Inter
Thin
Italic
100
Extra Light
Italic
200
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Extra Bold
Italic
800
Black
Italic
900
Characters
Inter was designed by Swedish designer and technologist Rasmus Andersson to solve a specific, contemporary interface problem: crafting a digital neo-grotesque engineered from the pixel up for computer screens across varying display densities. Begun in 2016 under the initial working title Interface, the project grew directly out of Andersson’s work in software design, addressing the optical deficiencies that emerge when print-era grotesques are forced into complex application layouts. Released freely under the SIL Open Font License, Inter functions as a foundational utility of the modern web, approaching screen legibility not through decorative novelty, but through systematic optical engineering.
The anatomy of the face draws from the mid-century Swiss tradition—most visibly the measured, neutral lineage of Akzidenz-Grotesk and Helvetica—while incorporating pragmatic concessions for raster environments. It features a prominent x-height paired with short ascenders and descenders, proportions calibrated to maximize letter recognition within compact UI elements like buttons, tables, and navigation bars without triggering vertical clipping. Apertures remain wide and open, preventing interior chambers in letters such as c, e, and s from congealing at micro-sizes. At stroke junctions, Andersson introduced subtle optical tapers that function like digital ink traps, shedding excess weight where curves meet vertical stems to prevent dark pixel clumping. Along the line, Inter sets a balanced, neutral grey that preserves clear word silhouettes across both standard displays and high-density screens.
Beyond its default letterforms, Inter’s strength lies in its extensive programmatic architecture. Built as a variable font with continuous axes for weight and slant, it includes an expansive suite of OpenType features tailored to technical and UI demands: tabular numbers for financial ledgers, case-sensitive punctuation aligned to capital letters, and glyph disambiguation options that add crossbars to the capital I or curve the tail of the lowercase l to prevent confusion with the numeral 1. To ensure the design scales beyond small interface text, dedicated cuts such as Inter Display subtly adjust proportions, tightening the tracking and refining stroke transitions so that the typeface can step up to headline duties without feeling coarse.
Inter’s domain is firmly anchored in functional digital spaces: user interfaces, mobile operating systems, data dashboards, and responsive web layouts. While its deliberate neutrality makes it less suited to expressive display tasks or literary book design, it performs its intended role with exceptional discipline. Within the open-source commons, it stands as a prime example of utilitarian craft: an alphabet re-engineering the sober clarity of the grotesque for the technical demands of the screen.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Thin · 100
Brawny gods just flocked up to quiz and vex him
Thin Italic · 100
Brawny gods just flocked up to quiz and vex him
Extra Light · 200
Amazingly few discotheques provide jukeboxes
Extra Light Italic · 200
Amazingly few discotheques provide jukeboxes
Light · 300
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Light Italic · 300
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Regular · 400
Grumpy wizards make a toxic brew for the jovial queen
Regular Italic · 400
Grumpy wizards make a toxic brew for the jovial queen
Medium · 500
Jackie will budget for the most expensive zoology equipment
Medium Italic · 500
Jackie will budget for the most expensive zoology equipment
Semi Bold · 600
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Semi Bold Italic · 600
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Bold · 700
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Bold Italic · 700
Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz
Extra Bold · 800
Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich
Extra Bold Italic · 800
Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich
Black · 900
Gazeta publica hoje no jornal uma breve nota de faxina na quermesse
Black Italic · 900
Gazeta publica hoje no jornal uma breve nota de faxina na quermesse
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?”
Discretionary Ligatures
font-feature-settings: 'dlig';
Contextual Alternates
font-feature-settings: 'calt';
Figures
1234567890
Proportional Lining (default)
1/2 3/4
Fractions: 'frac'
0
Slashed Zero: 'zero'
H123
Numerators: 'numr'
H123
Denominators: 'dnom'
H123
Subscripts: 'subs'
H123
Scientific Inferiors: 'sinf'
H123
Superscripts: 'sups'
Ordinals
font-feature-settings: 'ordn';
Stylistic Sets
font-feature-settings: 'ss--';
'ss01'
'ss02'
'ss03'
'ss07'
'ss08'
Character Variants
font-feature-settings: 'cv--';
'cv01'
'cv02'
'cv06'
'cv09'
'cv10'
'cv11'
Case Sensitive Forms
font-feature-settings: 'case';
Capital Spacing
font-feature-settings: 'cpsp';
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