A Decade of Slug

A Decade of Slug

Eric Lengyel • March 17, 2026

What is now known as the Slug Algorithm for rendering fonts directly from Bézier curves on the GPU was developed in the Fall of 2016, so this year marks a full decade since its inception. I published a paper in JCGT about the technique in the middle of 2017, and my company sold the first license for version 1.0 of the Slug Library not long afterward. Since then, Slug has been licensed widely in the video games industry as well as by an array of companies specializing in areas like scientific visualization, CAD, video editing, medical equipment, and even planetariums. Our clients include Activision, Blizzard, id Software, 2K Games, Ubisoft, Warner Brothers, Insomniac, Zenimax, and Adobe among many others. Slug turned out to be the most successful software product I’ve ever made.

I originally created Slug in pursuit of better text rendering for the C4 Engine, where fonts needed to look great not only in the GUI, but inside game levels where they could appear very large and be viewed at oblique angles. Most recently, I used Slug to build the Radical Pie equation editor, which of course, needs extremely high-quality font rendering as well as vector graphics for things like brackets, radicals, and purely graphical items like arrows and highlights attached to mathematical expressions. Slug is also used to render the entire user interface inside the main editing window and all dialog boxes.

This post talks about what has changed within the rendering method since 2017, when the paper was published and the Slug Library was first released. It then concludes with an exciting announcement for those who may want to implement the Slug algorithm for their own projects.

Rendering Evolution

Slug renders text and vector graphics on the GPU directly from Bézier curve data without the use of texture maps containing precomputed or cached images of any kind. Doing this robustly, while also being fast and producing high quality results, is a difficult problem when we have to deal with floating-point round-off errors. Robustness requires that we never see artifacts like dropped pixels, sparkles, or streaks under any circumstances, provably so. Being fast means that the algorithm can render any reasonable amount of text on the game consoles of 2016 without impacting frame rates significantly. Producing high-quality results means that we get nicely antialiased text with smooth curves and sharp corners when viewed at any scale and from any perspective.

The method that determines root eligibility and calculates the winding number, which is responsible for robustness, is pretty much exactly the same now as it was in 2017 when Slug was first released. Some other parts of the rendering code that were described in the paper have changed over the years, however. I’ll briefly describe the smaller changes here before talking about the big addition called “dynamic dilation” in its own section below.

The original paper included a description of a “band split optimization” that could be turned on when it was known that glyphs would be rendered at a large size. It did provide a speed increase for large glyphs, but it also introduced some divergence in the pixel shader that could hurt performance a little for text rendered at a small size. This optimization also required that the list of curves intersecting each band be stored twice, once sorted for rays pointing in one direction and again sorted for rays pointing in the opposite direction. The speed improvement was modest and didn’t apply universally, so I decided to remove it. This eliminated some complexity in the pixel shader, and more importantly, it allowed the band data to be cut in half.

In the Extensions section at the end of the paper, there was some discussion about supersampling. Though not necessary for rendering text at ordinary sizes, adaptive supersampling was implemented in early versions of Slug to enhance text drawn at very small sizes. Supersampling was removed because (a) it made a difference only for text so small that it was barely readable anyway and (b) aliasing for tiny text was mitigated to a high degree by the dilation technique described below.

The Extensions section also talked about adding a loop to the pixel shader in order to render multi-color emoji, which are essentially a stack of glyphs in which each layer has a different color. This proved to be unoptimal because many of the layers often only covered a small fraction of the total area of the composite glyph. It turned out to be better to render a bunch of independent glyphs on top of each other so that each layer could have its own bounding polygon. This was faster, and it again simplified the pixel shader code.

Dynamic Dilation

There has been one major improvement to the rendering algorithm since the introduction of the Slug Library. It’s called dynamic dilation. Before dynamic dilation, the user had to manually specify a constant distance by which every glyph’s bounding polygon would be expanded to ensure that all partially covered pixels get rasterized. This had two disadvantages: (a) if you choose a distance that’s too small, then glyphs rendered below a certain size start to have aliasing artifacts, and (b) any chosen distance will be too large for glyphs above a certain size, leaving empty space that eats up performance.

Dynamic dilation makes the optimal choice automatic, and it is recalculated in the vertex shader every time a glyph is rendered. The technique uses the current model-view-projection (MVP) matrix and viewport dimensions to determine how far a vertex needs to be moved outward along its normal direction in object space to effectively expand the bounding polygon by half a pixel in viewport space. This guarantees that the centers of any partially covered pixels are inside the bounding polygon so the rasterizer will pick them up. When text is viewed in perspective, the dilation distance can be different for each vertex. The code always produces the optimal value so that there’s never any unnecessary padding that wastes GPU resources.