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Mimolette Narrow

von The Ampersand Forest
Einzelschnitte ab $20.00 USD
25% Off
Komplette Familie mit 12 Fonts: $200.00 USD
Die Schriftfamilie Mimolette Narrow wurde von DC Scarpelli entworfen und von The Ampersand Forest veröffentlicht. Mimolette Narrow enthält 12 Stile und Familienpaketoptionen.

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Über die Familie


Joining Mimolette, the workhorse geometric type family from The Ampersand Forest, is her svelte little sister, Mimolette Narrow!.

Mimolette and Mimolette Narrow offer a sans serif family that's great for text and display alike—the panache of Neutraface, the readability of Avenir, the sleekness of Avant Garde, the strength of Mark, the architecture of Gotham, and the classic lines of Futura—but she's entirely her own creature, and she's designed to offer maximum versatility and beauty at an affordable price.

And she's got some nifty features, too!

  • Her italic is a true italic, not just an oblique.

  • Are the uberpointy diagonals (AMVW) not working in a particular context? Activate Stylistic Set 01, and they become flat-topped!

  • Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k.

  • She's got true small caps in all styles!

  • She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths.

Best of all, perhaps, Mimolette Narrow was made with love, as always, by yer pals in the Ampersand Forest.

Designer: DC Scarpelli

Herausgeber: The Ampersand Forest

Foundry: The Ampersand Forest

Eigentümer des Designs: The Ampersand Forest

MyFonts Debüt: Feb 25, 2025

Mimolette Narrow

Über The Ampersand Forest

The Ampersand Forest is DC Scarpelli. And probably vice versa. I am a wholly inveterate Type Nerd. I’ve been in love with letterforms my whole life, and, for 16 years, I taught type history, type design, and typography as a college professor. Type is voice, and I love giving people a voice. A variety of voices, actually, so that they can choose whichever one is best for them for a particular context. And I don’t just mean designers, either! Type’s for everyone, and every typeface has a purpose and context.For me, deliciousness—flavor—is key. Not all type has to be “good type,” whatever that means. It should be designed with thought and care and craft. It should be supremely usable. But it should aim beyond usability toward (trust me: this is the right word) yumminess.

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