diff --git a/ofl/abyssinicasil/DESCRIPTION.en_us.html b/ofl/abyssinicasil/DESCRIPTION.en_us.html
index acd29ec5771..fccf89bcf0f 100644
--- a/ofl/abyssinicasil/DESCRIPTION.en_us.html
+++ b/ofl/abyssinicasil/DESCRIPTION.en_us.html
@@ -2,6 +2,6 @@
Abyssinica SIL is a Unicode font that supports Ethiopic and Latin languages.
-For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, scripts.sil.org/AbyssinicaSIL
+For more information please visit the Abyssinica SIL page on SIL International's Computers and Writing systems website, software.sil.org/abyssinica
Akronim is a brand-new, original, brush like, stylish font with a Western
and Central European (e.g. Polish, Croatian, Czech, Magyar etc.) Latin
-character set. Handmade in Poland, Europe, by Grzegorz
-Klimczewski.
+character set. Handmade in Poland, Europe, by Grzegorz
+Klimczewski.
An acronym (in Polish, "akronim") is an abbreviation that forms a word. So
this story is cut short. To understand it, imagine a nice girl with
diff --git a/ofl/alata/DESCRIPTION.en_us.html b/ofl/alata/DESCRIPTION.en_us.html
index 452081eacb4..ba5c5e0a85c 100644
--- a/ofl/alata/DESCRIPTION.en_us.html
+++ b/ofl/alata/DESCRIPTION.en_us.html
@@ -10,9 +10,9 @@
Alata is an original typeface designed by
-
+
Spyros Zevelakis.
-
+
.
Eben Sorkin expanded the language support and refined the design in 2018.
diff --git a/ofl/alef/DESCRIPTION.en_us.html b/ofl/alef/DESCRIPTION.en_us.html
index 9abf8af8536..5caa912811a 100644
--- a/ofl/alef/DESCRIPTION.en_us.html
+++ b/ofl/alef/DESCRIPTION.en_us.html
@@ -4,5 +4,5 @@
Alef supports both the Hebrew and Latin writing systems.
-To contribute, see alef.hagilda.com
+To contribute, see alef.hagilda.com
\ No newline at end of file
diff --git a/ofl/alegreya/DESCRIPTION.en_us.html b/ofl/alegreya/DESCRIPTION.en_us.html
index 4ad493a76ee..75e017eb016 100644
--- a/ofl/alegreya/DESCRIPTION.en_us.html
+++ b/ofl/alegreya/DESCRIPTION.en_us.html
@@ -9,13 +9,13 @@
The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and
the Black weights are really experimental for the genre. There is also a Small Caps sibling family.
+ href="https://fonts.google.com/specimen/Alegreya+SC"> Small Caps sibling family.
Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements
designed in an atmosphere of diversity.
The Alegreya type system is a "super family", originally intended for literature, and includes serif and sans serif sister families.
Alegreya Sans is a humanist sans serif family with a calligraphic feeling that conveys a dynamic and varied rhythm.
This gives a pleasant feeling to readers of long texts.
- There is also a Small Caps companion family.
+ There is also a Small Caps companion family.
The Alegreya type system is a "super family", originally intended for literature, and includes sans and serif sibling families.
+ href="https://fonts.google.com/specimen/Alegreya">serif sibling families.
The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through
elements carefully designed in an atmosphere of diversity.
The italics bring a strong emphasis to the roman styles.
diff --git a/ofl/alegreyasanssc/DESCRIPTION.en_us.html b/ofl/alegreyasanssc/DESCRIPTION.en_us.html
index 96b65bbda27..372c09e122e 100644
--- a/ofl/alegreyasanssc/DESCRIPTION.en_us.html
+++ b/ofl/alegreyasanssc/DESCRIPTION.en_us.html
@@ -1,12 +1,12 @@
Alegreya Sans SC is a Small Caps companion family to Alegreya Sans, a humanist sans serif family with a
+ href="https://fonts.google.com/specimen/Alegreya+Sans">Alegreya Sans, a humanist sans serif family with a
calligraphic feeling that conveys a dynamic and varied rhythm.
This gives a pleasant feeling to readers of long texts.
The Alegreya type system is a "super family", originally intended for literature, and includes sans and serif sibling families.
+ href="https://fonts.google.com/specimen/Alegreya">serif sibling families.
The family follows humanist proportions and principles, and achieves a ludic and harmonious paragraph through
elements carefully designed in an atmosphere of diversity.
The italics bring a strong emphasis to the roman styles.
diff --git a/ofl/alegreyasc/DESCRIPTION.en_us.html b/ofl/alegreyasc/DESCRIPTION.en_us.html
index fb8897a244d..5851c5144c7 100644
--- a/ofl/alegreyasc/DESCRIPTION.en_us.html
+++ b/ofl/alegreyasc/DESCRIPTION.en_us.html
@@ -9,13 +9,13 @@
The italic has just as much care and attention to detail in the design as the roman. The bold weights are strong, and
the Black weights are really experimental for the genre. This is the Small Caps sister family that complements Alegreya, the main family.
+ href="https://fonts.google.com/specimen/Alegreya">Alegreya, the main family.
Not only does Alegreya provide great performance, but also achieves a strong and harmonious text by means of elements
designed in an atmosphere of diversity.
The Alegreya type system is a "super family", originally intended for literature, and includes serif and sans serif sister families.
Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.
\ No newline at end of file
+
Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at www.matt.cc.
\ No newline at end of file
diff --git a/ofl/allertastencil/DESCRIPTION.en_us.html b/ofl/allertastencil/DESCRIPTION.en_us.html
index 4ad2aec1181..9b178c3a305 100644
--- a/ofl/allertastencil/DESCRIPTION.en_us.html
+++ b/ofl/allertastencil/DESCRIPTION.en_us.html
@@ -1 +1,3 @@
-
Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at matt.cc/allerta.
\ No newline at end of file
+
+ Allerta is an open source typeface designed for use in signage. Allerta was designed to be easily and quickly read from a distance. Each letter exploits the most unique aspects of that individual letter so that each character can be easily distinguished from any other. Initially published at www.matt.cc.
+
\ No newline at end of file
diff --git a/ofl/almendra/DESCRIPTION.en_us.html b/ofl/almendra/DESCRIPTION.en_us.html
index b2f9c28fab7..0cc2008f70e 100644
--- a/ofl/almendra/DESCRIPTION.en_us.html
+++ b/ofl/almendra/DESCRIPTION.en_us.html
@@ -8,6 +8,6 @@
in 2010 and was part of the German editorial project Typodarium 2012.
\ No newline at end of file
diff --git a/ofl/almendradisplay/DESCRIPTION.en_us.html b/ofl/almendradisplay/DESCRIPTION.en_us.html
index 257b6823ede..abe613a82d1 100644
--- a/ofl/almendradisplay/DESCRIPTION.en_us.html
+++ b/ofl/almendradisplay/DESCRIPTION.en_us.html
@@ -8,6 +8,6 @@
in 2010 and was part of the German editorial project Typodarium 2012.
\ No newline at end of file
diff --git a/ofl/almendrasc/DESCRIPTION.en_us.html b/ofl/almendrasc/DESCRIPTION.en_us.html
index 1677c7881d3..24f30a10545 100644
--- a/ofl/almendrasc/DESCRIPTION.en_us.html
+++ b/ofl/almendrasc/DESCRIPTION.en_us.html
@@ -8,6 +8,6 @@
in 2010 and was part of the German editorial project Typodarium 2012.
\ No newline at end of file
diff --git a/ofl/amarante/DESCRIPTION.en_us.html b/ofl/amarante/DESCRIPTION.en_us.html
index c1ec6ba7edf..06ece4037f0 100644
--- a/ofl/amarante/DESCRIPTION.en_us.html
+++ b/ofl/amarante/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Amarante is a medium contrast condensed type. It uses unconventional Art Nouveau inspired shapes. Amarante is a display face but works surprisingly well in text and headlines too. Amarante supports a very broad range of languages.
Amita is the Indian Feminine form of Amit.
Amita is a Latin and Devanagari typeface derived from
-Redressed and Modular Infotech Devanagari 2310 and 1228.
+Redressed and Modular Infotech Devanagari 2310 and 1228.
The Latin is a script type designed by Brian Bonislawsky which blends script and italic letterforms together in an upright non-connecting style.
Open spacing and stylish letterforms lend themselves to titling, but also to clean legibility at smaller sizes as body copy.
The Devanagari is a traditionally calligraphic style.
diff --git a/ofl/anybody/DESCRIPTION.en_us.html b/ofl/anybody/DESCRIPTION.en_us.html
index 10e50618c99..f0aa371a902 100644
--- a/ofl/anybody/DESCRIPTION.en_us.html
+++ b/ofl/anybody/DESCRIPTION.en_us.html
@@ -1,3 +1,3 @@
Anybody is a big family that combines an affinity for Eurostile plus a heavy dose of 90s inspiration. It's flexible enough to adapt to a variety of situations. From UltraCondensed to ExtraExpanded, type set in Anybody can take up a tiny amount of horizontal space or so much space that you'll need several lines. Its high x-height and low cap height help exaggerate extreme widths and weights. The italic angle is 10 degrees, noticable but subtle. The inclusion of some popular OpenType features make it practical and customizable.
Asar is an original Devanagari and Latin typeface that is based on an expanding brush stroke following a heart line.
The design is meant to work well with long texts while maintaining a certain charm at large sizes.
-Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features.
+Asar is partially derived from Pria Ravichadran's Palanquin, starting by interpreting that design's overall proportions and heart lines and glyph set and OpenType features.
From Rebranding to Readability with Atkinson Hyperlegible
Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability
According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can’t read fluently or work to their full potential. For example, the WHO estimates that “losses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.” Typeface design can help.
-
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
+
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
From Rebranding to Readability with Atkinson Hyperlegible
Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability
According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can’t read fluently or work to their full potential. For example, the WHO estimates that “losses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.” Typeface design can help.
-
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
+
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
From Rebranding to Readability with Atkinson Hyperlegible
Distinct and modern, the Atkinson Hyperlegible typeface aims to deliver both legibility and readability
According to the World Health Organization (WHO), at least 2.2 billion people have a vision impairment. Major financial burdens can occur when people can’t read fluently or work to their full potential. For example, the WHO estimates that “losses associated with vision impairment from uncorrected myopia and presbyopia alone were estimated to be US$ 244 billion and US$ 25.4 billion, respectively.” Typeface design can help.
-
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
+
When Braille Institute hired Applied Design Works to create a new brand identity and branding strategy to coincide with their 2019 centennial anniversary, the firm looked for a beautiful and functional font specifically designed for improved legibility and readability. Brad Scott and Elliott Scott of Applied Design Works were concerned about typefaces that look a little like old ransom notes, where each letter and number were dramatically different from each other. They wondered if, despite designers’ intentions, these typefaces could actually be more difficult to read for some people. They decided that no existing typeface met their legibility, readability, and branding goals. So they endeavored to create a new typeface called Atkinson Hyperlegible, named after the organization’s founder J. Robert Atkinson. The work would go on to be recognized with a 2019 Fast Company ‘Innovation by Design’ Award.
To contribute to the project contact
diff --git a/ofl/averagesans/DESCRIPTION.en_us.html b/ofl/averagesans/DESCRIPTION.en_us.html
index c163c12fac3..9f7ff5ade4e 100644
--- a/ofl/averagesans/DESCRIPTION.en_us.html
+++ b/ofl/averagesans/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
Average Sans has the color, structure and proportions of its serif sister
-family, Average,
+family, Average,
which it complements harmoniously. The neutrality of the forms create a nice
texture, both for texts and short headlines. Use it for online magazines,
academic texts and blogs.
diff --git a/ofl/averiagruesalibre/DESCRIPTION.en_us.html b/ofl/averiagruesalibre/DESCRIPTION.en_us.html
index cf5aef1e19a..98cf47c9397 100644
--- a/ofl/averiagruesalibre/DESCRIPTION.en_us.html
+++ b/ofl/averiagruesalibre/DESCRIPTION.en_us.html
@@ -3,5 +3,5 @@
Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia
diff --git a/ofl/averialibre/DESCRIPTION.en_us.html b/ofl/averialibre/DESCRIPTION.en_us.html
index c674210e35c..4f2c7d1eed1 100644
--- a/ofl/averialibre/DESCRIPTION.en_us.html
+++ b/ofl/averialibre/DESCRIPTION.en_us.html
@@ -3,5 +3,5 @@
Averia Libre is based on the average of 725 fonts in the Google Fonts collection, and both glyph outlines and metrics are the result of the averaging process described at iotic.com/averia
Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.
The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.
Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.
The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.
\ No newline at end of file
diff --git a/ofl/averiaseriflibre/DESCRIPTION.en_us.html b/ofl/averiaseriflibre/DESCRIPTION.en_us.html
index a53c7963a8e..8cfd4b9faa8 100644
--- a/ofl/averiaseriflibre/DESCRIPTION.en_us.html
+++ b/ofl/averiaseriflibre/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.
The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.
Avería ("breakdown" or "mechanical damage" in Spanish - related to the root of the English word "average") is a Unicode typeface superfamily created from the average of all fonts on the computer of the creator, Dan Sayers. The process is described at iotic.com/averia. All metrics are the result of an averaging process. The included glyphs are those that existed in a majority of the source fonts.
The Averia Libre families of fonts are based on the average of all 725 fonts in the Google Web Fonts project, released under the SIL Open Font License, as of 9 Nov 2011.
\ No newline at end of file
diff --git a/ofl/b612/DESCRIPTION.en_us.html b/ofl/b612/DESCRIPTION.en_us.html
index 5d9fb2b87ea..07eb4c11912 100644
--- a/ofl/b612/DESCRIPTION.en_us.html
+++ b/ofl/b612/DESCRIPTION.en_us.html
@@ -12,7 +12,7 @@
B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono.
It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III).
-In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation.
+In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation.
B612 project was awarded the Observeur du Design: Industry Star in 2018.
B612 is a two-weight font family including roman and italic styles but also a monospaced variation, B612 Mono.
It was designed in 2012 by Nicolas Chauveau, Thomas Paillot and Jonathan Favre-Lamarine from the design agency Intactile DESIGN, and Jean-Luc Vinot from ENAC (French National University of Civil Aviation) Interactive Informatics Team for Laurent Spaggiari from the Airbus Human Factors department — prior research by Jean‑Luc Vinot (DGAC/DSNA) and Sylvie Athènes (Université de Toulouse III).
-In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation.
+In 2017, Airbus agreed to publish the font with an open source license (Eclipse Public License) within the Polarsys project, an industry-oriented project hosted by the Eclipse foundation.
B612 project was awarded the Observeur du Design: Industry Star in 2018.
Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.
\ No newline at end of file
+
Bilbo Swash Caps is a sister family to the normal Bilbo. It is very legible calligraphic style that has a masculine feel. This family is ideal for headlines and other display uses, while the normal Bilbo can also be used in body copy that requires added warmth to a message.
\ No newline at end of file
diff --git a/ofl/bowlbyonesc/DESCRIPTION.en_us.html b/ofl/bowlbyonesc/DESCRIPTION.en_us.html
index 033272df074..a7575f311f1 100644
--- a/ofl/bowlbyonesc/DESCRIPTION.en_us.html
+++ b/ofl/bowlbyonesc/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.
\ No newline at end of file
+
Bowlby One SC is designed for use as a utilitarian, All Caps and Small Caps display font. A version with lowercase characters is also available. Its forms are a fusion of a handfull of designs scanned from old, early Twentieth Century type specimens. Bowlby One SC is perfect for big bold headlines and display uses that need a slightly roughened look. Bowlby is a web font, designed to be used freely across the internet by web browsers on desktop computers, laptops, cloud systems and mobile devices.
\ No newline at end of file
diff --git a/ofl/bubblerone/DESCRIPTION.en_us.html b/ofl/bubblerone/DESCRIPTION.en_us.html
index 23615058e28..42703c2b9f5 100644
--- a/ofl/bubblerone/DESCRIPTION.en_us.html
+++ b/ofl/bubblerone/DESCRIPTION.en_us.html
@@ -3,8 +3,6 @@
any kind of text, formal or informal, big or small; I hope you find it
useful!
-
\ No newline at end of file
diff --git a/ofl/cambay/DESCRIPTION.en_us.html b/ofl/cambay/DESCRIPTION.en_us.html
index d0630281383..c9b9d668971 100644
--- a/ofl/cambay/DESCRIPTION.en_us.html
+++ b/ofl/cambay/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
-Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell.
+Cambay is a libre Devanagari typeface family designed to match the Latin Cantarell.
It comes in two weights, Regular and Bold, in upright and oblique styles.
The oblique styles are slanted with only the absolutely necessary optical corrections.
Cantata One is a high contrast extended Didone style text face. In addition to being useful in medium to large text sizes, Cantata One is meant to evoke luxury when used in display sizes. Cantata One was originally inspired by hand written letters made with a pointed pen on an old map handmade map of NYC.
Catamaran is a Unicode-compliant Latin and Tamil text type family designed for the digital age.
-The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin.
+The Tamil is monolinear and was designed alongside the sans serif Latin and Devanagari family Palanquin.
Caveat is a handwriting type family designed by Pablo Impallari.
It is designed for both short annotations and body text usage.
-For a different style, there is also a sister family, Caveat Brush
+For a different style, there is also a sister family, Caveat Brush
The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.
diff --git a/ofl/caveatbrush/DESCRIPTION.en_us.html b/ofl/caveatbrush/DESCRIPTION.en_us.html
index ac526f57fdf..8152fe7fd20 100644
--- a/ofl/caveatbrush/DESCRIPTION.en_us.html
+++ b/ofl/caveatbrush/DESCRIPTION.en_us.html
@@ -1,7 +1,7 @@
Caveat is a handwriting type family designed by Pablo Impallari.
It is designed for short annotations.
-For a different style, there is also a sister family, Caveat
+For a different style, there is also a sister family, Caveat
The fonts have OpenType features that enable the letters to have slight variations according to their occurrence within a word, for a natural handwritten feel.
diff --git a/ofl/changa/DESCRIPTION.en_us.html b/ofl/changa/DESCRIPTION.en_us.html
index 023a0bbc231..b8c45fc3cd8 100644
--- a/ofl/changa/DESCRIPTION.en_us.html
+++ b/ofl/changa/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
letters gains slightly more in height form a single height so that
typographers can set text with minimum line spacing.
Changa One
is also available, the initial style that is an extra-bold sister family
intended for display usage.
diff --git a/ofl/changaone/DESCRIPTION.en_us.html b/ofl/changaone/DESCRIPTION.en_us.html
index 0be53ee0141..913c9be8a60 100644
--- a/ofl/changaone/DESCRIPTION.en_us.html
+++ b/ofl/changaone/DESCRIPTION.en_us.html
@@ -8,7 +8,7 @@
vertexes which accompany and break the shapes, thus evoking a modern
style.
-
Show your type melting over time like a glacier with Climate Crisis and its
Climate Crisis, with its new variable axis called Year, was commissioned by the Nordic newspaper "Helsingin Sanomat" to use in its own editorial and marketing. It visualizes the urgency of climate change by appearing to degrade over time, like each character is a glacier melting away. More than just a metaphor, the font reflects actual data from the National Snow and Ice Data Center to represent the levels of Arctic sea ice from 1979 to 2019. Satellite measuring began in 1979. Predictive data from The Intergovernmental Panel on Climate Change (IPCC) is used to visualize the ice melting through 2050.
The typeface's designers, Daniel Coull and Eino Korkala included eight masters for the Year axis. (When type designers create a variable font, they need to embed masters at each extreme end of a variable axis, but often they embed multiple masters along the axis in order to give the in-between instances more finesse.) The heaviest weight represents the Arctic sea ice in 1979. The lightest weight represents the IPCC's 2050 forecast, when only 30% of the ice will remain.
-Don't miss the project homepage, comicneue.com
+Don't miss the project homepage, comicneue.com
The Comic Neue project was initiated by Craig Rozynski, a designer living in Australia and Japan.
diff --git a/ofl/contrailone/DESCRIPTION.en_us.html b/ofl/contrailone/DESCRIPTION.en_us.html
index 482118a0faa..00816109815 100644
--- a/ofl/contrailone/DESCRIPTION.en_us.html
+++ b/ofl/contrailone/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Contrail is based on handmade sans letters seen on UK posters. It's slight slant and bouncy quality suggest the emerging jet age and a state of both readiness and excited anticipation. Its rounded corners give it an approachable friendly feeling. Contrail is a low contrast design that is suitable for use in medium to large sizes including headlines. This font was made specifically to be used as web type.
Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them.
In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke.
The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the "humanistic cursive" that is Convergence.
Convergence is a low contrast Upright Italic Sans Serif Typeface with a large x-height. It was created by two designers with very different ideas, who took advantage of their divergent criteria to draw glyphs that made the Upright and Italic styles converge without mixing them.
In this way, it was possible to converge the inclination of an Upright Sans Serif with a Sans Serif Italic. Looking at the font in detail, the bottom halves of the glyphs have Transitive serifs while the upper halves conserve the Sans Serif terminals. Other specific details can be seen in the a, g, and e glyphs, which have an Italic structure, not an Upright one. In addition, the glyph for the letter r has a relatively closed instroke.
The references used to develop this font were Bree from TypeTogether, Parisine de Porchez Typofonderie, and, undeniably, Ludovico Degli Arrighi's manuscript about the structure the "humanistic cursive" that is Convergence.
\ No newline at end of file
diff --git a/ofl/courgette/DESCRIPTION.en_us.html b/ofl/courgette/DESCRIPTION.en_us.html
index dc1e78072f8..8a3a365ca89 100644
--- a/ofl/courgette/DESCRIPTION.en_us.html
+++ b/ofl/courgette/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Courgette is a medium low contrast brushy italic script type. A brushy italic style is traditionally for display and unsurprisingly Courgette works well in display. However Courgette's low contrast and carefully made forms mean that it also works well in smaller sizes and even in massed text.
The design of Cutive, and this monospace sister family
-Cutive Mono, is
+Cutive Mono, is
based on a number of classic typewriter typefaces, in particular the faces of
IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces
re-emerge as webfonts that are useful for adding character to body texts as
diff --git a/ofl/cutivemono/DESCRIPTION.en_us.html b/ofl/cutivemono/DESCRIPTION.en_us.html
index 1719b3ef0e8..6daba4e5da2 100644
--- a/ofl/cutivemono/DESCRIPTION.en_us.html
+++ b/ofl/cutivemono/DESCRIPTION.en_us.html
@@ -1,6 +1,6 @@
The design of
-
+
Cutive
, and this monospace sister family Cutive Mono, is based on a number of classic typewriter typefaces, in particular the faces of IBM's 'Executive,' and the older 'Smith-Premier.' In Cutive these old faces re-emerge as webfonts that are useful for adding character to body texts as well as in larger sizes for headers and display.
diff --git a/ofl/dekko/DESCRIPTION.en_us.html b/ofl/dekko/DESCRIPTION.en_us.html
index c3cc7d72f0a..aa4b8399e26 100644
--- a/ofl/dekko/DESCRIPTION.en_us.html
+++ b/ofl/dekko/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
Dekko’s personality is both warm and casual.
It originated with Modular InfoTech's 4948, and was modified to feel more written and regular in appearance and weight.
The inter-letter spacing of the design is now wider, allowing for it to be used at smaller sizes on screens.
-Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack.
+Dekko also comes with a complete set of Latin which matches the Devanagari in weight and and size, and originates with Short Stack.
Both the Devanagari and the Latin are based on written forms, and their stroke contrast has thick horizontals.
The pen angles traditionally associated with Devanagari has some diagonal stress, but here the Latin script uses a vertical stress.
The February 2023 update features a bigger glyphset, fractions and some minor aesthetic modifications.
To improve and expand the use of Diplomata, it was necessary to create small caps and
+href="https://fonts.google.com/specimen/Diplomata+SC">small caps and
a lower case, which ended up constituting this family that has two variables
today.
To improve and expand the use of Diplomata, it was necessary to create
small caps and a lower case,
+href="https://fonts.google.com/specimen/Diplomata">a lower case,
which ended up constituting this family that has two variables today.
diff --git a/ofl/donegalone/DESCRIPTION.en_us.html b/ofl/donegalone/DESCRIPTION.en_us.html
index 1c76748859f..92136c8ce2d 100644
--- a/ofl/donegalone/DESCRIPTION.en_us.html
+++ b/ofl/donegalone/DESCRIPTION.en_us.html
@@ -6,6 +6,5 @@
associated with W.A. Dwiggins. This feature is one of many that contribute to
Donegal's distinctive and pleasing character.
-
Doppio One is a robust low contrast sans serif type with a contemporary feeling. Doppio One will work from small text sizes through large display sizes. Doppio's boxy style makes it especially suitable for screen use.
Duru Sans is low contrast a classic 20th century style sans design. Duru Sans is a new take on mixing the humanist urge with the modernist one. Duru Sans also somehow manages to be elegant and a workhorse type at the same time. Duru Sans can be used at a wide range of sizes.
Emblema One is inspired by UK Victorian era bold italic display type. It breaks from tradition by using a stenciled kind of construction. The stencil style too is atypical and gives the font its distinctive feeling. Emblema One has been made for display purposes and should be used from medium to large sizes.
Exo is a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo was meant to be a very versatile font, so it has 9 weights (the maximum on the web) each with a true italic version. It works great as a display face but it also works good for small to intermediate size texts.
-
Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts.
+
Update December 2013: Exo was completely redrawn and published as Exo 2, with a more organic look that will perform much better at small text sizes and in long texts.
Update April 2020: The family has been updated to a variable font family.
Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts.
+
Exo 2 is a complete redrawing of Exo, a contemporary geometric sans serif typeface that tries to convey a technological/futuristic feeling while keeping an elegant design. Exo is a very versatile font, so it has 9 weights (the maximum on the web) and each with a true italic version. Exo 2 has a more organic look that will perform much better at small text sizes and in long texts.
In March 2020, the family has been updated to a variable font family.
Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.
Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.
\ No newline at end of file
+
Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.
Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.
\ No newline at end of file
diff --git a/ofl/fascinateinline/DESCRIPTION.en_us.html b/ofl/fascinateinline/DESCRIPTION.en_us.html
index 4c7be46ba77..29660a61314 100644
--- a/ofl/fascinateinline/DESCRIPTION.en_us.html
+++ b/ofl/fascinateinline/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.
Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.
\ No newline at end of file
+
Fascinate and Fascinate Inline are nods to Art Deco yesteryear and typefaces like Broadway, yet they have an exaggerated x-height and softness that give them a friendly yet sophisticated vibe.
Even with their high contrast weighting, the Fascinate family is cleanly legible at small sizes, although the Inline version is better visible at larger display sizes.
\ No newline at end of file
diff --git a/ofl/firamono/DESCRIPTION.en_us.html b/ofl/firamono/DESCRIPTION.en_us.html
index d28d5ee7520..073e7d4bdf3 100644
--- a/ofl/firamono/DESCRIPTION.en_us.html
+++ b/ofl/firamono/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering.
-
The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.)
+
The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.)
\ No newline at end of file
diff --git a/ofl/firasans/DESCRIPTION.en_us.html b/ofl/firasans/DESCRIPTION.en_us.html
index aa4500da786..a2be33dc7fc 100644
--- a/ofl/firasans/DESCRIPTION.en_us.html
+++ b/ofl/firasans/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
The Fira font family comes in 3 widths, all accompanied by italic styles.
-The package also includes a Mono Spaced variant.
+The package also includes a Mono Spaced variant.
This project is led by Carrois, a type foundry based in Berlin.
diff --git a/ofl/firasanscondensed/DESCRIPTION.en_us.html b/ofl/firasanscondensed/DESCRIPTION.en_us.html
index aa4500da786..a2be33dc7fc 100644
--- a/ofl/firasanscondensed/DESCRIPTION.en_us.html
+++ b/ofl/firasanscondensed/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
The Fira font family comes in 3 widths, all accompanied by italic styles.
-The package also includes a Mono Spaced variant.
+The package also includes a Mono Spaced variant.
This project is led by Carrois, a type foundry based in Berlin.
diff --git a/ofl/firasansextracondensed/DESCRIPTION.en_us.html b/ofl/firasansextracondensed/DESCRIPTION.en_us.html
index aa4500da786..a2be33dc7fc 100644
--- a/ofl/firasansextracondensed/DESCRIPTION.en_us.html
+++ b/ofl/firasansextracondensed/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
The Fira font family comes in 3 widths, all accompanied by italic styles.
-The package also includes a Mono Spaced variant.
+The package also includes a Mono Spaced variant.
This project is led by Carrois, a type foundry based in Berlin.
diff --git a/ofl/fjordone/DESCRIPTION.en_us.html b/ofl/fjordone/DESCRIPTION.en_us.html
index c3dc23cb014..76d4d891ded 100644
--- a/ofl/fjordone/DESCRIPTION.en_us.html
+++ b/ofl/fjordone/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Fjord is a serif typeface, originally designed with printed books in mind, and particularly intended for long texts in small print sizes. Fjord features sturdy construction, prominent serifs, low-contrast modulation and long elegant ascenders and descenders relative to the 'x' height. Fjord performs well in sizes form 12 px and higher but because of its original design and careful detailing Fjord can also be a distinctive font choice for larger text headlines and in corporate design. Fjord is inspired by the feeling found in both renaissance and contemporary typeface design.
This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Book Basic, so are larger, but since GF subsets the difference won't affect users.
-
You can find here the Gentium Plus, a very similar family that has a slightly lighter weight.
+
You can find here the Gentium Plus, a very similar family that has a slightly lighter weight.
This update brings many other improvements, including a very significant improvement in hinting for Windows users and WOFF2 versions. These fonts cover a far greater character set than the Gentium Basic, so are larger, but since GF subsets the difference won't affect users.
-
The Gentium Book Plus family is very similar but has a slightly darker weight.
+
The Gentium Book Plus family is very similar but has a slightly darker weight.
diff --git a/ofl/goblinone/DESCRIPTION.en_us.html b/ofl/goblinone/DESCRIPTION.en_us.html
index d1982bad88f..0b12baa5ce9 100644
--- a/ofl/goblinone/DESCRIPTION.en_us.html
+++ b/ofl/goblinone/DESCRIPTION.en_us.html
@@ -7,6 +7,5 @@
attention-getting and fun. Goblin is suitable for use in medium to large sizes
including headlines. This font was made specifically to be web type.
-
\ No newline at end of file
diff --git a/ofl/gravitasone/DESCRIPTION.en_us.html b/ofl/gravitasone/DESCRIPTION.en_us.html
index 9592e2be13f..fe517de46e8 100644
--- a/ofl/gravitasone/DESCRIPTION.en_us.html
+++ b/ofl/gravitasone/DESCRIPTION.en_us.html
@@ -7,6 +7,5 @@
contrast of the design means that it will be most useful when set from medium
to large sizes.
-
"All human beings are born free and equal in terms of rights and dignity." In Urdu (Gulzar Nasta'liq) and transliterated in Latin (Gulzar Latin).
-
Simon Cozens, Dr. Borna Izadpanah, and Dr. Fiona Ross conducted their own research and consulted with Urdu language specialists in Pakistan and the United Kingdom to create the Gulzar Urdu Nasta'liq typeface project. Gulzar means "flower meadow" in Urdu.
+
Simon Cozens, Dr. Borna Izadpanah, and Dr. Fiona Ross conducted their own research and consulted with Urdu language specialists in Pakistan and the United Kingdom to create the Gulzar Urdu Nasta'liq typeface project. Gulzar means "flower meadow" in Urdu.
Izadpanah is a native Persian speaker from Tehran, Iran. He learned Nasta'liq as a model for Persian handwriting in primary school.
"Designing a digital Nasta'liq typeface was my long-held dream," Izadpanah stated. As the principal Gulzar designer, he conducted the preliminary research and drew the glyphs.
Ross was familiar with the Urdu language and type design from her language studies and earlier work on two Nasta'liq typefaces, Sheeraz and Qalmi, for which Linotype acquired a patent.
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is developed by Juan Pablo del Peral at HT Fonts, a type foundry in Argentina, and originally published as Alegreya Sans.
+The Latin is developed by Juan Pablo del Peral at HT Fonts, a type foundry in Argentina, and originally published as Alegreya Sans.
The Gurajada project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/gurajada
Habibi is a high contrast serifed text face. Habibi is easy to read and offers a certain elegance to go with this. Habibi draws both on the qualities of 15th and 16th century text faces and on crisp contenporary ones. Habibi can be used from small sizes to larger display settings.
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/hammersmithone/DESCRIPTION.en_us.html b/ofl/hammersmithone/DESCRIPTION.en_us.html
index f213b441a96..4d93fd454a5 100644
--- a/ofl/hammersmithone/DESCRIPTION.en_us.html
+++ b/ofl/hammersmithone/DESCRIPTION.en_us.html
@@ -8,6 +8,5 @@
specifically for use as a web type. This font works well to even smaller sizes
than was originally expected.
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/hanalei/DESCRIPTION.en_us.html b/ofl/hanalei/DESCRIPTION.en_us.html
index e49e6c5347b..f5c8a145644 100644
--- a/ofl/hanalei/DESCRIPTION.en_us.html
+++ b/ofl/hanalei/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
of the iconic Mai Kai restaurant logo, Hanalei has all the flavor
of the genre without compromise. Great for titling and larger
typesetting.
-Hanalei Fill
+Hanalei Fill
is a compliment to Hanalei.
Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to
diff --git a/ofl/hanaleifill/DESCRIPTION.en_us.html b/ofl/hanaleifill/DESCRIPTION.en_us.html
index 11f1aa67186..6084e5326c9 100644
--- a/ofl/hanaleifill/DESCRIPTION.en_us.html
+++ b/ofl/hanaleifill/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
of the iconic Mai Kai restaurant logo, Hanalei Fill has all the flavor
of the genre without compromise. Great for titling and larger
typesetting. Hanalei Fill is a compliment to
-Hanalei
+Hanalei
(the outline version.)
Designed by Brian J. Bonislawsky for Astigmatic (AOETI). To contribute to
diff --git a/ofl/happymonkey/DESCRIPTION.en_us.html b/ofl/happymonkey/DESCRIPTION.en_us.html
index 09e448f4d41..27135b367fc 100644
--- a/ofl/happymonkey/DESCRIPTION.en_us.html
+++ b/ofl/happymonkey/DESCRIPTION.en_us.html
@@ -1,8 +1,6 @@
Happy Monkey is a display sans serif typeface family, with thin and rounded
strokes. Suitable for informal headlines and all your fun typography!
\ No newline at end of file
diff --git a/ofl/headlandone/DESCRIPTION.en_us.html b/ofl/headlandone/DESCRIPTION.en_us.html
index 1200686ef83..401309e2034 100644
--- a/ofl/headlandone/DESCRIPTION.en_us.html
+++ b/ofl/headlandone/DESCRIPTION.en_us.html
@@ -7,6 +7,5 @@
details contribute to the distinctive feeling of the type at smaller sizes but
do not become obvious until the type becomes much larger.
-
Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites.
Henny Penny is an offbeat display font with loads of personality, named in honour of the fairy-tale character chicken Henny Penny. It is a friendly and playful decorative typeface. Its classical nature is successfully hidden behind its very informal structure: There is no common baseline, no common character size and no common slope of the letters. This makes the typeface very amusing. HennyPenny is a headline typeface for use in large size fonts. It may be used for childrens books, magazines and websites.
Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.
\ No newline at end of file
diff --git a/ofl/inder/DESCRIPTION.en_us.html b/ofl/inder/DESCRIPTION.en_us.html
index 21266a3f9c4..7d2283fce49 100644
--- a/ofl/inder/DESCRIPTION.en_us.html
+++ b/ofl/inder/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Inder is a low contrast workhorse sans serif text face design. It was inspired by German art noveau style lettering and the Amsterdam School of architecture. Inder has been carefully adjusted to the restrictions of the screen. Inder can be used in a wide range of sizes.
The original sources and truetype fonts are available at
-code.google.com/p/istok and
+code.google.com/p/istok and
this 'Web' version has modified vertical metrics.
Updated: June 2014 to version 1.0.2g
\ No newline at end of file
diff --git a/ofl/jacquesfrancois/DESCRIPTION.en_us.html b/ofl/jacquesfrancois/DESCRIPTION.en_us.html
index fa0e67c2832..52ffcccd4ed 100644
--- a/ofl/jacquesfrancois/DESCRIPTION.en_us.html
+++ b/ofl/jacquesfrancois/DESCRIPTION.en_us.html
@@ -11,7 +11,7 @@
includes old style figures.
Jacques Francois revives the c. 1760 Enschedé no. 811 type specimen by Jacques
diff --git a/ofl/jaldi/DESCRIPTION.en_us.html b/ofl/jaldi/DESCRIPTION.en_us.html
index 76d3e934fc6..3d8bd1441c8 100644
--- a/ofl/jaldi/DESCRIPTION.en_us.html
+++ b/ofl/jaldi/DESCRIPTION.en_us.html
@@ -1,6 +1,6 @@
Jaldi is the Hindi word for soon, and the typeface family is a contemporary sans-serif Devanagari with subtle rounded corners.
-Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym "As Soon As Possible."
+Designed by Nicolas Silva and Pablo Cosgaya, Jaldi is developed to match with the Latin design of the Asap family, named after the acronym "As Soon As Possible."
Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono.
+
Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono.
The Latin alphabet is using the same kinds of strokes and curves as the Kayah Li glyphs, and thus Jura was born. It has been expanded to include glyphs for the Cyrillic and Greek alphabets as well.
The original Kayah Li glyphs have been included in this font. Note that glyphs for writing mainstream Burmese are not and never have been a part of this font.
The Jura family has an unfortunate name clash with Ed Merritt’s Jura serif font. To contribute, see github.com/ossobuffo/jura.
Kadwa is a Devanagari typeface family designed by Sol Matas.
-It is based on the original Latin typeface Bitter, a slab serif typeface for text.
+It is based on the original Latin typeface Bitter, a slab serif typeface for text.
diff --git a/ofl/karlatamilinclined/DESCRIPTION.en_us.html b/ofl/karlatamilinclined/DESCRIPTION.en_us.html
index 28cabf70bc2..af88ffecc53 100644
--- a/ofl/karlatamilinclined/DESCRIPTION.en_us.html
+++ b/ofl/karlatamilinclined/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
part of the family, with Inclined styles in two weights, Regular and Bold.
The Latin part is available from the
-Karla specimen page.
Karla Tamil does not currently work on iPhones and iPads, because iOS
doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows
diff --git a/ofl/karlatamilupright/DESCRIPTION.en_us.html b/ofl/karlatamilupright/DESCRIPTION.en_us.html
index 5bb6b00bd4f..4f1cf45ec42 100644
--- a/ofl/karlatamilupright/DESCRIPTION.en_us.html
+++ b/ofl/karlatamilupright/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
part of the family, with Upright styles in two weights, Regular and Bold.
The Latin part is available from the
-Karla specimen page.
Karla Tamil does not currently work on iPhones and iPads, because iOS
doesn't render OpenType Layout shaping, only AAT shaping. Mac OS X, Windows
diff --git a/ofl/keaniaone/DESCRIPTION.en_us.html b/ofl/keaniaone/DESCRIPTION.en_us.html
index 13fde8edd8b..15748f415f8 100644
--- a/ofl/keaniaone/DESCRIPTION.en_us.html
+++ b/ofl/keaniaone/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
Keania is a re-development of
-Kenia. As a
+Kenia. As a
stencil font its idea stems from experiences of travel and life in Kenya,
especially from the large lettering seen on shop fronts and market stands.
-Khula (खुला) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson.
+Khula (खुला) is a contemporary text Devanagari typeface family designed by Erin McLaughlin as a compliment to Open Sans, a Latin family designed by Steve Matteson.
Currently it has 5 weights and supports Hindi.
Krona is a low contrast semi-extended style sans serif. Krona is both readable and full of personality. Krona can be used from small sizes to larger display settings. Krona was inspired by hand lettering on early 20th century Swedish posters.
-Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer’s glyphs on the font’s web specimen.
+Lacquer is an expressive display font featuring heavy drips and dozens of alternate glyphs. Lacquer was hand drawn using a paint pen by Niki Polyocan and was extrapolated and finished by Eli Block at Google Creative Lab. You can see all of Lacquer’s glyphs on the font’s web specimen.
The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover.
+The Latin is designed by Font Diner, a type foundry in the USA, and originally published as Irish Grover.
The Lakki Reddy project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/lakkireddy
-Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet.
-It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region.
+ Lateef, an extended Arabic font, is named after Shah Abdul Lateef Bhitai, the famous Sindhi mystic and poet. It is intended to be an appropriate style for use in Sindhi and other languages of the South Asian region.
-
The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold.
+
+ The July 2022 update brings to the font six new styles: ExtraLight, Light, Medium, SemiBold, Bold, and ExtraBold.
+
-This font was developed by SIL, and you can learn more about it at scripts.sil.org/Lateef
+ This font was developed by SIL, and you can learn more about it at software.sil.org/lateef
-League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs.
+League Spartan is The League Of Moveable Type's interpretation of Matt Bailey's Spartan, a typeface based on early 20th century American geometric sans serifs.
The Londrina super family is composed of 4 family styles:
-Londrina Solid,
-Londrina Shadow,
+Londrina Solid,
+Londrina Shadow,
Londrina Outline,
-and Londrina Sketch.
+and Londrina Sketch.
You can combine the main style, Solid, with the others to create different effects.
The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil:
Urban confusion.
diff --git a/ofl/londrinashadow/DESCRIPTION.en_us.html b/ofl/londrinashadow/DESCRIPTION.en_us.html
index dce52602f79..1aeecc7ab90 100644
--- a/ofl/londrinashadow/DESCRIPTION.en_us.html
+++ b/ofl/londrinashadow/DESCRIPTION.en_us.html
@@ -1,9 +1,9 @@
The Londrina super family is composed of 4 family styles:
-Londrina Solid,
+Londrina Solid,
Londrina Shadow,
-Londrina Outline,
-and Londrina Sketch.
+Londrina Outline,
+and Londrina Sketch.
You can combine the main style, Solid, with the others to create different effects.
The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil:
Urban confusion.
diff --git a/ofl/londrinasketch/DESCRIPTION.en_us.html b/ofl/londrinasketch/DESCRIPTION.en_us.html
index 9d21b7e8236..a12d126be74 100644
--- a/ofl/londrinasketch/DESCRIPTION.en_us.html
+++ b/ofl/londrinasketch/DESCRIPTION.en_us.html
@@ -1,8 +1,8 @@
The Londrina super family is composed of 4 family styles:
-Londrina Solid,
-Londrina Shadow,
-Londrina Outline,
+Londrina Solid,
+Londrina Shadow,
+Londrina Outline,
and Londrina Sketch.
You can combine the main style, Solid, with the others to create different effects.
The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil:
diff --git a/ofl/londrinasolid/DESCRIPTION.en_us.html b/ofl/londrinasolid/DESCRIPTION.en_us.html
index c60b3ba858e..22a71409320 100644
--- a/ofl/londrinasolid/DESCRIPTION.en_us.html
+++ b/ofl/londrinasolid/DESCRIPTION.en_us.html
@@ -1,9 +1,9 @@
The Londrina super family is composed of 4 family styles:
Londrina Solid,
-Londrina Shadow,
-Londrina Outline,
-and Londrina Sketch.
+Londrina Shadow,
+Londrina Outline,
+and Londrina Sketch.
You can combine the main style, Solid, with the others to create different effects.
The origins of the Londrina typeface project is in the streets of Sao Paulo, Brazil:
Urban confusion.
diff --git a/ofl/macondo/DESCRIPTION.en_us.html b/ofl/macondo/DESCRIPTION.en_us.html
index 633379d31bf..b78a80e670b 100644
--- a/ofl/macondo/DESCRIPTION.en_us.html
+++ b/ofl/macondo/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.
\ No newline at end of file
+
Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and a sister family Macondo Swash Caps is also available.
\ No newline at end of file
diff --git a/ofl/macondoswashcaps/DESCRIPTION.en_us.html b/ofl/macondoswashcaps/DESCRIPTION.en_us.html
index 8eca1a7e7fa..af248dd854a 100644
--- a/ofl/macondoswashcaps/DESCRIPTION.en_us.html
+++ b/ofl/macondoswashcaps/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.
\ No newline at end of file
+
Macondo. The first purpose of this typeface was to provide an original and systematized style of calligraphy adapted into a modern digital font. The forms are inspired by some illustrations created for a tarot card game, itself inspired by the work of Colombian literature Nobel prize winning author, Gabriel García Márquez, «Cien Años de Soledad». Early versions of this font were made in 1997, but recently in 2009 it was substantially improved. Macondo includes several cap swashes and other stylish alternates, and this is a sister family, Macondo Swash Caps.
\ No newline at end of file
diff --git a/ofl/mallanna/DESCRIPTION.en_us.html b/ofl/mallanna/DESCRIPTION.en_us.html
index 7a5bdf4bfd1..4f470ae708d 100644
--- a/ofl/mallanna/DESCRIPTION.en_us.html
+++ b/ofl/mallanna/DESCRIPTION.en_us.html
@@ -5,7 +5,7 @@
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Vernon Adams and originally published as Nunito.
+The Latin is designed by Vernon Adams and originally published as Nunito.
The Mallanna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/mallanna
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Vernon Adams and originally published as Nunito.
+The Latin is designed by Vernon Adams and originally published as Nunito.
The Mandali project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/mandali
Marcellus and
-Marcellus SC
+Marcellus SC
(small caps) are a set of flared serif typeface families, inspired by classic
Roman inscription letterforms. While the SC family leans more towards the
titling style of Trajan, the Regular version lends itself to a wider range of
diff --git a/ofl/marcellussc/DESCRIPTION.en_us.html b/ofl/marcellussc/DESCRIPTION.en_us.html
index b0e1a50c116..6ba105f87a4 100644
--- a/ofl/marcellussc/DESCRIPTION.en_us.html
+++ b/ofl/marcellussc/DESCRIPTION.en_us.html
@@ -1,4 +1,4 @@
-
Marcellus
and Marcellus SC (small caps) are a set of flared serif typeface families,
inspired by classic Roman inscription letterforms. While the SC family leans
more towards the titling style of Trajan, the Regular version lends itself to a
diff --git a/ofl/markoone/DESCRIPTION.en_us.html b/ofl/markoone/DESCRIPTION.en_us.html
index 9127837c8bd..7aa544d981d 100644
--- a/ofl/markoone/DESCRIPTION.en_us.html
+++ b/ofl/markoone/DESCRIPTION.en_us.html
@@ -1 +1,9 @@
-
Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi.
Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.
\ No newline at end of file
+
+ Marko One is a typeface designed for children's literature. The initial idea was to create a typeface-companion for Marko the Sparrow - a cartoon character by illustrator and type designer Zhenya Spizhovyi.
+
+
+
+ Marko One is simple and smooth, has special inner tension and eye-catchy detailing. The letterforms are based on calligraphy and sketches - this is what makes Marko lively, enchanting, and amiable. Marko One typeface will work best in medium to large sizes and captivating headlines. It is technically optimized for better performance on screen, while carefully adjusted outlines promise good quality in print too.
+
Martel is a libre font development project.
Begun in 2008 in the Department of Typography & Graphic Communication at the University of Reading, the first weights of the font family (Martel UltraLight, Light, Regular, DemiBold, Bold, ExtraBold and Heavy) were released in 2014.
-The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script’s glyphs are based on the Merriweather fonts.
+The Devanagari glyphs to-date have all been designed by Dan Reynolds, whereas the Latin script’s glyphs are based on the Merriweather fonts.
-A Sans Serif variable font, by Joe Prince.
+ Maven Pro is a sans-serif typeface with unique curvature and flowing rhythm. Its forms make it very distinguishable and legible when in context. It blends styles of many great typefaces and is suitable for any design medium. Maven Pro’s modern design is great for the web and fits in any environment.
'Merienda' is a Spanish term for "afternoon snack", and this pleasant time
-of the day was worth its own typography.
+
'Merienda' is a Spanish term for "afternoon snack", and this pleasant time of the day was worth its own typography.
Merienda has soft shapes, is slightly condensed, and has a rhythm which is an invitation to read short pieces of text. It is ideal for headlines which call for height, as its strokes resemble those of a brush and deliver freshness and a dynamic touch in the development of words.
-
Merienda One is the initial publication of this typeface family in a single boldstyle.
-
In september 2022, the font is updated as a variable and now offers 7 styles, ranging from light to black. The glyphset has also been extended, offering a larger number of supported languages.
diff --git a/ofl/merriweathersans/DESCRIPTION.en_us.html b/ofl/merriweathersans/DESCRIPTION.en_us.html
index 9a2109f3580..12820df880d 100644
--- a/ofl/merriweathersans/DESCRIPTION.en_us.html
+++ b/ofl/merriweathersans/DESCRIPTION.en_us.html
@@ -7,7 +7,7 @@
there are 8 styles: Light, Regular, Bold, and ExtraBold weights in Roman and Italic styles.
There is also Merriweather, a serif version which closely harmonizes with the weights and
+href="https://fonts.google.com/specimen/Merriweather">Merriweather, a serif version which closely harmonizes with the weights and
styles of this sans-serif family.
Designed by Eben Sorkin, Merriweather Sans features a large x height,
diff --git a/ofl/metamorphous/DESCRIPTION.en_us.html b/ofl/metamorphous/DESCRIPTION.en_us.html
index 06b40b3e5df..d6e40e12a09 100644
--- a/ofl/metamorphous/DESCRIPTION.en_us.html
+++ b/ofl/metamorphous/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Metamorphous is a medium contrast design taking style cues from a wide variety of sources. It draws on and mixes together Romanesque, Gothic and the more familiar Renaissance letter shapes. Originally inspired by display fonts including the free font Morpheous designed by Kiwi Media as well as the work of Jonathan Barnbrook; Metamorphous is designed to be useful in a broad range of applications and sizes. Metamorphous also covers most languages that use Latin letters.
Miltonian is a fun 'tattoo' font.
-There is also the Miltonian Tattoo variant with filled-in forms.
+There is also the Miltonian Tattoo variant with filled-in forms.
For nice effects, the two fonts can be combined by overlaying them.
Also included are a few dingbats that can be used for decoration.
-Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms.
+Miltonian is a fun 'tattoo' font; this is the Tattoo variant with filled-in forms.
For nice effects, the two fonts can be combined by overlaying them.
Also included are a few dingbats that can be used for decoration.
diff --git a/ofl/mochiypopone/DESCRIPTION.en_us.html b/ofl/mochiypopone/DESCRIPTION.en_us.html
index c0dc0ab716d..330d5788d7d 100644
--- a/ofl/mochiypopone/DESCRIPTION.en_us.html
+++ b/ofl/mochiypopone/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP.
To contribute to the project, visit github.com/fontdasu/Mochiypop
diff --git a/ofl/mochiypoppone/DESCRIPTION.en_us.html b/ofl/mochiypoppone/DESCRIPTION.en_us.html
index f79483bcfc2..3cbe9fd19d2 100644
--- a/ofl/mochiypoppone/DESCRIPTION.en_us.html
+++ b/ofl/mochiypoppone/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
Mochiy Pop is a casual Gothic font created based on characters written by girls in their 20s in Japan. A cute display font, you can use it widely, such as for manga, magazines, movies, and signs. The included Kanji are modified versions of Noto Sans JP.
To contribute to the project, visit github.com/fontdasu/Mochiypop
diff --git a/ofl/montserrat/DESCRIPTION.en_us.html b/ofl/montserrat/DESCRIPTION.en_us.html
index 34c318544c5..237fca98b99 100644
--- a/ofl/montserrat/DESCRIPTION.en_us.html
+++ b/ofl/montserrat/DESCRIPTION.en_us.html
@@ -6,8 +6,8 @@
The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.
-This is the normal family, and it has two sister families so far, Alternates and Subrayada.
-Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood.
+This is the normal family, and it has two sister families so far, Alternates and Underline.
+Many of the letterforms are special in the Alternates family, which is found in the Montserrat neighborhood.
Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts.
diff --git a/ofl/montserratalternates/DESCRIPTION.en_us.html b/ofl/montserratalternates/DESCRIPTION.en_us.html
index 3118dc87181..5087ad0e995 100644
--- a/ofl/montserratalternates/DESCRIPTION.en_us.html
+++ b/ofl/montserratalternates/DESCRIPTION.en_us.html
@@ -6,9 +6,10 @@
The Montserrat Project began with the idea to rescue what is in Montserrat and set it free under a libre license, the SIL Open Font License.
-This is the Alternates family, a sister to the normal and Subrayada families.
-Many of the letterforms are special in the Alternates family, while 'Subrayada' means 'Underlined' in Spanish and celebrates a special style of underline that is integrated into the letterforms found in the Montserrat neighborhood.
+This is the Alternates family, a sister to the normal and Underline families.
+Many of the letterforms are special in the Alternates family, which is found in the Montserrat neighborhood.
+
Updated November 2017: The family was redrawn by Jacques Le Bailly at Baron von Fonthausen over the summer, and the full set of weights were adjusted to make the Regular lighter and better for use in longer texts.
In fall, Julieta Ulanovsky, Sol Matas, and Juan Pablo del Peral, led the development of Cyrillic support, with consultation with Carolina Giovagnoli, Maria Doreuli, and Alexei Vanyashin.
diff --git a/ofl/nats/DESCRIPTION.en_us.html b/ofl/nats/DESCRIPTION.en_us.html
index 0f6d80210b8..4e8c9cff033 100644
--- a/ofl/nats/DESCRIPTION.en_us.html
+++ b/ofl/nats/DESCRIPTION.en_us.html
@@ -3,7 +3,7 @@
The Telugu is designed and developed by Purushoth Kumar Guttula in 2012 and made available under the SIL Open Font License v1.1 by Silicon Andhra.
-The Latin is designed by Julieta Ulanovsky, a type designer in Argentina, and originally published as Montserrat.
+The Latin is designed by Julieta Ulanovsky, a type designer in Argentina, and originally published as Montserrat.
The NATS project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/nats
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Joe Prince and originally published as Varela Round.
+The Latin is designed by Joe Prince and originally published as Varela Round.
The NTR project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/ntr
Oldenburg is inspired by nearly monoline handwritting seen on a series of German posters. It has been changed and adapted to be more broadly useful design than a more faithful interpretation would have been. Despite the increased ulity in Oldernburg it still presenst plenty of the whimsical feeling that made its source so attractive. Oldenburg can be used a in a wide range of sizes.
Oleo Script is currently available in two weights, Regular
and Bold. It has also a
-Swash Caps
+Swash Caps
sister family, also available in Regular and Bold.
Oleo Script is a Unicode typeface
family that supports languages that use the Latin script and
its variants, and could be expanded to support other scripts.
For more information see the
-Soytutype website,
+Soytutype website,
follow us on Twitter @soytutype
-or Google+
+or Google+
or contact Soytutype.
Oleo Script Swash Caps is currently available in two weights, Regular
and Bold. It has also a
-Oleo Script
+Oleo Script
sister family, also available in Regular and Bold.
Oleo Script Swash Caps is a Unicode typeface
family that supports languages that use the Latin script and
its variants, and could be expanded to support other scripts.
For more information see the
-Soytutype website,
+Soytutype website,
follow us on Twitter @soytutype
-or Google+
+or Google+
or contact Soytutype.
diff --git a/ofl/orelegaone/DESCRIPTION.en_us.html b/ofl/orelegaone/DESCRIPTION.en_us.html
index 610d782998b..f52a74cac88 100644
--- a/ofl/orelegaone/DESCRIPTION.en_us.html
+++ b/ofl/orelegaone/DESCRIPTION.en_us.html
@@ -7,6 +7,3 @@
Orelega is Esperanto for “large-eared”. It is composed of orel- “ear”, -eg- [augments degree or size], and -a
[adjective ending].
-
The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.
\ No newline at end of file
+
The Overlock typeface family was selected by the Letras Latinas Biennal in 2006. The initial idea of this typeface was to simulate the Overlock sewing technique. The special thing about these forms is the warm feeling that they give to your text, because of the particular rounded glyph shapes that emerge. As a result, the Overlock typeface family is great for titles and short texts in magazine style layouts. It looks its very best at bigger sizes. The main Overlock family comes in three weights, Regular, Bold and Black, each with a true italic. It has two set of numbers and small caps, which are available in this sister family.
\ No newline at end of file
diff --git a/ofl/ovo/DESCRIPTION.en_us.html b/ofl/ovo/DESCRIPTION.en_us.html
index f6716b9e9a1..fbbfe051989 100644
--- a/ofl/ovo/DESCRIPTION.en_us.html
+++ b/ofl/ovo/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Ovo was inspired by a set of hand lettered caps seen in a 1930's lettering guide. The capitals suggested the time in which they were made because of the soft serif treatment used. This detail and a subtle casual feeling creeping into the otherwise classical forms led to the soft genial lowercase and the whimsical numbers now seen in Ovo. Ovo is a medium contrast serif font. Because of the old style variable letter widths and subtle detail it will work best at medium to large sizes.
Oxygen Mono is the monospace companion family to
-Oxygen,
+Oxygen,
the KDE project UI and brand type.
\ No newline at end of file
diff --git a/ofl/palanquin/DESCRIPTION.en_us.html b/ofl/palanquin/DESCRIPTION.en_us.html
index 6c78ed3c6be..787d059c9d7 100644
--- a/ofl/palanquin/DESCRIPTION.en_us.html
+++ b/ofl/palanquin/DESCRIPTION.en_us.html
@@ -4,7 +4,7 @@
-It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color.
+It currently comprises of seven text weights, and is extended with a heavier display family, Palanquin Dark, that has many subtle design details to accommodate the darker typographic color.
The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle.
Palanquin Dark is the heavier display family, with 4 weights.
-Palanquin is a text family with seven text weights.
+Palanquin is a text family with seven text weights.
The Palanquin superfamily is versatile and strikes a balance between typographic conventions and that bit of sparkle.
-Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love.
-A pangolin is an endangered species native to Asia and Africa.
-The font is a sans serif handwriting style.
-It supports many languages that use the Latin and Cyrillic scripts.
+ Pangolin was designed for the Google Valentine's Day 2017 Doodle, Pangolin Love. A pangolin is an endangered species native to Asia and Africa. The font is a sans serif handwriting style. It supports many languages that use the Latin and Cyrillic scripts.
Passero One is an innovative low contrast sans serif type. Despite having an utterly distinctive voice it remains remarkably legible and versatile. Perhaps this is because of the way Passero One gently echos old style text letterforms. Passero One will work best from medium text sizes through large display sizes.
Updated January 2013 with support for more European languages
and Vietnamese, and in February with a
-Small Caps
+Small Caps
sister family.
\ No newline at end of file
diff --git a/ofl/peddana/DESCRIPTION.en_us.html b/ofl/peddana/DESCRIPTION.en_us.html
index 7a96b89ed34..db1a1f324bf 100644
--- a/ofl/peddana/DESCRIPTION.en_us.html
+++ b/ofl/peddana/DESCRIPTION.en_us.html
@@ -4,7 +4,7 @@
The Telugu is developed by Appaji Ambarisha Darbha in 2013 and made available under the SIL Open Font License v1.1 by Silicon Andhra.
-The Latin is developed by SIL International and originally published as Charis.
+The Latin is developed by SIL International and originally published as Charis.
The Peddana project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/peddana
Plaster is a very low contrast extremely geometric design done in the tradition of the work of Joseph Albers. However many of the solutions to the glyph design vary from Alber's choices. Plaster is suitable for use in medium to large sizes including headlines. This font deviates from most similar fonts because the space between letters is larger. The gaps in the stencil style letters makes letter identification more difficult. A wider letter space helps make the letters easy to read again.
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/playfairdisplay/DESCRIPTION.en_us.html b/ofl/playfairdisplay/DESCRIPTION.en_us.html
index 3bbefd92450..f43412e4341 100644
--- a/ofl/playfairdisplay/DESCRIPTION.en_us.html
+++ b/ofl/playfairdisplay/DESCRIPTION.en_us.html
@@ -10,7 +10,7 @@
It was succeeded in 2023 by the complete Playfair design, which as a variable font includes body text designs in the optical size axis.
-This is the main family, with a sibling Playfair Display SC small caps family.
+This is the main family, with a sibling Playfair Display SC small caps family.
The main family downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures.
Poller is a high contrast semi-extended style Sans Serif. Poller is both readable and full of personality. Because of the higher contrast it is best used from medium sizes to larger display settings. Poller was inspired by hand lettering on early 20th century German posters.
Pompiere is a low contrast condensed sans serif font. However unlike most sans it has very tall ascenders and and very small x height. Pompiere is playful and even a little sweet. This font was inspired by a handmade sign seen outside of NYC firefighters Squad Co. 18 in the West Village of Manhattan. Because of its small x height and modest weight it will work best at medium to large sizes.
-Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow.
+Pragati Narrow is a libre Devanagari typeface family designed as a complement to Archivo Narrow.
It is a sans-serif family with vertical and horizontal cuts.
Pragati Narrow comes in 2 weights (Regular and Bold) and was specially developed for screen as webfont and desktop font, too.
The Devanagari was designed by Marcela Romero, Pablo Cosgaya and Nicolás Silva.
diff --git a/ofl/ptsans/DESCRIPTION.en_us.html b/ofl/ptsans/DESCRIPTION.en_us.html
index fffacd5ee18..01d0e9c4aa3 100644
--- a/ofl/ptsans/DESCRIPTION.en_us.html
+++ b/ofl/ptsans/DESCRIPTION.en_us.html
@@ -1 +1,11 @@
-
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
+
+
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
+
+
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
+
+
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
+
+
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
+
+
Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
+
+
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
+
+
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
+
+
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
+
+
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
+
+
Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
PT Sans was developed for the project "Public Types of Russian Federation." The second family of the project, PT Serif, is also available.
+
+
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
+
+
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
+
+
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
+
+
PT Sans is based on Russian sans serif types of the second part of the 20th century, but at the same time has distinctive features of contemporary humanistic designs. The family consists of 8 styles: 4 basic styles, 2 captions styles for small sizes, and 2 narrows styles for economic type setting.
+
+
Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2009.
PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.
The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.
PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.
+
+
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
+
+
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
+
+
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
+
+
PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.
+
+
The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.
+
+
Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.
PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.
The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.
PT Serif™ is the second pan-Cyrillic font family developed for the project “Public Types of the Russian Federation.” The first family of the project, PT Sans, was released in 2009.
+
+
The fonts are released with a libre license and can be freely redistributed: The main aim of the project is to give possibility to the people of Russia to read and write in their native languages.
+
+
The project is dedicated to the 300 year anniversary of the civil type invented by Peter the Great in 1708–1710. It was given financial support from the Russian Federal Agency for Press and Mass Communications.
+
+
The fonts include standard Western, Central European and Cyrillic code pages, plus the characters of every title language in the Russian Federation. This makes them a unique and very important tool for modern digital communications.
+
+
PT Serif is a transitional serif typeface with humanistic terminals. It is designed for use together with PT Sans, and is harmonized across metrics, proportions, weights and design.
+
+
The family consists of six styles: regular and bold weights with corresponding italics form a standard font family for basic text setting; two caption styles in regular and italic are for use in small point sizes.
+
+
Designed by Alexandra Korolkova, Olga Umpeleva and Vladimir Yefimov and released by ParaType in 2010.
Based on Libre Franklin, Public Sans is a strong, neutral typeface for interfaces, text, and headings. It was Developed by the United States Web Design System.
The family was upgraded to a variable font in May 2022.
Quando is a serifed text typeface inspired by brushy handwritten letters seen on an italian poster from the second world war. Quando is a flexible text typeface made for the web whose personality consistently shows in both small and large sizes. Quando's low contrast design helps it work better on screens and smaller sizes. Especially distinctive letterforms include letters like the a, g, x and Q. Quando's friendly feeling along with its clarity and familiarity makes it suitable for a broad range of uses.
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/raleway/DESCRIPTION.en_us.html b/ofl/raleway/DESCRIPTION.en_us.html
index b2123dc4671..03c8b2aa132 100644
--- a/ofl/raleway/DESCRIPTION.en_us.html
+++ b/ofl/raleway/DESCRIPTION.en_us.html
@@ -7,7 +7,7 @@
It is a display face and the download features both old style and lining numerals, standard and discretionary ligatures, a pretty complete set of diacritics, as well as a stylistic alternate inspired by more geometric sans-serif typefaces than its neo-grotesque inspired default character set.
More information can be found at theleagueofmoveabletype.com/raleway and impallari.com/fonts/raleway
diff --git a/ofl/ramabhadra/DESCRIPTION.en_us.html b/ofl/ramabhadra/DESCRIPTION.en_us.html
index 453e0c2ccb4..870bbe2f8e6 100644
--- a/ofl/ramabhadra/DESCRIPTION.en_us.html
+++ b/ofl/ramabhadra/DESCRIPTION.en_us.html
@@ -6,7 +6,7 @@
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo.
+The Latin is designed by Steve Matteson at Monotype, an internaional type foundry, and initially published as Arimo.
The Ramabhadra project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/ramabhadra
diff --git a/ofl/rasa/DESCRIPTION.en_us.html b/ofl/rasa/DESCRIPTION.en_us.html
index f6514c3e59f..9f1c9744712 100644
--- a/ofl/rasa/DESCRIPTION.en_us.html
+++ b/ofl/rasa/DESCRIPTION.en_us.html
@@ -3,13 +3,13 @@
in online news, magazines, blogs), Rasa supports over 92
languages in Latin and 2 in Gujarati script (Gujarati and Kachchi). The fonts supports a wide array of basic and
compound syllables used in Gujarati.
-A Latin-only version is available as Yrsa.
+A Latin-only version is available as Yrsa.
In terms of glyphs included Rasa is a superset of Yrsa and includes the complete Latin, but in Rasa the Latin may be
adjusted to support the primary Gujarati font.
It is a deliberate experiment in remixing existing typefaces:
-The Latin part began with Eben Sorkin's Merriweather.
+The Latin part began with Eben Sorkin's Merriweather.
The Gujarati began with David Březina’s Skolar Gujarati.
The Telugu is designed by Appaji Ambarisha Darbha in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Eduardo Tunni and originally published as Joti One.
+The Latin is designed by Eduardo Tunni and originally published as Joti One.
The Ravi Prakash project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/raviprakash
Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.
An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.
\ No newline at end of file
+
Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.
An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.
\ No newline at end of file
diff --git a/ofl/ribeyemarrow/DESCRIPTION.en_us.html b/ofl/ribeyemarrow/DESCRIPTION.en_us.html
index 809456b7b5f..6b4a8169da2 100644
--- a/ofl/ribeyemarrow/DESCRIPTION.en_us.html
+++ b/ofl/ribeyemarrow/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.
An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.
\ No newline at end of file
+
Ribeye and Ribeye Marrow are reminiscent of a cartoon tattoo style of lettering, but exhibit a playfulness that breaks traditional weight distribution across its letterforms.
An edgy attitude, friendly syncopation, and highly legible letterforms makes these fonts a real pair of charmers.
\ No newline at end of file
diff --git a/ofl/robotoflex/article/ARTICLE.en_us.html b/ofl/robotoflex/article/ARTICLE.en_us.html
index 0843b8835c4..7a8addb680b 100644
--- a/ofl/robotoflex/article/ARTICLE.en_us.html
+++ b/ofl/robotoflex/article/ARTICLE.en_us.html
@@ -28,7 +28,7 @@
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 typeroof, which can be used to explore the depth of the design.
+ Rigorous testing of each glyph across every axis required new type design tools to be developed, like typeroof, which can be used to explore the depth of the design.
The final file size of the complete package is remarkably small, given the range of expressive styles now available.
diff --git a/ofl/robotomono/DESCRIPTION.en_us.html b/ofl/robotomono/DESCRIPTION.en_us.html
index eb6ba3a2e3c..a0a4231e6a6 100644
--- a/ofl/robotomono/DESCRIPTION.en_us.html
+++ b/ofl/robotomono/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
-Roboto Mono is a monospaced addition to the Roboto type family.
+Roboto Mono is a monospaced addition to the Roboto type family.
Like the other members of the Roboto family, the fonts are optimized for readability on screens across a wide variety of devices and reading environments.
While the monospaced version is related to its variable width cousin, it doesn’t hesitate to change forms to better fit the constraints of a monospaced environment.
For example, narrow glyphs like ‘I’, ‘l’ and ‘i’ have added serifs for more even texture while wider glyphs are adjusted for weight.
diff --git a/ofl/rubik/DESCRIPTION.en_us.html b/ofl/rubik/DESCRIPTION.en_us.html
index 7662e1e3b6c..b8a04d721a1 100644
--- a/ofl/rubik/DESCRIPTION.en_us.html
+++ b/ofl/rubik/DESCRIPTION.en_us.html
@@ -2,7 +2,7 @@
Rubik is a sans serif font family with slightly rounded corners designed by Philipp Hubert and Sebastian Fischer at Hubert & Fischer as part of the Chrome Cube Lab project.
-Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design.
+Rubik is a 5 weight family with Roman and Italic styles, that accompanies Rubik Mono One, a monospaced variation of the Black roman design.
Meir Sadan redesigned the Hebrew component in 2015.
diff --git a/ofl/rubikmonoone/DESCRIPTION.en_us.html b/ofl/rubikmonoone/DESCRIPTION.en_us.html
index c1ccb76c868..c1b75752097 100644
--- a/ofl/rubikmonoone/DESCRIPTION.en_us.html
+++ b/ofl/rubikmonoone/DESCRIPTION.en_us.html
@@ -3,5 +3,5 @@
-Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights.
+Rubik Mono One is a monospaced sister of the Black roman style in the Rubik family, which has 5 weights.
-Rubik One is the initial version of the Black roman style in the Rubik family, which has 5 weights.
-It is paired with Rubik Mono One, a monospaced variation of the design.
+Rubik One is the initial version of the Black roman style in the Rubik family, which has 5 weights.
+It is paired with Rubik Mono One, a monospaced variation of the design.
Rye's bold attention getting shapes are useful for advertising. Rye is a medium contrast design inspired by posters using wood type. It gives off a feeling of the American West. It is suitable for use in medium to large sizes including headlines. This font was made specifically to be web type.
-Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts.
+Sahitya is a Devanagari typeface family based on the Latin Alegreya fonts.
It was designed to match the style and feel of the original Latin characters.
Juan Pablo del Peral designed the Latin, and led the design of the Devanagari with Sol Matas.
Sarala is a Devanagari typeface family designed by Andrés Torresi and Carolina Giovagnoli for HT Fonts.
- It is based on the original Latin typeface Telex, a sans
+ It is based on the original Latin typeface Telex, a sans
serif typeface for text.
Sarina is a display typeface with brush style letterforms. Sarina's medium contrast and wide setting offers a casual breezy feeling. Sarina is appropriate for medium to larger sizes.
-Sawarabi Gothic (さわらびゴシック) is a Japanese font by mshio.
+Sawarabi Gothic (さわらびゴシック) is a Japanese font by mshio.
Carefully designed for high legibility, it works well in small text sizes.
It already has many hiragana, katakana, ruled lines, and so on, but it does not yet have enough kanji glyphs.
Only 4,469 kanji are available in this version, and the project is under active development.
diff --git a/ofl/sawarabimincho/DESCRIPTION.en_us.html b/ofl/sawarabimincho/DESCRIPTION.en_us.html
index cbbce7fbe46..591f11c5c6a 100644
--- a/ofl/sawarabimincho/DESCRIPTION.en_us.html
+++ b/ofl/sawarabimincho/DESCRIPTION.en_us.html
@@ -1,6 +1,6 @@
- Sawarabi Mincho (さわらび明朝) is a Japanese font by mshio. With a delicate and beautiful design, it is suitable for text and headline usage. It already has many hiragana, katakana, ruled lines, and so on, and this version includes 3297 kanji glyphs. There is also another related family, Sawarabi Gothic.
+ Sawarabi Mincho (さわらび明朝) is a Japanese font by mshio. With a delicate and beautiful design, it is suitable for text and headline usage. It already has many hiragana, katakana, ruled lines, and so on, and this version includes 3297 kanji glyphs. There is also another related family, Sawarabi Gothic.
- To contribute to the project, visit osdn.net/projects/sawarabi-fonts/
+ To contribute to the project, visit osdn.net/projects/sawarabi-fonts/
diff --git a/ofl/sedan/DESCRIPTION.en_us.html b/ofl/sedan/DESCRIPTION.en_us.html
index 5902e3360a5..255fa7ba5c7 100644
--- a/ofl/sedan/DESCRIPTION.en_us.html
+++ b/ofl/sedan/DESCRIPTION.en_us.html
@@ -5,11 +5,11 @@
Sedan embodies the enduring allure of Garalde designs in publishing.
-
+
Sedan SC
is also available, a small caps sister family next to the Roman and Italic
-
+
Sedan
.
diff --git a/ofl/sedansc/DESCRIPTION.en_us.html b/ofl/sedansc/DESCRIPTION.en_us.html
index 819401cea36..44b44e4237a 100644
--- a/ofl/sedansc/DESCRIPTION.en_us.html
+++ b/ofl/sedansc/DESCRIPTION.en_us.html
@@ -4,7 +4,7 @@
Its versatility makes it ideal for various print materials, from magazines to scholarly journals, ensuring text remains inviting and accessible while exuding classic charm.
Sedan embodies the enduring allure of Garalde designs in publishing.
-
Check out the classic Sedan family, with a Regular and Italic styles.
+
Check out the classic Sedan family, with a Regular and Italic styles.
To contribute, see
diff --git a/ofl/sevillana/DESCRIPTION.en_us.html b/ofl/sevillana/DESCRIPTION.en_us.html
index f7b0074373c..0dd92fcbd9b 100644
--- a/ofl/sevillana/DESCRIPTION.en_us.html
+++ b/ofl/sevillana/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia.
Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable.
Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc.
Sevillana is named after a folk music style widespread in Seville (Andalusia) in Spain. The typeface is inspired by the lettering of commemorative plates which can be seen on house walls in Andalusia.
Those ceramic plates are handmade and each one is unique. Individual handwriting may vary but the style is always recognizable.
Sevillana is a generalized character based on that diversity, a headline typeface that can be used in middle and large sizes, it can be used for restaurant menus, concert posters, different kinds of signage etc.
Designed by Olga Umpeleva for Brownfox. To contribute to the project contact Gayaneh Bagdasaryan.
\ No newline at end of file
diff --git a/ofl/seymourone/DESCRIPTION.en_us.html b/ofl/seymourone/DESCRIPTION.en_us.html
index e9273d224ac..8b2d6d0bc0a 100644
--- a/ofl/seymourone/DESCRIPTION.en_us.html
+++ b/ofl/seymourone/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
Seymour One is derived from the earlier webfont
-Sigmar One,
+Sigmar One,
but the forms have also been influenced by late nineteenth and early twentieth
century British sans-serif typefaces. The result is a display face that is
ideal for bold, unpretentious, and slightly playful display typography.
diff --git a/ofl/share/DESCRIPTION.en_us.html b/ofl/share/DESCRIPTION.en_us.html
index 59a0723e118..f94265cc2e1 100644
--- a/ofl/share/DESCRIPTION.en_us.html
+++ b/ofl/share/DESCRIPTION.en_us.html
@@ -1,3 +1,3 @@
Share is a sans serif family. There are two more related families,
-Share Tech and
-Share Tech Mono.
\ No newline at end of file
+Share Tech and
+Share Tech Mono.
\ No newline at end of file
diff --git a/ofl/sharetech/DESCRIPTION.en_us.html b/ofl/sharetech/DESCRIPTION.en_us.html
index ecd27becec8..dad591e4755 100644
--- a/ofl/sharetech/DESCRIPTION.en_us.html
+++ b/ofl/sharetech/DESCRIPTION.en_us.html
@@ -1,4 +1,4 @@
Share Tech is a sans serif, based on the
-Share family.
+Share family.
There is also
-Share Tech Mono.
\ No newline at end of file
+Share Tech Mono.
\ No newline at end of file
diff --git a/ofl/sharetechmono/DESCRIPTION.en_us.html b/ofl/sharetechmono/DESCRIPTION.en_us.html
index 1f4f703d925..08ed39ffe6d 100644
--- a/ofl/sharetechmono/DESCRIPTION.en_us.html
+++ b/ofl/sharetechmono/DESCRIPTION.en_us.html
@@ -1,6 +1,6 @@
-Share Tech Mono is a monospaced sans serif, based on the Share family.
-There is also Share Tech, a proportionally spaced version.
+Share Tech Mono is a monospaced sans serif, based on the Share family.
+There is also Share Tech, a proportionally spaced version.
Short Stack is a low contrast semi-geometric typeface inspired by childish written letters. Short Stack is sturdy, and clear but also whimsical and fun. Short Stack works well from medium text sizes to larger display sizes.
-Sitara is a Devanagari and Latin typeface family, with swift strokes and delicate terminals that flare to a sharp point.
+ Sitara is a Devanagari and Latin typeface family, with swift strokes and delicate terminals that flare to a sharp point.
-The Devanagari glyphs are designed by Neelakash Kshetrimayum.
-The Latin is from Steve Matteson at Monotype, originally published as Droid Serif.
+ The Devanagari glyphs are designed by Neelakash Kshetrimayum. The Latin is from Steve Matteson at Monotype, originally published as Droid Serif.
-This project is led by Neelakash Kshetrimayum, a type designer based in New Delhi, India, who designs contemporary Indian typeface families.
-To contribute, see github.com/Neelakash/sitara
+ This project is led by Neelakash Kshetrimayum, a type designer based in New Delhi, India, who designs contemporary Indian typeface families.
+
Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name.
+
Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 13px, and Slabo 27px. Each font in the collection is fine-tuned for use at the pixel size in its name.
The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.
Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name.
+
Slabo is a collection of size-specific fonts for use in online advertising and other web uses. The collection currently includes this font, Slabo 27px, and Slabo 13px. Each font in the collection is fine-tuned for use at the pixel size in its name.
The Slabo project is led by Tiro Typeworks, a type design foundry based in Canada. To contribute, see Slabo on GitHub.
diff --git a/ofl/snowburstone/DESCRIPTION.en_us.html b/ofl/snowburstone/DESCRIPTION.en_us.html
index f3806792aa9..fbd3959e6df 100644
--- a/ofl/snowburstone/DESCRIPTION.en_us.html
+++ b/ofl/snowburstone/DESCRIPTION.en_us.html
@@ -7,6 +7,5 @@
forms Snowburst is highly legible. Readers are likely to be both surprised and
entertained by its unusual but friendly forms.
-
Sonsie One is a heavy, medium contrast, large x-height script font. It was inspired by hand painted signs seen in Munich. Sonsie One improves on its sources by adding warmth, smoother flow and of touch of funkiness. Sonsie One is best used for display purposes at medium to large sizes.
Souliyo is a Unicode Font for the Lao language, used in the Lao People's
-Democratic Republic. It was designed by Souliyo
-Vongdala with OpenType engineering support from Danh Hong.
\ No newline at end of file
+Democratic Republic. It was designed by Souliyo
+Vongdala with OpenType engineering support from Danh Hong.
\ No newline at end of file
diff --git a/ofl/sourceserif4/DESCRIPTION.en_us.html b/ofl/sourceserif4/DESCRIPTION.en_us.html
index 44eed2eefb3..70c42989fbe 100644
--- a/ofl/sourceserif4/DESCRIPTION.en_us.html
+++ b/ofl/sourceserif4/DESCRIPTION.en_us.html
@@ -1,5 +1,5 @@
-Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans 3 family.
+Source Serif 4 is a serif typeface in the transitional style, designed to complement the Source Sans 3 family.
The close companionship of Serif and Sans is achieved by a careful match of letter proportions and typographic color.
Source Serif is loosely based on the work of Pierre Simon Fournier, and many idiosyncrasies typical to Fournier’s designs (like the bottom serif on the b or the middle serif on the w) are also found in Source Serif.
Without being a pure historical revival, Source Serif takes cues from Fournier and reworks them for a modern age.
diff --git a/ofl/spinnaker/DESCRIPTION.en_us.html b/ofl/spinnaker/DESCRIPTION.en_us.html
index a61a77e4616..9efdc3d6e24 100644
--- a/ofl/spinnaker/DESCRIPTION.en_us.html
+++ b/ofl/spinnaker/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Spinnaker is based on French and UK lettering found on posters for travel by ship. Spinnaker is a low contrast and slightly wide Sans Serif design. It has a whimsy youthful sense of play to offer, in addition to the expected utility that a sans design commonly offers. Spinnaker is suitable for use in medium to large sizes.
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/spirax/DESCRIPTION.en_us.html b/ofl/spirax/DESCRIPTION.en_us.html
index c61f5059bf3..af045a0e39b 100644
--- a/ofl/spirax/DESCRIPTION.en_us.html
+++ b/ofl/spirax/DESCRIPTION.en_us.html
@@ -5,8 +5,6 @@
and original curves. It can be used for headlines and shorter texts. Spirax is
cute at all sizes!
\ No newline at end of file
diff --git a/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html b/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html
index c1e5fd7691f..83863d337d5 100644
--- a/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html
+++ b/ofl/sreekrushnadevaraya/DESCRIPTION.en_us.html
@@ -4,7 +4,7 @@
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One.
+The Latin is designed by Joana Correia da Silva for Sorkin Type Co, a type foundry in Boston USA, and originally published as Cantata One.
The Sree Krushnadevaraya project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle.
Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.
\ No newline at end of file
+
Stint Ultra Condensed is an ultra condensed square serif typestyle developed based on the letterforms of the Syncopate Family. While Syncopate boasts extra wide unicase forms, Stint Ultra Condensed goes in the exact opposite direction, featuring narrow letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Expanded typestyle.
Highly legible even in this ultra condensed form, Stint Ultra Condensed is a perfect font for getting in as much information as possible into limited realty websites and designs.
\ No newline at end of file
diff --git a/ofl/stintultraexpanded/DESCRIPTION.en_us.html b/ofl/stintultraexpanded/DESCRIPTION.en_us.html
index 195aba24106..5419fb80ce8 100644
--- a/ofl/stintultraexpanded/DESCRIPTION.en_us.html
+++ b/ofl/stintultraexpanded/DESCRIPTION.en_us.html
@@ -1 +1 @@
-
Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle.
Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern.
Stint Ultra Expanded is an ultra expanded square serif typestyle developed based on the letterforms of the Syncopate Family. Syncopate boasts extra wide unicase forms, and Stint Ultra Expanded follows this direction, featuring wide letterforms of both the capital and lowercase varieties. This is the opposite of the Stint Ultra Condensed typestyle.
Highly legible and matching the Syncopate family width, Stint Ultra Expanded is a perfect font for powerful headlines and copy when realty on websites and designs is less of a concern.
\ No newline at end of file
diff --git a/ofl/stoke/DESCRIPTION.en_us.html b/ofl/stoke/DESCRIPTION.en_us.html
index 045a9904e6c..afaef2ff9ad 100644
--- a/ofl/stoke/DESCRIPTION.en_us.html
+++ b/ofl/stoke/DESCRIPTION.en_us.html
@@ -4,6 +4,5 @@
Stoke is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. More specifically, this release supports the following Unicode ranges: Latin-1, Latin-2: Eastern Europe, Turkish, Macintosh Character Set.
Stoke was updated in July 2012 with a slightly darker regular weight to allow ttfautohint to create high quality hinting for Windows. The optimization of the design for screen rendering involved changes to glyph sizes, letter spacing, and serif where bends were reduced to solve rendering problem in Windows XP. The character set was also expanded.
Supermercado One is a low contrast semi geometric typeface inspired by naive industrial letters. Supermercado One is not a typical mechanical sans because it incorporates unexpected swashes, especially in its capitals. Supermercado One is surprisingly versatile: it is certainly quite distinctive when set at larges sizes but it can also work at fairly small sizes and in blocks of text.
-Sura is a Devanagari typeface family designed by Carolina Giovagnoli.
-It is based on the original Latin typeface Andada, a serif typeface for text.
+ Sura is a Devanagari typeface family designed by Carolina Giovagnoli. It is based on the original Latin typeface Andada, a serif typeface for text.
-Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast.
-This font has received an award at the 2010 Ibero-America Design Biennial.
-The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela.
+ Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast. This font has received an award at the 2010 Ibero-America Design Biennial. The Biennial was shown in Spain, Argentina, Chile, El Salvador, Uruguay, Bolivia, Colombia and Venezuela.
-The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina.
-To contribute, see github.com/CaroGiovagnoli/sura
-
\ No newline at end of file
+ The Sura project is led by Carolina Giovagnoli, a type designer based in Argentina. To contribute, see github.com/CaroGiovagnoli/sura
+
diff --git a/ofl/suranna/DESCRIPTION.en_us.html b/ofl/suranna/DESCRIPTION.en_us.html
index 8fa41d07aa5..ca14cfebe66 100644
--- a/ofl/suranna/DESCRIPTION.en_us.html
+++ b/ofl/suranna/DESCRIPTION.en_us.html
@@ -5,7 +5,7 @@
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata.
+The Latin is designed by Cyreal, a type foundry in Moscow Russia, and originally published as Prata.
The Suranna project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/suranna
The Telugu is designed and developed by Purushoth Kumar Guttula in 2013 and made available by Silicon Andhra under the SIL Open Font License v1.1.
-The Latin is designed by Vernon Adams and originally published as Tienne.
+The Latin is designed by Vernon Adams and originally published as Tienne.
The Suravaram project is led by Appaji Ambarisha Darbha, a type designer based in Hyderabad, India.
To contribute, see github.com/appajid/suravaram
diff --git a/ofl/tauri/DESCRIPTION.en_us.html b/ofl/tauri/DESCRIPTION.en_us.html
index 924393c3602..6097cc8ec02 100644
--- a/ofl/tauri/DESCRIPTION.en_us.html
+++ b/ofl/tauri/DESCRIPTION.en_us.html
@@ -6,7 +6,6 @@
enough subtle detail to be used at large sizes as well if it is more tightly
spaced.
-
Source files are available from Google Code.
To contribute to the project contact Eben Sorkin.
diff --git a/ofl/tharlon/DESCRIPTION.en_us.html b/ofl/tharlon/DESCRIPTION.en_us.html
index 9749f5a99a9..1ff66982ae1 100644
--- a/ofl/tharlon/DESCRIPTION.en_us.html
+++ b/ofl/tharlon/DESCRIPTION.en_us.html
@@ -9,7 +9,7 @@
a Myanmar Unicode font, and it works well on GNU+Linux, Windows, iOS
and Mac OS X. It builds on Sai Zin
Di Di Zone's Yunghkio, and
-Arimo.
\ No newline at end of file
+www.tharlon.org.
\ No newline at end of file
diff --git a/ofl/trykker/DESCRIPTION.en_us.html b/ofl/trykker/DESCRIPTION.en_us.html
index 13efb8160dd..1ce65ea4393 100644
--- a/ofl/trykker/DESCRIPTION.en_us.html
+++ b/ofl/trykker/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Trykker is a high contrast serifed text face. Trykker has a pleasant old fashioned elegance derived from on 16th century text faces. Trykker can be used from small sizes to larger display settings.
Vast is a Victorian slab serif advertising type. Vast has a feeling of sturdy solidity combined with just a little bit of refinement. Because Vast Shadow has a thin shadow that won't display well at small sizes we recommend that you use it from 32px and larger.
Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.
\ No newline at end of file
+
Waiting for the Sunrise is based on the handwriting of a high school student. The title comes from the song Lift Me Up by The Afters. Although this font was created during a time of darkness in my life, it is a cheery, perky font. It is a reminder to me of the joy that comes after mourning.
\ No newline at end of file
diff --git a/ofl/wellfleet/DESCRIPTION.en_us.html b/ofl/wellfleet/DESCRIPTION.en_us.html
index 95389e12bb0..0eb728845fa 100644
--- a/ofl/wellfleet/DESCRIPTION.en_us.html
+++ b/ofl/wellfleet/DESCRIPTION.en_us.html
@@ -2,6 +2,5 @@
Wellfleet is a versatile low-contrast slab serif text typeface with a a bouncy and upbeat feeling. It was inspired by German poster lettering. Despite having display letters as a source of inspiration, Wellfleet is functional in a wide range of sizes.
Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful.
+
Wix Madefor is a compact font family of five weights for display setting, and four text weights for use in user interfaces. The text fonts also have matching italics, with shapes rooted in cursive forms, despite the typeface's geometric structure, allowing Wix to have different expressions, from functional to more playful.
The typeface was designed to carry subtle features with an engaging and clean appearance.
diff --git a/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html b/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html
index 1ee2549f6ca..5508d73334e 100644
--- a/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html
+++ b/ofl/yanonekaffeesatz/DESCRIPTION.en_us.html
@@ -8,7 +8,7 @@
and foodstuff packaging and café design around the globe.
In 2009 he reworked much of the typeface and it got published in FontShop’s FontFont Library under the new name FF Kava. You can read more about it in an extensive article by
+ href="https://www.yanone.de/#fonts">FF Kava. You can read more about it in an extensive article by
Yves Peters on FontFeed.
Updated in December 2013 with Cyrillic, designed by Sol Matas and Juan Pablo del Peral at
diff --git a/ofl/yrsa/DESCRIPTION.en_us.html b/ofl/yrsa/DESCRIPTION.en_us.html
index cbe901f4b2b..76795ccda27 100644
--- a/ofl/yrsa/DESCRIPTION.en_us.html
+++ b/ofl/yrsa/DESCRIPTION.en_us.html
@@ -2,12 +2,12 @@
Intended for continuous reading on the web (longer articles in online news, magazines, blogs), Yrsa supports over 92
languages. A special consideration was given to Central and East European languages and proper shaping of their
accents.
-A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of
+A version that also supports 2 languages in the Gujarati script (Gujarati and Kachchi), is available as Rasa. In terms of glyphs included Rasa is a superset of
Yrsa and includes the complete Latin, but in Rasa the Latin may be adjusted to support the primary Gujarati font.
It is a deliberate experiment in remixing existing typefaces:
-The Latin part began with Eben Sorkin's Merriweather.
+The Latin part began with Eben Sorkin's Merriweather.
The Gujarati began with David Březina’s Skolar Gujarati.
diff --git a/ofl/atkinsonhyperlegiblenext/article/ARTICLE.en_us.html b/ofl/atkinsonhyperlegiblenext/article/ARTICLE.en_us.html
index 366523f25f3..d4d5803f655 100644
--- a/ofl/atkinsonhyperlegiblenext/article/ARTICLE.en_us.html
+++ b/ofl/atkinsonhyperlegiblenext/article/ARTICLE.en_us.html
@@ -14,7 +14,7 @@