The fonts category carries one small demonstration typeface, generated from scratch with fontTools and exported across the four common font formats. The same glyph set ships as TrueType (TTF), OpenType/CFF (OTF), and the two web-optimised wrappers WOFF and WOFF2, so you can convert one and diff against the others or point a font loader at each container. Every file has fixed creation timestamps for reproducibility and documents its glyph coverage. The typeface is original and free to use, a fixture for testing font conversion, subsetting, and @font-face loading rather than a display face.
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No, it's one small demonstration typeface generated from scratch with fontTools, original and free to use. It's a fixture for testing conversion and loading, not a display face.
The same glyph set as TrueType (TTF), OpenType/CFF (OTF), and the two web wrappers WOFF and WOFF2, so you can convert one and diff the others. Additional samples cover a monospace face, an icon font, a bitmap BDF, and a TrueType Collection (TTC).
Testing font conversion, subsetting, and @font-face loading. Every file has fixed creation timestamps for reproducibility and documents its glyph coverage.
A hand-written 5×7 BDF bitmap font covering the digits, a colon, and space: the classic X11 bitmap-font format, in plain text. A fixture for testing BDF parsers, bitmap-font converters, and retro/embedded rendering.
A collection whose members are themselves variable fonts, each with its own axis, fvar, gvar and STAT. The case that breaks loaders which handle collections or variations but never both at once. Original typeface, free to use.
The same three faces in a collection that stores every table separately, so each face's directory points at its own copy. Identical rendering, a bigger file: the reference that makes the shared-table saving measurable rather than assumed. Original typeface, free to use.
A TrueType Collection holding three faces of one family with identical tables stored once and referenced by offset from each face's table directory. For testing face-index selection, collection-aware loaders, and extractors that must not assume each face owns its tables. Original typeface, free to use.
A TrueType Collection (.ttc) bundling two fonts (the Novus Mono Sample and Novus Icons) in a single container file. A fixture for testing TTC parsing, font-index selection, and collection-aware loaders.
COLR and CPAL over CFF rather than glyf outlines. COLR is outline-agnostic by specification, but plenty of tooling assumes colour fonts are TrueType-flavoured: this is the file that finds out. Original typeface, free to use.
A colour font carrying four CPAL palettes with name-table labels and palette-type flags, two of them marked usable with a light or a dark background. For testing palette pickers, the CSS font-palette property, and renderers that only ever read palette zero. Original typeface, free to use.
An sbix colour font: Apple's embedded-bitmap format, one 128 ppem PNG strike per icon glyph, with vector glyf outlines kept underneath for renderers that ignore sbix. For testing bitmap-strike extraction and the strike-versus-outline decision. Original typeface, free to use.
A CBDT/CBLC colour font: the embedded-bitmap format Android and Chrome use for colour emoji, here with a 64 ppem 32-bit strike in image format 17. For testing bitmap-strike parsers and the CBDT-versus-sbix branch in a colour-font pipeline. Original typeface, free to use.
A COLR version 0 colour font: three Private Use Area icons, each drawn as two layer glyphs that index CPAL palette entries, with ordinary monochrome glyf outlines underneath as the fallback. The baseline colour-font case that every modern browser supports. Original typeface, free to use.
A COLR version 1 colour font built as a real paint graph: a linear gradient with pad extend, a radial gradient with reflect, a repeating three-stop gradient, and a solid paint with fractional alpha. For testing gradient support, extend-mode handling, and the v1-to-v0 fallback path. Original typeface, free to use.
An OpenType-SVG colour font: one inline SVG document per icon glyph, each with its own gradient, plus glyf outlines for renderers with no SVG support. For testing the fourth colour-font path and how a rasteriser handles vector colour it has to parse rather than paint. Original typeface, free to use.
The COLR v0 colour font as WOFF2, for testing that a web-font pipeline keeps COLR and CPAL rather than stripping them as unknown tables. Original typeface, free to use.
The COLR v1 gradient font as WOFF2: the shape a site would actually serve. For testing that gradient paint graphs survive web-font compression intact. Original typeface, free to use.
An icon font with six simple pictographs (star, heart, check, arrow, circle, square) mapped to the Private Use Area (U+E000–U+E005), with the glyph map documented in the spec. A fixture for testing icon-font loading, @font-face, and PUA handling.
An intentionally corrupt font whose glyf table data is perfectly fine but whose recorded checksum in the table directory is wrong. The complement to the head fixture: this one catches tools that verify per-table checksums, and its glyphs still draw, so the damage is invisible without a real integrity check.
An intentionally corrupt font: four bytes of head.checkSumAdjustment overwritten with 0xDEADBEEF and nothing else touched. It still renders, because browsers and operating systems do not verify the field, which is precisely why this is a useful fixture for validators, signing tools, and font-integrity checks that claim they do.
The clean control for the checksum pair: a small, valid font whose head.checkSumAdjustment and every table-directory checksum are correct. Diff it against its damaged twin to see exactly which four bytes a validator is complaining about. Original typeface, free to use.
An aalt feature that aggregates every alternate reachable through the stylistic sets and the small-cap set, which is what a glyph-palette UI reads to offer 'other forms of this character'. For testing alternate-picker panels rather than automatic shaping. Original typeface, free to use.
Contextual alternate substitution that fires on doubled letters: the second letter of aa, ee, oo, nn, ss and tt is replaced by an alternate carrying a visible baseline underscore, so a shaping result can be read straight off the page instead of out of a debug log. calt is on by default, which makes it a good test of whether a renderer applies default features at all. Original typeface, free to use.
Every feature this family defines in one face: ligatures, kerning, contextual alternates, small caps, three stylistic sets, four figure features, fractions, mark attachment, aalt and locl. The single font to point a feature-discovery UI at. Original typeface, free to use.
All four figure features over one digit set: the default is proportional lining, tnum flattens every digit to 620 units for column alignment, pnum restores the proportional widths, and onum drops five digits below the baseline and raises two above the x-height. The measurable case for testing font-variant-numeric. Original typeface, free to use.
A real frac implementation as a chaining contextual substitution: the slash becomes a fraction slash, the digit before it becomes a numerator and the digit after becomes a denominator, with numr and dnom also reachable on their own. Coverage is deliberately limited to single-digit fractions, which is stated in the specs so a test can assert the boundary. Original typeface, free to use.
Standard and discretionary ligature substitutions in a real GSUB table: four liga ligatures including the three-glyph ffi, and two dlig ligatures that must stay off unless asked for. Each ligature's advance is the sum of its parts minus a documented tuck, so a shaping result is checkable by measuring. Original typeface, free to use.
The control for the all-features font: the same glyph set and the same metrics with no layout tables at all, so the alternates exist in the font but nothing can reach them. Any difference you measure against the full twin is the layout tables and nothing else. Original typeface, free to use.
Eighteen kerning pairs published as a GPOS pair-positioning lookup, with no legacy kern table present. Pair it with its kern-table twin to find out which table your layout engine is actually reading. Original typeface, free to use.
The same eighteen kerning pairs, this time in a format-0 legacy kern table with no GPOS at all. Modern shapers ignore kern when GPOS exists and some ignore it entirely, so this twin is how you tell which code path produced a given measurement. Original typeface, free to use.
Language-specific substitution through locl: tagging text as Turkish swaps the i, tagging it as Romanian swaps the S, and untagged text gets neither. The fixture for finding out whether your pipeline propagates a language tag from the document all the way to the shaper. Original typeface, free to use.
Mark-to-base and mark-to-mark positioning with a real GDEF glyph-class definition: three zero-width combining accents attach to ten base letters at documented anchors, and stacking a second mark uses the mkmk anchor. For testing diacritic placement without needing a full Unicode face. Original typeface, free to use.
A full 26-glyph small-capital set reachable through smcp from lowercase and c2sc from capitals. Because the lowercase of this face is unicase, the small caps sit at a third, measurable height: 560 design units against 500 for lowercase and 700 for capitals, so a failed substitution shows up as a height rather than as a subtle shape difference. Original typeface, free to use.
Three stylistic sets, each with a human-readable name published through FeatureParams in the name table: the metadata a font menu needs to show 'Squared G and R' instead of 'ss01'. For testing feature-name discovery as much as the substitution itself. Original typeface, free to use.
The all-features font as WOFF2, for testing that a web-font build step preserves GSUB, GPOS and GDEF instead of subsetting the layout tables away by default. Original typeface, free to use.
The control case: all three vertical-metric families carry the same numbers, so every platform computes the same 1.0 em default line height. Measure this first, then measure its disagreeing twin: the difference is entirely the metrics. Original typeface, free to use.
The same outlines with all three vertical-metric families deliberately set to different sums: 1000, 1250 and 1400 units. The default line height a renderer produces tells you exactly which family it read, which is the fastest way to explain why one browser or one word processor lays your text out differently from the rest. Original typeface, free to use.
Byte-for-byte the same conflicting metrics as the disagree fixture, with one bit changed: fsSelection bit 7, USE_TYPO_METRICS. A conforming renderer must now prefer the OS/2 typo family and produce a 1.0 em line box. One bit, a 40 percent difference in leading. Original typeface, free to use.
The same design on a 1000-unit em square: the decimal grid PostScript and most web fonts use. Diff it against its twin at the other unitsPerEm to catch code that hardcodes 1000 or 2048 instead of reading head.unitsPerEm, and to see where rounding shows up. Original typeface, free to use.
The same design squeezed onto a 128-unit em, the coarse end of what the specification allows. Coordinates quantise hard, so this is the fixture for testing scaling maths, rounding, and any code that assumes a font has enough resolution to hint. Original typeface, free to use.
The same design on a 2048-unit em square: the power-of-two grid classic TrueType fonts use. Diff it against its twin at the other unitsPerEm to catch code that hardcodes 1000 or 2048 instead of reading head.unitsPerEm, and to see where rounding shows up. Original typeface, free to use.
usWinAscent and usWinDescent are deliberately set below the real glyph bounding box, which is the classic cause of clipped accents and cut-off descenders on Windows. The head table still reports the true extents, so a validator can catch the contradiction and a renderer can be measured against it. Original typeface, free to use.
Ascender and descender identical to the agreeing fixture, with 250 units of external leading declared in both lineGap fields. Renderers differ on whether line gap belongs inside the line box, above it, or split: this is the file that shows which one yours does. Original typeface, free to use.
A horizontal Latin face that also carries vhea and vmtx, so vertical-layout code has something small and predictable to run against: every glyph advances 1000 units downward with a 250-unit top side bearing. For testing writing-mode support and metric-table selection without needing a CJK font. Original typeface, free to use.
A fixed-width (monospace) demonstration typeface where every glyph shares the same advance width: a fixture for testing monospace detection, code-editor rendering, and column alignment. Original and free to use.
The same design in CFF outlines: cubic Type 2 charstrings with no glyf and no loca. The half of the pair that catches code assuming every OpenType font is TrueType-flavoured. Original typeface, free to use.
Four precomposed accented letters built the way real fonts build them, as composite glyphs referencing a base letter and a combining mark with a translation. For testing component resolution, nested-glyph handling, and subsetters that must keep a component's base glyph alive. Original typeface, free to use.
The same four accented letters flattened into simple glyphs with the mark contours copied in. Rendering is identical to the composite twin; the file size, the subsetting behaviour and the hinting story are not. Original typeface, free to use.
This whole family is drawn as overlapping strokes rather than merged outlines, and this cut sets the two flags that tell a rasteriser so: OVERLAP_SIMPLE on simple glyphs and OVERLAP_COMPOUND on composites. For testing rasterisers that need the hint to avoid seams, and tools that must preserve the flags through a round trip. Original typeface, free to use.
One design in TrueType outlines: quadratic contours in a glyf table with a loca index. Its CFF twin carries the same design in cubic charstrings, so converting one and diffing against the other tests an outline converter rather than a whole font pipeline. Original typeface, free to use.
The Novus Sans Sample demonstration typeface as OpenType/CFF outlines: one member of a TTF/OTF/WOFF/WOFF2 conversion set built from scratch with fontTools. Original and free to use; a fixture for testing font loading, subsetting, and conversion.
The Novus Sans Sample demonstration typeface as TrueType (glyf outlines): one member of a TTF/OTF/WOFF/WOFF2 conversion set built from scratch with fontTools. Original and free to use; a fixture for testing font loading, subsetting, and conversion.
The Novus Sans Sample demonstration typeface as WOFF (TrueType-flavoured web font): one member of a TTF/OTF/WOFF/WOFF2 conversion set built from scratch with fontTools. Original and free to use; a fixture for testing font loading, subsetting, and conversion.
The Novus Sans Sample demonstration typeface as WOFF2 (Brotli-compressed web font): one member of a TTF/OTF/WOFF/WOFF2 conversion set built from scratch with fontTools. Original and free to use; a fixture for testing font loading, subsetting, and conversion.
The full face subset to U+0030-U+0039 (digits only): a numeric-display cut, the shape a dashboard font ends up. Layout features are kept, so lookups whose glyphs were removed are the ones you can watch disappear. Original typeface, free to use.
The full face subset to the 8 codepoints of the string NOVUS 07: the extreme case a headline-only web font gets cut down to. Layout features are kept, so lookups whose glyphs were removed are the ones you can watch disappear. Original typeface, free to use.
The full face subset to U+0020-U+007E (printable ASCII): the range a Latin-only page actually needs. Layout features are kept, so lookups whose glyphs were removed are the ones you can watch disappear. Original typeface, free to use.
The complete face the rest of the subset set is cut from: the whole glyph repertoire with ligatures, kerning, contextual alternates, small caps, stylistic sets, figures, fractions, marks and localised forms intact. Measure it, then measure the cuts. Original typeface, free to use.
The same probe-character subset with every OpenType feature stripped: what many web-font pipelines produce by default. GSUB and GPOS survive as empty shells, so a tool that merely checks whether the tables exist reports the font as fully featured while nothing ligates, kerns, or turns into small caps. Original typeface, free to use.
A subset cut to just the characters the kerning, ligature, small-cap and figure probes need, keeping every OpenType layout feature whose glyphs survived. Half of a pair whose only difference is the layout tables: the pair that shows what a default subsetter setting silently costs you. Original typeface, free to use.
The digits subset in the container a site would serve, so a size comparison against the full WOFF2 measures the subset rather than the compressor. Original typeface, free to use.
The headline subset in the container a site would serve, so a size comparison against the full WOFF2 measures the subset rather than the compressor. Original typeface, free to use.
The latin basic subset in the container a site would serve, so a size comparison against the full WOFF2 measures the subset rather than the compressor. Original typeface, free to use.
The full face as WOFF2: the honest baseline for a subsetting benchmark, since comparing a subsetted WOFF2 against an unsubsetted TTF measures Brotli rather than the subsetter. Original typeface, free to use.
A tiny demonstration font declaring a Weight (wght) fvar axis, for VF-aware loaders and specimen tools.
Demonstration variable-font SAMPLE with a wght axis for variable-font loaders.
Static specimen labelled as a boldish variable-font instance for instance-picker UIs.
Static specimen labelled as a regular variable-font instance for instance-picker UIs.
Variable-font instance note SAMPLE #1.
Variable-font instance note SAMPLE #2.
Variable-font instance note SAMPLE #3.
Variable-font instance note SAMPLE #4.
WOFF2 wrapper of the Novus variable SAMPLE for @font-face tests.
A variable font whose outlines are CFF2 rather than glyf, so the variation deltas live inside blended charstrings and there is no gvar table at all. The case that breaks tools which assume every variable font is TrueType-flavoured. Original typeface, free to use.
The two-axis font with its width axis pinned to Condensed and its weight axis left live: the shipping shape for a site that wants one width but the whole weight range. For testing that a loader reads the reduced fvar rather than the original axis list. Original typeface, free to use.
A variable font that is intentionally incomplete: the STAT table OpenType requires of every variable font has been removed, while fvar, gvar and the named instances remain. It still renders, which is exactly the problem: style linking, family grouping and instance naming quietly degrade instead of failing loudly.
A variable font carrying one registered axis and one custom axis. Custom tags are all-uppercase by specification and must be looked up by name rather than assumed, so this is the fixture for a UI that hardcodes wght/wdth/slnt/opsz and silently drops everything else. Original typeface, free to use.
The same three masters as the plain wght variable font, plus an avar table that warps the axis so most of the weight change happens in the first third of the slider. Diff it against its no-avar twin: identical outlines, different rendering at every intermediate value. Original typeface, free to use.
The control half of the avar pair: identical masters and identical gvar deltas, with no avar table, so the axis maps linearly. Any rendering difference against its avar twin is the avar table and nothing else. Original typeface, free to use.
All four registered axes in one face (weight, width, slant and optical size) from eight axis-extreme masters. The font a variation UI should be tested against before it meets a real four-axis release. Original typeface, free to use.
A single-axis variable font on the registered opsz axis, built from 3 interpolating masters so the deltas are real: stems thicken and tracking opens at small optical sizes and reverse at display sizes. Named instances and a STAT table are included. Original typeface, free to use.
A single-axis variable font on the registered slnt axis, built from 2 interpolating masters so the deltas are real: the whole face shears forward as slnt goes negative, with the axis maximum equal to the default. Named instances and a STAT table are included. Original typeface, free to use.
A single-axis variable font on the registered wdth axis, built from 3 interpolating masters so the deltas are real: advance widths and glyph boxes narrow and widen with the axis. Named instances and a STAT table are included. Original typeface, free to use.
A true variable font: three interpolating masters compiled through fontTools varLib, so the wght axis carries real gvar and HVAR deltas rather than an fvar record over static outlines. Five named instances and a STAT table with a Regular-to-Bold linked value. Original typeface, free to use.
A two-axis variable font (weight by width) built from seven masters, with all nine named instances from Condensed Regular to Expanded Black and a two-axis STAT table. For testing instance pickers, axis sliders, and CSS font-variation-settings with more than one axis in play. Original typeface, free to use.
The wght variable font wrapped as WOFF: the same fvar/gvar payload in the web container, for testing that a compressor or a CDN pipeline preserves variation data. Original typeface, free to use.
The four-axis variable font as WOFF2. For testing web font loaders and CSS font-variation-settings against a face with more axes than a typical release. Original typeface, free to use.
The wght variable font wrapped as WOFF2: the same fvar/gvar payload in the web container, for testing that a compressor or a CDN pipeline preserves variation data. Original typeface, free to use.
The two-axis variable font as WOFF2: the container a real site would ship. For testing that variation tables survive Brotli packing and that a two-axis slider still works after decompression. Original typeface, free to use.
A real static instance cut from the wght variable font at 900. Outlines interpolated once and baked, fvar and gvar stripped, usWeightClass set to match. For testing static-versus-variable fallback paths and family/style grouping. Original typeface, free to use.
A real static instance cut from the wght variable font at 700. Outlines interpolated once and baked, fvar and gvar stripped, usWeightClass set to match. For testing static-versus-variable fallback paths and family/style grouping. Original typeface, free to use.
A two-axis instance baked out of the weight-by-width variable font, with both usWeightClass and usWidthClass set to match. For testing that a family grouper reads width from OS/2 rather than guessing it from the style name. Original typeface, free to use.
A real static instance cut from the wght variable font at 300. Outlines interpolated once and baked, fvar and gvar stripped, usWeightClass set to match. For testing static-versus-variable fallback paths and family/style grouping. Original typeface, free to use.
A real static instance cut from the wght variable font at 500. Outlines interpolated once and baked, fvar and gvar stripped, usWeightClass set to match. For testing static-versus-variable fallback paths and family/style grouping. Original typeface, free to use.
A real static instance cut from the wght variable font at 400. Outlines interpolated once and baked, fvar and gvar stripped, usWeightClass set to match. For testing static-versus-variable fallback paths and family/style grouping. Original typeface, free to use.
The uncompressed CFF (Type 2) source for this container set. Every WOFF and WOFF2 file in the group is packed from exactly these bytes, so a compression comparison is measuring the container and nothing else. Original typeface, free to use.
The uncompressed TrueType (glyf) source for this container set. Every WOFF and WOFF2 file in the group is packed from exactly these bytes, so a compression comparison is measuring the container and nothing else. Original typeface, free to use.
The same CFF (Type 2) face in a WOFF container, 55 percent of the raw sfnt size. Compare it against the other three containers in this group to see how much of a web font's weight is the format and how much is the design. Original typeface, free to use.
The same TrueType (glyf) face in a WOFF container, 49 percent of the raw sfnt size. Compare it against the other three containers in this group to see how much of a web font's weight is the format and how much is the design. Original typeface, free to use.
A WOFF file carrying the optional extended-metadata block from the WOFF specification: vendor, credits, description and licence as XML alongside the font, outside the sfnt tables. Most converters drop it silently; this is the file that proves whether yours does. Original typeface, free to use.
The same CFF (Type 2) face in a WOFF2 container, 45 percent of the raw sfnt size. Compare it against the other three containers in this group to see how much of a web font's weight is the format and how much is the design. Original typeface, free to use.
The same TrueType (glyf) face in a WOFF2 container, 33 percent of the raw sfnt size. Compare it against the other three containers in this group to see how much of a web font's weight is the format and how much is the design. Original typeface, free to use.
A WOFF2 file carrying the optional extended-metadata block from the WOFF specification: vendor, credits, description and licence as XML alongside the font, outside the sfnt tables. Most converters drop it silently; this is the file that proves whether yours does. Original typeface, free to use.
