Lora

Regular

Italic

400

Medium

Italic

500

Semi Bold

Italic

600

Bold

Italic

700

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

Lora was drawn to inhabit that quiet intersection where the fluid stroke of the brush meets the architectural discipline of the punchcutter. Conceived by Olga Karpushina and developed alongside Alexei Vanyashin through the Cyreal foundry, the face emerged neither as an archaeological replica of eighteenth-century transitional models nor as an exercise in cold screen engineering. Instead, it was crafted to serve the unhurried cadence of modern storytelling and reflective prose. Where many contemporary digital serifs risk appearing either frail and brittle under coarse rasterization or swollen and blunted by aggressive hinting, Lora preserves an innate calligraphic dignity—shepherding the reader through extended texts with the poise of an accomplished narrator.

The anatomy of the letterform is animated by a captivating counterpoint: the organic warmth of brushed curves balanced against the crisp, driving horizontal footing of its serifs. Karpushina endowed the strokes with a moderate, supple contrast, allowing stems to swell and taper with the living breath of the hand. Terminals on letters such as c, r, and f curve with a distinct, chirographic inflection, arriving like poised droplets of ink rather than mechanically sheared boundaries. Counters are broad and hospitable, welcoming ambient light deep into the interior of each character, while a generous x-height ensures that the word-silhouette remains intact across low-resolution displays. Along the running measure, Lora weaves a warm, harmonious grey that avoids the blinding dazzle of the Didones, settling instead into an unhurried, rhythmic cadence.

It is in the italic that Lora’s calligraphic lineage sings with unreserved joy. Refusing the perfunctory expedient of a slanted roman, the cursive hand rakes forward with brisk, dancing energy—its fluid loops, asymmetrical entries, and lively exits introducing an authentic polyphonic contrast alongside the upright text. Supported by native fluency across both Latin and Cyrillic scripts and matured into a responsive variable architecture, the family avoids the sterile uniformity of modern corporate types. Released under the SIL Open Font License, Lora endures as one of the true literary workhorses of the digital commons: an alphabet proving that the contemplative dignity of the printed page can thrive upon the luminous canvas of the screen.

Words

Questography

difficult waffles

Havana Plywood

Château d’Yquem

Högertrafikomläggningen

hamburgevontpids

Headlines

Regular · 400

Brawny gods just flocked up to quiz and vex him

Regular Italic · 400

Brawny gods just flocked up to quiz and vex him

Medium · 500

Amazingly few discotheques provide jukeboxes

Medium Italic · 500

Amazingly few discotheques provide jukeboxes

Semi Bold · 600

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Semi Bold Italic · 600

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Bold · 700

Grumpy wizards make a toxic brew for the jovial queen

Bold Italic · 700

Grumpy wizards make a toxic brew for the jovial queen

Paragraphs

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

Size128
Weight400

Standard Ligatures

font-feature-settings: 'liga';

fifi
flfl

Contextual Alternates

font-feature-settings: 'calt';

12:3412:34

Figures

1234567890

Proportional Lining (default)

1/2 3/4

Fractions: 'frac'

H123

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

3a3a
4o4o
No.No.

Case Sensitive Forms

font-feature-settings: 'case';

::

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