ECL (Embeddable Common-Lisp) is an interpreter of the Common-Lisp language as described in the X3J13 Ansi specification, featuring CLOS (Common-Lisp Object System), conditions, loops, etc, plus a translator to C, which can produce standalone executables.

ECL supports the operating systems Linux, FreeBSD, NetBSD, OpenBSD, OS X, Solaris and Windows, running on top of the Intel, Sparc, Alpha, PowerPC and ARM processors.

The Gambit Scheme system is a complete, portable, efficient and reliable implementation of the Scheme programming language.

This project was created for package freemarker via attribute OBS:Maintained

This project was created for package catharsisfonts-cormorant-fonts via attribute OBS:Maintained

This project was created for package pari via attribute OBS:Maintained

Shantell Sans, from Shantell Martin, is a marker-style font built for creative expression, typographic play, and animation.

Shantell Sans is a project based on the artwork, handwriting, and creative philosophy of Shantell Martin. Rather than trying to exactly mimick or “replace” Shantell’s writing, Shantell Sans takes inspiration from marker-based fonts like Comic Sans & Inkwell Sans. It aims to create an authetically typographic system with a single core shape per character, in order to deliver a simple, inviting, and energetic tone while encouraging freedom and play.

Cormorant is a free display type family developed by Christian Thalmann (Catharsis Fonts). It comprises a total of 45 font files spanning 9 different styles (Roman, Italic, Infant, Infant Italic, Garamond, Garamond Italic, Upright Cursive, Small Caps, Unicase) and 5 weights (Light, Regular, Medium, Semibold, Bold).

Ysabeau is a free type family developed by Christian Thalmann (Catharsis Fonts). It combines the time-honored and supremely readable letterforms of the Garamond legacy with the clean crispness of a low-contrast sans serif, rendering it well suited for body copy as well as display.

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.

Designed by Olga Karpushina, and Alexei Vanyashin for Cyreal.

Open-source font by Ilya Yudin for Cyreal

Podkova is a monoline slab serif with diagonal terminals. Wide proportions and clean features aid to legibility at small sizes. Its unusual letterforms provide enough character to be used at display sizes. Podkova is the Russian word for Horseshoe. Try it and see if the lucky charm works for you!

Hubot Sans is Mona Sans’s robotic sidekick. The typeface is designed with more geometric accents to lend a technical and idiosyncratic feel—perfect for headers and pull-quotes. Made together with Degarism.

Hubot Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers.

A strong and versatile typeface, designed together with Degarism and inspired by industrial-era grotesques. Mona Sans works well across product, web, and print. Made to work well together with Mona Sans’s sidekick, Hubot Sans.

Mona Sans is a variable font. Variable fonts enable different variations of a typeface to be incorporated into one single file, and are supported by all major browsers, allowing for performance benefits and granular design control of the typeface’s weight, width, and slant.

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

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

Brygada 1918 is a digital revival project created for the celebration of 100 years of independence of the Republic of Poland in 2018. The typeface is based on the catalogue entry of the National Type Foundry from 1954 and a set of matrices found at the Book Arts Museum by mr. Janusz Tryzno in 2016. The original styles included Regular, Italics, and Bold in a range of sizes.

Commissioner is a low-contrast humanist sans-serif with almost classical proportions, conceived as a variable family. The family consists of three “voices”. The default style is a grotesque with straight stems. As the flair axis grows the straight grotesque terminals develop a swelling and become almost glyphic serifs while joints become more idiosyncratic. The volume axis transforms the glyphic serifs to wedge-like ones.

Each voice of Commissioner comes in a range of styles from Thin to Black including italics. The diverse proportions of lowercase and capitals add warmth and appeal to texts across sizes, while the different voices can express a variation in the typographic texture that ranges from delicate in text sizes to exuberant in larger sizes.

Commissioner supports the Google Latin Plus, Latin Pro, Cyrillic Plus, Cyrillic Plus .locl, Cyrillic Pro, and Greek Core character sets. The Cyrillic was done with the valuable consultation of Maria Doreuli (maria@contrastfoundry.com).

This typeface project received financial support from Google, and in the future may be available in Google Fonts.

Geologica is grounded in the humanist genre, but leans assertively into geometric, constructed letterforms to find its stability. The wide stance, generous spacing, large apertures and even colour makes Geologica a serious text typeface. The stylistic “Sharpness” axis adds a rational interpretation of calligraphic pen strokes – a modernist echo of the roots of writing.

The default style of the Geologica typeface is a sober humanist sans serif with a rational finish. The terminals are perpendicular to the direction of the pen stroke, emphasising the monolinearity of the letterforms. The alternate “Sharp” styles introduces details derived from writing with a broad-nib pen. Sharp points arise where the imagined pen is set to paper. These details are echoed in the Carthesian terminal treatment, causing curved shapes to form sharp inner points as they terminate.

Geologica uses the power of the OpenType Variable Font format to simultaneously morph between Light and Black weights, Upright and Oblique, and stylistic variants. This gives an incredibly rich typographic palette, making Geologica a typeface of great versatility.

Literata is designed by TypeTogether. It was commisioned for Google Play Books. Two versions of the family exist, one for print and the other for Ebooks. This is the print version of the family.

Playfair is a general purpose Open Source typeface family.

Open-source font by Jovanny Lemonad

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.

The official typeface of Finland designed by Helsinki Type Studio. In the spirit of the Finnish “Jokamiehenoikeus” this typeface is Open Source. The strong and compressed shapes embody a traditional virtue in Finnish culture: honest and resilient determination – “Sisu”.
Ink traps like cuts from a blunt ax, makes the typeface reliable in small sizes and gives it character in large headlines. Like the Finnhorse it’s a breed suitable both as riding horse and workhorse. The typeface is part of a toolbox of assets for the promotion of Finland and commissioned by the Prime minister’s office and Business Finland.

Andada is a text font with an organic-slab serif, hybrid style, a solid design of medium stroke contrast.

Designed by Carolina Giovagnoli for Huerta Tipográfica.