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

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

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?”

Stylistic sets
Size128
Weight400
Optical size14

Discretionary Ligatures

font-feature-settings: 'dlig';

dfdf
dtdt
fifi
fftfft

Contextual Alternates

font-feature-settings: 'calt';

12:5612:56
(SEMI)(SEMI)
->->
<-<-
=>=>
!=!=

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';

3a3a
4o4o
No.No.

Stylistic Sets

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

1346913469

'ss01'

0Ill0Ill

'ss02'

,;,;

'ss03'

!=!=

'ss07'

ʼˮ‘‚ʼˮ‘‚

'ss08'

Character Variants

font-feature-settings: 'cv--';

11

'cv01'

44

'cv02'

uu

'cv06'

33

'cv09'

GG

'cv10'

aa

'cv11'

Case Sensitive Forms

font-feature-settings: 'case';

-–—-–—
@()*@()*
+:<=+:<=

Capital Spacing

font-feature-settings: 'cpsp';

HAMBURGHAMBURG

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