A variable color font version of the stony Rocher typeface. This version provides independently variable color effects in a single font file (see the article about making the font for details). The download options include a tool for generating versions with customized color palettes. (If the sample is black and/or doesn’t change with the sliders, your browser doesn’t fully support variable color fonts yet.)
An unusual sans with twisted strokes. In the heavier weights, the pinched stems and contrast become particularly exaggerated. The variable font is included when licensing a full package of all static styles.
A revival of American Type Founders’ 1895 typeface, Bradley. The original, based on lettering by Will H. Bradley, is usually credited to Hermann Ihlenburg. This digital version’s optical size axis covers the full range of original sizes, as far down as 6 points – rare for digital blackletter typefaces – plus a handful of stylistic alternate glyphs.
Output is a companion to the Input font series but focuses less on code / programming and more on versatility, readability, and interaction. Stylistic sets of alternate glyphs allow for several different flavors: humanist, tech-y, or grotesque. It is currently offered in a pre-release beta version. The lightest weights are also available as a Output Sans Hairlines Variable with its own unique functionality.
A tribute to Paul Renner’s Futura typeface. The variable sources are available on GitHub, and can be used to generate variable fonts. Otherwise, complete/usable variable font binaries are “available for a minimum of $10”.
The world’s second variable color font release, and the first to support a standard alphanumeric character set, based on lettering from a 1940s Boy Scouts guide. The promo page includes a tool built by Chris Lewis for generating versions with customized color palettes. (If the sample is black and/or doesn’t change with the sliders, your browser doesn’t fully support variable color fonts yet.)
A multi-script typeface for body text inspired by Tim Holloway’s original Markazi. The Arabic glyphs were designed by Bornā Izadpanāh with direction from Fiona Ross, and the Latin glyphs were designed by Florian Runge.