By Christine Wunderlich

Mono Moment is aimed at type designers, typographers, and designers.

Friedrich Nietzsche was probably one of the first to express the aesthetic appeal of monospaced typefaces. In our contemporary times, we encounter monospaced typefaces regularly in daily life: in design and in art, in coding, on tax records, or on our IDs. If you take a closer look, you will encounter non-proportional typefaces more often than expected.

Monospaced typefaces are defined by their fixed, equal width for all characters. Every character, letter, and number occupies horizontally and vertically the same space. Proportional typefaces, in turn, have harmoniously balanced spaces with variable widths between their characters. The widths are not set proportionally (the reason why monospaced typefaces are also termed non-proportional).

Yet what exactly is the attraction to typefaces whose letters and characters each occupy an equally large space?

This volume seeks to explore such questions, and serve as both a reference work and a source of inspiration.

Featured typefaces: Airport Mono, Andal  Mono, Anonymus Pro, AO Mono, Aperçu Mono, Atlas Typewriter, Base Mono, Basier Mono, Blue Mono, Calico Mono, Cindie D, Consolas, Courier, Cygnito Mono, Eureka Mono, GT Pressura Mono, IBM Plex Mono, Input Mono, Kettler, Letter Gothic, LTC Remington, Maison Mono, Monaco, Monoela, MonoLisa, Orator, Pica 10 Pitch, Pitch, Plastic, Platelet, Roboto Mono, Simon Mono Light, Sneak Mono, Source Code Pro, Space Mono, Splendid 66, Sudo, Suisse Int’l Mono, SYNO MONO, The Future Mono, TheSans Mono, Typist Code, Typist Slab, Ubuntu Mono, and Vulf Mono.

Designed by Christine Wunderlich

Published by Slanted
Second edition, 2022

Softcover, enclosed blue spiral binding, 208 pages, 1-color, 6.75 × 9.75 inches

ISBN: 978-3-94-844032-9