BioRhyme Expanded

Extra-Light

200

Light

300

Regular

400

Bold

700

Extra-Bold

800

Characters

Aa
Bb
Cc
Dd
Ee
Ff
Gg
Hh
Ii
Jj
Kk
Ll
Mm
Nn
Oo
Pp
Qq
Rr
Ss
Tt
Uu
Vv
Ww
Xx
Yy
Zz
Åå
Ææ
Çç
Éé
Øø
Ññ
Üü
Žž
1234567890
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

BioRhyme Expanded pushes Aoife Mooney’s slab-serif design to its logical horizontal boundary, trading the compact cadence of text setting for the deliberate sprawl of nineteenth-century broadsides. Where the standard width maintains just enough discipline to handle short paragraphs and captions, the Expanded cut leans entirely into its spatial footprint. Published under the SIL Open Font License, it exists primarily to claim territory across the page—not through sheer weight or towering vertical height, but through an expansive, lateral stride that reshapes how white space behaves around words.

The anatomy of the face exaggerates the low-slung, grounded qualities of the Egyptian genre. Counters open into broad, light-filled chambers, while the truncated ascenders and descenders further emphasize the horizontal pull of the line. The unbracketed, rectilinear slabs that cap the vertical stems act like masonry footings, anchoring each character firmly to the baseline. Mooney’s signature gestures—most notably the sweeping, calligraphic leg of the capital R and the broad bowls of the lowercase—gain considerable breathing room at this scale. In composition, the typeface requires generous leading; set too closely, its wide-set slabs and deliberate tracking easily crowd adjacent lines. It casts a distinct, rhythmically punctuated texture that establishes clear hierarchy in titles and short editorial phrases without needing to resort to heavy ink weights.

Across its spectrum from Extra Light to Extra Bold, the design remains an unapologetically specialized display instrument. Its sheer breadth disqualifies it from continuous reading or narrow columns, where it produces erratic ragging and awkward hyphenation. Instead, it finds its purpose on book jackets, poster layouts, packaging, and interface headers—environments where language can be isolated, slowed down, and given room to register. Within the open-source catalog, BioRhyme Expanded provides a useful counterweight to the prevailing fleet of condensed editorial serifs: an unhurried, wide-bodied design that understands how to command space through proportion rather than volume alone.

Words

Questography

difficult waffles

Havana Plywood

Château d’Yquem

Högertrafikomläggningen

hamburgevontpids

Headlines

Extra-Light · 200

Brawny gods just flocked up to quiz and vex him

Brawny gods just flocked up to quiz and vex him

Light · 300

Amazingly few discotheques provide jukeboxes

Amazingly few discotheques provide jukeboxes

Regular · 400

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Why shouldn’t a quixotic Kazakh vampire jog barefoot?

Bold · 700

Grumpy wizards make a toxic brew for the jovial queen

Grumpy wizards make a toxic brew for the jovial queen

Extra-Bold · 800

Jackie will budget for the most expensive zoology equipment

Jackie will budget for the most expensive zoology equipment

Paragraphs

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”

Stylistic sets
Size128
Spacing0%

Standard Ligatures

font-feature-settings: 'liga';

fi fi
fl fl

Figures

1234567890

Proportional Lining (default)

1/2 3/4

Fractions: 'frac'

0

Slashed Zero: 'zero'

H13

Numerators: 'numr'

H2

Denominators: 'dnom'

H123

Superscripts: 'sups'

Ordinals

font-feature-settings: 'ordn';

3a 3a
4o 4o

Stylistic Sets

font-feature-settings: 'ss--';

ft ft

'ss01'

ag ag

'ss02'

kx kx

'ss03'

Gz Gz

'ss04'

A A

'ss07'

du du

'ss08'

Swashes

font-feature-settings: 'swsh';

Q& Q&

Case Sensitive Forms

font-feature-settings: 'case';

l·l l·l

Catalan · 'case'

Loading glyphs…

Glyph name
Not available
Unicode
Not encoded
HTML code
Not available
CSS code
Not available