. Conceived from elementary shapes, Urbanist's neutrality makes it a versatile
|
||||
display font for print and digital mediums. It is currently available as a variable font with a weight axis.
|
||||
</p>
|
||||
<p>
|
||||
To contribute, see <a href="https://github.com/coreyhu/Urbanist">github.com/coreyhu/Urbanist</a>.
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/new-font.html">New font family: Urbanist by Corey Hu</a>.
|
||||
</p>
|
||||
@ -1,16 +1,19 @@
|
||||
<p>
|
||||
Zen Antique features two kinds of Antique Japanese with Kanji.
|
||||
The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font.
|
||||
<a href="https://fonts.google.com/specimen/Zen+Antique+Soft">Zen Antique Soft</a> has a slightly rounded effect on the corners.
|
||||
Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which
|
||||
gives the unique rhythm and taste in this font.
|
||||
<a href="https://fonts.google.com/specimen/Zen+Antique+Soft">Zen Antique Soft</a> has a slightly rounded effect on the corners.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
</p>
|
||||
<p>
|
||||
Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。
|
||||
文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。
|
||||
また、<a href="https://fonts.google.com/specimen/Zen+Antique+Soft?subset=japanese">Zen Antique Soft</a> では、角が少し丸くなっています。
|
||||
Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。 文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。 また、
|
||||
<a href="https://fonts.google.com/specimen/Zen+Antique+Soft?subset=japanese">Zen Antique Soft</a> では、角が少し丸くなっています。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。<a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。<a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,16 +1,17 @@
|
||||
<p>
|
||||
Zen Antique features two kinds of Antique Japanese with Kanji.
|
||||
The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which gives the unique rhythm and taste in this font.
|
||||
This is Zen Antique Soft, a version of <a href="https://fonts.google.com/specimen/Zen+Antique">Zen Antique</a> with a slightly rounded effect on the corners.
|
||||
Zen Antique features two kinds of Antique Japanese with Kanji. The impression of the weights (thickness) of strokes are different among characters—Hiragana and Latin alphabets are slightly lighter, while Katakana and Kanji are slightly heavier, which
|
||||
gives the unique rhythm and taste in this font. This is Zen Antique Soft, a version of <a href="https://fonts.google.com/specimen/Zen+Antique">Zen Antique</a> with a slightly rounded effect on the corners.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
</p>
|
||||
<p>
|
||||
Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。
|
||||
文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。
|
||||
また、Zen Antique Soft では、角が少し丸くなっています。
|
||||
Zen Antique には、古風な雰囲気の二種類の漢字を含む日本語書体があります。 文字によって画線の太さに変化があり、ひらがなと欧文は細め、カタカナと漢字は太めで、フォントに独特のリズムと味わいを与えています。 また、Zen Antique Soft では、角が少し丸くなっています。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。<a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。<a href="https://github.com/googlefonts/zen-antique">github.com/googlefonts/zen-antique</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,27 +1,23 @@
|
||||
<p>
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+New">Zen Kaku Gothic New</a> is a contemporary Japanese gothic (san serif) typeface family.
|
||||
With this font, you can express fine typesetting without any professional detailed arrangements.
|
||||
Because of the unique yet simple design, it gives naturally high legibility.
|
||||
Easy to use and read.
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+New">Zen Kaku Gothic New</a> is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements.
|
||||
Because of the unique yet simple design, it gives naturally high legibility. Easy to use and read.
|
||||
</p>
|
||||
<p>
|
||||
Zen Kaku Gothic Antique is a classical yet simple and stylish version.
|
||||
Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions.
|
||||
Zen Kaku Gothic Antique is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
</p>
|
||||
<p>
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+New?subset=japanese">Zen Kaku Gothic New</a> はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。
|
||||
この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。
|
||||
独自のシンプルなデザインが自然な読みやすさをもたらします。
|
||||
使いやすく読みやすい書体です。
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+New?subset=japanese">Zen Kaku Gothic New</a> はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。 この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。 独自のシンプルなデザインが自然な読みやすさをもたらします。 使いやすく読みやすい書体です。
|
||||
</p>
|
||||
<p>
|
||||
Zen Kaku Gothic Antique は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。
|
||||
文字のデザインがオーソドックスで、きわめて判読しやすい書体です。
|
||||
タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。
|
||||
Zen Kaku Gothic Antique は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。 文字のデザインがオーソドックスで、きわめて判読しやすい書体です。 タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html ">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html " ">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,27 +1,24 @@
|
||||
<p>
|
||||
Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family.
|
||||
With this font, you can express fine typesetting without any professional detailed arrangements.
|
||||
Because of the unique yet simple design, it gives naturally high legibility.
|
||||
Easy to use and read.
|
||||
Zen Kaku Gothic New is a contemporary Japanese gothic (san serif) typeface family. With this font, you can express fine typesetting without any professional detailed arrangements. Because of the unique yet simple design, it gives naturally high legibility.
|
||||
Easy to use and read.
|
||||
</p>
|
||||
<p>
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+Antique">Zen Kaku Gothic Antique</a> is a classical yet simple and stylish version.
|
||||
Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even captions.
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+Antique">Zen Kaku Gothic Antique</a> is a classical yet simple and stylish version. Highly legible due to orthodox letterform design, and great for various usage, from title to text, and even
|
||||
captions.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
</p>
|
||||
<p>
|
||||
Zen Kaku Gothic New はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。
|
||||
この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。
|
||||
独自のシンプルなデザインが自然な読みやすさをもたらします。
|
||||
使いやすく読みやすい書体です。
|
||||
Zen Kaku Gothic New はベーシックな日本語のサンセリフ(ゴシック体)ファミリーです。 この書体を用いれば、特に専門家のような細かい作業をしなくても、高品位な文字組を実現することができます。 独自のシンプルなデザインが自然な読みやすさをもたらします。 使いやすく読みやすい書体です。
|
||||
</p>
|
||||
<p>
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+Antique?subset=japanese">Zen Kaku Gothic Antique</a> は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。
|
||||
文字のデザインがオーソドックスで、きわめて判読しやすい書体です。
|
||||
タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。
|
||||
<a href="https://fonts.google.com/specimen/Zen+Kaku+Gothic+Antique?subset=japanese">Zen Kaku Gothic Antique</a> は古典的で、しかもシンプルで洒落たサンセリフ書体のファミリーです。 文字のデザインがオーソドックスで、きわめて判読しやすい書体です。 タイトルから本文、キャプションまで、さまざまな用途で効果的にご利用いただけます。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kakugothic">github.com/googlefonts/zen-kakugothic</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,14 +1,16 @@
|
||||
<p>
|
||||
Zen Kurenaido is a Japanese font with a handwritten feeling.
|
||||
The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting.
|
||||
Zen Kurenaido is a Japanese font with a handwritten feeling. The brush-like elements are omitted from the design, leaving only the bones of the letter, resulting in an impression of ballpoint handwriting.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kurenaido">github.com/googlefonts/zen-kurenaido</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-kurenaido">github.com/googlefonts/zen-kurenaido</a>
|
||||
</p>
|
||||
<p>
|
||||
Zen Kurenaido は手書きの持ち味を活かした新しい日本語書体のデザインです
|
||||
毛筆的な要素が取り除かれ、文字の骨格だけが残されているので、ボールペンで書いたような印象を与えるフォントです。
|
||||
Zen Kurenaido は手書きの持ち味を活かした新しい日本語書体のデザインです 毛筆的な要素が取り除かれ、文字の骨格だけが残されているので、ボールペンで書いたような印象を与えるフォントです。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kurenaido">github.com/googlefonts/zen-kurenaido</a>。
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください <a href="https://github.com/googlefonts/zen-kurenaido">github.com/googlefonts/zen-kurenaido</a>。
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,14 +1,17 @@
|
||||
<p>
|
||||
Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy for any communications.
|
||||
Zen Maru Gothic is a rounded san serif family that gives a soft and natural impression due to the deep rounds in the corners. Because of this unique soft impression the thin weight is also easy to use in any scenes. Cute and fashionable, soft and easy
|
||||
for any communications.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-marugothic">https://github.com/googlefonts/zen-marugothic</a>
|
||||
</p>
|
||||
|
||||
|
||||
<p>
|
||||
Zen Maru Gothicは、角の深い丸みによってソフトでナチュラルな印象を与える丸ゴシック体です。この特有のソフトな印象により、細いウエイトはどのようなシーンにも似合います。キュートでオシャレなこのフォントは、様々な場面で柔らかくふんわりとしたコミュニケーションに活用できます。
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-marugothic">https://github.com/googlefonts/zen-marugothic</a>
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加するには、こちらのリンクへ https://github.com/googlefonts/zen-marugothic
|
||||
Zen Maru Gothicは、角の深い丸みによってソフトでナチュラルな印象を与える丸ゴシック体です。この特有のソフトな印象により、細いウエイトはどのようなシーンにも似合います。キュートでオシャレなこのフォントは、様々な場面で柔らかくふんわりとしたコミュニケーションに活用できます。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加するには、こちらのリンクへ https://github.com/googlefonts/zen-marugothic
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1,17 +1,18 @@
|
||||
<p>
|
||||
Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design.
|
||||
This font family started with the regular (400) weight, and bold and black weights were added due to huge demand.
|
||||
The wide range of weights means while the design is intended for text usage, it also works well in large sizes.
|
||||
Zen Old Mincho is a Japanese mincho (serif) typeface with a classic design. This font family started with the regular (400) weight, and bold and black weights were added due to huge demand. The wide range of weights means while the design is intended
|
||||
for text usage, it also works well in large sizes.
|
||||
</p>
|
||||
<p>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-oldmincho">github.com/googlefonts/zen-oldmincho</a>
|
||||
To contribute to the project, visit <a href="https://github.com/googlefonts/zen-oldmincho">github.com/googlefonts/zen-oldmincho</a>
|
||||
</p>
|
||||
<p>
|
||||
Zen Old Mincho はベーシックな本文用の日本語明朝体ファミリーです
|
||||
このフォントファミリーには、はじめは「Regular」の太さしかありませんでしたが、多くの要望にお応えして、他のウェイトも追加しました。使える太さの範囲が広いため、本文用だけでなく、その他さ
|
||||
まざまな場面やメディアでご利用いただけます。
|
||||
Zen Old Mincho はベーシックな本文用の日本語明朝体ファミリーです このフォントファミリーには、はじめは「Regular」の太さしかありませんでしたが、多くの要望にお応えして、他のウェイトも追加しました。使える太さの範囲が広いため、本文用だけでなく、その他さ まざまな場面やメディアでご利用いただけます。
|
||||
</p>
|
||||
<p>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。
|
||||
<a href="https://github.com/googlefonts/zen-oldmincho">github.com/googlefonts/zen-oldmincho</a>
|
||||
このプロジェクトに参加して貢献したい方は、次の URL をご参照ください。
|
||||
<a href="https://github.com/googlefonts/zen-oldmincho">github.com/googlefonts/zen-oldmincho</a>
|
||||
</p>
|
||||
<p>
|
||||
To learn more, read <a href="https://fonts.googleblog.com/2021/10/say-hello-to-our-big-new-japanese.html">Say Hello to our big new Japanese collection with Zen Fonts</a>(English), <a href="https://fonts.googleblog.com/2021/10/the-story-of-zen-fonts-interview-with.html">The Story of Zen Fonts - interview with Yoshimichi Ohira</a>(English),
|
||||
<a href="https://fonts.googleblog.com/2021/10/zen_0361327225.html">Zenフォント: 新しい日本語フォントコレクションの登場 - 日本語フォントの複雑な美しさについて -</a>(Japanese), and <a href="https://fonts.googleblog.com/2021/10/Japaneseinterview.html">Zenフォントのおはなし：大平善道さんとのインタビュー</a>(Japanese).
|
||||
</p>
|
||||
@ -1 +1,36 @@
|
||||
|
||||
# Update descriptions (article links)
|
||||
ofl/atkinsonhyperlegible # https://github.com/google/fonts/pull/5031
|
||||
ofl/bizudgothic # https://github.com/google/fonts/pull/5031
|
||||
ofl/bizudmincho # https://github.com/google/fonts/pull/5031
|
||||
ofl/bizudpgothic # https://github.com/google/fonts/pull/5031
|
||||
ofl/bizudpmincho # https://github.com/google/fonts/pull/5031
|
||||
ofl/brygada1918 # https://github.com/google/fonts/pull/5031
|
||||
ofl/expletussans # https://github.com/google/fonts/pull/5031
|
||||
ofl/flowblock # https://github.com/google/fonts/pull/5031
|
||||
ofl/flowcircular # https://github.com/google/fonts/pull/5031
|
||||
ofl/flowrounded # https://github.com/google/fonts/pull/5031
|
||||
ofl/fraunces # https://github.com/google/fonts/pull/5031
|
||||
ofl/lexend # https://github.com/google/fonts/pull/5031
|
||||
ofl/radiocanada # https://github.com/google/fonts/pull/5031
|
||||
ofl/redacted # https://github.com/google/fonts/pull/5031
|
||||
ofl/redactedscript # https://github.com/google/fonts/pull/5031
|
||||
ofl/robotoflex # https://github.com/google/fonts/pull/5031
|
||||
ofl/robotoserif # https://github.com/google/fonts/pull/5031
|
||||
ofl/spacemono # https://github.com/google/fonts/pull/5031
|
||||
ofl/spectral # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirobangla # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirodevanagarihindi # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirodevanagarimarathi # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirodevanagarisanskrit # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirogurmukhi # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirokannada # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirotamil # https://github.com/google/fonts/pull/5031
|
||||
ofl/tirotelugu # https://github.com/google/fonts/pull/5031
|
||||
ofl/urbanist # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenantique # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenantiquesoft # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenkakugothicantique # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenkakugothicnew # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenkurenaido # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenmarugothic # https://github.com/google/fonts/pull/5031
|
||||
ofl/zenoldmincho # https://github.com/google/fonts/pull/5031
|
||||
Loading…
Reference in New Issue
Block a user