Cera Mono Black

72px

Cera Mono

Black

Asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scriptsAsymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts

48px

Cera Mono

Black

The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.

24px

Cera Mono

Black

Cera Stencil, with six weights, useful dingbats and arrows, is a steadfast companion for setting clean text and headlines for print, on screen and in multiple languages. Its asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts.Cera Stencil, with six weights, useful dingbats and arrows, is a steadfast companion for setting clean text and headlines for print, on screen and in multiple languages. Its asymmetric stencilling creates a dynamic tension that emphasises the handwritten origin of the supported scripts.

15px

Cera Mono

Black

With six weights, a clean italic – carefully slanted 10 degrees – useful dingbats and arrows, Cera is a steadfast companion for when you need to set clean text and headlines in print, on screen and in multiple languages. For best on-screen performance, the TrueType files for web and desktop fonts have been manually hinted. Cera cares about localised letterforms and has the OpenType features to matchWith six weights, a clean italic – carefully slanted 10 degrees – useful dingbats and arrows, Cera is a steadfast companion for when you need to set clean text and headlines in print, on screen and in multiple languages. For best on-screen performance, the TrueType files for web and desktop fonts have been manually hinted. Cera cares about localised letterforms and has the OpenType features to match

About

Cera Mono brings a human voice to code-inspired aesthetics. With a technical texture, controlled dissonance and inharmoniously balanced shapes, Cera Mono pairs the ‘undesigned’ qualities of typewriter fonts with geometric focus. In artistic and cultural contexts, the resulting bureaucratic and slightly glitchy texture gives its light weights expressive power while for those that generate value from code and data, its utilitarian design and carefully-selected spectrum of six weights can refine the noisiest data into information.

With a fixed-width defined by an almost-perfectly round lowercase o, Cera Mono brings Cera’s circular emphasis to a utilitarian uni-width typeface. Suggesting raw data and industrial qualities, Cera Mono is well-suited to no-nonsense typography: equipment manuals for hovercraft, captions in industrial material exhibitions, visualising the data from volcanoes, and technical documentation for deep-sea farming.

Cera is available in six weights and contains useful arrows and an extensive range of geometric symbols.

Specimen (PDF, 1 MB)

Features

Case sensitive forms, standard ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, ordinals, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, five stylistic sets

Languages

Afrikaans, Azeri (lat), Bashkir, Belarusian, Bulgarian, Catalan, Chechen, Chuvash, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Greek, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat), and others

Authors

TypeMates

TypeMates: a straightforward font foundry.

For years, we — Jakob, Lisa and Nils — have been passionate about type and in 2015 we started working together, from our offices in Munich and Hamburg, as a type foundry.

We don’t believe that typefaces are neutral or purely functional systems for reading, rather that they are a visual language with emotional values. Our aim is to be straightforward in the complex field of type design. We do not want to hype or praise type too much, we want to work together with our clients and partners to deliver good results.

Our practice covers everything, from the tiniest nuance in a logo or piece of lettering to the design of extensive type systems. And whether it’s a beautiful idea, a complex client project with intense technical demands, or we’re just following our investigative TypeMate’s nose — we’re passionate about well-made letterforms delivered to the highest technical standard.

Whether it’s Die Zeit online, Fast Company, Red Bull TV or Lufthansa Magazine, typefaces we designed are used by magazines, newspapers and corporations who set the bar for design.

Jakob Runge

From 2009 Jakob Runge has been fired by letters and type systems. After studying communication design at the University of applied sciences in Würzburg (BA) and then at Muthesius Academy of Fine Arts and Design in Kiel (MA), his master’s project was published as FF Franziska in 2014, and became a successful textface at FontFont.

A new dad, he works in Munich as an independent type and brand designer who specialises in developing typefaces and custom lettering for corporate and editorial design.

Alongside working in the design industry, Jakob is active in typographic education. Along with running numerous workshops at universities in Germany, Switzerland and Austria, he has been a lecturer for typography and type design at FH Münster from 2011. For him, type design is more than the foundation of precise and coherent communication: it’s a passion. twitter, website

Antonia Cornelius

Antonia’s enthusiasm for type was awakened early on in her studies at HAW Hamburg by Jovica Veljović. With a focus on typography and type design, she’s pursued a fundamental question ever since: when designing and using typefaces, what influences the reading experience? The first result of her research was her book: ‘The letters in my head: What creatives should know about reading processes in order to design joyful reading experiences’. Initially developed as her bachelor’s thesis and published by Hermann Schmidt Verlag in 2017, it’s now considered a standard work.

Continuing her masters studies with Veljović, Antonia delved deeper into legible type design. Along with designing a typeface super family, she carried out an empirical legibility study comparing the reading speed of it and other typefaces in running text. A Master of Arts since 2017, Antonia has been honoured for her outstanding research-based type design work. Antonia’s professional work is characterised by her inquisitiveness and commitment to research, her attention to detail and love for complex design concepts. Alongside her own projects and amongst other clients, she supports Albert-Jan Pool in the further development of the FF DIN family.

Antonia enjoys sharing her knowledge. She teaches type design at Muthesius University of Fine Arts and Design in Kiel, gives workshops and lectures, publishes articles and consults on issues of legibility and readability.

Codepage

Font in use