FontMonth has been an experiment, a challenge, and a lot of fun, and there’s still a little surprise in store that I’m preparing for you. I hope you’ve enjoyed exploring the typefaces as much as I’ve enjoyed creating them.

For the past few weeks, I’ve been looking for an ending. How do you end a project like this? Does it even have to end? What typeface could it be? I thought about trying something with AI, but I couldn’t find the creative spark. I went back to some of the typefaces I had half-finished: a monotype, a pixel font, one using color technology… but nothing felt right.

I realized that, at this point—when the project is coming to a close and I’ve explored technologies like variable fonts and contextual alternates—I wanted to reflect on the process.

That’s why, for this month, I wanted to step away from the laptop.

At first, I experimented with almost one-meter-high sheets of kraft paper, cutting and drawing on them. The problem was that, aside from being difficult to work with, the paint dried too quickly. What started as a drawing showing the roller’s texture quickly became something that looked like a sponge. The paper wrinkled, photography was tricky… In the end, I filled my house with test pieces that didn’t make the cut.

For the second round, I bought black A3 card stock, which allowed me to work at a more manageable scale. The roller effect stayed intact, and the paint dried better. Once I decided on the dimensions—uppercase, x-height, width—I started drawing with a 7 cm roller and white paint.

After painting each character, I photographed them from above, sent the images to my laptop, prepped them in Photoshop, traced them in Illustrator, and finally imported them into Glyphs. I made minor adjustments, refined the kerning, and added punctuation. This video summarizes the process:

One challenge was preserving the brush style. When importing the characters into Glyphs, I had to simplify some points so the font could process correctly and stay under 3MB (which is already quite large). The image below shows a comparison: on the left, before simplification; on the right, simplified.

The result is Rush—a brush typeface with 188 glyphs, born from experimentation, persistence, and a desire to explore the boundaries between handcraft and digital design.

🎁 Download Rush (Trial License)

Download Specimen (PDF)

If you have any thoughts, suggestions, or a project where one of these typefaces could be a good fit, don’t hesitate to reply to this email or leave a comment—I’d really love to hear from you.

Thank you again for following along on this journey.

Cheers,
Alberto Molina

When I first started learning how to design typefaces, we were in the middle of the pandemic. I spent my days drawing letters while listening to the typography Clubhouse sessions hosted by Ale Paul. Typographers, artists, designers… all kinds of voices passed through those tiny microphones. They felt more like group calls than formal talks.

I remember one session in particular: the guest had a football match on in the background and kept interrupting the conversation every time something happened on the field. A wonderful kind of imperfection.

During one of those calls, I began sketching the letters that would later become Frannie. There was something about that thin stroke that captivated me. For some reason, it felt connected to the botanical world. It reminded me of that Loewe campaign inspired by Karl Blossfeldt’s plant studies.

There was a delicacy there that I wanted to explore.

That’s how Frannie was born.

Frannie is a modulated sans built from a 50-degree stroke. Its structure comes from a continuous, brush-like gesture translated into a clean sans-serif system. The typeface includes three predefined styles —Thin, Regular, and Semibold— as well as a variable version that allows gradual weight control. Unlike calligraphic models with strong contrast or decorative tension, Frannie reduces the gesture to a simple, consistent modulation. The result is a typeface shaped by a clear axis and stable proportions, keeping the character of the original stroke without excess.

🎁 Download Frannie (Trial License)

Download Specimen (PDF)

And before I wrap up, a small piece of good news: Turia —our typeface from September— was featured in Creative Boom’s “The best new typefaces for November 2025.” (You can read more about its process here.) It’s a pleasure to see it included alongside such thoughtful and ambitious releases.

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks again for following along this journey.

Cheers,

Alberto

This month’s release is Nowhere — a high-contrast, condensed serif influenced by late 19th-century display types such as De Vinne and Bernase.

Designed with a vertical structure and compact proportions, Nowhere revisits the ornamental energy of that period through a more controlled, contemporary lens. Nowhere reduces those gestures to their essentials.

The result is a serif that feels deliberate and grounded — one that holds its place rather than seeking attention.

For me, Nowhere isn’t about nostalgia, but about stillness. It remembers where it came from, even when the world forgets.

This first version includes 285 glyphs and comes in a single Light style — tall, condensed, and quiet.

🎁 Download Nowhere (Trial License)

Download Specimen (PDF)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks again for following along this journey.

Cheers,

Alberto

Since the beginning of this project, I’ve found myself developing a special attachment to certain styles. For me, that happens with narrow, beveled typefaces (don’t ask me why). Some of my references are Druk or Media Sans—those condensed letterforms that feel like they come straight out of old newspaper headlines, always adapting to the space available.

This month, I wanted to experiment with variable technology, specifically with height. It turned out to be quite a journey—several days of trial and error until I finally got everything to render properly.

The result is Turia, a beveled all-caps typeface that comes in three predefined heights (Short, Standard & Tall), plus a variable option and matching slanted styles.

What excites me the most about Turia is how well it works when combining different heights within the same word.

Inspired by the work of Talia Cotton and Dinamo, I even built a small experiment so you can play with the typeface yourself and download your own images.

🎁 Download Turia (Trial License)

Download Specimen

(PDF)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks again for following along this journey.

Cheers,

Alberto

This month’s release is Evertimes that revisits the legacy of Times New Roman with a contemporary sensibility. In this first release, it appears in three weights, designed with a balance of clarity and refinement.

Evertimes is conceived as a revival that does not merely reproduce the past, but reinterprets it—bridging historical tradition with modern typographic needs. Future versions are planned to expand its weight range and stylistic variety, further unfolding its potential.

While it inherits much of the structural rigor of Times New Roman, Evertimes introduces a distinctive twist in its GSC forms, drawing inspiration from the graceful endings of Plantin. This subtle detail brings warmth and personality to its otherwise rational framework.

🎁 Download Evertimes (Trial License)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks for being part of this challenge.

Cheers,

If you’re new here, you can check out (and try) all the previous releases on the website — which, by the way, just got a fresh redesign.

This month’s release is Fina, a handwriting typeface based on the natural script of my grandmother, Josefina — known to everyone simply as Fina.

The process started by scanning pages from her handwritten recipe notebooks, which she had carefully kept over the years. I cleaned and enhanced the scans using an image-editing tool, then vectorized them through Inkscape—surprisingly the software that gave the most faithful translation of her pen strokes. From there, I traced, refined and adjusted each letter with care, shaping her writing into Glyphs.

To preserve the natural feel of handwriting, many lowercase letters come with multiple alternates that swap in automatically (contextual alternatives), adding rhythm and imperfection to the text.

This first version captures the warmth and elegance of her script: almost drawn rather than written, full of flourishes—especially in the uppercase letters. The kerning still needs work, and some spacing quirks remain. But this first release is here for you to try, test, and play with—an early step in what will be an evolving design.

Fina is a delicate and expressive typeface, deeply personal. It will continue to evolve with new styles and weights in future versions, but its heart will always remain the same: a tribute to her.

🎁 Download Fina (Trial License)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks for being part of this challenge.

Cheers,

Thanks to the thoughtful advice of my friend and designer Cristina, we’re currently updating the FontMonth website to make it more useful and fun to explore. Take a look and let me know what you think!

P.S. Exciting news — Godina has recently been featured on Fonts In Use!
It took center stage in the visual identity of the MIA Awards 2025, a major industry event organized in Valencia by the Mediterranean Marketing Club. Check it out on Fonts In Use

That’s how Unstop was born. In this first version, it features a dual-variable system: width and weight. The result is a family with 9 distinctive styles, designed to adapt to different contexts.

🎁 Download Unstop (Trial License)

The name is a nod to the typeface’s origin, but also to its philosophy: a typeface in progress, one that will keep evolving and being refined over time.

This project is part of #FontMonth. Every month, I plan, design, and release a new typeface in just 30 days.

🎁 Download Unstop (Trial License)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks for being part of this challenge.

Cheers,

Godina typeface has taken center stage in the visual identity of the MIA Awards 2025, organized in Valencia by the Mediterranean Marketing Club. The MIA Awards are a key event in the industry.

Godina was born as an exploration of geometric shapes. Seeing it now in real use, at an event of this scale, is the kind of validation that makes all those hours of testing, tweaking, and obsessing over typographic details truly worthwhile. A real celebration!

Read more about Godina

Funny enough, it all began with uppercase letters—but the typeface didn’t really find its voice until I started drawing the lowercase. That’s when everything shifted. The design pushed back. It wanted space. So I followed that impulse and let the shapes stretch out, breathe, and speak in their own tone.

🎁 Download Dema (Trial License)

What I struggled with the most was figuring out how the system should work. I’m sharing a few early sketches here—see how, at the beginning, I wasn’t sure if the a should follow the same logic as the sor the c? This back-and-forth is where a lot of the identity started to take shape.

Dema is still evolving. It’s not finished—and that’s part of its charm. More styles and refinements will come with time, but this first version already sets a clear direction: open, grounded, and a little off the beaten path.

The name is a small nod to how time caught up with me. In Spain, there’s this running joke from comedian José Mota—whenever something urgent comes up, he replies: “hoy no, mañana“ (not today, tomorrow). It felt like the perfect fit. Demà means “tomorrow” in Catalan.

More to come soon.

🎁 Download Dema (Trial License)

Thanks for being part of this challenge.

Cheers,

That’s how halone was born: from a geometric experiment where the “o” became the seed for everything else. I wanted to explore what happens when you treat one form as the core module, and let it guide the construction of every letter.

halone is bold, low in contrast, and has a compact x-height. It draws from seventies warmth and eighties geometry—an era where clarity met experimentation. It’s designed in a single, punchy weight, ideal for big statements, logos, and identities that need both structure and soul.

🎁 Download halone (Trial License)

If you have any thoughts, suggestions, or a project where one of these typefaces might fit, feel free to reply directly to this email—I’d love to hear from you.

Thanks for being part of this challenge.

Cheers,

This typeface started as a revision of the very first one I designed years ago, when I was just starting out. It was called Blanca and was an attempt to blend sans and serif. But in reality, it was more of a search for a typographic skeleton that could work as both a sans and a serif.

As I began working on this serif, I wanted to update that initial version and reinterpret it with fresh eyes.

I studied common letterforms: which shapes could be reused to maintain consistency and make the process more efficient? Which ones needed to be redrawn? Some forms could be carried over almost unchanged. Through this process, I found a set of shapes that allowed me to play and explore.

Blankita is a sans typeface that, in this first version, comes in a single thin weight. Its design seeks a balance between delicacy and strength. Unlike other serif typefaces, Blankita minimizes contrast, achieving a uniform stroke thickness that gives it a clean and contemporary character.

Blankita is an evolving typeface, with plans to expand into more weights and styles in future versions. The name is a small tribute to my sister—that’s what we affectionately call her in our family. It’s also a nod to the first typeface I ever created—a subtle yet meaningful evolution.

🎁 Download Blankita (Trial License)

Thanks for being part of this challenge.

Cheers,

Eskenazi’s work masterfully employs stencil typefaces with a distinctly contemporary feel, as seen in projects like Barcelona’s TMB signage or the striking typography for the restaurant Mordisco.

Stencil typefaces originally emerged as a quick and efficient way to communicate in industrial and military contexts. Their distinctive cuts and open spaces were designed to facilitate painting on large surfaces with minimal tools.

I wanted to approach it differently. My goal was to apply variable font technology to stencil typography—not just that, but to integrate both stencil and non-stencil versions within a single file, offering different widths.

The challenge was technical. Combining stencil and non-stencil versions into a single variable typeface wasn’t easy. With help from the Glyphs type community, I used the Switching Shapes technique to achieve my goal. The idea is that you can control the stencil effect (from 0 to 200), and if you select a value below 2, the character automatically switches to a non-stencil version.

This trick led to the creation of Agulla, a variable font with the essence of a stencil.

As for the name, I wanted something that referenced the small openings defining the style. Agulla means “needle” in Catalan, which I found subtly poetic for an industrial typeface.

When designing the stencil gaps, I discussed it with a friend: How open should they be? Does such a wide cut serve a purpose? Is it still readable?

My take is that it’s all about pushing the extremes. It depends on its use. In the specimen, you can see how a minimal stencil effect works well at large sizes, but at smaller sizes, the typeface demands wider stencil cuts.

Let me know what you think!

🎁 Download Agulla (Trial License)

Thanks for being part of this challenge.

Cheers,

👉 Follow the journey here

This month’s font is Sira, a typeface built entirely from lines, exploring the tension between unity and fragmentation. It comes in three widths: Standard, Semiextended, and Extended, allowing for flexibility in composition.

🎁 Download Sira (Trial License)

Feel free to test it, experiment, and share your creations using #FontMonth. I’d love to see how you use it!

Thanks for being part of this challenge. More type goodness coming soon!

Cheers,