Modern Gothic Mono is a new addition to the Modern Gothic Family, providing a monospaced variation for grid based typesetting for tax spreadsheets, invoices or pieces of code. Modern Gothic Mono maintains the DNA of the original design while introducing a new flavour with its adaptations of certain characters, such as G, M, or f, t. All of the styles included in the Mono are designed to work effortlessly together with the original Modern Gothic, forming a universal workhorse family.

MG Mono is an all-purpose typeface with American roots, suitable for a wide range of applications, from subway signage to baseball&nbsp;headlines. The family follows a graded, hourglass-shaped model in terms of widths &ndash; the regular weight intended for typesetting long texts has&nbsp;been made narrower, while the&nbsp;thin cuts are wider for more display-oriented applications. This allows typographers to create efficient&nbsp;copy-fit sections using&nbsp;the lighter cuts, while preserving the original gothic flavor in the&nbsp;bolder&nbsp;style for moments where it can flex its&nbsp;strong character.&nbsp;Within the family, there is only one interpolation, each weight being fine-tuned for its intended use.

Grotesques originated in Europe and their distorted counterparts in the US were named gothics. Gothic Modern was an early attempt, released circa 1895 by Chicago type foundry Barnhart Brothers and Spindler.&sup1; Since gothics were first utilised as headlines in newspapers and on broadsides, quirks were likely welcomed as a way to garner attention. However these same oddities harsh the flow in text sizes, and certainly do not meet contemporary drawing standards. Some characters from this genre turned into celebrities, refined over generations and later got work in the telecommunication industry;&sup2; this was not the case for Gothic Modern, which was left forgotten in a dusty book in Chi-Town, until&hellip;

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In our time, the process of writing and editing are conflated. We operate in a simultaneous process of writing and re-writing through omnipresent screens &ndash;&nbsp;many of us cannot relate to the struggle of taking out a new sheet of paper and inserting it into a typewriter to start over. Instead we work comfortably in the age of command-Z. With Affix, designers can pull from the essence of an earlier era combined with contemporary proportions and striking details. To be a writer (or perhaps a designer) is also to be a kind of editor &ndash; working through a constant process of selection and omission, of highlighting and crossing out, in order to let the most important moments &ndash; stand out. 
 
In the development of letterforms for typewriters, a key part of the process was one of adaptation &ndash; designers who initially drew type for companies like IBM and Olivetti were often contractors who relied on in-house designers and engineers to adapt their drawings to production requirements. With reference to this history, it is fitting that Affix was initiated as a strict monospace set, before being reworked and finished as a proportional font, capturing the mood of these sources while rejecting their methodology. Due to their past usage, monospace typewriter fonts are embedded with a connotation of archives, libraries and systems of documentation. A range of catalogues of metal typewriter faces were examined at the onset of the project in 2019, with the goal of capturing a specific sentiment, rather than reviving a single source.

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