Most monospaced typefaces are dictated by text-intensive usage at very small point sizes, but we were captivated by the possibility of a monospace writ large, as it is in our collective mind’s eye: a few words projected on a large display, rendered in overly simplified, appealingly vague pieces of warning or counsel that only a trained operator understands, all witnessed via screen-within-imaginary-screen, aboard interplanetary vessels and hovering automobiles. Our evergreen touchstone for this notion, despite its proportional construction, is Aldo Novarese’s Microgramma, 1952 (and later Eurostile, 1962), its distinctive uppercase ‘R’ leading the way and subsequently echoed in our own drawing.

Molto bella.