A simple resource for finding and trying variable fonts
⚠️ Notice: As a showcase of variable fonts, this site requires a web browser that supports OpenType font variation technology. It looks like your browser doesn’t, so please consider upgrading to one that does (the latest versions of Chrome work well, even on older operating systems). Otherwise, the font samples below will only appear as static fonts.
A variable version of League Spartan, The League of Movable Type’s digital interpretation of Spartan, a classic Futura knock-off originally released by American Type Founders Co.
An industrial sans with nods to typefaces based on blunt geometry like DIN 1451. Ilya Ruderman, Yury Ostromentsky, and Maria Doreuli consulted on the Cyrillic. Kostas Bartsokas consulted on the Greek. Alphabet Type assisted with post-production.
The variable versions of Halvar are currently in beta stage and available by request.
Design:
Lisa Fischbach, Jakob Runge, Nils Thomsen, Paul Eslage
A variable type system for code and user interface design, with the option to vary between monospaced and proportional glyph widths, as well as standard tech-y forms and expressive brush-like forms.
A special-purpose font that demonstrates the relationships between variable “width” axes for use with different writing directions. For example, horizontal layout is typical with Western characters (represented as hollow rectangles in this font), but vertical layout is often used with some Asian characters (represented as solid rectangles), and it’s possible to combine aspects of both in different ways. This can make the relationship between different glyphs’ width, height, and rotation complicated. Ken Lunde explains more in the article introducing the font.
A typeface designed “for typesetting at miniature type sizes”. Its underlying structure is based on a course pixel grid, and the variable ink trap notches can be used to counteract the effects of printing or rendering at small sizes, or for stylistic effects at larger sizes.
A set of symbols intended to work with Apple’s San Francisco type series for use as UI elements. The system is built with fonts but also includes an app for browsing and implementation.
A geometric sans and a “Strange” counterpart, with the ability to extend some glyphs to exaggerated widths. Its free license is targeted at non-commercial student work.
White On Black VF is a special-purpose variable font with just one glyph (㊎) demonstrating an issue related to the non-zero winding rule used for rendering fonts. The issue is especially problematic when negative glyphs are reversed out of a positive background shape. The weight axis also shows how the technique for avoiding the problem with static fonts – removing overlaps – isn’t a viable solution for variable fonts because the topology of overlapping shapes may change across variations. The counterpart font, Black On White VF, is made with the same shapes but with an additional circular path, showing how the issue is not present with more typical positive-on-negative glyphs. The fonts were produced by Ken Lunde using a glyph designed by Ryoko Nishizuka.
A serif typeface with a large range of optical size variation, for everything from small body text to extra-large headlines. It’s the first variable font release from Typejockeys.
An unusual type system that can morph between six different serif styles, including sans-serif. See the demo page for more samples. Offered with discounted pricing while it’s still a work in progress.
A set of special-purpose variable fonts based on Adobe Blank and Adobe Blank 2, intended to render all Unicode characters / code points using variable glyphs. Adobe Blank VF renders all code points with empty space, and Adobe Black VF renders them with a variable rectangle. The “2” versions of the fonts are produced in a way that is more data-efficient, but may not be supported in all environments. In those cases, the plain Adobe Blank VF and Adobe Black VF fonts can be used. Ken Lunde explains more in the article about the fonts.
The first variable incarnation of Bild, DJR’s homage to some of the more dense American gothic type styles from the 20th century. The font includes some subtle feature variations that are triggered at certain widths to improve spacing and alignment – for example, the kerning between ‘T’ and ‘y’, and the alignment between ‘i’ and ‘l’.