 license totalling $140 USD or more and receive a 

, including worldwide shipping. Stock is limited. This offer is valid from May 30 to June 30, or while supplies last.

with your order number, postal address, full name, and mobile number.

Spend $140 on Goodman typeface, get a free blanket

Free Goodman blanket

At The Designers Foundry, we understand typefaces are an investment and our customers do not want to be worrying about licensing terms limiting their creativity. The Designers Foundry Desktop License is comprehensive yet user-friendly End-User License Agreement (EULA) that truly sets us apart.

Legal jargon can be intimidating, so we’ve taken a clear and approachable approach to our EULA. Our Desktop License EULA is written to be straightforward, ensuring you can quickly understand your rights and obligations without wading through confusing legalese. This simplicity empowers you to focus on what you do best: creating.

The design landscape is constantly evolving, and so are the ways fonts are used. Our Desktop License accommodates a wide range of creative applications, from traditional print design to digital platforms. Whether you're designing logos, creating posters, or developing branding for businesses, our EULA ensures you have the freedom to bring your vision to life within clear, fair parameters. There is no exclusion or additional fees to use our fonts in social media or for logos, unlike some other foundries we include this in our Desktop License.

We offer licenses based on the number of users, making it easy to choose a plan that fits your needs. For instance, if you're a freelancer or a small design studio, you can license the font for up to 5 computers. Larger companies or collaborative projects can scale their license accordingly, with flexibility for adjustments if your needs grow. This ensures fairness for all types of users while protecting the work of our designers.

Our Desktop License EULA is built with the modern creative workflow in mind. You can use our fonts in popular desktop applications such as Adobe Illustrator, Photoshop, InDesign or even Figma and Canva. Whether you’re designing for print, creating static visuals for social media, or producing physical goods like packaging or clothing, our EULA is structured to meet your creative demands without holding you back.

Clear Guidelines for Online and Physical Use

Fonts can be used online in static images or video formats, ensuring clarity for web and social media use. In Physical goods, fonts can be used to create up to 250,000 physical units, from t-shirts to packaging and beyond. For larger runs or specific product categories, license extensions are available.

1. Logo and Social Media Included at no extra cost, unlike some other foundries.

2. Scalable Licensing: Options tailored for freelancers, small studios, and large corporations.

3. Generous Physical Goods Allowance: License covers up to 250,000 physical units.

4. Straightforward Language: Easy-to-understand terms that eliminate confusion.

5. Comprehensive Digital Coverage: Supports modern workflows in a huge range of media from printed goods to animations.

Our EULA isn’t just a document; it’s a reflection of our commitment to making high-quality typography stress-free and enjoyable. By prioritising clarity, flexibility, and fairness, we’ve created a licensing framework that supports our users and essentially all common usages. But should you find your needs might be unique and outside of our Desktop License, we can offer fully unlimited and enterprise font licensing, we're only an email away.

Simple and generous terms = no stress 

Why our Desktop License is one of the best

Discover how The Designers Foundry evolved from a modest Tumblr-linked store into a prominent global type provider. We spoke with our friends at Creative Boom about our history and thoughts on type in 2025.



Wrapping up the year with a chat with CB

Interview with Creative Boom

 for free, including international postage when you license any weight or collection of 

Simply place an order and enter your postal address at the checkout. Please allow up to 4 weeks for postage as sent via air-mail. Offer while stocks last.

Free specimen with Morion licenses

Free A1 Morion specimen

 in use for the Tyson Fury vs Francis Ngannou boxing event, billed as 

; a professional boxing match between reigning WBC heavyweight champion Tyson Fury and former UFC Heavyweight Champion Francis Ngannou. The event took place on 28 October 2023 in Riyadh, Saudi Arabia and was viewed by millions around the world. The fight was won by Fury in a 

BRIK steps in the ring

Brik in use

Enter your email below to be sent free Gatch demo files.

, a variable uni-width typeface packed with features, designed by David Einwaller.

Gatch seeks to bring playfulness and generous forms to the often predictable genre of geometric sans-serifs, particularly inspired by typefaces such as Joseph Churchward's "Crossbred”. To achieve this, classics such as "Futura" and "Neuzeit Grotesk" were utilised to combine their functional principles within a unique contemporary response. Tension between full-round and narrow glyph proportions are a prominent design choice that brings a pleasant energy to the typeface.

Gatch's uni-width system allows for seamless weight transitions without disrupting the flow of text. This characteristic is particularly valuable for sensitive displays or when creating positive/negative representations in UI design, or when space is limited in printed media.

Fully define the uppercase geometry with variable font technology. Over three variable axes you can control and modify the forms of the uppercase letters, resulting in an infinite number of combinations; setting headlines has never been easier. In addition to featuring many stylistic alternatives, Gatch is a versatile typeface ready to fill any display role you require while also excelling as a dependable workhorse sans. Gatch is available in nine static weights and as a Variable Font.





Your new favourite sans (free VF demo)

New Release: Gatch

Last month we were honoured to release a wrist watch with 

 featuring the design of our 10 year anniversary wall clock. Our design has been translated and crafted with precision by Anicorn using the finest materials including a Japanese Miyota 2035 Quartz movement piece, 316L stainless steel housing and genuine leather straps.

The supply of the wrist watch is limited, 

Trio Of Time Collaboration 

Anicorn Watches x TDF

To celebrate our 10 year anniversary we collaborated with David Einwaller (designer of 

) to produce a custom TDF clock for our office, plus a few extras to send out into the world that we have made 

 by Andrea Biggio. Our anniversary was actually back in March, but we took a bit longer to complete and refine these...clock production isn't something we do everyday.

The clock is 10 inch (25.4cm) by 1.77 inch (4.5cm and features a Quartz silent sweeping mechanism. Please note we're shipping from New Zealand so can't guarantee delivery prior to Christmas for international customers.

Celebrating 10 years 

10 Years of TDF

Early 2021 we were approached by the internationally renouned 

 to design a custom typeface for their client Telenor. Founded in 1855, Telenor is a publicly traded Norwegian (majority state-owned) multinational telecommunications company with over 20,000 staff providing mobile and internet services across multiple European and Southern Asia countries.

The typeface is a core asset in the branding refresh of Telenor. Because of the vastly different markets it operates in, Telenor needed something that could be applied to the brand as leader in one market, a challenger in the next, or anything in between. So a dynamic and flexible typeface crafted according to their needs was in order. Through a collaborative process the typeface titled Telenor Evolution was born.

The typeface is based upon retail typeface 

 by Andrea Biggio. Significant adjustments to the typeface include redesigning the structure of each glyph to suit the subtle rounded corners.



Founded in 1855, Telenor is a publicly traded...

Custom Typeface for Design Studio

 comes in two variable files / five families: Condensed, Narrow, Regular, Wide and Extended. Each family has six weights: Thin, Light, Regular, Medium, Bold, Black, Heavy and corresponding Italics.

Halisa is a vast collection of semi-constructed grotesque typefaces with an industrial origin and mechanical character. The design is based on a super-ellipse, giving the curves a squeezed, boxy shape, which is more noticeable in heavier weights and helps preserve legibility on lower resolution screens. Regular and lighter weights are more transparent because of this. Overall there is a consistent, considered balance of neutrality and character through all 60 weights and widths. Halisa is a robust and flexible workhouse that offers a wide palette of typographic tools fit for any use.

Halisa is a byproduct that outgrewn the product it was designed for originally. While working on a commission to develop a visual identity and signage system for a XIX century sugar factory in Żnin, Poland that was being converted into a hotel I was provided many factory signs, mostly from socialist era, which served me as a starting point for the project. I decided to draw a font based on it. First it was only uppercase condensed bold, then thin and by the end of the project I had a typeface, full identity and signage system – logos, pictograms, arrows etc. packed into one variable font file.

I decided to further explore the variable technology based on the first factory sign drawings. So the first task was to draw an extended version and then operating with the extremes to find the right proportions and balance between industrial, unadorned character and legibility in smaller sizes / longer texts.

After a long time of experimentation my focus shifted towards defining, refining and redefining the Regular cut, but only using the master curves in the extreme cuts. I would compare the process to performing a surgery with a probe. I could say it’s a study of interpolation — how to distribute shapes across weights and width to maintain balance, legibility and consistency of the whole system.

OpenType features include case-sensitive forms, ligatures, lining, old-style and tabular figures, localized forms, numerators, denominators, fractions, ordinals, scientific inferiors.

Stylistic set 2: alternate german double s, alternate ampersand

60 Styles + 2 Variable Fonts

New Release: Halisa

: Celebrating 7 years of TDF. Designed by David Einwaller featuring typefaces by Lucas Descroix, Sophie Brown, John Vetter, Dennis Grauel and Christoph York.

All purchases include free International air-mail to any country in the world. Stocks are limited, if your size is unavailable we apolgies in advance.

Front and rear print
Relaxed fit
Crew neck
Heavy weight, 220 GSM
100% combed cotton
Preshrunk to minimise shrinkage
Hand screenprinted with Pantone 2954c

Celebrating 7 Years of TDF (free shipping)

TDF Staff T-Shirt

Today we have added Italic styles and Cyrillic support for Wulkan Display. The upright styles have also had minor improvements and changes. All past customers should download the updated version from their account.

Any license holder of the full upright family option can add the Italic styles for the discounted price of $50 via the link below.

Italics + Cyrillic added

UPDATED: Wulkan Display

 (Grotesque) has undeniably been a labour of love for Florian Paizs, having been redesigned many times over between 2016-19. It was originally intended for a 2017 launch at The Designers Foundry 5th year anniversary, albeit on a smaller scale of 12 styles (one of the many prior versions can be seen in the branding and promotional goods from this time). A self-confessed perfectionist, Florian opted instead to push himself, growing and expanding the type family.

Over the past few years, we have teased the much-anticipated release of Zoom and as enquiries ramped up we finally settled on mid 2019 as the official launch date. We hired animators to create social media content, sent out test versions to our friends, designed a specimen etc etc. It was business as usual and things were going well but we still managed to miss our deadline. The culprit: underestimating testing and webfont production times.

Roll on August 2019, and Zoom Pro was ready to be released at long last. When delivering the final files Florian subtly mentioned, “this is the first stage, Zoom will eventually have 150+ styles, just give me a few more years ;).”

We hope to eventually offer Zoom Pro as a variable typeface. If you are interested in this please drop us a message.

Zoom Pro it is a brutal yet friendly display sans serif typeface with six widths and six weights (36 styles total) speaking full Latin Plus.

It has subtle yet distinguished calligraphic characteristics forming a bold personality, which is most evident in large sizes. Zoom Pro has many alternate glyphs and OpenType™ features making it highly adaptable and fun to use.

Purchase any collection of Zoom Pro and receive the printed specimen free.

36 styles, free specimen

New Release: Zoom Pro

 Twins are crafted as a futuristic love letter to sex and science fiction in the 1970's and 80's. This unique revival of design nostalgia hits hard. Think Sorayama and Frazetta. Barbarella and Blade Runner. The NASA "worm" meets Space-X. It's the past reimagined for the future.

Sporting ultra-sleek construction and razor sharp details, these two high performance display typefaces are fine tuned to get your motors running and rockets thrusting. Built on a single frame in all capitals, the pair look to evoke the two decades of inspirational design. In true BurnType fashion: they’re big, loud, and unapologetically zipper-melting. So strap in and hang on tight! The Super Twins are here to rock you into outer space!

Purchase both styles and recieve a free limited edition 

2 Styles + Specimen & Pin

New Release: Super

Fragen — which is German for ‘questions’ — is a low-contrast type family with spirited italics, born in the margins of a language course’s poorly duplicated worksheets. It develops a certain idea of eclecticism that I had previously explored, although in different directions, in works such as 

. A quest to balance diverse and sometimes contradictory elements into one cohesive and functioning typeface; one that would not always be logical, but somehow still make sense.

Fragen started with the wish of creating a typeface within this peculiar space between text and display. I wanted it to be legible and have a sort of technical overtone, while carrying a fair amount of bizarre elements. Looking for input, I was quickly charmed by the sturdiness of 19th century Antiques, as well as the satisfactory stability of a paragraph set with a typewriter. One of the first parts of the design process was to try and merge these two influences, using them as a starting point for the upright’s extreme masters.

Fragen’s lighter master is loosely based on Schreibmaschinen-Schriften — or typewriter faces. Monolinear strokes and rectangular serifs give it a certain severity, balanced by the playfulness of the ball terminals. On the other end of the weight axis, Fragen gets chunky and slightly offbeat, taking many aspects of Egyptian typefaces. Unlike its thin companion, the Black cut features flat bottoms and ink traps, but also squarish curves and pinched connections, giving it a rather different tone. The basis for the Regular weight is a middle ground between these two marked universes: a way to use interpolation as a surprise and an incentive.

Fragen directly quotes some unorthodox elements found in 19th century specimens, like the lovely side-tailed Q or some quite radical endings, sometimes almost sans-serif-like. I like the idea of fluidity between the severe boxes of type classification. In this case, it somehow reminded me of a denomination I saw in a lettering manual: the Blockschrift mit Füßen, literally “block letters with feet”, implying that, maybe out of laziness, some letters had been created by merely gluing serifs onto another model.

Aiming for stability, Fragen features slightly rectangular rounds and open counters, as well as a generous width to sit comfortably on the baseline. Although it was the initial source of inspiration, the moment came when the classic Antique letter structures seemed to just weigh down on the overall design. It needed to go in a more radical and more personal direction. Uppercases like C, R or S were replaced with more Garalde-like versions, while some lowercases with soft ball terminals, such as a and r, were relegated as alternates, making way for sharper shapes, borrowed from humanistic sans-serif designs.

Fragen’s most distinctive feature surely is its dynamic italics. Constructed on a steep 20° slope, they are meant to contrast with the stability of the upright cuts, making any text look like a flowing river. And if the first inspiration for Fragen was towards 19th century Antiques and Clarendon-like manifestations, its italics look in the direction of more decorative letter-shapes.
I tried to take the design of Fragen italics as a separate exercise. It means that, whenever I designed a new glyph I first and foremost made sure it belonged within its own cut — for example Fragen Thin Italic — more than restraining myself trying to find a common denominator for the entire family. Thus, many adjustments or inconsistencies can be found between uprights and italics, sometimes even between some of the weights.

Fragen’s italics first strike with their dynamism, but a closer look reveals a lot of restraint and an almost mechanical feeling. This is the consequence of incorporating and mixing several ways of italicisation — curviness, slant and rotation. While most basic lowercases are based on a continuous and sinuous gesture, the capitals, loosely inspired by François Ganeau’s superb Vendôme, feature a simple sloped structure, whose stability — and nearly rigidity — is accentuated by long horizontal serifs. Finally, details such as the rotated serifs on lowercase p and q, as well as the default double-story g, participate to a machine-like look, node to some early typewriter inspirations. This contrasts with the overall calligraphic spirit, for an uncanny and lively result.

As mentioned before, the first step was to coin Fragen Italic’s lighter weight and general ductus. From there, it was an interesting challenge to imagine a bolder master that would not just be a logical expansion, but bring something new to the table. Temporarily leaving out the idea of long-ish texts and small-ish sizes that were key for the upright cuts, I chose to explore the potential expressivity. This carried me into strange display-like directions, not suitable as end results but very satisfying and liberating to draw.

After trying extremes in stability and fluidity, in consistency and unpredictability, and slowly settling for what I judged to be an interesting mood, it was time to tune it down and make it fit to the intended purpose. In the end, and because of the necessity to survive in rather small size, Fragen Italic’s bold weights also borrow from 

. They’re less fluid than the light weights and carry a much more engravedfeeling, with important ink-traps, exaggerated features and broken curves.

As I was designing Fragen while starting to learn a new language, I found myself thinking of the two processes as sharing similarities. Both are seemingly extremely ruled and codified, but in the end organic, fluid and sentient. I often have the feeling that my designs preexist me, somewhere, and that my job is to uncover them, understand them and give them a proper form. A language, like a design, is never acquired from nothing, never detached from all references. And the process of bringing both of them to a usable stage doesn’t happen by a simple mechanical stacking of informations and logic, but requires a good part of instinct and relies a lot on trial and error.

Everything starts with an input, an observation of our environnement which lead us to formulate hypotheses. We imagine and sketch the next step of the system, based on previous accepted elements. It then gets validated or not by the direct surrounding. And the more we already know, previous languages or previous designs, the more we can try and transfer logics. Fragen’s design process really felt like this “shape acquisition”, a slow and organic journey of testing out hypotheses, seeing a system grow according to its own repercussions and exceptions.

Making Fragen was without a doubt a challenge; a larger family than I had designed before, that sometimes seemed a bit vertiginous by refusing some prefabricated logics in favour of a lively diversity. The result is a display-text hybrid, with a strong slab flavour and lots of unpredictable traits. And I am now very curious about how it is going to be used, as different sizes could reveal extremely different voices.

—
Fragen was designed by Lucas Descroix and released by 

 for his consulting on Vietnamese diacritics, and to 

 for his early enthusiasm. Plus constant support and feedback from 

8 weights + Italics

New Release: Fragen

Originally released as just two styles in 2017 after three years work, 

 has been one of our most popular typefaces. The demand and love for it meant we never stopped working on it and although it’s been over six years total of an on/off-relationship, there has been enough challenges in the design of it to last a lifetime. The final release has come a long way, the result; a semi-text classical serif with a display like nature.

The main goal was to find out how well a typeface can work in both text and display roles while not overlooking either. When we started to develop an aesthetic for Morion many years ago, the details didn’t quite match and the proportions were off, but the potential was there. A seemingly endless number of revisions later not only helped to get a better quality of drawing and interaction of the shapes, but also resulted in a typeface worth spending time with and using in our own work. The combination of calligraphic elements and rigid serifs has been a challenge since day one, but with this last revision it feels even more balanced and usable than ever. It can appear rather wide and geometric to the common reader, but works surprisingly well in a paragraph in the eyes of a designer.

The first step for the extension of the basic weights was to draw a third, a thin master to gain better control over the extremes. In the regular weight, the serifs felt a bit out of tone and so did the contrast. After some time in the process we decided to re-interpolate the original (regular) weight, which helped us get a step closer to harmonized details and text characteristics. Furthermore, we’ve set the proportions of the uppercase letters to a classic structure, based on the well-known Roman Capitals.

While the upright letterforms have been reshaped to slowly gain a more solid and confident expression, the first sketches for the italics gave us a softer feeling for the partnering set of styles. To achieve some contrast in running text we aimed for a slightly condensed version with more calligraphic expression and freedom in the drawings of the lettershapes. Eccentric forms like the lowercase f and y needed a bit of extra care — since they tend to clash with other descenders, we’ve implemented a substituting shape with a shorter tail.

The Glyphset of Morion was joined by practical, stylistic and other absent glyphs that make a font work better in a Latin environment. Old-Style figures for example act as a welcoming alternative to proportional ones in text-use and Lining Figures do a better job in calculations. Case-sensitive forms help with designing uppercase sets of type while refined accents or combining marks solve every question in multiple written languages. Besides all that, Morion has received fresh spacing and completely new kerning sets. We’ve listened to our past customers and paved the way for intense use in the future.

Supporting the release we have produced a 

We will be in touch in the next few days with instructions on how you will receive the new versions at no cost, as well as a discount on adding additional styles to your license.

10 new styles, fully redrawn

New Release: Morion

 in January 2020, this limited edition t-shirt is an ironic play on typeface formats. Juxtaposing the craft of punchcutting with current digital type technology, the digital font format ‘OTF’ is illustrated as traditional metal punches. Available in black or white.

We only use high quality, ethical produced garments that are made to last. This unisex t-shirt is 100% heavy weight combed cotton that is preshrunk. The graphics are hand screen-printed with love and care in New Zealand. We only produce small numbers of our t-shirts and always sell out, so if your preferred size is unavailable, we apologies.

Punch type vs OTF

Morion T-Shirt

The Morion Non-Reader is a unique take on the traditional “type specimen”, it can be seen as an experiment to remove the meaning behind the written word and instead focus on the visual appearance of type in a reading format; as the cover says "...for people who like to look at letters".

 is limited to 100 copies and is available for purchase at the link below or free with collection purchases of 

.

Update: First edition sold out. Second edition in production soon.

Update 2: Second edition in stock now. Major shipping delays due to COVID-19, see next post.

Update 3: Third edition just released in limited numbers. Please allow 3-6+ weeks for international postage.

Third edition just released (limited numbers)

Morion Specimen

Due to COVID-19 our local goverment has locked down our country for 5 weeks in an effort to slow the spread of the virus and save lives, a move we fully support.

During this 5 week period we are unable to ship any souvenirs (t-shirts, books etc). You can still place orders as normal but we will not be shipping again until 22 April.

UPDATE: Our local lock-down has been extended to April 28, post shops not open until mid May.

UPDATE 2: Postage resumes from May 13 but with major delays. Allow 4-8 weeks for some locations.

UPDATE 3: Postage times of Morion specimen book 8-12 weeks.

UPDATE 4: Aug 12, postage to most countries is now possible, but delays are to be expected.

Typeface sales continue as normal with instant download after payment.

Postage of souvenirs delayed, no impact on font purchases

COVID-19 creates shipping delay

License any typeface from July 1st, email us using the subject line "

" with your full name, postal address and order number to receive these goods free of charge. While stocks last, limit one per customer. Email: 

Air Freshener: 59mm x 100mm, natural pine scent, design featuring RM Neue, Fragen, Morion, Wulkan Display, Shape typefaces. Designed by David Einwaller.

Poster: 297mm x 420mm, 100gsm sovereign offset digital stock, design featuring Fragen + TDF collection + unreleased typefaces.

Free with any typeface license purchase

8 Years of TDF

 is a modern grotesk family by Andrea Biggio in 18 styles. Simple geometric shapes and accentuated contrast that give it a strong display like personality. High contrast, tight spacing and ink traps make it perfect for use in print and on screens in small sizes. When used in large dimensions these features make it an extremely cheerful, versatile typeface for a range of different uses.

Tomato's extended OpenType features include alternate glyphs, ligatures, fractions, stylistic alternates, contextual alternates, case sensitive forms, numerators/denominators, superiors/inferiors, and a variety of symbols. The family consists of 9 weights (Light to Black) and 9 matching slanted versions (18 styles in total). It supports an extended Latin character set.

To celebrate the release we are giving away a free printed 

 with all collection licenses and a free specimen and 

New release by Andrea Biggio

Tomato Grotesk Released

Since its founding 25 years ago, Match has pioneered online dating. In early 2021 Match revealed a fresh rebrand by Collins. Opting for a custom version of our 

 typeface to convey the rebrands maturity, Collins Senior Designer George Lavender explains how they were drawn by the friendly curves and natural flow that the typeface emitted. “We wanted to evoke a feeling of closeness that felt like an invitation into the brand,” Lavender adds, showcased in elements such as the nestling ‘M’ and ‘A’ of the wordmark and the heart-shaped full stop.

About Match: 1700 employees, $2B annual revenue (2019.

Custom Wulkan Display for Match

Fonts In Use: Wulkan Display

To celebrate one year (give or take a few months) since the re-release of 

, David has designed a double sided A1 poster specimen. We partnered with our freinds at 

 to give away 50 copies. Additional copies can be purchased in our souvenir store, while stock remain, (no reprints).

A1 poster giveaway with TBI

New Morion poster

The Designers Foundry is proud to release the expanded and remastered 

 by BurnType. Now in 20 styles with variable font support.

Learn more about Brik 

, which are free with collection purchases or $6 in our souvenir store, worldwide postage included.

Now in 20 styles + Variable

New Release: Brik

Looking for Tomato Grotesk typeface for free? Reach out to us, the creators of Tomato Grotesk and we will send you a free trial to sample Tomato Grotesk typeface.

Tomato Grotesk typeface free

tomato grotesk font free download

 font family offers a distinctive blend of modernity and clarity, making it an excellent choice for various design projects. With its clean lines and balanced proportions, Tomato Grotesk exudes professionalism and versatility. 

Whether used for headlines, body text, or branding elements, this font family delivers legibility and impact across different mediums. 

Its not a free font, but you can request a free trial version from The Designers Foundry. 

 today to get your hands on the demo files.

Is Tomato Grotesk font free?

tomato grotesk font family free download

Gatch Demo Download

A variable contains multiple styles within it. Instead of installing separate files for each weight, style, width, variable fonts let you adjust these properties to suit your exact needs down to the exact pixel with just a single font file.

This innovation, introduced as part of the OpenType 1.8 specification in 2016, gives designers excellent flexibility while reducing file size and load times.

Most variable fonts include at least one of the following axes:

 Width – Expands or condenses the letterforms.

 Slant – Tilts to it’s italic or slanted form.

 Optical Size – Adjusts details for readability at different sizes.

With these axes, designers can fine-tune a typeface to fit their exact needs—whether it’s making text narrower for small mobile screens or bolder for a headline without manually switching fonts.

Since all styles exist within one file, websites and apps can reduce the number of font requests, improving load times. This is particularly valuable for mobile and low-bandwidth environments.

Variable fonts enable fluid design, adapting seamlessly across different devices and screen sizes. Need a slightly heavier weight for better contrast? Adjust the slider.

Designers no longer need to stick to pre-defined styles like Regular, Bold, or Extra-Bold—they can create precise weights or widths tailored to their project.

Gone are the days of managing dozens of separate font files. Variable fonts simplify file organisation, making them easier to use in large design systems.

Variable fonts are supported in most modern browsers and design software. You can experiment with them using CSS or design tools like Adobe, Figma, and Canva.

Some of our most popular fonts are variable fonts like 