Category | Sans-serif |
---|---|
Classification | Geometric |
Designer(s) | Julieta Ulanovsky |
Foundry | ZkySky |
Date created | 2010 |
Date released | 2011 |
License | SIL Open Font License |
Variations |
|
Website | fonts |
Montserrat is a geometric sans-serif typeface designed by Argentine graphic designer Julieta Ulanovsky and released in 2011. It was inspired by posters, signs and painted windows from the first half of the twentieth century, seen in the historic Montserrat neighbourhood of Buenos Aires. [1]
The project was started in 2010 by Ulanovsky [2] and was released through the Google Fonts catalogue in 2011. Montserrat has become increasingly popular among web designers, and it is used on over 17 million websites. [3]
Featuring a large x-height, short descenders and wide apertures, this typeface achieves high legibility even in small sizes.
Montserrat has been developed into a large family, consisting of nine weights (from Thin to Black), a set of alternate characters, a distinctive Subrayada (underlined) variant, and support for the Cyrillic character set. [4]
According to lead designer Ulanovsky, it is a functional and contemporary alphabet, with uses ranging from publishing to the corporative world. She refers to it as a "geometric typeface with bold optical adjustments." [1]
Ulanovsky began the project in 2010 while she was studying for a master's degree at the Faculty of Architecture, Design and Urbanism (FADU), University of Buenos Aires. She gathered inspiration from the 1920-1950s lettering on street signs, posters, painted windows, and cafe canopies in the homonymous neighborhood. [3] During the course of her studies, she realised that these letterforms were not as common as they once had been, so she felt compelled to "rescue the beauty of urban typography" through a new font under a free and open source license. [2]
As urban development changes this place, it will never return to its original form and loses forever the designs that are so special and unique. To draw the letters, I rely on examples of lettering in the urban space. Each selected example produces its own variants in length, width and height proportions, each adding to the Montserrat family. The old typographies and canopies are irretrievable when they are replaced.
— Julieta Ulanovsky
For its financing, the project was launched in the Kickstarter website in 2011, and was crowdfunded by anonymous backers. The typeface was published in Google Fonts the same year. [4] Eventually, it became the third most popular font on the platform, gathering over 2.7 trillion views as of September 2023. [5]
Ulanovsky also stated that "this can be a lifelong project, because letterforms are continuously being discovered in urban situations. This case is the opposite from common typography, characters go from the streets to the computer, it is like digitizing something completely analogical." [6]
Montserrat has gained popularity as a free alternative to other similar sans-serif fonts, such as Gotham or Avenir. [7] Although mainly seen in websites and online media, its high readability and ease of scaling make Montserrat a suitable typeface for printed material, such as brochures, signage and even books (as can be seen in the "Científicas de Acá" acknowledgements.) [8]
In 2018, with the release of the 2018-2024 Graphic Identity Manual for the Presidential Office of Mexico, Montserrat became the official font for documentation, presentations and publicity for the Government of Mexico. It is also the official typeface of Ādaži Municipality (previously also Carnikava Municipality) in Latvia and the Legislative Assembly of Vologda Oblast in Russia. [9] [10] [11]
Since January 2021, it also serves as the Government of Puerto Rico's official typeface for body text and its agencies' logos, used alongside Cormorant Garamond for headlines. [12]
Montserrat also won Fiverr's 2024 Font of the Year due its popularity. [13]
The typeface also includes two sister font families: a special letterforms set called "Montserrat Alternates" and an underlined one called "Montserrat Subrayada".
In 2015, a set of some weights and italics were developed by Ulanovsky, Ale Paul, Carolina Giovagnoli, Andrés Torresi, Juan Pablo del Peral and Sol Matas. In November 2017, the font family was redrawn by Jacques Le Bailly to include a full set of weights, and to adjust the regular set for a better use in longer text. [4]
The character set features over 250 glyphs, covering the Latin alphabet with a wide range of diacritics, extended characters and various symbols.
In late 2017, Julieta Ulanovsky and her collaborators worked together with Maria Doreuli and Alexei Vanyashin for the development of a Cyrillic character set. [4] Ulanovsky's collaborator, Sol Matas, stated that, being unfamiliar with the writing system, the greatest challenge they faced was to remain faithful to the Argentine inspiration while designing characters that looked natural in the Cyrillic context. The Cyrillic expansion culminated in 8,640 new characters for Montserrat across all nine weights. [14]
Typography is the art and technique of arranging type to make written language legible, readable and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line spacing, letter spacing, and spaces between pairs of letters. The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information.
Type design is the art and process of designing typefaces. This involves drawing each letterform using a consistent style. The basic concepts and design variables are described below.
A typeface is a design of letters, numbers and other symbols, to be used in printing or for electronic display. Most typefaces include variations in size, weight, slope, width, and so on. Each of these variations of the typeface is a font.
Frutiger is a series of typefaces named after its Swiss designer, Adrian Frutiger. Frutiger is a humanist sans-serif typeface, intended to be clear and highly legible at a distance or at small text sizes. A popular design worldwide, type designer Steve Matteson described its structure as "the best choice for legibility in pretty much any situation" at small text sizes, while Erik Spiekermann named it as "the best general typeface ever".
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
Univers is a large sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957. Classified as a neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. The original marketing for Univers deliberately referenced the periodic table to emphasise its scope.
Myriad is a humanist sans-serif typeface designed by Robert Slimbach and Carol Twombly for Adobe Systems. Myriad was intended as a neutral, general-purpose typeface that could fulfill a range of uses and have a form easily expandable by computer-aided design to a large range of weights and widths.
In typography, a counter is the area of a letter that is entirely or partially enclosed by a letter form or a symbol. The stroke that creates such a space is known as a "bowl". Latin letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Latin letters containing open counters include c, f, h, s etc. The digits 0, 4, 6, 8, and 9 also have counters. An aperture is the opening between an open counter and the outside of the letter.
Roboto is a neo-grotesque sans-serif typeface family developed by Google as the system font for its mobile operating system Android, and released in 2011 for Android 4.0 "Ice Cream Sandwich".
Rotis is a typeface developed in 1988 by Otl Aicher, a German graphic designer and typographer. In Rotis, Aicher explores an attempt at maximum legibility through a highly unified yet varied typeface family that ranges from full serif, glyphic, and sans-serif. The four basic Rotis variants are:
Syntax comprises a family of fonts designed by Swiss typeface designer Hans Eduard Meier. Originally just a sans-serif font, it was extended with additional serif designs.
News Gothic is a sans-serif typeface designed by Morris Fuller Benton, and was released in 1908 by his employer American Type Founders (ATF). The typeface is similar in proportion and structure to Franklin Gothic, also designed by Benton, but lighter.
Bank Gothic is a rectilinear geometric sans-serif typeface designed by Morris Fuller Benton for American Type Founders and released in 1930. The design has become popular from the late twentieth century to suggest a science-fiction, military, corporate, or sports aesthetic.
Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1987 and released in 1988 by Linotype GmbH.
The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental Universal typeface and the Bauhaus aesthetic overall.
Utopia is the name of a transitional serif typeface designed by Robert Slimbach and released by Adobe Systems in 1989.
Century is a family of serif type faces particularly intended for body text. The family originates from a first design, Century Roman, cut by American Type Founders designer Linn Boyd Benton in 1894 for master printer Theodore Low De Vinne, for use in The Century Magazine. ATF rapidly expanded it into a very large family, first by Linn Boyd, and later by his son Morris.
Typeface anatomy describes the graphic elements that make up letters in a typeface.
Typefaces are born from the struggle between rules and results. Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be measurably taller. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same.
Fira Sans is a humanist sans-serif typeface designed by Erik Spiekermann, Ralph du Carrois, Anja Meiners, Botio Nikoltchev of Carrois Type Design and Patryk Adamczyk of Mozilla Corporation. Originally commissioned by Telefónica and Mozilla Corporation as part of the joint effort during the development of Firefox OS. It is a slightly wider and calmer adaptation of Spiekermann's typeface Meta, which was used at Mozilla's brand typeface at the time but optimized for legibility on (small) screens. With the name Fira, Mozilla wanted to communicate the concepts of fire, light and joy but in a language agnostic way to signal the project's global nature. Fira was released in 2013 initially under the Apache License and later reissued under the SIL Open Font License.
Overpass is a geometric sans-serif digital typeface, derived from Highway Gothic, but instead with a focus on usage as a webfont on digital screens for user interfaces and websites. It was designed by Delve Withrington with Dave Bailey, Thomas Jockin, Alan Dague-Greene, and Aaron Bell between 2011–2021. Overpass comprises 18 variants: 9 font weights and corrected obliques for each weight.