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Mamirolle

por The Ampersand Forest
Estilos individuales desde $20.00 USD
25% Off
Familia completa de 12 fuentes: $200.00 USD
La familia tipográfica Mamirolle fue diseñada por DC Scarpelli y publicada por The Ampersand Forest. Mamirolle contiene 12 estilos y opciones de paquete familiar.

Más información sobre esta familia

Sobre la familia


Sometimes a sans serif just needs a sister. Meet Mamirolle! A geometric wedge-serif companion to Mimolette! (OR is Mimolette the sans serif companion to Mamirolle.... hmmmmm....)


Mamirolle, like her sister, is great for text and display alike—she's super-readable AND super-legible, and her different weights lend themselves to creating clear contrast in your textual hierarchy!


And she's got some nifty features, too!


  • Mamirolle has a two-story a and g in the upright versions, but if you want a one-story a and g, just turn on Stylistic Set 01!
  • Her italic is a true italic, not just an oblique.
  • 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, Mamirolle was made with love, as always, by yer pals in the Ampersand Forest.

Diseñadores: DC Scarpelli

Editorial: The Ampersand Forest

Fundición: The Ampersand Forest

Propietario del diseño: The Ampersand Forest

MyFonts debut: Jul 18, 2022

Mamirolle

Acerca de 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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