When looking at exactly how glyphs are defined (see https://github.com/cmiscm/leonsans/blob/master/src/font/lowe...) it struck me as quite similar to reading raw SVG paths with plenty of magic numbers. It doesn't strike me as particularly "code"-like per se (more like an extremely limited DSL to describe data).
Nevertheless, when used with skill it can be very satisfying, as in Knuth's paper that I can only describe as a performance (The Concept of a Meta-Font, https://s3-us-west-2.amazonaws.com/visiblelanguage/pdf/16.1/... ) See also A Punk Meta-Font (https://www.tug.org/TUGboat/tb09-2/tb21knut.pdf) where he describes waking up one morning with an idea to create a certain kind of font, going to the computer at 1pm, and basically being done by 4pm.
It is interesting to see the ideas from METAFONT basically ignored and misinterpreted by most of the mainstream of type designers (despite people like Zapf, Bigelow, Holmes, Carter and Southall being involved with the Stanford typography project and helping Knuth refine Computer Modern), only to be slowly reintroduced decades later in new forms (variable fonts etc).
One great drawback of METAFONT, which held back (still does, but used to too) its adoption in the decades when we could have wonderful things built on it, is the lack of quick visual feedback. (The bigger one of course, is that most font designers don't want to describe their shapes with equations: they think in curves, not about curves.) As I understand it, the site is developed by a couple of enthusiasts and goes a long way to address that problem.
At https://www.metaflop.com/modulator just adjust sliders to create a unique font (or get something random by clicking "flop it!", and then tweak it). You can even download the resulting font if you like it.
Yes it was ... bravo!
(No really that was a fantastic read)
The main difference with other font formats seems to be that this font is stroked and not filled, which enables a lot of the effects shown; but the "wave" effect is not hard to produce from any other font --- calculate intermediate points if desired, and then repeatedly rasterise using a time-varying random perturbation of each point.
But no, you can't have multiple weights defined in the truetype format, though certain source font formats surely have them and can generate multiple TTFs.
METAFONT is the ultimate fonts-with-code type system, but I am not sure if non-bitmap font generation tooling has moved away from METAPOST (haven't looked at it in years).
FontForge is scriptable as well, but does not have some of the niceties of MF (like equations which get resolved if possible).
A while back I made a coffeescript version of that http://pollrobots.github.io/BlogCode/durer.html
You could display a link that when you look at it, it grows and resolves into its own content, recursively. Surf links by zooming in. The back button zooms out. It could be a natural way to navigate a graph of text.
This is yet another feature it borrowed from TrueType GX, which in turn was a part of Mac's QuickDraw GX dating back to mid 90s.
A font such as this can be categorized under "Display font" but it would not pass the mustard for any serious candidate for text.
Geometric typefaces are typically used to communicate minimalism and modernism.
> it would not pass the mustard for any serious candidate for text.
Many typefaces aren't designed for text but for identity. This one is very suitable for, say, asides and highlights in magazines, branding, poster copy, etc.. That it's amenable to modification because of the way it's coded points to its utility for these purposes.
A google search gives me these: https://creativemarket.com/blog/geometric-sans-serif-fonts
: https://msis.jsc.nasa.gov/sections/section09.htm#_9.5_LABELI... also linked here 
Store.prototype.__proto__ = EventEmitter.prototype;
TypeError: Cannot read property 'prototype' of undefined
I do small projects on CNC machines, and I got annoyed at having to trace both sides of a character, when using the outline of a standard font. In response, I created the single-stroke characters shown above, but only enough of them to draw basic labels.
Part of my original inspiration was this blog post: https://mzucker.github.io/2016/08/03/miniray.html
'e': [Line([-0.5, 0.5], [0.5, 0.5]), Arc([0, 0.5], 0.5, 0, 7/4)],
However please refrain from usage on the web. Artistic and presentation use is ok, but CRUD, most blogs and other utilities is not ok.
I got interested in typographic animation a while back, there are two related Wikipedia pages: "Motion Graphics"  and "Kinetic Typography" .
There is not a lot of info describing algorithms to perform Kinetic Typography that I could find. There are a few tools for doing Kinetic Typography for After Effects  and a couple other random software products of varying quality.
Btw, After Effects seems to be the closed-source reference implementation for all sorts of complex and cool looking effects. If for some reason all releases and source code of After Effects where to disappear from existence, it would set back the whole field of Motion Graphics by 25 years...
Beautiful fonts and I love how they show it in many different variations using creative animations
However, my next thought is that will create noisy and busy displays or web pages and so it is of limited practical/every-day use. I showed it to an Aspie friend who recoiled at all the moving letters.
Just because you can, doesn't mean you should.
The spamming of the browser history, however, did annoy me. I am on mobile and had to just close the tab.
I love the fact that most stuff (including paintings) are better created as a command stream vs when rasterized.
Minimum( number(Commands), number(RasterizedOutput) ) is always a deciding factor, but this is indeed well done.
This font is gorgeous.
b) great, now my browser can also be dynamically generating typefaces in order to programmatically render the html
Wow! Thank you for the post.