Двора на кирилицата

Traditional Cyrillic. Free Fonts | Традиционна кирилица. Безплатни шрифтове


 

AC Line

AC Line

AC Line — технический гротеск, состоящий только из прописных букв. Шрифт содержит латиницу, кириллицу, множество необходимых знаков, а также дополнительный глиф: новый знак рубля. Распространяется шрифт бесплатно.
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Andika

Andika

Andika is a sans serif, Unicode-compliant font designed especially for literacy use, taking into account the needs of beginning readers. The focus is on clear, easy-to-perceive letterforms that will not be readily confused with one another.
Starting with an initial draft of a basic lowercase Latin alphabet by Victor Gaultney, Annie Olsen refined the design and added over 4,700 glyphs, including a complete extended Cyrillic set.
A sans serif font is preferred by some literacy personnel for teaching people to read. Its forms are simpler and less cluttered than those of most serif fonts. For years, literacy workers have had to make do with fonts that were not really suitable for beginning readers and writers. In some cases, literacy specialists have had to tediously assemble letters from a variety of fonts in order to get all of the characters they need for their particular language project, resulting in confusing and unattractive publications. Andika addresses those issues.
One font from this typeface family is included in this release, Andika Regular. A future release will include Italic, Bold and Bold-Italic.
Read more at scripts.sil.org/Andika.
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Anka Coder

AnkaCoder

The Anka/Coder family is a monospaced, courier-width font for source code and terminals, in two styles and weights.

Design: Andrey Makarov

Andrey Makarov on Behance

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Anonymous Pro

Anonymous Pro

Anonymous Pro is a family of four fixed-width fonts designed especially with coding in mind. Characters that could be mistaken for one another (O, 0, I, l, 1, etc.) have distinct shapes to make them easier to tell apart in the context of source code.
Anonymous Pro also features an international, Unicode-based character set, with support for most Western and European Latin-based languages, Greek, and Cyrillic. It also includes special „box drawing“ characters for those who need them.
While Anonymous Pro looks great on Macs and Windows PCs with antialiasing enabled, it also includes embedded bitmaps for specific pixel sizes („ppems“ in font nerd speak) for both the regular and bold weight. (Since slanted bitmaps look pretty bad and hard to read at the supported sizes, I chose to use the upright bitmaps for the italics as well.) Bitmaps are included for these ppems: 10, 11, 12, and 13. See the usage notes below for info on what point sizes these ppems correspond to on Mac and Windows.
Anonymous Pro is based on an earlier font, Anonymous™, which was my TrueType version of Anonymous 9, a freeware Macintosh bitmap font developed in the mid-’90s by Susan Lesch and David Lamkins. The bitmap version was intended as a more legible alternative to Monaco, the fixed-width Macintosh system font.
Anonymous Pro differs from Anonymous™ and Anonymous 9 in a few key characters. While the earlier fonts had a one-story lowercase „a“ like Monaco, Anonymous Pro features a two-story lowercase „a“ to help distinguish it from the „o“. In the earlier fonts, the slashed zero, designed to look different than the capital „O“, goes the „wrong“ way compared to most fonts that have this feature. Susan and David did this intentionally to distinguish it from the slashed capital „Ø“ used in some languages. Some people thought this looked odd, so I put it the „right“ way, and distinguish it from the „Ø“ by keeping the slash inside the character.
Another significant change was to adjust the size of the characters in relation to the point size. Anonymous™ was approximately two sizes larger than comparable fonts at the same point size. This was in keeping with the old Monaco font, but can be annoying when switching between fonts. Anonymous Pro has been adjusted so that it appears about the same size as comparable fonts set at the same point size. If you have been using Anonymous™, you will need to increase the point size to get the same appearance.
Finally, unlike Anonymous™, Anonymous Pro is available in one universal TrueType format that will work on Mac OS X, Windows, and GNU/Linux.
Design: Mark Simonson
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Arimo

Arimo is a part of the Chrome OS core fonts. The Chrome OS core fonts, also known as the Croscore fonts, are a collection of three TrueType font families: Arimo (sans-serif), Tinos (serif) and Cousine (monospace). These fonts are metrically compatible with Monotype Corporation’s Arial, Times New Roman, and Courier New, the most commonly used fonts on Microsoft Windows operating system, for which they are intended as open-source substitutes.
Google licenses these fonts from Ascender Corporation under the Apache License 2.0.
The fonts were originally developed by Steve Matteson as Ascender Sans and Ascender Serif, and were also the basis for the Liberation fonts licensed by Red Hat under another open source license. In July 2012, version 2.0 of the Liberation fonts, based on the Croscore fonts, was released under the SIL Open Font License.
Arimo was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Arial™. Arimo offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.
Updated in May 2013 with improved hinting and released under the Apache 2.0 license.
Design: Steve Matteson

Liberation vs Croscore fonts

Font name Metrically Compatible Glyph
Count
Character
Count
Full Suppport Fragmentary Support
Liberation Sans Arial 681 667 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Romanian, Turkish, Western European Pan African Latin
Liberation Serif Times New Roman 672 666 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Romanian, Turkish, Western European Pan African Latin
Liberation Mono Courier New 674 662 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Romanian, Turkish, Western European Pan African Latin
Arimo (Sans) Arial 2584 2302 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Hebrew, Igbo Onwu, IPA, Pan African Latin, Pinyin, Polytonic Greek, Romanian, Turkish, Venda, Vietnamese, Western European Archaic Greek Letters, Coptic
Cousine (Monospace) Courier New 2385 2274 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Hebrew, Igbo Onwu, IPA, Pan African Latin, Pinyin, Polytonic Greek, Romanian, Turkish, Venda, Vietnamese, Western European Archaic Greek Letters, Coptic
Tinos (Serif) Times New Roman 2573 2303 Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Euro, Hebrew, Igbo Onwu, IPA, Pan African Latin, Pinyin, Polytonic Greek, Romanian, Turkish, Venda, Vietnamese, Western European Archaic Greek Letters, Coptic

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Average Mono

Average Mono

Average Mono is an average of thirteen different fonts which are all derivatives of the public domain „Courier“ typeface. Or, rather, a subset of the Western Latin characters in it, minus punctuation, are thus. Everything else is imported wholesale from the GNU Free Mono typeface. It is released under the GNU General Public License, which permits reusing or creating derivative works of this typeface for any purpose, provided that a copy of the full text of the GNU General Public License is provided with every redistribution or derivative work.

Design: Richard Alexander Hall

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Azoft Sans

Azoft Sans

A new slightly widish typeface for stable and confident person. It’s a versatile font clean and easy to read. Try it! Bold is Perfect for publishing and corporate branding. Practical and good-looking typeface. Azoft Sans features many different stylistic sets, allowing for personalization. Enjoy and feel free to use it commercial projects as well. Feel free to express yourself. Show your individuality with new Azoft Sans Italic Bold.
© 2011 Sergiy S. Tkachenko / 4th february© 2011 Azoft.com
http://creativecommons.org/licenses/by-nc-nd/3.0
http://creativecommons.org/licenses/by-nc-nd/3.0/deed.ru

Design: Sergiy S. Tkachenko

Sergiy S. Tkachenko on Behance

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Bebas Neue

Bebas Neue

Bebas Neue is a sans serif font family based on the original Bebas Neue free font by Ryoichi Tsunekawa. It has grown in popularity and become something like the “Helvetica of the free fonts”.
Now the family has four new members – Thin, Light, Book, and Regular – added by Fontfabric Type Foundry.
The new weights stay true to the style and grace of Bebas with the familiar clean lines, elegant shapes, a blend of technical straightforwardness and simple warmth which make it uniformly proper for web, print, commerce and art.
Originally designed by Ryoichi Tsunekawa, Flat-It Type Foundry.
Design: Flat-it
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Fonts in Use

 

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Blogger Sans

Blogger Sans

Blogger Sans was designed by Sergiy Tkachenko as the FirstSiteGuide’s custom typeface, created primarily for the use in headlines of the website. Blogger Sans draws inspiration from the clarity and legibility of the popular font Dosis with the additional support of the lost Cyrillic languages. The bolder weights are lighter and softer. The following elements (-b-d-h-k-p-q-y-) are shorter, thus the headlines and subheads could be put in the dense line spacing. In addition the outline of the Blogger Sans is more smooth with better eligibility.
Number of glyphs 547 and kerning pairs 2496 to expanded the number of supporting languages.
Supporting languages: Albanian, Basque, Belarusian, Bosnian, Breton, Bulgarian, Catalan, Croatian, Cyrillic, Czech, Danish, Dutch, Esperanto, Estonian, Faroese, Finnish, French, Frisian, Galician, German, Hungarian, Icelandic, Italian, Lithuanian, Malagasy, Maltese, Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian, Welsh (and more).
Blogger Sans comes in 4 incremental weights with total of 8 different outlines.
Since Blogger Sans supports Cyrillic, it supports regional features for Bulgarian and Serbian (partially) languages.
It also contains extra currency symbols, error signs, and dingbats.
Design: Sergiy S. Tkachenko
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Bully

Bully

In 2008, Ivan Gladkikh started the Free fonts project aiming to make free typography more popular. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Many of those fonts, such as Cuprum, Philosopher, Molot, Bender, Flow, and Neucha, may now be seen all over the world in some very surprising and unexpected places. In 2014, some projects of the TypeType company have joined the Free fonts project, along with the TypeType School students’ graduation works that were created in the course of face-to-face and online learning process under the School’s art-director supervision. Bully is a part of this project.
Design: Aigul Gilmutdinova
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Cantarell

Cantarell

The Cantarell typeface family is a contemporary Humanist sans serif, and is used by the GNOME project for its user interface and the Fedora project.
Cantarell was originally designed by Dave Crossland as part of his coursework for the MA Typeface Design programme at the Department of Typography in the University of Reading, England. Dave was motivated to undertake a study of typeface design because he believes it is essential that when we use digital tools, our freedom to use, understand, modify and share these tools is respected. Otherwise, when the tool does not work in the way that we need, we will be unable to fix it. These fonts are developed using only such „libre“ software, mainly FontForge.
Cantarell was originally aimed at on-screen reading in a specific use-case and environment: reading web pages on an HTC Dream mobile phone.
That device was the first to ship with Google Android, and came installed with a web browser that supported the exciting web fonts feature known as @font-face. As Dave’s very first typeface design, the typeface has many faults, yet he asserts it achieves his goal of improving readability on this device.
Since the design is aimed at display on-screen at small sizes, the printed output (especially of the bold and oblique) may not work well. Fonts tuned to the needs of printing will be developed in the future.
The fonts were initially published on the 6th of July 2009 on Dave Crossland’s foundry website under the terms of the GNU General Public License version 3. In May 2010 the fonts were republished through Google Web Fonts under the terms of the SIL Open Font License version 1.1. In November 2010 the project became part of the GNOME project and is now under active development by the GNOME design community.

Design: Dave Crossland

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Fonts in Use

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Carlito

Carlito

Carlito (Google’s Carlito font, google-crosextrafonts-carlito) is a modern, friendly sans-serif font, metric-compatible with Microsoft Fonts Calibri font. Carlito comes in regular, bold, italic, and bold italic. The family covers Latin-Greek-Cyrillic (not a complete set, though) with about 2,000 glyphs. It has the same character coverage as Microsoft Fonts Calibri. This font is sans-serif typeface family based on Lato. Carlito is a default Calibri font replace in the LibreOffice Suite. Package home download: Version Info: 1.103; Beta1 (all basic design good, some composites may be off;; ttfautohint (v0.96) -l 8 -r 50 -G 200 -x 0 -w „G“ -W -f).
Design: Lukasz Dziedzic
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Caviar Dreams

Caviar Dreams

Free for personal use & commercial use. Donations always appreciated 🙂 🙂
Made corrections and additions to Cyrillic.
Design: Lauren Thompson
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Charis SIL

Charis SIL

The design of the basic character set of Charis SIL is similar (but not identical) to Bitstream Charter, designed by Matthew Carter.
Design: SIL International
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Clear Sans

Clear Sans

Clear Sans is a versatile OpenType font for screen, print, and Web. We designed Clear Sans with on-screen legibility and glanceability in mind. It strikes a balance between contemporary, professional, and stylish expression and thoroughly functional purpose. It has a sophisticated and elegant personality at all sizes, and its thoughtful design becomes even more evident at the thin weight.
Clear Sans has minimized, unambiguous characters and slightly narrow proportions, making it ideal for UI design. Its strong, recognizable forms avoid distracting ambiguity, making Clear Sans comfortable for reading short UI labels and long passages in both screen and print.
Clear Sans supports a wide range of languages using Latin, Cyrillic, and Greek scripts. The font family includes Medium, Regular, Thin, and Light weights with upright, italic, and bold styles.
Design: Intel
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Fonts in Use

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CMU Serif

CMU Serif
CMU Serif

CMU Serif, the main Computer Modern font family. Computer Modern is a super-family of typefaces designed by Donald Knuth for the TeX typesetting system. This package was compiled by Christian Perfect (http://checkmyworking.com) from the Computer Modern Unicode fonts created by Andrey V. Panov (http://cm-unicode.sourceforge.net/).
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Comic Relief

Comic Relief

Comic Relief is a typeface designed to be metrically equivalent to the popular Comic Sans MS. Comic Relief can be used in place of Comic Sans MS without having to move, resize, or reset any part of the copy. Comic Relief is freely available via loudifier.com/comic-relief as a .ttf, FontForge .sfd project, and as a web-ready @font-face kit. It is copylefted using the SIL Open Font License, so feel free to use it, modify it, or embed it as you see fit.
Design: Jeff Davis
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Cousine

Cousine

Cousine is a part of the Chrome OS core fonts. The Chrome OS core fonts, also known as the Croscore fonts, are a collection of three TrueType font families: Arimo (sans-serif), Tinos (serif) and Cousine (monospace). These fonts are metrically compatible with Monotype Corporation’s Arial, Times New Roman, and Courier New, the most commonly used fonts on Microsoft Windows operating system, for which they are intended as open-source substitutes.
Google licenses these fonts from Ascender Corporation under the Apache License 2.0.
The fonts were originally developed by Steve Matteson as Ascender Sans and Ascender Serif, and were also the basis for the Liberation fonts licensed by Red Hat under another open source license. In July 2012, version 2.0 of the Liberation fonts, based on the Croscore fonts, was released under the SIL Open Font License.
Cousine was designed by Steve Matteson as an innovative, refreshing sans serif design that is metrically compatible with Courier New™. Cousine offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.
Design: Steve Matteson
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Cuprum

Cuprum

Cuprum was created in 2006 based on the works Miles Newlyn. Cuprum is a narrow grotesque. It is quite versatile. Mostly how it is now, I do not like myself, because as time passed and since then I have learned to make fonts much better. An interesting history of the appearance of his name: Cuprum is copper, not gold or silver. Copper is too noble, but it is much cheaper and copper is not used for medals – only pots.
Design: Jovanny Lemonad
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DejaVu Sans

DejaVu Sans

This is version 2.29.
The DejaVu fonts are a font family based on the Bitstream Vera Fonts (http://gnome.org/fonts/). Its purpose is to provide a wider range of characters (see status.txt for more information) while maintaining the original look and feel.
DejaVu fonts are based on Bitstream Vera fonts version 1.10.
Design: DejaVu Fonts
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DejaVu Sans Mono

DejaVu Sans Mono

This is version 2.29.
The DejaVu fonts are a font family based on the Bitstream Vera Fonts (http://gnome.org/fonts/). Its purpose is to provide a wider range of characters (see status.txt for more information) while maintaining the original look and feel.
DejaVu fonts are based on Bitstream Vera fonts version 1.10.
Design: DejaVu Fonts
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DejaVu Serif

DejaVu Serif

This is version 2.29.
The DejaVu fonts are a font family based on the Bitstream Vera Fonts (http://gnome.org/fonts/). Its purpose is to provide a wider range of characters (see status.txt for more information) while maintaining the original look and feel.
DejaVu fonts are based on Bitstream Vera fonts version 1.10.
Design: DejaVu Fonts
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Didact Gothic

Didact Gothic

Didact Gothic is an open-source font by Daniel Johnson. Didact Gothic is a sans-serif font designed to present each letter in the form most often used in elementary classrooms. This makes it suitable for literacy efforts. This is version 2.101.
Design: Daniel Johnson
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Evolventa

Evolventa is a Cyrillic extension of the open-source URW Gothic L font family. It has a familiar geometric sans-serif design and includes four faces. The fonts are available under two licenses: GPLv2 and LPPL. Website: https://evolventa.github.io/.
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Exo 2

Exo 2

Inspired by his early typography classes, Natanael decided to start experimenting with fonts and hasn’t stopped since. He is the designer of Exo and Cinzel, two very popular web font families. Even though play has become work for Natanael, he still enjoys designing fonts. You can discover more about his work at http://www.ndiscovered.com.
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.
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Fantasque Sans Mono

Fantasque Sans Mono

A programming font, designed with functionality in mind, and with some wibbly-wobbly handwriting-like fuzziness that makes it unassumingly cool. Development hosted on Github: https://github.com/belluzj/fantasque-sans.
Design: Jany Belluz
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Fira Code

Fira Code
Fira Code

Fira Code is an extension of the Fira Mono font containing a set of ligatures for common programming multi-character combinations. This is just a font rendering feature: underlying code remains ASCII-compatible. This helps to read and understand code faster. For some frequent sequences ligatures allow us to correct spacing.

Design: Nikita Prokopov

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Fira Mono

Fira Mono

Designed to integrate with the character of the FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in a Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes this Mono Spaced variant with 3 weights (Regular, Medium, Bold.) See the Mozilla FirefoxOS Style Guide for more details.
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Fonts in Use

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Fira Sans

Fira Sans

Designed to integrate with the character of the OS, the Fira Sans typeface also aims to cover the legibility needs for a large range of handsets varying in screen quality and rendering. When working with Fira Sans it is recommended that micro font sizes that fall below our guidelines are avoided. See http://www.mozilla.org/en-US/styleguide/products/firefox-os/typeface/ for more details.
The Fira font family comes in the Sans Serif with 4 weights (Light, Regular, Medium and Bold) all accompanied by italic styles. The package also includes the Mono Spaced variant with 2 weights (Regular, Medium Bold.) and a Condensed variant with 32 styles.
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Fonts in Use

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Fira Sans Condensed

Fira Sans Condensed

Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see Github.
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Fira Sans Extra Condensed

Fira Sans Extra Condensed

Designed to integrate with the character of the Mozilla FirefoxOS, the Fira typefaces also aim to cover the legibility needs for a large range of handsets varying in screen quality and rendering. The Fira font family comes in 3 widths, all accompanied by italic styles. The package also includes a Mono Spaced variant. This project is led by Carrois, a type foundry based in Berlin. To contribute, see Github.
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Fontin Sans Cyrillic

Fontin Sans Cyrillic

„I’ve designed Fontin Sans to be a suitable sans companion of Fontin. With a nice classical appearance it will be a perfect match. Fontin will be rereleased in OpenType format (soon) as Fontin Semi (with a Bold Italic) to match new metrics an kerning. Be sure to check back once a while.“ (Jos Buivenga)
Design: Jos Buivenga
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Forum

Forum

Forum has antique, classic „Roman“ proportions. It can be used to set body texts and works well in titles and headlines too. It is truly multilingual, with glyphs for Central and Eastern Europe, Baltics, Cyrillic and Asian Cyrillic communities.
Design: Denis Masharov
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Fonts in Use

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Fregat

Fregat
Fregat

Fregat is a sans serif free font in 4 styles.
Design: Vasiliy Shishkin
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Gamestation

Gamestation

Gamestation is a derivative of the SIL Open Font Licensed open source font, Play, by Playtype. There are some different character designs plus many new weights/styles, including both Close (Display) and standard (Text) tracking, plus other new stylized weights.
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Germano

Germano

Germano is based on Open Sans Condensed by Google, with changing to OpenType CFF curves, and adding of a BoldOblique weight. Germano is released under the Apache License v2.0.
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Glametrix

Glametrix

Created by gluk ( gluksza@wp.pl | http://www.glukfonts.pl ) with FontForge.
Design: gluk
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Go

Go

A family of high-quality WGL4 TrueType fonts, created by the Bigelow & Holmes type foundry specifically for the Go project. https://blog.golang.org/go-fonts (https://golang.org/LICENSE). Full Language Support: Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Esperanto, Euro, Romanian, Turkish, Western European.
Design: Kris Holmes and Charles Bigelow, Bigelow & Holmes
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Go Mono

Go Mono

A family of high-quality WGL4 TrueType fonts, created by the Bigelow & Holmes type foundry specifically for the Go project. https://blog.golang.org/go-fonts (https://golang.org/LICENSE). Full Language Support: Afrikaans, Baltic, Basic Cyrillic, Basic Greek, Basic Latin, Catalan, Central European, Dutch, Esperanto, Euro, Romanian, Turkish, Western European.
Design: Kris Holmes and Charles Bigelow, Bigelow & Holmes
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Gravity

Gravity
Gravity

Gravity is a typographic experiment, a new grotesque sans serif designed with balance and large counters.
The typeface uses the „gravity“ as a distinctive, functional and aesthetic feature of the font. The typeface supports Latin and Cyrillic and each file contains 528 glyphs.

Gravity is also my first typeface. Hope you enjoy!
If you like it, please consider making a small donation using the Paypal button and/or take a minute to appreciate it on behance. Thank you!

http://www.behance.net/gallery/Gravity-New-free-font-experiment/3407691

Design: Vincenzo Vuono

Vincenzo Vuono on Behance

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Hack

Hack

Hack is hand groomed and optically balanced to be a workhorse face for code.
It has deep roots in the libre, open source typeface community and expands upon the contributions of the Bitstream Vera & DejaVu projects. The face has been re-designed with a larger glyph set, modifications of the original glyph shapes (including distinct point styles and semi-bold punctuation weight in the regular set to make analphabetic characters less transparent), and meticulous attention to metrics (including numerous spacing adjustments to improve the rhythm of the face and the legibility of code at small text sizes). The large x-height + wide aperture + low contrast design combined with Type 1 hinting/hint replacement programs and a TrueType instruction set make it highly legible at commonly used source code text sizes with a sweet spot that runs in the 8px – 12px range on modern desktop and laptop monitors. Combine it with an HD monitor and you can comfortably work at 6 or 7px sizes.
Design: Chris Simpkins
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Hagin

Hagin

Hagin is a new serif free font from Fontfabric constructed with strong geometric forms in “old school” style. Applicable for any type of graphic design – web, print, motion graphics etc and perfect for t-shirts and other items like posters, logos. “In Use” samples was designed by Miroslav Bekyarov for Fontfabric.
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Heuristica

Heuristica

Heuristica is a font, based on the “Adobe Utopia” font that was released to the TeX Users Group under a liberal license. It is distributed under the terms of SIL Open Font License. Heuristica font family extends the Utopia font family, adding many accented glyphs, Cyrillic glyphs, ligatures, superior and oldstyle fixed-width figures in all styles, and Small Caps in Regular style only.
Design: Andrej Panov
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Inglobal

Made by inglobal.
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Iosevka

Iosevka is a slender monospace sans-serif and slab-serif typeface inspired by Pragmata Pro, M+ and PF DIN Mono, designed to be the ideal font for programming.
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Jura

Jura

„Jura is a family of sans-serif fonts in the Eurostile vein. It was originally inspired by some work I was doing for the FreeFont project in designing a Kayah Li range for FreeMono. I wanted to create a Roman alphabet 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.)“ – Daniel Johnson.
N.B. The Jura family has an unfortunate name clash with Ed Merritt’s Jura serif font, which may be found here.
July 2016 Alexei Vanyashin redesigned Jura as part of Google Fonts Improvement project. This repo contains both legacy v2.26, and the new v.3.

Design: Daniel Johnson

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Kazmann Sans

Kazmann Sans

In 2008, Ivan Gladkikh started the Free fonts project aiming to make free typography more popular. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Many of those fonts, such as Cuprum, Philosopher, Molot, Bender, Flow, and Neucha, may now be seen all over the world in some very surprising and unexpected places. In 2014, some projects of the TypeType company have joined the Free fonts project, along with the TypeType School students’ graduation works that were created in the course of face-to-face and online learning process under the School’s art-director supervision. Kazmann Sans is a part of this project.
Design: Fasenda Biserova
Download link | Препратка за сваляне
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Lato

Lato

Lato is a sans serif typeface family started in the summer of 2010 by Warsaw-based designer Łukasz Dziedzic (“Lato” means “Summer” in Polish). In December 2010 the Lato family was published under the Open Font License by his foundry tyPoland, with support from Google.
In the last ten or so years, during which Łukasz has been designing type, most of his projects were rooted in a particular design task that he needed to solve. With Lato, it was no different. Originally, the family was conceived as a set of corporate fonts for a large client — who in the end decided to go in different stylistic direction, so the family became available for a public release.
When working on Lato, Łukasz tried to carefully balance some potentially conflicting priorities. He wanted to create a typeface that would seem quite “transparent” when used in body text but would display some original traits when used in larger sizes. He used classical proportions (particularly visible in the uppercase) to give the letterforms familiar harmony and elegance. At the same time, he created a sleek sans serif look, which makes evident the fact that Lato was designed in 2010 — even though it does not follow any current trend.
The semi-rounded details of the letters give Lato a feeling of warmth, while the strong structure provides stability and seriousness. “Male and female, serious but friendly. With the feeling of the Summer,” says Łukasz. Learn more at www.latofonts.com
Design: Łukasz Dziedzic
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Fonts in Use

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Liberation Sans

Liberation is the collective name of four TrueType font families: Liberation Sans, Liberation Sans Narrow, Liberation Serif and Liberation Mono. These fonts are metrically compatible with the most commonly used fonts on Microsoft Windows operating system and Office suite (Monotype Corporation’s Arial, Arial Narrow, Times New Roman and Courier New, respectively), for which Liberation is intended as free substitute.
Liberation Sans supported IBM/Microsoft code pages 437, 737, 775, 850, 852, 855, 857, 858, 860, 861, 863, 865, 866, 869, 1250, 1251, 1252, 1253, 1254, 1257, the Macintosh Character Set (US Roman), and the Windows OEM character set,[citation needed] that is only the Latin, Greek, and Cyrillic alphabets, leaving out many writing systems. Extension to other writing systems was prevented by its unique licensing terms. Since the old fonts were replaced by the Croscore equivalents, expanded Unicode coverage has become possible.
The Liberation fonts were developed by Steve Matteson of Ascender Corporation as Ascender Sans and Ascender Serif. A variant of this font family, with the addition of a monospaced font and open-source license, was licensed by Red Hat, Inc. as the Liberation font family. Liberation Sans and Liberation Serif derive from Ascender Sans and Ascender Serif respectively; Liberation Mono uses base designs from Ascender Sans and Ascender Uni Duo.
The Liberation fonts were developed in two stages. The first release of May 2007 was a set of fully usable fonts, but they lacked the full hinting capability. The second release, made available in the beginning of 2008, provides full hinting of the fonts.
In April 2010, Oracle Corporation contributed the Liberation Sans Narrow typefaces to the project. They are metrically compatible with the popular Arial Narrow font family. With Liberation Fonts 1.06 the new typefaces were officially released.
Red Hat licensed these fonts from Ascender Corp under the GNU General Public License with a font embedding exception, which states that documents embedding these fonts do not automatically fall under the GNU GPL. As a further exception, any distribution of the object code of the Software in a physical product must provide the right to access and modify the source code for the Software and to reinstall that modified version of the Software in object code form on the same physical product on which it was received. Thus, these fonts permit free and open source software (FOSS) systems to have high-quality fonts that are metric-compatible with Microsoft software.
The Fedora Project, as of version 9 was the first major GNU/Linux distribution to include these fonts by default and features a slightly revised versions of the Liberation fonts contributed by Ascender. These include a dotted zero and various changes made for the benefit of internationalization.
Some other GNU/Linux distributions (such as Ubuntu, OpenSUSE and Mandriva Linux) included Liberation fonts in their default installations. The open source software OpenOffice.org included Liberation fonts in its installation packages for all supported operating systems.
Due to licensing concerns with fonts released under a GPL license, some projects looked for alternatives to the Liberation fonts. Starting with Apache OpenOffice 3.4, Liberation Fonts were replaced with the Chrome OS Fonts – also known as Croscore fonts: Arimo (sans), Cousine (monospace), and Tinos (serif) – which are newer versions of the same designs but made available by Ascender Corporation under the Apache License 2.0.
As of July 18, 2012, Liberation Fonts 2.00.0 and above are a fork of the Chrome OS Fonts released under the SIL Open Font License, and no longer include the Liberation Sans Narrow fonts.
Download link | Препратка за сваляне
Download link on Fedora Hosted | Препратка за сваляне на Fedora Hosted
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Liberation Serif

Liberation is the collective name of four TrueType font families: Liberation Sans, Liberation Sans Narrow, Liberation Serif and Liberation Mono. These fonts are metrically compatible with the most commonly used fonts on Microsoft Windows operating system and Office suite (Monotype Corporation’s Arial, Arial Narrow, Times New Roman and Courier New, respectively), for which Liberation is intended as free substitute.
Liberation Serif supported IBM/Microsoft code pages 437, 737, 775, 850, 852, 855, 857, 858, 860, 861, 863, 865, 866, 869, 1250, 1251, 1252, 1253, 1254, 1257, the Macintosh Character Set (US Roman), and the Windows OEM character set,[citation needed] that is only the Latin, Greek, and Cyrillic alphabets, leaving out many writing systems. Extension to other writing systems was prevented by its unique licensing terms. Since the old fonts were replaced by the Croscore equivalents, expanded Unicode coverage has become possible.
The Liberation fonts were developed by Steve Matteson of Ascender Corporation as Ascender Sans and Ascender Serif. A variant of this font family, with the addition of a monospaced font and open-source license, was licensed by Red Hat, Inc. as the Liberation font family. Liberation Sans and Liberation Serif derive from Ascender Sans and Ascender Serif respectively; Liberation Mono uses base designs from Ascender Sans and Ascender Uni Duo.
The Liberation fonts were developed in two stages. The first release of May 2007 was a set of fully usable fonts, but they lacked the full hinting capability. The second release, made available in the beginning of 2008, provides full hinting of the fonts.
In April 2010, Oracle Corporation contributed the Liberation Sans Narrow typefaces to the project. They are metrically compatible with the popular Arial Narrow font family. With Liberation Fonts 1.06 the new typefaces were officially released.
Red Hat licensed these fonts from Ascender Corp under the GNU General Public License with a font embedding exception, which states that documents embedding these fonts do not automatically fall under the GNU GPL. As a further exception, any distribution of the object code of the Software in a physical product must provide the right to access and modify the source code for the Software and to reinstall that modified version of the Software in object code form on the same physical product on which it was received. Thus, these fonts permit free and open source software (FOSS) systems to have high-quality fonts that are metric-compatible with Microsoft software.
The Fedora Project, as of version 9 was the first major GNU/Linux distribution to include these fonts by default and features a slightly revised versions of the Liberation fonts contributed by Ascender. These include a dotted zero and various changes made for the benefit of internationalization.
Some other GNU/Linux distributions (such as Ubuntu, OpenSUSE and Mandriva Linux) included Liberation fonts in their default installations. The open source software OpenOffice.org included Liberation fonts in its installation packages for all supported operating systems.
Due to licensing concerns with fonts released under a GPL license, some projects looked for alternatives to the Liberation fonts. Starting with Apache OpenOffice 3.4, Liberation Fonts were replaced with the Chrome OS Fonts – also known as Croscore fonts: Arimo (sans), Cousine (monospace), and Tinos (serif) – which are newer versions of the same designs but made available by Ascender Corporation under the Apache License 2.0.
As of July 18, 2012, Liberation Fonts 2.00.0 and above are a fork of the Chrome OS Fonts released under the SIL Open Font License, and no longer include the Liberation Sans Narrow fonts.
Download link | Препратка за сваляне
Download link on Fedora Hosted | Препратка за сваляне на Fedora Hosted
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Liberation Mono

Liberation is the collective name of four TrueType font families: Liberation Sans, Liberation Sans Narrow, Liberation Serif and Liberation Mono. These fonts are metrically compatible with the most commonly used fonts on Microsoft Windows operating system and Office suite (Monotype Corporation’s Arial, Arial Narrow, Times New Roman and Courier New, respectively), for which Liberation is intended as free substitute.
Liberation Mono is styled closer to Liberation Sans than Monotype’s Courier New, though its metrics match with Courier New.
Liberation Monno supported IBM/Microsoft code pages 437, 737, 775, 850, 852, 855, 857, 858, 860, 861, 863, 865, 866, 869, 1250, 1251, 1252, 1253, 1254, 1257, the Macintosh Character Set (US Roman), and the Windows OEM character set,[citation needed] that is only the Latin, Greek, and Cyrillic alphabets, leaving out many writing systems. Extension to other writing systems was prevented by its unique licensing terms. Since the old fonts were replaced by the Croscore equivalents, expanded Unicode coverage has become possible.
The Liberation fonts were developed by Steve Matteson of Ascender Corporation as Ascender Sans and Ascender Serif. A variant of this font family, with the addition of a monospaced font and open-source license, was licensed by Red Hat, Inc. as the Liberation font family. Liberation Sans and Liberation Serif derive from Ascender Sans and Ascender Serif respectively; Liberation Mono uses base designs from Ascender Sans and Ascender Uni Duo.
The Liberation fonts were developed in two stages. The first release of May 2007 was a set of fully usable fonts, but they lacked the full hinting capability. The second release, made available in the beginning of 2008, provides full hinting of the fonts.
In April 2010, Oracle Corporation contributed the Liberation Sans Narrow typefaces to the project. They are metrically compatible with the popular Arial Narrow font family. With Liberation Fonts 1.06 the new typefaces were officially released.
Red Hat licensed these fonts from Ascender Corp under the GNU General Public License with a font embedding exception, which states that documents embedding these fonts do not automatically fall under the GNU GPL. As a further exception, any distribution of the object code of the Software in a physical product must provide the right to access and modify the source code for the Software and to reinstall that modified version of the Software in object code form on the same physical product on which it was received. Thus, these fonts permit free and open source software (FOSS) systems to have high-quality fonts that are metric-compatible with Microsoft software.
The Fedora Project, as of version 9 was the first major GNU/Linux distribution to include these fonts by default and features a slightly revised versions of the Liberation fonts contributed by Ascender. These include a dotted zero and various changes made for the benefit of internationalization.
Some other GNU/Linux distributions (such as Ubuntu, OpenSUSE and Mandriva Linux) included Liberation fonts in their default installations. The open source software OpenOffice.org included Liberation fonts in its installation packages for all supported operating systems.
Due to licensing concerns with fonts released under a GPL license, some projects looked for alternatives to the Liberation fonts. Starting with Apache OpenOffice 3.4, Liberation Fonts were replaced with the Chrome OS Fonts – also known as Croscore fonts: Arimo (sans), Cousine (monospace), and Tinos (serif) – which are newer versions of the same designs but made available by Ascender Corporation under the Apache License 2.0.
As of July 18, 2012, Liberation Fonts 2.00.0 and above are a fork of the Chrome OS Fonts released under the SIL Open Font License, and no longer include the Liberation Sans Narrow fonts.
Download link | Препратка за сваляне
Download link on Fedora Hosted | Препратка за сваляне на Fedora Hosted
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Linux Biolinum

Linux Biolinum

Linux Biolinum by Philipp H. Poll, Open Font under Terms of following Free Software Licenses:GPL (General Public License) with font-exception and OFL (Open Font License).Created with FontForge (fontforge.sf.net)Sept 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2010, 2011,2012.
Design: Philipp H. Poll
Download link | Препратка за сваляне
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Linux Libertine

Linux Libertine
Linux Libertine

Linux Libertine font is serif font which is designed by Philipp H. Poll. Linux Libertine covers a big range of Unicode, including all characters in MES-1 (Afrikaans, Albanian, Basque, Breton, Catalan, Croatian, Czech, Danish, Dutch, English, Esperanto, Estonian, Faroese, Finnish, Frensh, Frisian, Galician, German, Greenlandic, Hungarian, Icelandic, Irish Gaelic (new orthography), Italian, Latvian, Lithuanian, Luxemburgish, Maltese, Manx Gaelic, Moldavian (with restrictions), Northern Sámi, Norwegian, Occitan, Polish, Portuguese, Rhaeto-Romanic, Romanian (with restrictions), Scottish Gaelic, Slovak, Slovenian, Lower Sorbian, Upper Sorbian, Spanish, Swedish, Turkish, Welsh (with restrictions)), IPA, Greek, Cyrillic, math symbols, and a host of other symbol and language sets.
Design: Philipp H. Poll
Download link | Препратка за сваляне

Fonts in Use

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Lora

Lora

Lora is a well-balanced contemporary serif with roots in calligraphy. It is a text typeface with moderate contrast well suited for body text. A paragraph set in Lora will make a memorable appearance because of its brushed curves in contrast with driving serifs. The overall typographic voice of Lora perfectly conveys the mood of a modern-day story, or an art essay. Technically Lora is optimised for screen appearance, and works equally well in print.
Design: Cyreal
Download link | Препратка за сваляне
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Lumberjack

Lumberjack

In 2008, Ivan Gladkikh started the Free fonts project aiming to make free typography more popular. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Many of those fonts, such as Cuprum, Philosopher, Molot, Bender, Flow, and Neucha, may now be seen all over the world in some very surprising and unexpected places. In 2014, some projects of the TypeType company have joined the Free fonts project, along with the TypeType School students’ graduation works that were created in the course of face-to-face and online learning process under the School’s art-director supervision. Lumberjack is a part of this project.
Design: Alexey Kalinin
Download link | Препратка за сваляне
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M+ 1M

M+ 1M

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

Download link | Препратка за сваляне
M+ Fonts on Github
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M+ 1C

M+ 1C

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

Download link | Препратка за сваляне
M+ Fonts on Github
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M+ 1P

M+ 1P

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

Download link | Препратка за сваляне
M+ Fonts on Github
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M+ 2M

M+ 2M

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

Download link | Препратка за сваляне
M+ Fonts on Github
Top ↑

M+ 2C

M+ 2C

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

Download link | Препратка за сваляне
M+ Fonts on Github
Top ↑

M+ 2P

M+ 2P

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

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M+ Fonts on Github
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M+ 1MN

M+ 1MN

M+ FONTS are Japanese font families designed by Coji Morishita. The ‘M’ stands for ‘Minimum’, while the plus sign means above minimum. The M+ FONTS are a font family under the Free license. You can use, copy, and distribute them, with or without modification, either commercially or noncommercially.
All Latin glyph sets were completed with Basic Latin, Latin-1 Supplement, Latin Extended-A, and IPA Extensions. And most of Greek, Cyrillic, Vietnamese, and extended glyphs and symbols were prepared too. So the fonts are in conformity with ISO-8859-1, 2, 3, 4, 5, 7, 9, 10, 13, 14, 15, 16, Windows-1252, T1, and VISCII encoding. Available as a multi-lingual or multi-purpose fonts.
In addition, proportional M+ P Type-1 and M+ P Type-2 fonts were completed with Latin Extended-B, Latin Extended Additional, Windows Glyph List 4 (WGL4) and Hebrew (ISO-8859-8). And many Greek, Cyrillic, IPA Extensions glyphs, and symbols were expanded. Those additional glyphs are included in M+ C Type-1 and M+ C Type-2 provisionality.
Japanese and Latin proportional fonts are available in 7 (Thin to Black) weights.
Latin fixed-halfwidth fonts are available in 5 (Thin to Bold) weights.
In the Japanese fonts, there are 2 variations of Kana Glyphs. M+ Type-1: Consists of contrasting straight lines and hand-drawn curves, and M+ Type-2: Incorporates traditional feature of Kana script in the overall modern sans-serif design. The Kanji glyphs are identical between fonts of same weights.
In the Latin fonts, M+ P is aimed as sophisticated and relaxed design, while M+ C is optimized to be proportioned well in typesetting, M+ M emphasize the balance of natural letterform and high legibility. Each have 2 variations of the Type-1 and Type-2, corresponding to the Japanese fonts.
M+ MN Type-1 is aimed as a new distinctive design for a terminal font specialized to programming.
M+ P Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ P Type-1 for alphabets.
M+ P Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ P Type-2 for alphabets.
M+ C Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and proportional M+ C Type-1 for alphabets.
M+ C Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and proportional M+ C Type-2 for alphabets.
M+ M Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ M Type-1 for alphabets.
M+ M Type-2. Combination of fixed-fullwidth M+ Type-2 for Japanese and fixed-halfwidth M+ M Type-2 for alphabets.
M+ MN Type-1. Combination of fixed-fullwidth M+ Type-1 for Japanese and fixed-halfwidth M+ MN Type-1 for alphabets.

Design: Coji Morishita

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M+ Fonts on Github
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Marta

Marta

Marta. Eclectic, accidental-text font with wedge serifs. 3 inscription: normal, bold and italic vertically.
Ornamental and expressive cursive version, can use return as a separate font. Font includes the Old Calendar figures, ligatures, ordinals, and alternative forms of signs, thus extending the possibilities of typography. Extended Cyrillic and Latin. Contains over 650 glyphs.
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Matias

Matias

In 2008, Ivan Gladkikh started the Free fonts project aiming to make free typography more popular. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Many of those fonts, such as Cuprum, Philosopher, Molot, Bender, Flow, and Neucha, may now be seen all over the world in some very surprising and unexpected places. In 2014, some projects of the TypeType company have joined the Free fonts project, along with the TypeType School students’ graduation works that were created in the course of face-to-face and online learning process under the School’s art-director supervision. Matias is a part of this project.
Design: Vitaly Tsygankov
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Monitorica

If «Back to the Future Part II» heroes in 1989 would need a new poster for to travel to 2015, sure they would need a futuristic font and use ours. It’s good not only for theatrical release posters. The best part is one does not needs a DeLorean time machine to give a different spin to a sheet of paper. Because «Roads? Where we’re going, we don’t need roads.» Most stencil typefaces are only usable for display or headlines only. Monitorica has a graceful design that is also very legible as a text face.
As a local features in Monitorica are included the modern form of Bulgarian Cyrillic glyphs.
Design: Sergiy Tkachenko
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Monoid

Monoid

Monoid is a customizable font optimized for coding with bitmap-like sharpness at 14px even on low res displays. >600 semi-condensed and distinguishable glyphs with big apertures, bold punctuation, big operators and more. Available with alternative spacing and line heights on it’s own website.

Design: Andreas Larsen

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Museo Sans Cyrillic

Museo Sans Cyrillic

Museo Sans Cyrillic is a sans serif font family. This typeface has ten styles and was published by exljbris Font Foundry.
Design: exljbris Font Foundry
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Nimbus Sans L

Nimbus Sans L is a version of Nimbus Sans using Adobe font sources. It was designed in 1987. The family includes 17 fonts in 5 weights and 2 widths, with Nimbus Sans L Extra Black only available in condensed roman format.
A subset of Nimbus Sans L, which includes regular and bold weight fonts in all widths and styles, were released under the GPL and AFPL in Type 1 format in 1996 and LPPL in 2009, and is one of several freely licensed fonts offered by URW++.
Although the characters are not exactly the same, Nimbus Sans L has metrics almost identical to Helvetica and Arial. Nimbus Sans L is one of the Ghostscript fonts, a set of free alternatives to the 35 basic PostScript fonts (which include Helvetica).
It is a standard typeface in many GNU/Linux distributions. It was used as default font in OpenOffice.org Calc and Impress in some GNU/Linux distributions (e.g. Ubuntu – up to version 8.10; since Ubuntu 9.04 the default font was changed to Liberation Sans).
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Nimbus Sans L Condensed

Nimbus Sans L Condensed is a version of Nimbus Sans using Adobe font sources. It was designed in 1987. A subset of Nimbus Sans L Condensed were released under the GPL. Although the characters are not exactly the same, Nimbus Sans L Condensed has metrics almost identical to Helvetica and Arial. (From Wikipedia, the free encyclopedia).
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Nimbus Roman No9 L

From Wikipedia: Nimbus Roman is a serif typeface created by URW Studio in 1982.
Nimbus Roman No 9 L is a serif typeface created by URW Studio in 1987, and eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996 and LPPL in 2009. It features Normal, Bold, Italic, and Bold Italic weights, and is one of several freely licensed fonts offered by URW++.
Although the characters are not exactly the same, Nimbus Roman No 9 L has metrics almost identical to Times and Times New Roman. It is one of the Ghostscript fonts, a free alternative to 35 basic PostScript fonts (which include Times).
It is a standard typeface in many Linux distributions. It was used as default font in OpenOffice.org Writer in some Linux distributions (e.g. Ubuntu – up to version 8.10; since Ubuntu 9.04 the default font was changed to Liberation Serif).
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Nimbus Mono

From Wikipedia: Nimbus Mono is a monospaced typeface created by URW Studio in 1984, and eventually released under the GPL and AFPL (as Type 1 font for Ghostscript) in 1996 and LPPL in 2009. It features Normal, Bold, Italic, and Bold Italic weights, and is one of several freely licensed fonts offered by URW++. Although the characters are not exactly the same, Nimbus Mono has metrics that are very similar to Courier and Courier New.
It is one of the Ghostscript fonts, free alternatives to 35 basic PostScript fonts (which include Courier). It is a standard typeface in many Linux distributions.
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NK57

NK57

NK57 Monospace is a 60-style programmer typeface. While many monospaced screen fonts are designed for low resolution use, NK57 Monospace was designed for high resolution screens with varying proportions. The character set is decked out with European accents, Greek and Cyrillic. The usual symbols you’d expect in a programmer’s typeface are included as well as some harder-to-find but handy math symbols such as „diameter“. When you change weight or use italics, the width won’t change. Condensed and Expanded styles make it easier to stretch an 80 column document across a wide monitor or squeeze it onto a narrow phone. Semi-Condensed and Semi-Expanded styles are more subtly squashed and stretched and can help make smoother transitions in responsive display scenarios, especially in concert with variable weights. While NK57 Monospace was designed with high resolution in mind, the TrueType version features ClearType optimized hinting for crisp performance in Windows without looking all pixelly.
These fonts include a license that allows free commercial use: sometimes referred to as a desktop license. This allows you to install the fonts on a computer and use them to create posters, web graphics, game graphics, t-shirts, videos, signs, logos and more. Read the license agreement for details.
If you’d like to embed these fonts in an app, ebook, on the web or anything that’s not covered by the desktop license agreement, visit the link below. You’ll find distributors who offer different types of licenses or you can contact me for help.
Design: Raymond Larabie
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Noto Sans

Marta

When text is rendered by a computer, sometimes there will be characters in the text that can not be displayed, because no font that supports them is available to the computer. When this occurs, small boxes are shown to represent the characters. We call those small boxes “tofu,” and we want to remove tofu from the Web. This is how the Noto font families got their name.
Noto helps to make the web more beautiful across platforms for all languages. Currently, Noto covers over 30 scripts, and will cover all of Unicode in the future. This is the Sans Latin, Greek and Cyrillic family. It has Regular, Bold, Italic and Bold Italic styles and is hinted. It is derived from Droid, and like Droid it has a serif sister family, Noto Serif.
Noto fonts for many other languages are available as web fonts from the Google Web Fonts Early Access page.
Noto fonts are intended to be visually harmonious across multiple languages, with compatible heights and stroke thicknesses. For the currently released Noto fonts see http://www.google.com/get/noto/#/.
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Noto Serif

Noto Serif

When text is rendered by a computer, sometimes there will be characters in the text that can not be displayed, because no font that supports them is available to the computer. When this occurs, small boxes are shown to represent the characters. We call those small boxes “tofu,” and we want to remove tofu from the Web. This is how the Noto font families got their name.
Noto helps to make the web more beautiful across platforms for all languages. Currently, Noto covers over 30 scripts, and will cover all of Unicode in the future. This is the Serif Latin, Greek and Cyrillic family. It has Regular, Bold, Italic and Bold Italic styles and is hinted. It is derived from Droid, and like Droid it has a sister serif family, Noto Sans.
Noto fonts for many other languages are available as web fonts from the Google Web Fonts Early Access page.
Noto fonts are intended to be visually harmonious across multiple languages, with compatible heights and stroke thicknesses. For the currently released Noto fonts see code.google.com/p/noto/.
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Old Standard

Old Standard

Old Standard, a multilingual font which attempts to revive the most common printing style of early 20th century. Old Standard has two main purposes: it is intended to be used as a special- ized font for philologists (mainly classicists and slavists) and also as a general-purpose font for typesetting various editions in languages which use Greek or Cyrillic script. For this reason Old Standard provides glyphs for a wide range of Latin, Greek and Cyrillic characters.
Design: Alexey Kryukov
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Open Sans

Open Sans

Open Sans is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms. A few condensed styles are also available.
Design: Steve Matteson
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Open Sans Condensed

Open Sans Condensed is a humanist sans serif typeface designed by Steve Matteson, Type Director of Ascender Corp. This version contains the complete 897 character set, which includes the standard ISO Latin 1, Latin CE, Greek and Cyrillic character sets. Open Sans Condensed was designed with an upright stress, open forms and a neutral, yet friendly appearance. It was optimized for print, web, and mobile interfaces, and has excellent legibility characteristics in its letterforms.
Design: Steve Matteson
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Oranienbaum

Oranienbaum

Oranienbaum is a modern high contrast Antiqua with well-defined, recognizable features. Based on the architecture of classic Antiqua fonts, such as Bodoni, Oranienbaum is typical of the typefaces from the first quarter of the 20th century: pronounced serifs, contrasting geometry, and an interplay of right angles and flowing lines. The font is well suited for both headlines and body text.
It was designed through a collaboration of Oleg Pospelov as the main type designer, with Jovanny Lemonad as art director, technical engineer and publisher.
Design: Oleg Pospelov, Jovanny Lemonad
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Oswald

Oswald

Oswald is a reworking of the classic gothic typeface style historically represented by designs such as ‘Alternate Gothic’. The characters of Oswald have been re-drawn and reformed to better fit the pixel grid of standard digital screens. Oswald is designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices. Oswald consists of 15 Styles.
Design: Vernon Adams
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Oxygen

Oxygen

The Oxygen typeface family is created as part of the KDE Project, a libre desktop for the GNU+Linux operating system. The design is optimised for the FreeType font rendering system and works well in all graphical user interfaces, desktops and devices.

This is a web font version of Oxygen, designed to be used freely across the internet by web browsers on desktop computers, laptops and mobile devices.

Oxygen is a Unicode typeface family that supports languages that use the Latin script and its variants, and could be expanded to support other scripts. To contribute to the project contact Vernon Adams and use the KDE Project git repository.

Design: Vernon Adams

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Peace Sans

Peace Sans

In 2008, Ivan Gladkikh started the Free fonts project aiming to make free typography more popular. More than 50 fonts and typefaces were created in collaboration with a significant number of famous and novice Russian designers. Many of those fonts, such as Cuprum, Philosopher, Molot, Bender, Flow, and Neucha, may now be seen all over the world in some very surprising and unexpected places. In 2014, some projects of the TypeType company have joined the Free fonts project, along with the TypeType School students’ graduation works that were created in the course of face-to-face and online learning process under the School’s art-director supervision. Peace Sans is a part of this project. Peace Sans is a free bold font made with love! It can make your typography more peaceful and kind. Use it any way, its absolutely free. It was created in the learning process in TypeType School.
Design: Sergey Ryadovoy
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Pfennig

Pfennig

Pfennig is a humanist sans-serif font with support for Latin, Cyrillic, Greek and Hebrew character sets. It contains sufficient characters for Latin-0 through Latin-10, as well as glyphs for all modern Cyrillic orthographies, the full Vietnamese range, modern Greek, modern Hebrew, and the Pan-African Alphabet. It supports the standard Roman ligatures and uses OpenType tables for diacritic placement. The italic faces are true italics, not just oblique.
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Philosopher

Philosopher

Philosopher was started in 2008 and takes inspiration from Agfa Rotis and ITC Binary. This font is universal: It can be used in logos, headlines, and for text. The initial version of the font was deliberately spread with errors – this was my invaluable contribution to type culture around the world, as I thought then – I wanted to stir up designers so they began working with fonts, rather than passively using what is there. Over time I wanted to correct the errors, and now the font has been used by millions of people worldwide.
In June 2011 a four-style family was published, and in September 2011 the full Latin and Cyrillic family was fully hinted.
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Play

Play

Play is a minimalistic sans serif typeface designed by Jonas Hecksher during his time as Type Director of Playtype Type Foundry. All letters in Play derive from the ‘O’ – square and circular at the same time. Play is designed with large, open counters, ample lowercase x-heights and a corporate, yet friendly appearance. The combination of these qualities give Play both a high legibility and readability.
Updated: February 2016 to version 1.003, removing faulty kern table and updating name table metadata, and applying ttfautohint hinting for Windows Firefox.
Design: Jonas Hecksher, Playtype
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Playfair Display

Playfair is a transitional design. From the time of enlightenment in the late 18th century, the broad nib quills were replaced by pointed steel pens. This influenced typographical letterforms to become increasingly detached from the written ones. Developments in printing technology, ink, and paper making, made it possible to print letterforms of high contrast and delicate hairlines.
This design lends itself to this period, and while it is not a revival of any particular design, it takes influence from the designs of printer and typeface designer John Baskerville, the punchcutter William Martin’s typeface for the ‘Boydell Shakspeare’ (sic) edition, and from the ‘Scotch Roman’ designs that followed thereafter.
As the name indicates, Playfair Display is well suited for titling and headlines. It has an extra large x-height and short descenders. It can be set with no leading if space is tight, for instance in news headlines, or for stylistic effect in titles. Capitals are extra short, and only very slightly heavier than the lowercase characters. This helps achieve a more even typographical color when typesetting proper nouns and initialisms. Languages, like German, where nouns are capitalized, particularly benefit from this lower contrast between lower and upper case glyphs. In German, with its many capitalized words, and in other European languages that use many diacritical characters, it is advised to use more leading.
Being a transitional design, stylistically Playfair can accompany Georgia, where Georgia is used for body text.
Playfair’s downloaded font files include a full set of small caps, common ligatures, and discretionary ligatures. For Polish, a set of alternate diacritical characters designed with ‘kreska’s are included. All European languages using the Latin writing system are supported. A set of eight arrow devices are also included.
To contribute to the project contact Claus Eggers Sørensen.
Design: Claus Eggers Sørensen
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PT Astra Sans

PT Astra Sans

Совместно с разработчиком операционных систем «Astra Linux» АО «НПО РусБИТех» ПараТайп представляет общедоступные шрифты PT Astra Sans и PT Astra Serif.
Шрифты разработаны на основе Pt Sans и PT Serif, модифицированных таким образом, чтобы они подходили под стандарты оформления документов, эталоном ёмкости для которых является Times New Roman. Каждая из гарнитур представлена четырьмя базовыми начертаниями с широкой языковой поддержкой. Помимо стандартного набора знаков для работы с языками Западной и Восточной Европы, а также комплекта стандартной кириллицы, шрифты содержат знаки всех алфавитов государственных титульных языков Российской Федерации. Сформированные в рамках кроссплатформенного формата OT-TTF, шрифты дополнительно оптимизированы для экранов различного разрешения.
PT Astra Sans, PT Astra Serif спроектированы дизайнерами Александрой Корольковой и Изабеллой Чаевой и подготовлены к выпуску компанией ПараТайп в 2016 году.
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PT Astra Serif


PT Astra Serif

Совместно с разработчиком операционных систем «Astra Linux» АО «НПО РусБИТех» ПараТайп представляет общедоступные шрифты PT Astra Sans и PT Astra Serif.
Шрифты разработаны на основе Pt Sans и PT Serif, модифицированных таким образом, чтобы они подходили под стандарты оформления документов, эталоном ёмкости для которых является Times New Roman. Каждая из гарнитур представлена четырьмя базовыми начертаниями с широкой языковой поддержкой. Помимо стандартного набора знаков для работы с языками Западной и Восточной Европы, а также комплекта стандартной кириллицы, шрифты содержат знаки всех алфавитов государственных титульных языков Российской Федерации. Сформированные в рамках кроссплатформенного формата OT-TTF, шрифты дополнительно оптимизированы для экранов различного разрешения.
PT Astra Sans, PT Astra Serif спроектированы дизайнерами Александрой Корольковой и Изабеллой Чаевой и подготовлены к выпуску компанией ПараТайп в 2016 году.
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PT Sans

PT Sans

PT Sans is based on Russian sans serif types of the second part of the XX century, but at the same time has a very distinctive features of modern humanistic design. The family consists of 8 styles: 4 basic styles; 2 captions styles for small sizes and 2 narrows styles for economic setting.
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PT Serif

PT Serif
PT Serif

PT Serif is a transitional serif face with humanistic terminals designed for use together with PT Sans and harmonized with PT Sans on metrics, proportions, weights and design. PT Serif consists of six styles: regular and bold weights with corresponding italics form a standard computer font family for basic text setting; two caption styles (regular and italic) are for texts of small point sizes.
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PT Mono

PT Mono was developed for the special needs — for use in forms, tables, work sheets etc. Equal widths of characters are very helpful in setting complex documents, with such font you may easily calculate size of entry fields, column widths in tables and so on. One of the most important area of use is Web sites of “electronic governments“ where visitors have to fill different request forms.
Currently PT Mono consists of Regular and Bold styles.
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Roboto

Roboto

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

Roboto Condensed

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

Roboto Slab

Roboto has a dual nature. It has a mechanical skeleton and the forms are largely geometric. At the same time, the font features friendly and open curves. While some grotesks distort their letterforms to force a rigid rhythm, Roboto doesn’t compromise, allowing letters to be settle in to their natural width. This makes for a more natural reading rhythm more commonly found in humanist and serif types.
This is the Roboto Slab family, which can be used alongside the normal Roboto family and the Roboto Condensed family.
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Rubik

Rubik

Google Creative Lab approached Hubert & Fischer to design a typeface for the branding of the Rubik’s Cube Exhibition ”Beyond Rubik’s Cube“ at the Liberty Science Center, Jersey City. They designed a slightly rounded heavyweight font in which the letters fit perfectly in a single cubelet of the Rubik’s Cube. The font was expanded to include Cyrillic and Hebrew characters for the exhibition, which will travel internationally.
Design: Hubert & Fischer
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Sansation

Sansation

Sansation is freeware – anyhow a PayPal donation is very much appreciated! So if you want to use it commercially, please consider the work behind this font.

Design: Bernd Montag

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Sansus Webissimo

„Sansus“ – experiment with a new font brought into life in our professional type foundry. We worked on every single shape and curve to enrich „Sansus“ with elegance and exactitude, try it on phone directories, on your site – anywhere.
Full Language Support: Basic Cyrillic, Basic Latin, Euro, Western European.
Design: Sergiy Tkachenko
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Scada

Scada

In 2005, Scada was designed as the corporate identity font for the Latvian design studio Scada.lv. In 2011 the design studio decided to make Scada a libre font. Over 6 months the font was reworked, improved and expanded into a family. It has a modern style, specifically designed for small sizes.
Design: Jovanny Lemonad
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Source Code Pro

Source Code Pro

Source Code Pro was designed by Paul D. Hunt as a companion to Source Sans. This complementary family was adapted from the Source design due to a request to create a monospaced version for coding applications. Source Code preserves the design features and vertical proportions of Source Sans, but alters the glyph widths so that they are uniform across all glyphs and weights.

Although this family was designed specifically for coding environments, for which a regular weight will typically suffice, Source Code has been made available in the same weight range as the corresponding Source Sans design. Source Code Pro currently supports a wide range of languages using the Latin script, and includes all the characters in the Adobe Latin 4 glyph set.

Design: Paul D. Hunt

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Source Sans Pro

Source Sans Pro

Source Sans Pro was designed by Paul D. Hunt as Adobe’s first open source typeface family, conceived primarily as a typeface for user interfaces. Source Sans Pro draws inspiration from the clarity and legibility of twentieth-century American gothic typeface designs. Distilling the best archetypical qualities of these models, Paul followed a rational design approach by simplifying glyph shapes by paring them to their essential form. However, in order to more easily differentiate similar letter shapes (such as uppercase I and lowercase L), some additional details have been added. Besides providing such explicitly clarity in short text strings, another fundamental design consideration was to create a typeface that reads well in extended settings. This can be seen in the general proportions: Source Sans Pro has been designed with a more generous width than many other comparable gothics, and its shorter majuscule letters, combined with minuscule letters with longer extenders, create a more pleasant reading texture in longer text passages.

Design: Paul D. Hunt

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Source Serif Pro

Source Serif Pro

Source Serif Pro is a serif typeface in the transitional style, designed to complement Source Sans. Their close companionship is achieved by a careful match of letter proportions and typographic color. While designed to harmonize with its serif-less counterpart, Source Serif often takes its own direction, in part because the two are inspired by different historical precedents. 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 the Fournier model and reworks it for a modern age.

Design: Paul D. Hunt

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Taylor Sans

Taylor Sans

Taylor Sans is based on Exo 2 of Natanael Gama, but uprighted. Hence, it has the same license of Exo 2, the SIL Open Font License.
Design: Natanael Gama
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Tempora

Tempora

Tem­pora – Greek and Cyril­lic to ac­com­pany Times. This pack­age, de­rived from Tem­po­raLGCUni by Alexej Kryukov, is meant as a com­pan­ion to Times text font pack­ages, pro­vid­ing Greek and Cyril­lic in match­ing weights and styles. OpenType and Type1 fonts are pro­vided, with LaTeX sup­port files giv­ing es­sen­tially com­plete LGR cov­er­age of mono­tonic, poly­tonic and an­cient Greek, and al­most full T2A cov­er­age of Cyril­lic.
Design: Alexej Kryukov, Michael Sharpe
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TeX Gyre Adventor

TeX Gyre Adventor

The TeX Gyre Adventor family of sansserif fonts is based on the URW Gothic L family distributed with Ghostscript. The original font, ITC Avant Garde Gothic was designed by Herb Lubalin and Tom Carnase in 1970. The constituent 4 standard faces contain nearly 1250 glyphs each.
Design: GUST e-foundry
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TeX Gyre Bonum

TeX Gyre Bonum

The TeX Gyre Bonum family of serif fonts is based on the URW Bookman L family distributed with Ghostscript. The original font was designed by Alexander Phemister in 1860 and named Bookman (or Bookman Old Style). The constituent 4 standard faces contain nearly 1250 glyphs each.
Design: GUST e-foundry
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TeX Gyre Cursor

TeX Gyre Cursor

The TeX Gyre Cursor family of monospaced serif fonts is based on the URW Nimbus Mono L family . and are available in PostScript, TeX and OpenType formats. Please note that with the release of this family the QuasiCourier fonts became obsolete.
Design: GUST e-foundry
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TeX Gyre Heros

TeX Gyre Heros

The TeX Gyre Heros family of sansserif fonts is based on the URW Nimbus Sans L family distributed with Ghostscript. The original font, Helvetica, was designed in 1957 by Max Miedinger in cooperation with Eduard Hoffman at the Haas type foundry. The constituent 8 faces (4 standard and 4 condensed) contain nearly 1250 glyphs each.
Design: GUST e-foundry
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TeX Gyre Pagella

TeX Gyre Pagella

The TeX Gyre Pagella family of serif fonts is based on the URW Palladio L family distributed with Ghostscript. The original font, Palatino, was designed by Hermann Zapf in the 1940’s for the Stempel type foundry. The constituent 4 standard faces contain nearly 1250 glyphs each.
Design: GUST e-foundry
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TeX Gyre Schola

TeX Gyre Schola

The TeX Gyre Schola family of serif fonts is based on the URW Century Schoolbook L family distributed with Ghostscript. The original was designed by Morris Fuller Benton in 1919, for the American Type Founders. The constituent 4 standard faces contain nearly 1250 glyphs each.
Design: GUST e-foundry
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TeX Gyre Termes

TeX Gyre Termes

The TeX Gyre Termes family of serif fonts is based on the Nimbus Roman No9 L family distributed with Ghostscript. The original font, Times, was designed by Stanley Morison together with Starling Burgess and Victor Lardent for the London newspaper “The Times”. It was first issued by the Monotype Corporation in 1932 . The constituent 4 standard faces contain nearly 1250 glyphs each.
Design: GUST e-foundry
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Tinos

Tinos is a part of the Chrome OS core fonts. The Chrome OS core fonts, also known as the Croscore fonts, are a collection of three TrueType font families: Arimo (sans-serif), Tinos (serif) and Cousine (monospace). These fonts are metrically compatible with Monotype Corporation’s Arial, Times New Roman, and Courier New, the most commonly used fonts on Microsoft Windows operating system, for which they are intended as open-source substitutes.
Google licenses these fonts from Ascender Corporation under the Apache License 2.0.
The fonts were originally developed by Steve Matteson as Ascender Sans and Ascender Serif, and were also the basis for the Liberation fonts licensed by Red Hat under another open source license. In July 2012, version 2.0 of the Liberation fonts, based on the Croscore fonts, was released under the SIL Open Font License.
Tinos was designed by Steve Matteson as an innovative, refreshing serif design that is metrically compatible with Times New Roman™. Tinos offers improved on-screen readability characteristics and the pan-European WGL character set and solves the needs of developers looking for width-compatible fonts to address document portability across platforms.
Updated in May 2013 with improved hinting and released under the Apache 2.0 license.
Design: Steve Matteson
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Ubuntu

The Ubuntu Font Family are a set of matching new libre/open fonts. The development is being funded by Canonical on behalf the wider Free Software community and the Ubuntu project. The technical font design work and implementation is being undertaken by Dalton Maag.
Both the final font Truetype/OpenType files and the design files used to produce the font family are distributed under an open licence and you are expressly encouraged to experiment, modify, share and improve. The typeface is sans-serif, uses OpenType features and is manually hinted for clarity on desktop and mobile computing screens.
The scope of the Ubuntu Font Family includes all the languages used by the various Ubuntu users around the world in tune with Ubuntu’s philosophy which states that every user should be able to use their software in the language of their choice. So the Ubuntu Font Family project will be extended to cover many more written languages.
Visit the Ubuntu Family homepage for more information.
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Fonts in Use

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Vollkorn

Vollkorn

Vollkorn came into being as my first type designing attempt. I published the Regular in 2005 under a Creative-Commons-License. Until the counter finally collapsed two years later it had been downloaded thousands of times and used for web and print matters. It intends to be a quiet, modest and well working text face for bread and butter use. Unlike its examples in the book faces from the renaissance until today, it has dark and meaty serifs and a bouncing and healthy look. It might be used as body type as well as for headlines or titles. »Vollkorn« (pronounced »Follkorn«) is German for »wholemeal« which refers to the old term »Brotschrift«. It stood for the small fonts for every day use in hand setting times.
Vollkorn comes with numerous OpenType features, all demonstarted on its own website at vollkorn-typeface.com.
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Wes Anderson

Wes Anderson

Copyright (c) 2016 by Yelena Madyankina & Jovanny Lemonad. All rights reserved.
Design: Yelena Madyankina
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Xolonium

Xolonium

A futuristic typeface, with focus on legibility. Supports Latin, Greek, and Cyrillic scripts, and includes various pictograms and emoticons.
Design: Severin Meyer
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