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Jason Pamental forges a path through the freshly laid snowy landscape of variable fonts. Like a brave explorer in a strange new typography topology let Jason show you the route to some fantastic font feats. Everything you thought you knew has changed.

Everything you thought you knew about fonts just changed (for the better).

Typography has always been a keen interest of mine, long before we were able to use fonts on the web. And while we’ve had the ability to that now for ten years, we’ve always been constrained by balancing the number of fonts we want to use with the amount of data to be downloaded by the viewer. While good type and typography can bring huge benefits to design, readability, and overall experience—include too many fonts and you negatively impact performance and by extension, user experience. Three years ago, an evolution of the OpenType font format was introduced that changes things in some really remarkable ways.

Introducing OpenType Font Variations (aka ‘variable fonts’)

As long as I’ve used digital fonts, I’ve had to install separate files for every width, weight, or variant that I want to use. Bold in one file, light in another, condensed italic another one yet again. Installing a whole family for desktop use might involve nearly 100 files. The variable font format is an evolution of OpenType (the format we’ve all been using for years) that allows a single file to contain all of those previously separate files in a single, highly efficient one. The type designer can decide which axes to include, and define minimum and maximum values.

On the web, that means we can load a single file and use CSS to set any axis, anywhere along the allowable range, without any artificial distortion by the browser. Some fonts might only have one axis (weight being the most common), and some may have more. A few are defined as ‘registered’ axes, which are the most common: width, weight, slant, italic, and optical size—but the format is extensible expressly so that designers can define their own custom axes and allow any sort of variation they want to create. Let’s see how that works on the desktop.

Just like before, but different

One of the ways the new format preserves backwards compatibility with other applications that don’t yet explicitly support variable fonts is something called ’named instances’—which are essentially mapped aliases for what used to be separate files. So whatever the typeface designer had in mind for ‘bold condensed’ would simply map to the appropriate points on the variation axes for weight and width. If the font has been made correctly, those instances will allow the font to be installed and used in recent versions of Windows and the MacOS just like they always have been.

If the application fully supports variable fonts, then you would also be able to manipulate individual axes as you see fit. Currently that includes recent versions of Adobe Illustrator, Photoshop, and InDesign, and also recent versions of the popular web/UI design application Sketch.

Discovering the secrets of style

To get all of the specifics of what a font supports, especially for use on the web, you’ll want to do one of two things: check the following website, or download Firefox (or better, do both).

If you have the font file and access to the web, go check out Roel Nieskens’ WakamaiFondue.com (What Can My Font Do… get it?). Simply drag-and-drop your font file as directed, and you’ll get a report generated right there showing what features the font has, languages its supports, file size, number of glyphs, and all of the variable axes that font supports, with low/high/default values displayed. You even get a type tester and some sliders to let you play around with the different axes. Take note of the axes, values, and defaults. We’ll need that info as we get into writing our CSS.

If you don’t have access to the font file (if it’s hosted elsewhere, for example), you can still get the information you need simply by using it on a web page and inspecting it with the Firefox developer tools. There are lots of fantastic videos on them (like this one and this one), but here’s the short version.

Thanks to Jen Simmons and the FF dev tools team, we have some incredible tools to work with web fonts right in the browser. Inspect a text element in the font you’re looking to use, and then click on the ‘fonts’ tab over to the right. You’ll then be greeted with a panel of information that shows you everything about the font, size, style, and variation axes right there! You can even change any of those values and see it rendered right in the browser, and if you then click on the ‘changes’ tab, you can easily copy and paste the changed CSS to bring right back into your code.

Now that you have all of the available axes, values, defaults, and their corresponding 4-character axis ’tags’—let’s take a look at how to use this information in practice. The first thing to note is that the five ‘registered’ axes have lower-case tags (wght, wdth, ital, slnt, opsz), whereas custom axis tags are always uppercase. Browsers are taking note, and mismatching upper and lower case can lead to unpredictable results.

There are two ways to implement the registered axes: through their corresponding standard CSS attributes, and via a lower-level syntax of font-variation-settings. It’s very important to use the standard attributes wherever possible, as this is the only way for the browser to know what to do if for some reason the variable font does not load, or for any alternate browsing method to infer any kind of semantics from our CSS (i.e. a heavier font-weight value signifying bolder text). While font-variation-settings is exactly what we should be using for custom axes (and for now, with italics or italics and slant axes), font-weight (wght) and font-stretch (wdth) are both supported fully in every browser that supports variable fonts. Now let’s have a look at the five registered axes and how to use them.

Weight

Probably the most obvious axis is weight—since almost every typeface is designed with at least regular and bold weights, and quite often much lighter/thinner and bolder extremes. With a variable font, you can use the standard attribute of font-weight and supply a number somewhere between the minimum and maximum value defined for the font rather than just a keyword like normal or bold. According to the OpenType specification, 400 should equate to normal for any given font, but in practice you’ll see that at the moment it can be quite varied by typeface.

p {
  font-weight: 425;
}
strong {
  font-weight: 675;
}

Why you’ll like this

Besides being able to make use of a broader range for things like big quotes in an extra-thin weight, or adding even more emphasis with a super-chonky one, you should try varying what it means for something to be ‘bold’. Using a ’slightly less bold’ value for bold text inline with body copy (i.e. the ’strong’ tag) can bring a bit more legibility to your text while still standing out. The heavier the weight, the more closed the letterforms will be, so by getting a bit more subtle at smaller sizes you can still gain emphasis while maintaining a bit more open feel. Try setting strong to a font-weight somewhere between 500-600 instead of the default 700.

Width

Another common variation in typeface design is width. It’s often seen referred to as ‘condensed’ or ‘compressed’ or ‘extended’—though the specifics of what these keywords mean is entirely subjective. According to the spec, 100 should equate to a ’normal’ width, and valid values can range from 1 to 1000. Like weight, it does map to an existing CSS attribute—in this case the unfortunately-named font-stretch attribute and is expressed as a percentage. In these early stages of adoption many type designers and foundries have not necessarily adhered to this standard with the numeric ranges, so it can look a little odd in your CSS. But a width range of 3%-5% is still valid, even if in this case 5% is actually the normal width. I’m hopeful that with more nudging we’ll see more standardization emerge.

p {
  font-stretch: 89%;
}

Why you’ll like this

One of the tricky things about responsive design is making sure your larger headings don’t end up as monstrous one-word-per-line ordeals on small screens. Besides tweaking font-size, try making your headings slightly narrower as well. You’ll fit more words per line without sacrificing emphasis or hierarchy by having to make the font-size even smaller.

Italic

The Italic axis is more or less what you’d expect. In most cases it’s a boolean 0 or 1: off (or upright) or on—usually meaning slanted strokes and often glyph replacements. Often times the lower case ‘a’ or ‘g’ have slightly different Italic forms. While it’s certainly possible to have a range rather than strictly 0 or 1, the off/on scenario is likely the most common that you’ll encounter. Unfortunately, while it is intended to map to font-style: italic, this is one of the areas where browsers have not fully resolved the implementation so we’re left having to rely upon the lower-level syntax of font-variation-settings. You might give some thought to using this in conjunction with a CSS custom property, or variable, so you don’t have to redeclare the whole string if you just want to alter the Italic/upright specification.

:root {
  --text-ital: 0;
}
body {
  font-variation-settings: 'ital' var(--text-ital);
}
em {
   --text-ital: 1;
}

Why you’ll like this

Having Italics as well as upright, along with weight and any other axes available, means you can use one or two files instead of 4 to handle your body copy. And with the range of axes available, you might just not need anything else.

Slant

The slant axis is similar to Italic, but different in two key ways. First, it is expressed as a degree range, and according to the OpenType specification should be ‘greater than -90 and less than +90’, and second, does not include glyph substitution. Usually associated with sans-serif typeface designs, it allows for any value along the range specified. If the font you’re using only has a slant axis and no italics (I’ll talk about that in a bit), you can use the standard attribute of ‘font-style’ like so:

em {
   font-style: oblique 12deg;
}

If you have both axes, you’ll need to use font-variation-settings—though in this case you just supply a numeric value without the deg.

:root {
  --text-slnt: 0;
}
body {
  font-variation-settings: 'slnt' var(--text-slnt);
}
em {
   --text-slnt: 12;
}

Why you’ll like this

The slant axis allows for anything within the defined range, so opportunities abound to set the angle a little differently, or add animation so that the text becomes italic just a little after the page loads. It’s a nice way to draw attention to a text element on the screen in a very subtle way.

Optical Size

This is a real gem. This is a practice that dates back over 400 years, whereby physically smaller type would be cut with slightly thicker strokes and a bit less contrast in order to ensure they would print well and be legible at smaller sizes. Other aspects can be tailored as well, like apertures being wider, terminals more angled, or bowls enlarged. Conversely, larger point sizes would be cut with greater delicacy, allowing for greater contrast and fine details. While this was in many ways due to poorer quality ink, paper, and type—it still had the effect of allowing a single typeface design to work optimally at a range of physical sizes. This practice was lost, however, with the shift to photo typesetting and then digital type. Both newer practices would take a single outline and scale it, so either the fine details would be lost for all, or the smaller sizes would end up getting spindly and frail (especially on early lower-resolution screens). Regaining this technique in the form of a variable axis gives tremendous range back to individual designs.

The concept is that the numeric value for this axis should match the rendered font-size, and a new attribute was introduced to go along with it: font-optical-sizing. The default is auto, and this is supported behavior in all shipping browsers (well, as soon as Chrome 79 ships). You can force it to off, or you can set an explicit value via font-variation-settings.

body {
  font-optical-sizing: auto;
}

Or:

:root {
  --text-opsz: 16;
}
body {
  font-variation-settings: 'opsz' var(--text-opsz);
}
h1 {
   --text-opsz: 48;
  font-size: 3em;
}

Why you’ll like this

A good optical size axis makes type more legible at smaller sizes, and tailoring that to the size it’s used makes a remarkable difference. On the other end of the spectrum, the increased stroke contrast (and anything else the type designer decides to vary) can mean a single font can feel completely different when used larger for headings compared with body copy. Look no further than Roslindale from David Jonathan Ross’ Font of the Month Club, in use on my site to see how big a difference it can be. I’m using a single font for all the headings and body copy, and they feel completely different.

Slant & Italics

I’m not sure that the creators of the specification were thinking of this when it was written, but technically there is no reason you can’t have separate axes for slant (i.e. angle) and Italic (i.e. glyph substitution). And indeed both DJR and Stephen Nixon have done just that, with Roslindale Italic and Recursive, respectively. With Recursive, you can see how much greater flexibility you can get by separating the angle from the glyphs. It can impart a completely different feel to a block of text to have an angle without the alternate forms. With the state of Italic implementation and the fact that they share the same CSS attribute, this is on that requires the use of font-variation-settings in order to set the attributes separately.

:root {
  --text-ital: 0;
  --text-slnt: 0;
}
body {
  font-variation-settings: 'ital' var(--text-ital), 'slnt' var(--text-slnt);
}
em {
   --text-ital: 1;
   --text-slnt: 12;
}
.slanted {
   --text-slnt: 12;
}
.italic-forms-only {
  --text-ital: 1;
}

Why you’ll like this

Having these axes separated can give you greater design flexibility when creating your typographic system. In some cases you might opt for a slant only, in others both angle and glyph substitution. While it may not be the most critical of features, it does add an extra dimension to the utility and dynamic range of a font.

Custom axes

While so far there are only five ‘registered’ axes, type designers can also create their own. Any aspect of the typeface design could potentially become an axis. There are the more ‘expected’ ones like serif shape or perhaps x-height (the height of the lower case letters) to much more inventive ones like ‘gravity’ or ‘yeast’. I’ll let someone else elaborate on those, but I will show an example of one I hope will become more common in text and UI designs: grade.

Grade

The notion of ‘grade’ in a typeface was first introduced to compensate for ink gain on different kinds of paper and presses as a way to visually correct across workflows and have a typeface appear the same on every one. The concept is that you’re essentially altering the weight of the font without changing the spacing. Having this as a variable axis can be useful in a couple of ways. Creating a higher-contrast mode, where the text gets a bit heavier without reflowing, can make text more legible in lower-light situations or in designing for ‘dark mode’. And when animating interface elements it can be add a bit heavier text grade along with a background color shift on hover or tap. It can also come in handy in responding to lower-resolution screens, where type can easily become a bit spindly. Note that custom axes need to be specified in all caps.

:root {
  --text-GRAD: 0;
}
body {
  font-variation-settings: 'GRAD' var(--text-GRAD);
}
body.dark {
  --text-GRAD: 0.5;
}

Why you’ll like this

I think the biggest use for a grade axis will be for accessibility—designing for things like a dark or high-contrast mode. But you’ll also be able to have some fun with UI animations, like making text heavier on buttons or navigation on hover or focus without altering the physical space occupied by the text.

Support

Happily support for variable fonts is quite good: recent versions of MacOS and Windows offer support at the OS level, meaning that they can be installed on your system and if the font has any ’named instances’, they will show up in any application’s font menu just as if they were separate fonts. If you have recent versions of Adobe CC applications Illustrator, Photoshop, or InDesign—or recent versions of Sketch—you can manipulate all of the available axes. In browsers, it’s better, and has been for quite some time. According to CanIUse.com it’s around 87%, but the more relevant bit for most is that both dominant mobile platforms and all the major shipping browsers support them.

The only really glaring exception is IE11, and given that you can easily use @supports to scope the inclusion of variable fonts it’s perfectly safe to put them in production today. That’s the strategy in use on the new web platform for the State of Georgia in the US, and it’s been deployed on over 40 sites so far and is happily serving static fonts to state employees (IE11 is their default browser) and variable ones to millions of citizens across the state.

p {
  font-family: YourStaticFontFamily;
}
@supports (font-variation-settings: normal) {
  p {
    font-family: YourVariableFontFamily;
  }
}

Since CSS is always parsed completely before any other action is taken, you can be sure that browsers will never download both assets.

Getting the fonts in your project

For now, many of you will likely be self-hosting your variable fonts as at this point only Google is offering them through their API, and so far only in beta. There are a few key differences in how you structure your @font-face declaration, so let’s have a look.

@font-face {
  font-family: "Family Name";
  src: url("YourVariableFontName.woff2")
    format("woff2 supports variations"), url("YourVariableFontName.woff2")
    format("woff2-variations");
  font-weight: [low] [high];
  font-stretch: [low]% [high]%;
  font-style: oblique [low]deg [high]deg;
}

The first thing you might notice is that the src line is a bit different. I’ve included two syntaxes pointing to the same file, because the official specification has changed, but browsers haven’t caught up yet. Because we have color fonts on the horizon in addition to variable ones (and the possibility that some may be both variable and in color), the syntax needed to be more flexible. Thus the first entry—which could specify ‘woff2 supports variations color’ for a font that supports both. Once browsers understand that syntax, they’ll stop parsing the ’src’ line once they get here. For now, they’ll skip that and hit the second one with a format of woff2-variations, which all current browsers that support variable fonts will understand.

For weight (font-weight) and width (font-stretch), if there is a corresponding axis, supply the low and high values (with the percentage symbol for width values). If there is no corresponding axis, just use the keyword ‘normal’. If there is a slant axis, supply the low and high values with ‘deg’ after each number. It’s worth noting that if there is also an italic axis (or only an italic axis and no slant), it’s best at this point to simply omit the font-style line entirely.

By supplying these values, you create some guard rails that will help the browser know what to do if the CSS asks for a value outside the allowed range. This way if the weight range is 300-700 and you accidentally specify font-weight: 100, the browser will simply clamp to 300 and won’t try to synthesize a lighter weight. It’s worth noting that this only works with the standard CSS attributes like font-weight or font-stretch. If you use font-variation-settings to set values, the browser assumes you’re the expert and will attempt to synthesize the result even if it’s outside the normal range.

Google Fonts is on the case, too

Back in September, the Google Fonts team announced a beta version of their API that supports some variable fonts. That support is growing, and more fonts are on the way. If you want to play around with it today though, you can have a look at an article I wrote about how, and check out a CodePen I created that’s using it.

Where to find them

The first place you should look for variable fonts is Nick Sherman’s v-fonts.com, which has been serving as a de facto catalog site, listing pretty much every variable font available. You can also have a look on GitHub where you’ll find a bunch of projects (in varying stages of completeness, but there are some good ones to be found). Nick also maintains a Twitter account that will tweet/retweet lots of announcements and links, and I publish a newsletter on web typography where I’ll generally include a few links to noteworthy releases.

You can also check out Laurence Penney’s Axis-Praxis.org site, the original variable fonts playground where you can put many of them (or even upload your own) into a type testing page that can give you loads of additional detail about available font features.

In truth, many designers and foundries are experimenting with making them, so if you’re unsure about availability it’s always worthwhile to ask. Get in touch and I can probably help make the connection!

Why it all matters

While all of this might be interesting purely from an academic standpoint, there are some significant benefits and opportunities that come from adopting variable fonts. From a performance standpoint, while variable fonts may be larger than single-instance font files, they are still far smaller than the sum total of static files they replace—and often come in smaller than 3-4 single fonts. Which means that page load times could substantially improve. This is the driving motivation for Nielson/Norman Group’s inclusion of Source Sans Variable on their site last year, or what Google has been testing with Oswald Variable on sites 148 million times a day for the past several months. Basically just using them instead of a few static instances to reap the benefits of faster page loads and less code.

But beyond that, what really excites me are the design possibilities. Once we have variable fonts on our sites, we’re free to get infinitely more expressive. And with the sophistication of our publishing systems, building some of that flexibility into our publishing process should not be far behind. So creating things like my experiment below shouldn’t be one-off exceptions, but rather part of a regular practice of bringing design back into the publishing process.

Go have fun

I hope this has served as a good starting point to get into designing and developing with variable fonts. Send links and questions—I can’t wait to see what you make! And stay tuned—there just might be another post coming that goes even further ;)

In the meantime, if you want to learn more about integrating variable fonts with all sorts of other ideas, check out the ever-amazing Mandy Michael’s site variablefonts.dev.

About the author

Jason spends much of his time working with clients to establish their typographic systems and digital strategy, helping design and development teams works smarter and faster, and running workshops about all of the above. He is a seasoned design and user experience strategy leader with over 20 years’ experience on the web in both creative and technical roles, and an Invited Expert to the W3C Web Fonts Working Group. Clients range from type industry giants, Ivy League and High Tech, to the NFL and America’s Cup. He also researches and writes on typography for the web: he’s author of Responsive Typography from O’Reilly, articles for TYPE Magazine, .Net Magazine, PRINT Magazine, HOW, Monotype.com, and frequent podcast guest. Author of online courses for Aquent’s Gymnasium platform and Frontend Masters. He’s an experienced speaker and workshop leader, having presented at over 50 national and international conferences. The real story: mainly he just follows Tristan and Tillie around Turner Reservoir, posting photos on Instagram.

More articles by Jason

Mandy Michael turns the corner on our variable font adventure and stumbles into a grotto of wonder and amazement. Not forgetting the need for a proper performance budget, Mandy shows how variable fonts can free your creativity from bygone technical constraints.

If you read Jason’s introductory article about variable fonts, you’ll understand the many benefits and opportunities that they offer in modern web development. From this point on we’ll assume that you have either read Jason’s introduction or have some prior knowledge of variable fonts so we can skip over the getting started information. If you haven’t read up on variable fonts before jump over to “Introduction to Variable Fonts: Everything you thought you knew about fonts just changed” first and then come join me back here so we can dive into using variable fonts for interactivity and animations!

Creative Opportunities

If we can use variable fonts to improve the performance of our websites while increasing the amount of style variations available to us, it means that we no longer need to trade off design for performance. Creativity can be the driving force behind our decisions, rather than performance and technical limitations.

My goal is to demonstrate how to create interactive, creative text on the web by combining variable fonts with CSS and JavaScript techniques that you may already be familiar with. With the introduction of variable fonts, designs which would have previously been a heavy burden on performance, or simply impossible due to technical limitations, are now completely possible.

The tone and intent of our words can be more effectively represented with less worry over the impacts of loading in “too many font weights” (or other styles). This means that we can start a new path and focus on representing the content in more meaningful ways. For example, emphasising different words, or phrases depending on their importance in the story or content.

Note: using variable fonts does not negate the need for a good web font performance strategy! This is still important, because after all, they are still fonts. Keep that in mind and check out some of the great work done by Monica Dinculescu, Zach Leatherman or this incredible article by Helen Homes.

Variable Fonts & Animations

Because variable fonts can have an interpolated range of values we can leverage the flexibility and interactive nature of the web. Rather than using SVG, videos or JavaScript to accomplish these effects, we can create animations or transitions using real text, and we can do this using techniques we may already be familiar with. This means we can have editable, selectable, searchable, copy-pastable text, which is accessible via a screenreader.

Grass Variable Font Demo

This effect is achieved using a font called Decovar, by David Berlow. To achieve the animation effect we only need a couple of things to get started.

First, we set up the font-family and make use of the new property font-variation-settings to access the different axes available in Decovar.

h1 {
  font-family: "Decovar";
  font-variation-settings: 'INLN' 1000, 'SWRM' 1000;
}

For this effect, we use two custom axis – the first is called “inline” and is represented by the code INLI and the second is “skeleton worm” represented by the code SWRM. For both axes, the maximum value is 1000 and the minimum value is 0. For this effect, we’ll make the most of the full axis range.

Once we have the base set up, we can create the animation. There are a number of ways to animate variable fonts. In this demo, we’ll use CSS keyframe animations and the font-variation-settings property, but you can also use CSS transitions and JavaScript as well.

The code below will start with the “leaves” expanded and then shrink back until it disappears.

@keyframes grow {
  0% {
    font-variation-settings: 'INLN' 1000, 'SWRM' 1000;
  }
  100% {
    font-variation-settings: 'INLN' 1000, 'SWRM' 0;
  }
}

Once we have created the keyframes we can add the animation to the h1 element, and that is the last piece needed in order to create the animation.

h1 {
  font-family: "Decovar";
  font-variation-settings: 'INLN' 1000, 'SWRM' 1000;
  animation: grow 4s linear alternate infinite;
}

What this demonstrates is that typically, to accomplish effects like this, the heavy lifting is done by the font. We really only need a few lines of CSS for the animation, which if you think about it, is pretty incredible.

There are all sorts of interesting, creative applications of variable fonts, and a lot of incredible fonts you can make the most of. Whether you want to create that “hand-writing” effect that we often see represented with SVG, or something a little different, there are a lot of different options.

Duos Writer: Hand Writing

Decovar: Disappearing Text

Cheee: Snow Text

Variable Fonts, Media Queries and Customisation

It’s not that these are just beautiful or cool effects, what they demonstrate is that as developers and designers we can now control the font itself and that that means is that variable fonts allow typography on the web to adapt to the flexible nature of our screens, environments and devices.

We can even make use of different CSS media queries to provide more control over our designs based on environments, light contrast and colour schemes.

Though the CSS Media Queries Level 5 Spec is still in draft stages, we can experiment with the prefers-color-scheme (also known as dark mode) media query right now!

Dark Mode featuring Oozing Cheee by OhNoTypeCo

The above example uses a font called “Cheee” by OhNoTypeCo and demonstrates how to make use of a CSS Transition and the prefers-color-scheme media query to transition the axis of a variable font.

h1 {
  font-family: “Cheee"
  font-variation-settings: "TEMP" 0;
  transition: all 4s linear;
}

@media (prefers-color-scheme: dark) {
  h1 {
    font-variation-settings: "TEMP" 1000;
  }
}

Dark mode isn’t just about changing the colours, it’s important to consider things like weight as well. It’s the combination of the weight, colour and size of a font that determines how legible and accessible it is for the user. In the example above, I’m creating a fun effect – but more practically, dark mode allows us to modify the contrast and styles to ensure better legibility and usability in different environments.

What is even more exciting about variable fonts in this context is that if developers and designers can have this finer control over our fonts to create more legible, accessible text, it also means the user has access to this as well. As a result, users that create their own stylesheets to customise the experience to their specific requirements, can now adjust the pages font weight, width or other available axis to what best suits them. Providing users with this kind of flexibility is such an incredible opportunity that we have never had before!

As CSS develops, we’ll have access to different environmental and system features that allow us to take advantage of our users unique circumstances. We can start to design our typography to adjust to things like screen width - which might allow us to tweak the font weight, width, optical size or other axes to be more readable on smaller or larger screens. Where the viewport is wide we can have more detail, when its smaller in a more confined space we might look at reducing the width of the font—this helps to maintain the integrity of the design as the viewport gets smaller or, to fit text into a particular space.

We have all been in the situation where we just need the text to be slightly narrower to fit within the available space. If you use a variable font with a width axis you can slightly modify the width to adjust to the space available, and do so in a way that the font was designed to do, rather than using things like letter spacing which doesn’t consider the kerning of the characters.

Variable Fonts, JavaScript and Interactive Effects

We can take these concepts even further and mix in a little JavaScript to make use of a whole suite of different interactions, events, sensors and apis. The best part about this is whether you are using device orientation, light sensors, viewport resizes, scroll events or mouse movement, the base JavaScript doesn’t really change.

To demonstrate this, we’ll use a straightforward example – we’ll match our font weight to the size of our viewport – as the viewport gets smaller, the font weight gets heavier.

We’ll start off by setting our base values. We need to define the minimum and maximum axis values for the font weight, and the minimum and maximum event range, in this case the viewport size. Basically we’re defining the start and end points for both the font and the event.

// Font weight axis range
const minAxisValue = 200
const maxAxisValue = 900

// Viewport range
const minEventValue = 320px
const maxEventValue = 1440px

Next we determine the current viewport width, which we can access with something like window.innerWidth.

// Current viewport width
const windowWidth = window.innerWidth

Using the current viewport width value, we create the new scale for the viewport, so rather than the pixels values we convert it to a range of 0 - 0.99.

const windowSize = (windowWidth - minEventValue) / (maxEventValue - minEventValue)
// Outputs a value from 0 - 0.99

We then take that new viewport decimal value and use it to determine the font weight based on viewport scale.

const fontWeight = windowSize * (minAxisValue - maxAxisValue) + maxAxisValue;
// Outputs a value from 200 - 900 including decimal places

This final value is what we use to update our CSS. You can do this however you want – lately I like to use CSS Custom Properties. This will pass the newly calculated font weight value into our CSS and update the weight as needed.

// JavaScript
p.style.setProperty("--weight", fontWeight);

Finally, we can put all this inside a function and inside an event listener for window resize. You can modify this however you need to in order to improve performance, but in essence, this is all you need to achieve the desired outcome.

function fluidAxisVariation() {
  // Current viewport width
  const windowWidth = window.innerWidth

  // Get new scales for viewport and font weight
  const viewportScale = (windowWidth - 320) / (1440 - 320);
  const fontWeightScale = viewportScale * (200 - 900) + 900;

  // Set in CSS using CSS Custom Property
  p.style.setProperty("--weight", fontWeightScale);
}

window.addEventListener("resize", fluidAxisVariation);

You can apply this to single elements, or multiple. In this case, I’m changing the paragraph font weights and different rates, but also reducing the width axis of the headline so it doesn’t wrap onto multiple lines.

As previously mentioned, this code can be used to create all sorts of really amazing, interesting effects. All that’s required is passing in different event and axis values.

In the following example, I’m using mouse position events to change the direction and rotation of the stretchy slinky effect provided by the font “Whoa” by Scribble Tone.

We can also take the dark mode/colour schemes idea further by making use of the Ambient Light Sensor to modify the font to be more legible and readable in low light environments.

This effect uses Tiny by Jack Halten Fahnestock from Velvetyne Type Foundry and demonstrates how we modify our text based by query the characteristics of the user’s display or light-level, sound or other sensors.

It’s only because Variable fonts give us more control over each of these elements that we can fine-tune the font characteristics to maximise the legibility, readability and overall accessibility of our website text. And while these examples might seem trivial, they are great demonstrations of the possibilities. This is a level of control over our fonts and text that is unprecedented.

Variable Fonts offer a new world of interactivity, usability and accessibility, but they are still a new technology. This means we have the opportunity to figure out how and what we can achieve with them. From where I stand, the possibilities are endless, so don’t be limited by what we can already do – the web is still young and there is so much for us to create. Variable fonts open up doors that never existed before and they give us an opportunity to think more creatively about how we can create better experiences for our users.

At the very least, we can improve the performance of our websites, but at best, we can make more usable, more accessible, and more meaningful content - and that, is what gets me really excited about the future of web typography with variable fonts.

About the author

Mandy is a community organiser, speaker, and developer working as the Front End Development Manager at Seven West Media in Western Australia. She is a co-organiser and Director of Mixin Conf, and the founder and co-organiser of Fenders, a local meetup for front-end developers providing events, mentoring and support to the Perth web community.

Mandy’s passion is CSS, HTML and JS and hopes to inspire that passion in others. She loves the supportive and collaborative nature of the web and strives to encourage this environment through the community groups she is a part of. Her aim is to create a community of web developers who can share, mentor, learn and grow together.

More articles by Mandy

Michelle Barker appears as one of a heavenly host, coming forth with scroll in hand to pronounce an end to janky scrolljacking! Unto us a new specification is born, in the city of TimBL, and its name shall be called Scroll Snap.

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One area where the web has traditionally lagged behind native platforms is the perceived “slickness” of the app experience. In part, this perception comes from the way the UI responds to user interactions – including the act of scrolling through content.

Faced with the limitations of the web platform, developers frequently reach for JavaScript libraries and frameworks to alter the experience of scrolling a web page – sometimes called “scroll-jacking” – not always a good thing if implemented without due consideration of the user experience. More libraries can also lead to page bloat, and drag down a site’s performance. But with the relatively new CSS Scroll Snap specification, we have the ability to control the scrolling behaviour of a web page (to a degree) using web standards – without resorting to heavy libraries. Let’s take a look at how.

Scroll Snap

A user can control the scroll position of a web page in a number of ways, such as using a mouse, touch gesture or arrow keys. In contrast to a linear scrolling experience, where the rate of scroll reflects the rate of the controller, the Scroll Snap specification enables a web page to snap to specific points as the user scrolls. For this, we need a fixed-height element to act as the scroll container, and the direct children of that element will determine the snap points. To demonstrate this, here is some example HTML, which consists of a <div> containing four <section> elements:

<div class="scroll-container">
  <section>
    <h2>Section 1</h2>
  </section>
  <section>
    <h2>Section 2</h2>
  </section>
  <section>
    <h2>Section 3</h2>
  </section>
  <section>
    <h2>Section 4</h2>
  </section>
</div>

Scroll snapping requires the presence of two main CSS properties: scroll-snap-type and scroll-snap-align. scroll-snap-type applies to the scroll container element, and takes two keyword values. It tells the browser:

• The direction to snap
• Whether snapping is mandatory

scroll-snap-align is applied to the child elements – in this case our <section>s.

We also need to set a fixed height on the scroll container, and set the relevant overflow property to scroll.

.scroll-container {
  height: 100vh;
  overflow-y: scroll;
  scroll-snap-type: y mandatory;
}

section {
  height: 100vh;
  scroll-snap-align: center;
}

In the above example, I’m setting the direction in the scroll-snap-type property to y to specify vertical snapping. The second value specifies that snapping is mandatory. This means that when the user stops scrolling their scroll position will always snap to the nearest snap point. The alternative value is proximity, which determines that the user’s scroll position will be snapped only if they stop scrolling in the proximity of a snap point. (It’s down to the browser to determine what it considers to be the proximity threshold.)

If you have content of indeterminate length, which might feasibly be larger than the height of the scroll container (in this case 100vh), then using a value of mandatory can cause some content to be hidden above or below the visible area, so is not recommended. But if you know that your content will always fit within the viewport, then mandatory can produce a more consistent user experience.

In this example I’m setting both the scroll container and each of the sections to a height of 100vh, which affects the scroll experience of the entire web page. But scroll snapping can also be implemented on smaller components too. Setting scroll snapping on the x-axis (or inline axis) can produce something like a carousel effect.

In this demo, you can scroll horizontally scroll through the sections:

The Intersection Observer API

By implementing the CSS above, our web page already has a more native-like feel to it. To improve upon this further we could add some scroll-based transitions and animations. We’ll need to employ a bit of Javascript for this, using the Intersection Observer API. This allows us to create an observer that watches for elements intersecting with the viewport, triggering a callback function when this occurs. It is more efficient than libraries that rely on continuously listening for scroll events.

We can create an observer that watches for each of our scroll sections coming in and out of view:

const sections = [...document.querySelectorAll('section')]

const options = {
  rootMargin: '0px',
  threshold: 0.25
}

const callback = (entries) => {
  entries.forEach((entry) => {
    if (entry.intersectionRatio >= 0.25) {
      target.classList.add("is-visible");
    } else {
      target.classList.remove("is-visible");
    }
  })
}

const observer = new IntersectionObserver(callback, options)

sections.forEach((section, index) => {
  observer.observe(section)
})

In this example, a callback function is triggered whenever one of our sections intersects the container by 25% (using the threshold option). The callback adds a class of is-visible to the section if it is at least 25% in view when the intersection occurs (which will take effect when the element is coming into view), and removes it otherwise (when the element is moving out of view). Then we can add some CSS to transition in the content for each of those sections:

section .content {
  opacity: 0:
}

section.is-visible .content {
  opacity: 1;
  transition: opacity 1000ms:
}

This demo shows it in action:

You could, of course, implement some much more fancy transition and animation effects in CSS or JS!

As an aside, it’s worth pointing out that, in practice, we shouldn’t be setting opacity: 0 as the default without considering the experience if JavaScript fails to load. In this case, the user would see no content at all! There are different ways to handle this: We could add a .no-js class to the body (which we remove on load with JS), and set default styles on it, or we could set the initial style (before transition) with JS instead of CSS.

Position: sticky

There’s one more CSS property that I think has the potential to aid the scroll experience, and that’s the position property. Unlike position: fixed, which locks the position of an element relative to the nearest relative ancestor and doesn’t change, position: sticky is more like a temporary lock. An element with a position value of sticky will become fixed only until it reaches the threshold of its parent, at which point it resumes relative positioning.

By “sticking” some elements within scroll sections we can give the impression of them being tied to the action of scrolling between sections. It’s pretty cool that we can instruct an element to respond to it’s position within a container with CSS alone!

Browser support and fallbacks

The scroll-snap-type and scroll-snap-align properties are fairly well-supported. The former requires a prefix for Edge and IE, and older versions of Safari do not support axis values. In newer versions of Safari it works quite well. Intersection Observer similarly has a good level of support, with the exception of IE.

By wrapping our scroll-related code in a feature query we can provide a regular scrolling experience as a fallback for users of older browsers, where accessing the content is most important. Browsers that do not support scroll-snap-type with an axis value would simply scroll as normal.

@supports (scroll-snap-type: y mandatory) {
  .scroll-container {
    height: 100vh;
    overflow-y: scroll;
    scroll-snap-type: y mandatory;
  }

  section {
    height: 100vh;
    scroll-snap-align: center;
  }
}

The above code would exclude MS Edge and IE, as they don’t support axis values. If you wanted to support them you could do so using a vendor prefix, and using @supports (scroll-snap-type: mandatory) instead.

Putting it all together

This demo combines all three of the effects discussed in this article.

Summary

Spending time on scroll-based styling might seem silly or frivolous to some. But I believe it’s an important part of positioning the web as a viable alternative to native applications, keeping it open and accessible. While these new CSS features don’t offer all of the control we might expect with a fully featured JS library, they have a major advantage: simplicity and reliability. By utilising web standards where possible, we can have the best of both worlds: Slick and eye-catching sites that satisfy clients’ expectations, with the added benefit of better performance for users.

About the author

Michelle is a Lead Front End Developer at Bristol web agency Atomic Smash, author of front-end blog CSS { In Real Life }, and a Mozilla Tech Speaker. She has written articles for CSS Tricks, Smashing Magazine, and Web Designer Magazine, to name a few. She enjoys experimenting with new CSS features and helping others learn about them.

More articles by Michelle

Cambridge, Mass. : National Bureau of Economic Research, 2020

Cambridge, Mass. : National Bureau of Economic Research, 2020

Online Resource

Dewey Library - JK2358.F5 D86 2019

Dewey Library - JC573.2.E852 B88 2020

Dewey Library - JC423.G74 2019

Dewey Library - U21.2.M558 2019

Dewey Library - HX550.R48 B5213 2018

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Dewey Library - UA23.C685 2018

Dewey Library - JC480.U54 2019

Dewey Library - JC574.2.U6 A79 2018

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Dewey Library - JK1976.S58 2019

Dewey Library - JF497.G7 D45 2018

Dewey Library - JK2071.R85 2019

Dewey Library - JC575.H378 2018

Dewey Library - JC423.R48 2018

Dewey Library - JC481.L295 2019

Dewey Library - JC348.K46 2019

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Milano : Springer Milan, 2006

Basel : Birkhauser Basel : Imprint : Birkhauser, 2007

Springer 2007

Milano ; Berlin : Springer, 2005

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