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Whereas in Devanagari, or Bengali, or Tamil, or the other big languages in India, the inability to have good ligatures makes it hard to read. I mean, the first fonts in the Indic world were so unreadable that Indian kids all did texting on their phones in Latin. They transliterated their own language in Latin because they couldn’t read the damn Devanagari. That’s been true in Myanmar, it’s been true in Cambodia, all the way through to the so-called Brahmic culture of lettering, it’s been very hard to adapt to electronic devices. It’s happening now. Google is actually leading the way, in many respects, on that. Google has 50 Devanagari fonts in Google Fonts. It’s kind of amazing. But it’s still setting types as separate glyphs.

With variable fonts, which we might not want to get into, there is an opportunity people like John Hudson have talked about, of using the hyphenation table in HTML to look up how you should connect ligatures in Indic languages. That would be great—and how much more fluid and beautiful we could become. For Westerners… I mean, I can’t speak any of these languages. I watched John Hudson at TYPO Labs Berlin , which you can see on YouTube. It’s an amazing idea of how this can happen. However, you need knowledge like his to be able to understand what it is, what we need to do. I think that’s the global challenge. We’re really moving quickly into a much more complicated world.

Jeffrey: There’s so much, again, to unpack, but I’d like to focus just on variable fonts for a minute, if you don’t mind, since I know you guys are working on them pretty hard. Tell me about that.

Roger: What do you want to know?

Jen: What is it?

Roger: I think the easiest way to understand variable fonts is that it’s several styles of a font, of a typeface family, pushed into one font file. So, you could have bold and light in the same font. Instead of having two or 12 or 15 or a hundred different variations of the weight of a font in different files, in your font menu to select, they could all be in one font. Using CSS, you could say, “Okay, I want a weight that’s 1/20th of that,” and the font will just respond—if the browser is up to it, which I think we’re seeing. All the browsers are making an interface that you can do this. So, the first iteration of variable fonts, so with these variations of weight or width or size, are happening in the kind of development versions of the big browsers right now.

Jeffrey: Are they doing it with fonts and some new CSS? Are they doing it with SVG? How do you control something like that that wasn’t envisioned when they wrote CSS?

Roger: Well, a variable font is a version of OpenType. It’s the next thing. So, the fonts are downloaded on the web just the way all TrueType or OpenType fonts are downloaded. The trick is to then specify how you want the variation to be issued on the page. That takes a little bit of a learning curve, but there are interfaces that people are working on to have slider bars for the three or four different axes that are in the font. Now, Google, Apple, Microsoft, and Adobe have embraced the first three axes of these fonts—weight, width, and size—because if you have one font instead of 15 fonts, the page loads faster. So, there’s an improvement of 30 percent of file size per font. Now, if you’re YouTube, you don’t maybe care too much about that. But for Google at large, the amount of text that’s being downloaded in the world simultaneously is a big thing, it’s a big number.

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