We all want to design great typographic experiences. We also want to serve users on an increasing range of devices and contexts. But today’s webfonts tie our responsive sites and applications to inflexible type that doesn’t scale. As a result, our users get poor reading experiences and longer loading times from additional font weights.
As typographers, designers, and developers, we can solve this problem. But we’ll need to work together to make webfonts more systemized and context-aware. Live webfont interpolation—the modification of a font’s design in the browser—exists today and can serve as an inroad for using truly responsive typography.
An introduction to font interpolation#section2
Traditional font interpolation is a process used by type designers to generate new intermediary fonts from a series of master fonts. Master fonts represent key archetypal designs across different points in a font family. By using math to automatically find the in-betweens of these points, type designers can derive additional font variants/weights from interpolation instead of designing each one manually. We can apply the same concept to our webfonts to serve different font variants for our users. For example, the H letter (H glyph) in this proof of concept (currently for desktop browsers) has light and heavy masters in order to interpolate a new font weight.
Normally these interpolated type designs end up being exported as separate fonts. For example, the TheSans type family contains individual font files for Extra Light, Light, Semi Light, Plain, SemiBold, Bold, Extra Bold, and Black weights generated using interpolation.
Interpolation can alter more than just font weight. It also allows us to change the fundamental structure of a font’s glyphs. Things like serifs (or lack thereof), stroke contrast/direction, and character proportions can all be changed with the right master fonts.
Although generating fonts with standard interpolation gives us a great deal of flexibility, webfont files are still static in their browser environment. Because of this, we’ll need more to work with the web’s responsiveness.
Web typography’s medium#section3
Type is tied to its medium. Both movable type and phototypesetting methods influenced the way that type was designed and set in their time. Today, the inherent responsiveness of the web necessitates flexible elements and relative units—both of which are used when setting type. Media queries are used to make more significant adjustments at different breakpoints.
However, fonts are treated as another resource that needs to be loaded, instead of a living, integral part of a responsive design. Changing font styles and swapping out font weights with media queries represent the same design compromises inherent in breakpoints.
Enter live webfont interpolation#section4
Live webfont interpolation just means interpolating a font on the fly inside the browser instead of being exported as a separate file resource. By doing this, our fonts themselves can respond to their context. Because type reflows and is partially independent of a responsive layout, there’s less of a need to set abrupt points of change. Fonts can adhere to bending points—not just breaking points—to adapt type to the design.
Precise typographic control#section5
With live font interpolation, we can bring the same level of finesse to our sites and applications that type designers do. Just as we take different devices into account when designing, type designers consider how type communicates and performs at small sizes, low screen resolutions, large displays, economical body copy, and everything in between. These considerations are largely dependent on the typeface’s anatomy, which requires live font interpolation to be changed in the browser. Properties like stroke weight and contrast, counter size, x-height, and character proportions all affect how users read. These properties are typically balanced across a type family. For example, the JAF Lapture family includes separate designs for text, display, subheads, and captions. Live font interpolation allows a single font to fit any specific role. The same font can be optimized for captions set at .8
em, body text set at 1.2
H1s set at 4.8
em in a light color.
Live font interpolation also allows precise size-specific adjustments to be made for the different distances at which a reader can perceive type. Type can generally remove finer typographic details at sizes where they won’t be perceived by the reader—like on far-away billboards, or captions and disclaimers set at small sizes.
Live font interpolation’s context-awareness builds inherent flexibility into the font’s design. A font’s legibility and readability adjustments can be linked to accessibility options. People with low vision who increase the default text size or zoom the browser can get type optimized for them. Fonts can start to respond to combinations of factors like viewport size, screen resolution, ambient light, screen brightness, and viewing distance. Live font interpolation offers us the ability to extend great reading experiences to everyone, regardless of how their context changes.
Live font interpolation on the web today#section7
While font interpolation can be done with images or
canvas, these approaches don’t allow text to be selectable, accessible via screen readers, or crawlable by search engines. SVG fonts offer accessible type manipulation, but they currently miss out on the properties that make a font robust: hinting and OpenType tables with language support, ligatures, stylistic alternates, and small caps. An SVG OpenType spec exists, but still suffers from limited browser support.
Unlike SVG files, which are made of easily modifiable XML, font file formats (
woff2, etc.) are compiled as binary files, complicating the process of making live changes. Sets of information describing a font are stored in tables. These tables can range from things like a
head table containing global settings for the font to a
name table holding author’s notes. Different font file formats contain different sets of information. For example, the OpenType font format, a superset of TrueType, contains additional tables supporting more features and controls (per Microsoft’s OpenType spec):
cmap: Character to glyph mapping
head: Font header
hhea: Horizontal header
hmtx: Horizontal metrics
maxp: Maximum profile
name: Naming table
OS/2: OS/2 and Windows-specific metrics
post: PostScript information
For live webfont interpolation, we need a web version of something like ttx, a tool for converting font files into a format we can read and parse.
Accessing font tables#section8
Projects like jsfont and opentype.js allow us to easily access and modify font tables in the browser. Much like a game of connect-the-dots, each glyph (the
glyp table in OpenType) is made up of a series of points positioned on an x-y grid.
Interpolation involves the modification of a glyph to fall somewhere between master font poles—similar to the crossfading of audio tracks. In order to make changes to glyphs on the web with live webfonts, we need to compare and move individual points.
Other glyph-related properties (like
xMax) also must be interpolated in order to ensure the glyph bounding box is large enough to show the whole glyph. Additionally, padding—or bearings, in font terminology—can be added to position a glyph in its bounding box (
width properties). This becomes important when considering the typeface’s larger system. Any combination of glyphs can end up adjacent to each other, so changes must be made considering their relationship to the typeface’s system as a whole.
Doing it responsibly#section9
Our job is to give users the best experience possible—whether they’re viewing the design on a low-end mobile device, a laptop with high resolution, or distant digital signage. Both poorly selected and slowly loading fonts hinder the reading experience. With CSS
@fontface as a baseline, fonts can be progressively enhanced
with interpolation where appropriate. Users on less capable devices and browsers are best served with standard
Fonts that interpolate well#section10
Like responsive design, font interpolation requires considerations for the design at both extremes, as well as everything in the middle. Finch—the typeface in these examples—lends itself well to interpolation. David Jonathan Ross, Finch’s designer, explains:
Finch’s consistency across weights allows it to avoid a complex interpolation space—there’s no need for additional master fonts or rules to make intermediate changes between two extremes.
Glyphs also don’t have to scale linearly across an axis’s delta. Guidelines like Lucas De Groot’s interpolation theory help us increase the contrast between near-middle designs, which may appear too similar to the user.
A call to responsive typography#section11
We already have the tools to make this happen. For example, jsfont loads a font file and uses the DataView API to create a modifiable font object that it then embeds through CSS
@fontface. The newer project opentype.js has active contributors and a robust API for modifying glyphs.
As font designers, typographers, designers, and developers, the only way to take advantage of responsive typography on the web is to work together and make sure it’s done beautifully and responsibly. In addition to implementing live webfont interpolation in your projects, you can get involved in the discussion, contribute to projects like opentype.js, and let type designers know there’s a demand for interpolatable fonts.