Aegyptus allocates Egyptian Hieroglyphs, in Plane 15 of the UCS. The main sources of glyphs are «Hieroglyphica», PIREI, 2000 and the work of Alan Gardiner. The font also covers Basic Latin, Egyptian Transliteration characters, the Hieratic alphabet, Coptic, Meroitic, the Gardiner set supported by Unicode, et al. The Gardiner set (redesigned with a thicker line) is also available in the small font Gardiner.

Akkadian covers the following scripts and symbols supported by The Unicode Standard: Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Cuneiform, Cuneiform Numbers and Punctuation.

A text typeface using the Greek letters designed by Alexander Wilson (1714-1786), a Scottish doctor, astronomer, and typefounder. The type was especially designed for an edition of Homer’s epics, published in 1756-8 by Andrew and Robert Foulis, printers to the University of Glasgow. A modern revival, Wilson Greek, has been designed by Matthew Carter in 1995. Peter S. Baker is also using Wilson’s Greek type in his Junicode font for medieval scholars (2007). Latin and Cyrillic are based on a Garamond typeface. The font covers the Windows Glyph List, Greek Extended, IPA Extensions, Ancient Greek Numbers, Byzantine and Ancient Greek Musical Notation, various typographic extras and several Open Type features (Case-Sensitive Forms, Small Capitals, Subscript, Superscript, Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures).

Lowercase upright Greek were designed in 1805 by Firmin Didot (1764 – 1836) and cut by Walfard and Vibert. The typeface, together with a complete printing house, was donated in 1821 to the new Greek state by Didot’s son, Ambroise Firmin Didot (1790 – 1876). Lowercase italic Greek were designed in 1802 by Richard Porson (1757 – 1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures); it is available in regular, italic, bold and bold italic.

Grecs du roi was designed by Claude Garamond (1480 – 1561) between 1541 and 1544, commissioned by king Francis I of France, for the exclusive use by the Imprimerie Nationale in Paris. Greek in Akaktoria is based on a modern version of Grecs du roi prepared by Mindaugas Strockis in 2001. Lowercase Latin stems from the titles in the 1623 First Folio Edition of Shakespeare. Scott Mann & Peter Guither prepared a modern version for The Illinois Shakespeare Festival in 1995. Cyrillic has been designed to match the above Greek and Latin. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures, Swash Capitals).

Analecta is an ecclesiastic scripts font, covering Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Coptic, typographica varia, Specials, Gothic and Deseret.

Anatolian is a work-font, encoding Anatolian Hieroglyphs in F200 - F4FF of the Private Use Area of the BMP. There are no plans to improve or expand it.

Fonts based on the ‘New Hellenic’ font by Victor Julius Scholderer.

Robert Granjon (1513 – 1589) produced his Parangonne Greque typeface (Garmond size) at the instigation of Plantin as a counterpart to Garamond’s Grec du roi, in Antwerp Holland, between 1560 - 1565. A version of the font was used (a century later!) for the 1692 edition of Diogenes Laertius by Aegidius Menagius (Gilles Ménage of Angers, 1613 – 92), published by Henric Wetstenium in Amsterdam. A second variant, at Kolonel size, was cut by Nikolaas Kis for the Greek-Dutch edition of the New Testament in 1698, again by Henric Wetstenium. A digital revival, was prepared by Ralph P. Hancock, in his Vusillus font. Latin and Cyrillic are based on a Goudy typeface. The font covers the Windows Glyph List, Greek Extended, various typographic extras and some Open Type features (Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures).

Upright is based on the lowercase Greek letters in the typeface used by Demetrios Damilas for the edition of Isocrates, published in Milan in 1493. A digital revival, was prepared by Ralph P. Hancock, in his Milan (Mediolanum) font. Italic Greek were designed in 1802 by Richard Porson (1757 – 1808) and cut by Richard Austin. They were first used by Cambridge University Press in 1810. Capitals, Latin and Cyrillic, as well as the complete bold weights, have been designed in an attempt to create a well-balanced font. The font covers the Windows Glyph List, Greek Extended, various typographic extras and is available in regular, italic, bold and bold italic. The regular style of the font also covers IPA Extensions, Ancient Greek Numbers, Byzantine and Ancient Greek Musical Notation and several Open Type features (Case-Sensitive Forms, Small Capitals, Subscript, Superscript, Numerators, Denominators, Fractions, Old Style Figures, Historical Forms, Stylistic Alternates, Ligatures).

Musica covers the following scripts and symbols supported by The Unicode Standard: Basic Latin, Greek and Coptic, some Punctuation and other Symbols, Byzantine Musical Symbols, (Western) Musical Symbols and Archaic Greek Musical Notation.

Symbola covers the following scripts and symbols supported by Unicode: Basic Latin, IPA Extensions, Spacing Modifier Letters, Combining Diacritical Marks, Greek and Coptic, Cyrillic, Cyrillic Supplement, General Punctuation, Superscripts and Subscripts, Currency Symbols, Combining Diacritical Marks for Symbols, Letterlike Symbols, Number Forms, Arrows, Mathematical Operators, Miscellaneous Technical, Control Pictures, Optical Character Recognition, Box Drawing, Block Elements, Geometric Shapes, Miscellaneous Symbols, Dingbats, Miscellaneous Mathematical Symbols-A, Supplemental Arrows-A, Supplemental Arrows-B, Miscellaneous Mathematical Symbols-B, Supplemental Mathematical Operators, Miscellaneous Symbols and Arrows, Supplemental Punctuation, Yijing Hexagram Symbols, Combining Half Marks, Specials, Byzantine Musical Symbols, Musical Symbols, Ancient Greek Musical Notation, Tai Xuan Jing Symbols, Counting Rod Numerals, Mathematical Alphanumeric Symbols, Mahjong Tiles, Domino Tiles, Playing Cards, Miscellaneous Symbols And Pictographs, Emoticons, Transport And Map Symbols, Alchemical Symbols, et al.

The GNU Unicode Bitmap font

Alegreya was chosen as one of 53 "Fonts of the Decade" at
the ATypI Letter2 competition in September 2011, and one
of the top 14 text type systems. It was also selected in
the 2nd Bienal Iberoamericana de Diseño, competition
held in Madrid in 2010.

Alegreya is a typeface originally intended for literature.
Among its crowning characteristics, it conveys a dynamic
and varied rhythm which facilitates the reading of long
texts. Also, it provides freshness to the page while
referring to the calligraphic letter, not as a literal
interpretation, but rather in a contemporary typographic language.

Allerta is an open source typeface designed for use in
signage. Allerta was designed to be easily and quickly
read from a distance. Each letter exploits the most
unique aspects of that individual letter so that each
character can be easily distinguished from any other.

Allerta has been released as an open source project so
that those countries, communities, and/or organizations
without a proper signage system may have a way of quickly
designing and implementing one. While Allerta is complete
with a large character set, because it is open source,
modification and expansion is encouraged.

For the more urgent of circumstances, Allerta Stencil
and an accompanying kit have been designed so that signage
can be created with nothing more than the kit of letters, a
can of spray paint, and the nearest available substrate.
Although the stencil kit may allude the finer points of
typographic spacing, it is intended to serve the most basic
purpose of signage: guiding people towards their destination
or towards assistance.

The name Allerta is derived from the origins of the word
alert (adj. swift, v. to advise or warn). The Italian origin
all'erta literally means on the lookout.

The Cabin font family is a humanist sans with 4 weights and true
italics, inspired by Edward Johnston’s and Eric Gill’s typefaces,
with a touch of modernism.

Cabin incorporates modern proportions, optical adjustments, and some
elements of the geometric sans.

It remains true to its roots, but has its own personality.

The weight distribution is almost monotone, although top and bottom
curves are slightly thin.

Counters of the b, g, p and q are rounded and optically adjusted. The
curved stem endings have a 10 degree angle. E and F have shorter
center arms. M is splashed.

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.

NOTE: Automatically created during Factory devel project migration by admin.

Exo is a contemporary geometric sans serif typeface that
tries to convey a technological/futuristic feeling while
keeping an elegant design. Exo was meant to be a very
versatile font, so it has 9 weights (the maximum on the web)
each with a true italic version. It works great as a display
face but it also works good for small to intermediate size texts.

Lato is a sanserif typeface family designed in the Summer
2010 by Warsaw-based designer Łukasz Dziedzic (“Lato” means
“Summer” in Polish). In December 2010 the Lato family was
published under the open-source Open Font License by his
foundry tyPoland, with support from Google.

The semi-rounded details of the letters give Lato a feeling
of warmth, while the strong structure provides stability and
seriousness.

Lato consists of five weights (plus corresponding italics),
including a beautiful hairline style. The first release only
includes the Western character set, but pan-European Latin,
Cyrillic and Greek extensions, as well as small caps and
other typographic niceties are expected in 2011.

Lekton has been designed at ISIA Urbino, Italy, and is inspired by some of the typefaces used on the Olivetti typewriters.

It was designed by: Paolo Mazzetti, Luciano Perondi, Raffaele Flaùto, Elena Papassissa, Emilio Macchia, Michela Povoleri, Tobias Seemiller, Riccardo Lorusso, Sabrina Campagna, Elisa Ansuini, Mariangela Di Pinto, Antonio Cavedoni, Marco Comastri, Luna Castroni, Stefano Faoro, Daniele Capo, and Jan Henrik Arnold.

"Nobile" is designed to work with the technologies of digital
screens and handheld devices without losing the distinctive look
more usually found in fonts designed for printing. Going back to
William Morris's baseline "Have nothing in your house that you do
not know to be useful, or believe to be beautiful", the aim was to
design a font that could function well, have good legibility on
screen yet also be good loooking, not only at larger display sizes
but also right down to small text sizes.

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.