IBM Plex Sans Condensed

Thin

Italic

100

Extra-Light

Italic

200

Light

Italic

300

Regular

Italic

400

Text

Italic

450

Medium

Italic

500

Semi-Bold

Italic

600

Bold

Italic

700

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
‘¿?’
“!”
- – —
(&)
[*]
{@}
€£¥$¢
:;,.
<>+÷×=

Where the standard proportional letter requires room to stretch its limbs along the measure, IBM Plex Sans Condensed steps forward to govern the severe, tight territories of the modern interface. Conceived under the creative direction of Mike Abbink alongside the Dutch foundry Bold Monday, this narrower sibling of the IBM Plex system was forged for high-density environments: data tables, complex technical documentation, software sidebars, and the unforgiving margins of mobile screens. Rather than treating condensation as an afterthought—the careless product of a software slider that distorts stroke weights and starves characters of air—the designers redrew the forms from the inside out, adapting the family’s signature dialogue between machine engineering and human gesture to an uncompromising economy of horizontal space.

Compacting a letterform without sacrificing its legibility demands rigorous optical surgery. In Plex Sans Condensed, the characteristic chamfered turns and engineered junctions are refined with surgical discipline, ensuring that interior counters remain open and hospitable to ambient light. Vertical stems maintain their architectural posture while horizontal curves flatten slightly into sturdy, rounded rectangles, allowing adjacent characters to nestle into an orderly, masonry-like cadence. The x-height remains generous, preventing the letters from pinching into illegible vertical slits at minute sizes. On the screen, it casts a taut, evenly disciplined grey—resolving the dense thickets of numbers and technical jargon into clear, rhythmic strings rather than an impenetrable thicket of black strokes.

Typographically, the condensed family refuses the cheap expedience so often forced upon compressed gothics. In place of a mechanically skewed oblique, Abbink and Bold Monday provide a true cursive italic, whose dynamic posture, distinct terminals, and fluid transitions offer genuine vocal contrast within the narrow column. Spanning eight meticulously calibrated weights—from the fragile scaffolding of Thin to the resolute punch of Bold—and equipped with tabular figures designed to align perfectly across financial ledgers, IBM Plex Sans Condensed brings civilizing order to spatial austerity. Within the open commons, it stands as proof that a typeface can hoard horizontal measure without surrendering its warmth, its clarity, or its dignity.

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

Text · 450

Jackie will budget for the most expensive zoology equipment

Text Italic · 450

Jackie will budget for the most expensive zoology equipment

Medium · 500

Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf

Medium Italic · 500

Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf

Semi-Bold · 600

Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz

Semi-Bold Italic · 600

Jeg begynte å fortære en sandwich mens jeg kjørte taxi på vei til quiz

Bold · 700

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich

Bold Italic · 700

Victor jagt zwölf Boxkämpfer quer über den großen Sylter Deich

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

Standard Ligatures

font-feature-settings: 'liga';

fifi

Figures

1234567890

Tabular Lining (default)

1234567890

Tabular Oldstyle: 'onum'

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';

3a3a
4o4o

Stylistic Sets

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

aa

'ss01'

gg

'ss02'

00

'ss03'

00

'ss04'

ßß

'ss05'

ДЖКДЖК

'ss06'

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