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.
An elaborately curly blackletter with extremely thin hairlines, inspired by a 19th-century typeface called Cuneiform. The optical size axis allows for a consistent hairline thickness of 0.5 point for font sizes from 76 through 332 points.
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.
Lisa Fischbach, Jakob Runge, Nils Thomsen, Paul Eslage
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.
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.