content/go-fonts.article - blog - Git at Google

 Go fonts
 16 Nov 2016

 Nigel Tao

 Chuck Bigelow

 Rob Pike

 * An Announcement

 The experimental user interface toolkit being built at
 [[https://godoc.org/golang.org/x/exp/shiny][`golang.org/x/exp/shiny`]]
 includes several text elements, but there is a problem with testing them:
 What font should be used?
 Answering this question led us to today's announcement,
 the release of a family of high-quality [[https://en.wikipedia.org/wiki/Windows_Glyph_List_4][WGL4]] TrueType fonts,
 created by the [[http://bigelowandholmes.typepad.com/][Bigelow & Holmes]] type foundry specifically for the Go project.

 The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings.
 The fonts have been tested for technical uses, particularly programming.
 Go source code looks particularly good when displayed in Go fonts, as its name implies, with things like
 punctuation characters easily distinguishable and operators lined up and placed consistently:

 .image go-fonts/go-font-code.png _ 519

 Perhaps the most remarkable feature of the Go fonts is their license:
 They are licensed under the same open source license as the rest of the Go project's software,
 an unusually free arrangement for a high-quality font set.

 Here are samples of the proportionally-spaced...

 .image go-fonts/go-regular.png _ 600

 and monospaced fonts:

 .image go-fonts/go-mono.png _ 600

 * How to use them

 If you just want the TTF files, run

 	git clone https://go.googlesource.com/image

 and copy them from the subsequent `image/font/gofont/ttfs` directory.
 If you want to use Go (the fonts) with Go (the software), each font is provided by a separate package.
 To use the Go Regular font in a program, import `golang.org/x/image/font/gofont/goregular`, and write:


 	font, err := truetype.Parse(goregular.TTF)


 The [[https://godoc.org/github.com/golang/freetype/truetype][`github.com/golang/freetype/truetype`]]
 package provides the [[https://godoc.org/github.com/golang/freetype/truetype#Parse][`truetype.Parse`]] function today.
 There is also work underway to add a TrueType package under `golang.org/x`
 again licensed under the same open source license as the rest of the Go project's software.


 We leave it to you to find some of the other unusual properties the fonts have,
 but for an overview of the fonts' design we asked Chuck Bigelow to provide some background.
 The remainder of this blog post is his response.

 * Notes on the fonts, by Chuck Bigelow

 The Go fonts are divided into two sets, Go proportional, which is
 sans-serif, and Go Mono, which is slab-serif.


 * Go proportional fonts


 ** Sans-serif

 Go proportional fonts are sans-serif, like several popular fonts
 for screen displays. There is some evidence that some sans-serif
 faces at small sizes and low resolutions on screens are slightly
 more legible than their seriffed counterparts, while at large sizes,
 there is not a significant difference in legibility between sans and
 seriffed faces, at least in the pair tested. [1] (The bracketed numbers
 refer to the references listed at the end of this article.)


 ** Style

 Go sans-serif fonts are "humanist" rather than "grotesque" in
 style. This is an historical distinction, not an aesthetic judgment.
 Widely used sans-serif fonts like Helvetica and Arial are called
 grotesque because an early 19th century sans-serif typeface
 was named "Grotesque," and the name became generic.


 The shapes of modern grotesque fonts like Helvetica are sculpted,
 with smooth, assimilated forms.


 Humanist sans-serifs are derived from Humanist handwriting
 and early fonts of the Italian Renaissance and still show subtle
 traces of pen-written calligraphy. There is some evidence that
 humanist fonts are more legible than grotesque fonts. [2]


 ** Italics

 Go proportional italics have the same width metrics as the roman
 fonts. Go italics are oblique versions of the romans, with one
 noticeable exception: the italic lowercase 'a' is redesigned as a
 cursive single-story form to harmonize with the bowl shapes of
 the b d g p q set, in which the upright forms also adapt well to
 slanting, The addition of cursive 'a' makes the italics appear more
 lively than a simply slanted roman. Some typographers believe that
 slanted roman sans-serif italics are preferable to truly "cursive" sans
 Italics, in part because of history and design. [3]

 .image go-fonts/abdgpq-proportional.png

 ** The x-height

 The x-height of a typeface is the height of the lowercase 'x' relative
 to the body size. The x-height of Go fonts is 53.0% of body size, a
 bit larger than the x-heights of Helvetica (52.3%) or Arial (51.9%),
 but the difference is usually unnoticeable at normal reading sizes.
 Typographers believe that larger x-heights contribute to greater
 legibility in small sizes and on screens. A study of "print size"
 (particularly x-height) and reading noted that types for reading on
 screens and for small sizes tend to have large x-heights. [4]


 ** DIN Legibility Standard

 The recent German DIN 1450 legibility standard recommends
 several features for font legibility, including differentiation of
 letter shapes to reduce confusion. The Go fonts conform to the
 1450 standard by carefully differentiating zero from capital O;
 numeral 1 from capital I (eye) and lowercase l (ell); numeral 5 from
 capital S; and numeral 8 from capital B. The shapes of bowls of
 b d p q follow the natural asymmetries of legible Renaissance
 handwriting, aiding differentiation to reduce confusion. [5]


 ** Weights

 The Go proportional fonts come in three weights: Normal, Medium,
 and Bold. The Normal weight is strong enough that it maintains
 clarity on backlit screens, which often tend to erode letter features
 and thickness. The Medium weight has stem thickness 1.25 times
 the Normal, for greater sturdiness on bright screens or for users
 who prefer a sturdy font. The Bold weight has stem thickness
 1.5 times the Normal, bold enough to be distinct from the normal
 weight. These Go fonts have CSS numerical weights of 400, 500,
 and 600. Although CSS specifies "Bold" as a 700 weight and 600
 as Semibold or Demibold, the Go numerical weights match the
 actual progression of the ratios of stem thicknesses:
 Normal:Medium = 400:500; Normal:Bold = 400:600. The Bold
 weight name matches the use of “Bold” as the usual corresponding
 bold weight of a normal font. More discussion of the relationship of
 stem thicknesses, weight names, and CSS numbering is in [6].


 ** WGL4 character set

 The WGL4 character set, originally developed by Microsoft, is often
 used as an informal standard character set. WGL4 includes Western
 and Eastern European Latin characters plus Modern Greek and
 Cyrillic, with additional symbols, signs, and graphical characters,
 totalling more than 650 characters in all. The Go WGL4 fonts can
 be used to compose a wide range of languages. [7]


 ** Metric compatibility with Arial and Helvetica

 The Go sans-serif fonts are nearly metrically compatible with
 standard Helvetica or Arial characters. Texts set in Go occupy
 nearly the same space as texts in Helvetica or Arial (at the same
 size), but Go has a different look and texture because of its
 humanist style. Some Go letters with DIN legibility features are
 wider than corresponding letters in Helvetica or Arial, so some
 texts set in Go may take slightly more space.


 * Go Mono fonts


 ** Monospaced

 Go Mono fonts are monospaced—each letter has the same width as
 the other letters. Monospaced fonts have been used in programming
 since the beginning of computing and are still widely used because the
 typewriter regularity of their spacing makes text align in columns and
 rows, a style also found in Greek inscriptions of the 5th century BC.
 (The ancient Greeks didn't have typewriters or computer keyboards,
 but they did have great mathematicians and a great sense of symmetry
 and pattern that shaped their alphabet.)


 ** Slab-serif

 The Go Mono fonts have slab-shaped serifs, giving them a sturdy
 appearance.


 ** Style

 The underlying letter shapes of Go Mono are, like the Go sans-serif fonts,
 derived from humanist handwriting, but the monospacing and slab serifs
 tend to obscure the historical and stylistic connections.


 ** Italics

 Go Mono Italics are oblique versions of the romans, with the exception
 that the italic lowercase 'a' is redesigned as a cursive single-story form
 to harmonize with the bowl shapes of the b d g p q. The cursive 'a' makes
 the italics appear more lively than a simply slanted roman. As with many
 sans-serif fonts, it is believed that slanted roman slab-serifs fonts may
 be more legible than truly "cursive" italics.

 .image go-fonts/abdgpq-mono.png

 ** The x-height

 Go Mono fonts have the same x-height as Go sans-serif fonts, 53% of
 the body size. Go Mono looks almost 18% bigger than Courier, which
 has an x-height 45% of body size. Yet Go Mono has the same width
 as Courier, so the bigger look is gained with no loss of economy in
 characters per line.


 ** DIN Legibility Standard

 Go Mono fonts conform to the DIN 1450 standard by differentiating
 zero from capital O; numeral 1 from capital I (eye) and lowercase l (ell);
 numeral 5 from capital S; and numeral 8 from capital B. The shapes of
 bowls of b d p q follow the natural asymmetries of legible Renaissance
 handwriting, aiding differentiation and reducing confusion.


 ** Weights

 Go Mono fonts have two weights: Normal and Bold. The normal weight
 stem is the same as in Go Normal and thus maintains clarity on backlit
 screens, which tend to erode letter features and stem thickness. The
 bold stem thickness is 1.5 times thicker than the normal weight, hence
 the Bold Mono has the same stem thickness as Bold Go proportional.
 Because the letter width of monospaced bold is identical to the width of
 monospaced normal, the bold Mono appears slightly bolder than the
 proportional Go Bold, as more black pixels are put into the same area.)


 ** Metric compatibility with popular monospaced fonts

 Go Mono is metrically compatible with Courier and other monospaced
 fonts that match the "Pica" typewriter type widths of 10 characters per
 linear inch at 12 point. At 10 point, Go Mono fonts set 12 characters
 per inch. The TrueType fonts are scalable, of course, so Go Mono can
 be set at any size.


 ** WGL4 character set

 The Go Mono fonts offer the WGL4 character set often used as an
 informal standard character set. WGL4 includes Western and Eastern
 European Latin characters plus Modern Greek and Cyrillic, with
 additional symbols, signs, and graphical characters. The 650+ characters
 of the Go WGL4 sets can be used for a wide range of languages.


 * References


 [1] Morris, R. A., Aquilante, K., Yager, D., & Bigelow, C. (2002, May). P‐13: Serifs Slow RSVP Reading at Very Small Sizes, but Don't Matter at Larger Sizes. In SID Symposium Digest of Technical Papers (Vol. 33, No. 1, pp. 244-247). Blackwell Publishing Ltd.


 [2] Bryan Reimer et al. (2014) “Assessing the impact of typeface design in a text-rich automotive user interface”, Ergonomics, 57:11, 1643-1658.
 http://www.tandfonline.com/doi/abs/10.1080/00140139.2014.940000


 [3] Adrian Frutiger - Typefaces: The Complete Works. H. Osterer and P. Stamm, editors. Birkhäuser, Basel, 2009, page 257.


 [4] Legge, G. E., & Bigelow, C. A. (2011). Does print size matter for reading? A review of findings from vision science and typography. Journal of Vision, 11(5), 8-8. http://jov.arvojournals.org/article.aspx?articleid=2191906


 [5] Charles Bigelow. "Oh, oh, zero!" TUGboat, Volume 34 (2013), No. 2.
 https://tug.org/TUGboat/tb34-2/tb107bigelow-zero.pdf
 https://tug.org/TUGboat/tb34-2/tb107bigelow-wang.pdf


 [6] "Lucida Basic Font Weights" Bigelow & Holmes.
 http://lucidafonts.com/pages/facts


 [7] WGL4 language coverage: Afrikaans, Albanian, Asu, Basque,
 Belarusian, Bemba, Bena, Bosnian, Bulgarian, Catalan, Chiga,
 Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto,
 Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician,
 Ganda, German, Greek, Gusii, Hungarian, Icelandic, Inari Sami,
 Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut,
 Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower
 Sorbian, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto,
 Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North
 Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole,
 Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Russian,
 Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala,
 Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish,
 Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vunjo,
 Walser, Welsh, Zulu

 * Jabberwocky in Go Regular

 From [[https://en.wikipedia.org/wiki/Jabberwocky]]:

 .image go-fonts/go-font-jabberwocky.png _ 500

 There is no Greek version listed. Instead, a pangram from [[http://clagnut.com/blog/2380/#Greek]]:

 .image go-fonts/go-font-greek.png _ 530
	Go fonts
	16 Nov 2016

	Nigel Tao

	Chuck Bigelow

	Rob Pike

	* An Announcement

	The experimental user interface toolkit being built at
	[[https://godoc.org/golang.org/x/exp/shiny][`golang.org/x/exp/shiny`]]
	includes several text elements, but there is a problem with testing them:
	What font should be used?
	Answering this question led us to today's announcement,
	the release of a family of high-quality [[https://en.wikipedia.org/wiki/Windows_Glyph_List_4][WGL4]] TrueType fonts,
	created by the [[http://bigelowandholmes.typepad.com/][Bigelow & Holmes]] type foundry specifically for the Go project.

	The font family, called Go (naturally), includes proportional- and fixed-width faces in normal, bold, and italic renderings.
	The fonts have been tested for technical uses, particularly programming.
	Go source code looks particularly good when displayed in Go fonts, as its name implies, with things like
	punctuation characters easily distinguishable and operators lined up and placed consistently:

	.image go-fonts/go-font-code.png _ 519

	Perhaps the most remarkable feature of the Go fonts is their license:
	They are licensed under the same open source license as the rest of the Go project's software,
	an unusually free arrangement for a high-quality font set.

	Here are samples of the proportionally-spaced...

	.image go-fonts/go-regular.png _ 600

	and monospaced fonts:

	.image go-fonts/go-mono.png _ 600

	* How to use them

	If you just want the TTF files, run

	git clone https://go.googlesource.com/image

	and copy them from the subsequent `image/font/gofont/ttfs` directory.
	If you want to use Go (the fonts) with Go (the software), each font is provided by a separate package.
	To use the Go Regular font in a program, import `golang.org/x/image/font/gofont/goregular`, and write:


	font, err := truetype.Parse(goregular.TTF)


	The [[https://godoc.org/github.com/golang/freetype/truetype][`github.com/golang/freetype/truetype`]]
	package provides the [[https://godoc.org/github.com/golang/freetype/truetype#Parse][`truetype.Parse`]] function today.
	There is also work underway to add a TrueType package under `golang.org/x`
	again licensed under the same open source license as the rest of the Go project's software.


	We leave it to you to find some of the other unusual properties the fonts have,
	but for an overview of the fonts' design we asked Chuck Bigelow to provide some background.
	The remainder of this blog post is his response.

	* Notes on the fonts, by Chuck Bigelow

	The Go fonts are divided into two sets, Go proportional, which is
	sans-serif, and Go Mono, which is slab-serif.


	* Go proportional fonts


	** Sans-serif

	Go proportional fonts are sans-serif, like several popular fonts
	for screen displays. There is some evidence that some sans-serif
	faces at small sizes and low resolutions on screens are slightly
	more legible than their seriffed counterparts, while at large sizes,
	there is not a significant difference in legibility between sans and
	seriffed faces, at least in the pair tested. [1] (The bracketed numbers
	refer to the references listed at the end of this article.)


	** Style

	Go sans-serif fonts are "humanist" rather than "grotesque" in
	style. This is an historical distinction, not an aesthetic judgment.
	Widely used sans-serif fonts like Helvetica and Arial are called
	grotesque because an early 19th century sans-serif typeface
	was named "Grotesque," and the name became generic.


	The shapes of modern grotesque fonts like Helvetica are sculpted,
	with smooth, assimilated forms.


	Humanist sans-serifs are derived from Humanist handwriting
	and early fonts of the Italian Renaissance and still show subtle
	traces of pen-written calligraphy. There is some evidence that
	humanist fonts are more legible than grotesque fonts. [2]


	** Italics

	Go proportional italics have the same width metrics as the roman
	fonts. Go italics are oblique versions of the romans, with one
	noticeable exception: the italic lowercase 'a' is redesigned as a
	cursive single-story form to harmonize with the bowl shapes of
	the b d g p q set, in which the upright forms also adapt well to
	slanting, The addition of cursive 'a' makes the italics appear more
	lively than a simply slanted roman. Some typographers believe that
	slanted roman sans-serif italics are preferable to truly "cursive" sans
	Italics, in part because of history and design. [3]

	.image go-fonts/abdgpq-proportional.png

	** The x-height

	The x-height of a typeface is the height of the lowercase 'x' relative
	to the body size. The x-height of Go fonts is 53.0% of body size, a
	bit larger than the x-heights of Helvetica (52.3%) or Arial (51.9%),
	but the difference is usually unnoticeable at normal reading sizes.
	Typographers believe that larger x-heights contribute to greater
	legibility in small sizes and on screens. A study of "print size"
	(particularly x-height) and reading noted that types for reading on
	screens and for small sizes tend to have large x-heights. [4]


	** DIN Legibility Standard

	The recent German DIN 1450 legibility standard recommends
	several features for font legibility, including differentiation of
	letter shapes to reduce confusion. The Go fonts conform to the
	1450 standard by carefully differentiating zero from capital O;
	numeral 1 from capital I (eye) and lowercase l (ell); numeral 5 from
	capital S; and numeral 8 from capital B. The shapes of bowls of
	b d p q follow the natural asymmetries of legible Renaissance
	handwriting, aiding differentiation to reduce confusion. [5]


	** Weights

	The Go proportional fonts come in three weights: Normal, Medium,
	and Bold. The Normal weight is strong enough that it maintains
	clarity on backlit screens, which often tend to erode letter features
	and thickness. The Medium weight has stem thickness 1.25 times
	the Normal, for greater sturdiness on bright screens or for users
	who prefer a sturdy font. The Bold weight has stem thickness
	1.5 times the Normal, bold enough to be distinct from the normal
	weight. These Go fonts have CSS numerical weights of 400, 500,
	and 600. Although CSS specifies "Bold" as a 700 weight and 600
	as Semibold or Demibold, the Go numerical weights match the
	actual progression of the ratios of stem thicknesses:
	Normal:Medium = 400:500; Normal:Bold = 400:600. The Bold
	weight name matches the use of “Bold” as the usual corresponding
	bold weight of a normal font. More discussion of the relationship of
	stem thicknesses, weight names, and CSS numbering is in [6].


	** WGL4 character set

	The WGL4 character set, originally developed by Microsoft, is often
	used as an informal standard character set. WGL4 includes Western
	and Eastern European Latin characters plus Modern Greek and
	Cyrillic, with additional symbols, signs, and graphical characters,
	totalling more than 650 characters in all. The Go WGL4 fonts can
	be used to compose a wide range of languages. [7]


	** Metric compatibility with Arial and Helvetica

	The Go sans-serif fonts are nearly metrically compatible with
	standard Helvetica or Arial characters. Texts set in Go occupy
	nearly the same space as texts in Helvetica or Arial (at the same
	size), but Go has a different look and texture because of its
	humanist style. Some Go letters with DIN legibility features are
	wider than corresponding letters in Helvetica or Arial, so some
	texts set in Go may take slightly more space.


	* Go Mono fonts


	** Monospaced

	Go Mono fonts are monospaced—each letter has the same width as
	the other letters. Monospaced fonts have been used in programming
	since the beginning of computing and are still widely used because the
	typewriter regularity of their spacing makes text align in columns and
	rows, a style also found in Greek inscriptions of the 5th century BC.
	(The ancient Greeks didn't have typewriters or computer keyboards,
	but they did have great mathematicians and a great sense of symmetry
	and pattern that shaped their alphabet.)


	** Slab-serif

	The Go Mono fonts have slab-shaped serifs, giving them a sturdy
	appearance.


	** Style

	The underlying letter shapes of Go Mono are, like the Go sans-serif fonts,
	derived from humanist handwriting, but the monospacing and slab serifs
	tend to obscure the historical and stylistic connections.


	** Italics

	Go Mono Italics are oblique versions of the romans, with the exception
	that the italic lowercase 'a' is redesigned as a cursive single-story form
	to harmonize with the bowl shapes of the b d g p q. The cursive 'a' makes
	the italics appear more lively than a simply slanted roman. As with many
	sans-serif fonts, it is believed that slanted roman slab-serifs fonts may
	be more legible than truly "cursive" italics.

	.image go-fonts/abdgpq-mono.png

	** The x-height

	Go Mono fonts have the same x-height as Go sans-serif fonts, 53% of
	the body size. Go Mono looks almost 18% bigger than Courier, which
	has an x-height 45% of body size. Yet Go Mono has the same width
	as Courier, so the bigger look is gained with no loss of economy in
	characters per line.


	** DIN Legibility Standard

	Go Mono fonts conform to the DIN 1450 standard by differentiating
	zero from capital O; numeral 1 from capital I (eye) and lowercase l (ell);
	numeral 5 from capital S; and numeral 8 from capital B. The shapes of
	bowls of b d p q follow the natural asymmetries of legible Renaissance
	handwriting, aiding differentiation and reducing confusion.


	** Weights

	Go Mono fonts have two weights: Normal and Bold. The normal weight
	stem is the same as in Go Normal and thus maintains clarity on backlit
	screens, which tend to erode letter features and stem thickness. The
	bold stem thickness is 1.5 times thicker than the normal weight, hence
	the Bold Mono has the same stem thickness as Bold Go proportional.
	Because the letter width of monospaced bold is identical to the width of
	monospaced normal, the bold Mono appears slightly bolder than the
	proportional Go Bold, as more black pixels are put into the same area.)


	** Metric compatibility with popular monospaced fonts

	Go Mono is metrically compatible with Courier and other monospaced
	fonts that match the "Pica" typewriter type widths of 10 characters per
	linear inch at 12 point. At 10 point, Go Mono fonts set 12 characters
	per inch. The TrueType fonts are scalable, of course, so Go Mono can
	be set at any size.


	** WGL4 character set

	The Go Mono fonts offer the WGL4 character set often used as an
	informal standard character set. WGL4 includes Western and Eastern
	European Latin characters plus Modern Greek and Cyrillic, with
	additional symbols, signs, and graphical characters. The 650+ characters
	of the Go WGL4 sets can be used for a wide range of languages.




	* References


	[1] Morris, R. A., Aquilante, K., Yager, D., & Bigelow, C. (2002, May). P‐13: Serifs Slow RSVP Reading at Very Small Sizes, but Don't Matter at Larger Sizes. In SID Symposium Digest of Technical Papers (Vol. 33, No. 1, pp. 244-247). Blackwell Publishing Ltd.


	[2] Bryan Reimer et al. (2014) “Assessing the impact of typeface design in a text-rich automotive user interface”, Ergonomics, 57:11, 1643-1658.
	http://www.tandfonline.com/doi/abs/10.1080/00140139.2014.940000


	[3] Adrian Frutiger - Typefaces: The Complete Works. H. Osterer and P. Stamm, editors. Birkhäuser, Basel, 2009, page 257.


	[4] Legge, G. E., & Bigelow, C. A. (2011). Does print size matter for reading? A review of findings from vision science and typography. Journal of Vision, 11(5), 8-8. http://jov.arvojournals.org/article.aspx?articleid=2191906


	[5] Charles Bigelow. "Oh, oh, zero!" TUGboat, Volume 34 (2013), No. 2.
	https://tug.org/TUGboat/tb34-2/tb107bigelow-zero.pdf
	https://tug.org/TUGboat/tb34-2/tb107bigelow-wang.pdf


	[6] "Lucida Basic Font Weights" Bigelow & Holmes.
	http://lucidafonts.com/pages/facts


	[7] WGL4 language coverage: Afrikaans, Albanian, Asu, Basque,
	Belarusian, Bemba, Bena, Bosnian, Bulgarian, Catalan, Chiga,
	Colognian, Cornish, Croatian, Czech, Danish, Embu, English, Esperanto,
	Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician,
	Ganda, German, Greek, Gusii, Hungarian, Icelandic, Inari Sami,
	Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaallisut,
	Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, Lower
	Sorbian, Luo, Luxembourgish, Luyia, Macedonian, Machame, Makhuwa-Meetto,
	Makonde, Malagasy, Malay, Maltese, Manx, Meru, Morisyen, North
	Ndebele, Northern Sami, Norwegian Bokmål, Norwegian Nynorsk, Nyankole,
	Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Russian,
	Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Serbian, Shambala,
	Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish,
	Swiss German, Taita, Teso, Turkish, Turkmen, Upper Sorbian, Vunjo,
	Walser, Welsh, Zulu

	* Jabberwocky in Go Regular

	From [[https://en.wikipedia.org/wiki/Jabberwocky]]:

	.image go-fonts/go-font-jabberwocky.png _ 500

	There is no Greek version listed. Instead, a pangram from [[http://clagnut.com/blog/2380/#Greek]]:

	.image go-fonts/go-font-greek.png _ 530