Hi, I'm Julián Moncada. I work as a typeface designer and independent researcher. Since 2011, I've collaborated on the development of custom and retail fonts with designers, foundries, artists, cultural institutions, and brands.

I'm keen to engage in new collaborations or dive into candid virtual interactions; Write to me at julian@noesunaletra.com, or find me on Mastodon and Signal.

Sentados,
el jefe del partido
comunista ruso (derecha)
y el presidente de los Estados Unidos.
De pie,
en primera fila (de izq. a der.)
Pablo VI, Mao Tse Tung,
La duquesa de Windsor, Cantinflas, Pele.
Dans un autobus de la ligne S, long de 10 mètres, large de 2,1, haut de 3,5, à 3 km. 600 de son point de départ, alors qu'il était chargé de 48 personnes, à 12 h. 17, un individu de sexe masculin, âgé de 27 ans 3 mois 8 jours, taille de 1 m 72 et pesant 65 kg et portant sur la tête un chapeau haut de 17 centimètres dont la calotte était entourée d'un ruban long de 35 centimètres, interpelle un homme âgé de 48 ans 4 mois 3 jours et de taille 1 m 68 et pesant 77 kg., au moyen de 14 mots dont l'énonciation dura 5 secondes et qui faisaient allusion à des déplacements involontaires de 15 à 20 millimètres.
Il va ensuite s'asseoir à quelque 2 m. 10 de là.
Once upon a time,
the table where I write grabbed two pairs of shoes,
ran downstairs and took flight.
From the fifth floor to the first.
(One pair was mine and the other my wife's.
It was winter outside and slippery with ice.)
dias dias dias sem uma esperança
linha de um só dia expoeta expira: minh ahcartas
MONEY CREATES TASTE
MORALS ARE FOR LITTLE PEOPLE
MOST PEOPLE ARE NOT FIT TO RULE THEMSELVES
MOSTLY YOU SHOULD MIND YOUR OWN BUSINESS
MUCH WAS DECIDED BEFORE YOU WERE BORN
MURDER HAS ITS SEXUAL SIDE
El pensar es un hecho revolucionario La acción es la consecuencia del pensamiento Pensar y comunicar producen energía Transmitir la energía del pensamiento Producir cambios a través del pensamiento Encontrar en la imaginación soluciones vitales Un punto conectado a tierra genera fuerza creativa El poder creativo comunica a todos El ambiente condiciona a la gente Para ser libres se necesita una transformación Tenemos el poder de elegir También el Eros tiene necesidad de condiciones sociales adecuadas
D. Machines types*:
a. CRYING MACHINE-machine drops tears and cries for you when coin is deposited-..........$3,000-
b. WORD MACHINE-machine produces a word when coin is deposited-..........$1,500-
c. DISSAPEARING MACHINE-machine that allows an objecto to disappear when button is pressed-..........$1,500-
d. DANGER BOX-machine that you will never come back the same from if you get in (we cannot guarantee your safety in its use)-..........$1,100-
e. SKY MACHINE-machine produces nothing when coin is deposited-..........$1,500-
f. ETERNAL TIME-a beautiful ETERNAL TIME CLOCK that keeps eternal time-..........$800-

My practice

For the past decade, I've engaged in numerous inspiring collaborations.

The primary core of my work has developed in cooperation with Barnbrook Studio, a design studio in London. In parallel, other projects have offered opportunities to learn and connect with colleagues from diverse environments, including type foundries, font distributors, design studios, publishers, and artists.

As a result of this variety of collaborators, my involvement with font-making has extended to multiple dimensions of the craft. I've included a more detailed description of those specialties in the Skillset section.

Learn & share

I've had a privileged path to cultivate oblique ways to learn from typography, design, and visual culture.

Over the years, I've participated in teaching and lecturing at local design schools in Bogotá, Colombia, my hometown. These activities began naturally in areas like Typography and Typeface Design, but gradually they have transitioned into the History of Graphic Design, especially emphasizing stories about Colombia and Latin America.

Along similar lines I've accompanied research activities at Imprenta Patriótica, a public printing museum in the outskirts of Bogotá. I'm delighted to have been one of their instructors in a programme for exchanging knowledge between young woodworkers and graphic designers. This exchange revolved around restoring a historical collection of wood types through the use of contemporary technologies.

I'm a graduate from the Master in Typeface Design at the University of Reading (2011) and a former resident at the ANRT in Nancy, France (2014). Through these experiences, I learned next to generous and inspiring peers and tutors. In turn, this led to other stimulating ventures, such as working as a Research Intern for Monotype in their historical archive, or planning and delivering type design courses for bachelor students as Sessional Lecturer at the University of Reading.

Observe & speak

Over the years I've been a speaker at various design events. These lectures have typically combined historical narrative with personal observations about current disciplinary issues.

On the surface, they have addressed diverse topics such as gender representation, the construction of design discourse, or just basic design principles. Nevertheless, they all explore issues related to how a young discipline —such as Typeface Design— is constructed, explained, and promoted by its practitioners.

The lectures have originated from pretty personal questions about my professional development, and they've been largely self-funded. I like to think there's something genuine and heartfelt about them.

You can actually check one of them online ✨.

Past Talks

2019, University of Patras. 7th ICTVC.

Histories and stories: Times New Roman and the history of type.

2019, CUN Ibagué. Tipos Latinos.

Mujeres y tipos, definiendo el diseño de tipos a través de temas de genero durante su historia.

2016, ANRT, Nancy. Automatic Type Design 2.

Questioning Consistency: notions about the role of people and tools in shaping the future of typeface design.

2016, University of Thessaloniki. 6th ICTVC.

Ugly Face: An enquiry about consistency, aesthetics, and the design of typefaces for text.

2013, University of Nicosia. 5th ICTVC.

Typeface Design today: looking at the definition of a discipline through gender issues.

2012, Birmingham City University. Variations of a Typographer, Symposium.

Diverse voices: a perspective on gender and the development of Typeface Design.

Projects

Avante explores how type designers appropriate visual and cultural heritage for their work. It is a design for editorial use that seeks to offer a striking and spirited voice.
THIS PROJECT WAS FUNDED BY A GRANT FROM THE LOCAL GOVERNMENT AS PART OF A PLAN TO AMPLIFY THE RELEVANCE OF CULTURAL PATRIMONY ACROSS THE CITY.
The initial concept, devised by Juan Pablo Fajardo, was to study cultural and political stories of Teusaquillo —one of the most historically animated neighborhoods in Bogotá. This research would yield a type family and a book celebrating the richness of those stories.
In 2022, Avante was used for the visual identity of the first major retrospective about the history of Graphic Design in Colombia.

Avante /

Developed in collaboration with Piedra Tijera Papel.

Avante explores how type designers appropriate visual and cultural heritage for their work. It is a design for editorial use that seeks to offer a striking and spirited voice.

This project was funded by a grant from the local government as part of a plan to amplify the relevance of cultural patrimony across the city.

The initial concept, devised by Juan Pablo Fajardo, was to study cultural and political stories of Teusaquillo —one of the most historically animated neighborhoods in Bogotá. This research would yield a type family and a book celebrating the richness of those stories.

In 2022, Avante was used for the visual identity of the first major retrospective about the history of Graphic Design in Colombia.

Art Basel Text is custom type for the identity of a major international art fair. A compact set of fonts tailored for versatile performance in the range of media required by big cultural events.
Each font was planned to have a distinct weight and voice, and to be suited for the sober typographic look of the brand.
The typeface explores a few visual motifs, adhering to a personal belief that bespoke designs should stand out as distinctive.
One such motif is the animated handling of squared curves and arches seen throughout the design. We believe it achieves a fresh balance between humane and corporate.

Art Basel Text /

Developed in collaboration with Barnbrook Studio.

Art Basel Text is custom type for the identity of a major international art fair. A compact set of fonts tailored for versatile performance in the range of media required by big cultural events.

Each font was planned to have a distinct weight and voice, and to be suited for the sober typographic look of the brand.

The typeface explores a few visual motifs, adhering to a personal belief that bespoke designs should stand out as distinctive.

One such motif is the animated handling of squared curves and arches seen throughout the design. We believe it achieves a fresh balance between humane and corporate.

The original Art Basel logo was adapted from Block Schmale, a font published in the early 20th century by the H. Berthold type foundry.
The client relied on the idiosyncratic personality of this typeface for decades, but lately it was struggling to accommodate the flexibility demanded by contemporary communications.
Art Basel Display consists of three fonts: One is a subtle revision of Block, crafted for headline use.
The remaining two are a roman/italic pair designed to soften the brand's visual tone, contrasting with the tall and tight shapes of the original Block Schmale.

Art Basel Display /

Developed in collaboration with Barnbrook Studio.

The original Art Basel logo was adapted from *Block Schmale*, a font published in the early 20th century by the H. Berthold type foundry.

The client relied on the idiosyncratic personality of this typeface for decades, but lately it was struggling to accommodate the flexibility demanded by contemporary communications.

Art Basel Display consists of three fonts: One is a subtle revision of Block, crafted for headline use. The remaining two are a roman/italic pair designed to soften the brand's visual tone, contrasting with the tall and tight shapes of the original Block Schmale.

BLAA is a custom design made for the largest network of public libraries and museums in Colombia. Since 2021, it has been widely used in many of the institution's outlets.
The objective was to provide their communications team with a tool that embodied the aesthetic feel of contemporary cultural institutions.
The visual concept for BLAA stems from a piece of modernist architectural lettering that's been part of their main building since the 1950s. We expanded upon that source by incorporating references to early 20th century sans designed for running text.
Today, they offer the fonts for public download on an open license. My belief is that the resulting fonts set their voice apart from more generic industry trends, offering them a genuine look for years to come.

BLAA /

Developed in collaboration with Piedra Tijera Papel.

BLAA is a custom design made for the largest network of public libraries and museums in Colombia. Since 2021, it has been widely used in many of the institution's outlets.

The objective was to provide their communications team with a tool that embodied the aesthetic feel of contemporary cultural institutions.

The visual concept for BLAA stems from a piece of modernist architectural lettering that's been part of their main building since the 1950s. We expanded upon that source by incorporating references to early 20th century sans designed for running text.

Today, they offer the fonts for public download on an open license. My belief is that the resulting fonts set their voice apart from more generic industry trends, offering them a genuine look for years to come.

Lemona is an exploration of type for literary texts, a domain steeped in well-established traditions.
It was designed as part of my Master's studies, under the premise that I had the rare opportunity to question how shapes and systems are addressed in typeface design, without having any commercial pressures.
The process was guided by a wish to examine the formal richness of this design area,
and to consciously avoid a direct transcription of the conventions that typically define serif typefaces.

Lemona /

Developed with the input of tutors and colleagues during my master's studies.

Lemona is an exploration of type for literary texts, a domain steeped in well-established traditions.

It was designed as part of my Master's studies, under the premise that I had the rare opportunity to question how shapes and systems are addressed in typeface design, without having any commercial pressures.

The process was guided by a wish to examine the formal richness of this design area, and to consciously avoid a direct transcription of the conventions that typically define serif typefaces.

The Sora family was commissioned as a tool for branding and UI.
The client works with blockchain technologies and wished for something that could express ideals about technology and engineering which are central to their work.
Consequently, Sora reveals gestures of low-resolution aesthetics and early screen fonts but steers away from nostalgia, as every decision was conducted towards the crisp digital environment of today.
Their mix of generous proportions is meant to establish them as convenient tools for app and web interfaces, where clarity and performance are imperative.

Sora /

Developed in collaboration with Barnbrook Studio.

The Sora family was commissioned as a tool for branding and UI. The client works with blockchain technologies and wished for something that could express ideals about technology and engineering which are central to their work.

Consequently, Sora reveals gestures of low-resolution aesthetics and early screen fonts but steers away from nostalgia, as every decision was conducted towards the crisp digital environment of today.

Their mix of generous proportions is meant to establish them as convenient tools for app and web interfaces, where clarity and performance are imperative.

Bourgeois Sans & Slab are an extensive addition to Bourgeois, a typeface published by VirusFonts in 2005.
The most demanding stage in this project was the sans-to-serif adaptation for Bourgeois Slab.
This involved a thorough revision of the original fonts in search for cues to harmonise the existing structures with the knotty shapes of the new design.
In Bourgeois Rounded, the issue was about striking a balance between the lighthearted flavour usually attributed to rounded fonts and the angular, rougher identity of the existing Bourgeois.
A further challenge was central to the project: all three sub-families –Sans, Slab, and Rounded– should have the same width and still look natural on their own.
This meant that users could mix and exchange the styles without worrying about text re-flow and making adjustments to their layouts.

Bourgeois Slab & Rounded /

Developed in collaboration with Barnbrook Studio.

Bourgeois Sans & Slab are an extensive addition to Bourgeois, a typeface published by VirusFonts in 2005.

The most demanding stage in this project was the sans-to-serif adaptation for *Bourgeois Slab*. This involved a thorough revision of the original fonts in search for cues to harmonise the existing structures with the knotty shapes of the new design.

In Bourgeois Rounded, the issue was about striking a balance between the lighthearted flavour usually attributed to rounded fonts and the angular, rougher identity of the existing Bourgeois.

A further challenge was central to the project: all three sub-families –Sans, Slab, and Rounded– should have the same width and still look natural on their own. This meant that users could mix and exchange the styles without worrying about text re-flow and making adjustments to their layouts.

ORO is the typographic voice of "Aquí Roban Oro", an art project by Colombian artist Jose Ruiz Diaz.
It was designed for a series of graphic and communal interventions at Galería Santafé, Bogotá's primary public art gallery.
The typeface looks at avant-garde geometric letterforms and seeks to infuse a contemporary spark to them. It also borrows ideas from the gallery's architecture, a building valued for representing the early influence of modernist aesthetics in Colombia.
With unapologetic attention to visual impact, ORO was initially intended for posters that featured single letters, words, and short phrases. Consequently, we took care to emphasize the sculptural qualities of every single character.

ORO /

Developed in collaboration with José Ruiz.

ORO is the typographic voice of "Aquí Roban Oro", an art project by Colombian artist Jose Ruiz Diaz.

It was designed for a series of graphic and communal interventions at Galería Santafé, Bogotá's primary public art gallery.

The typeface looks at avant-garde geometric letterforms and seeks to infuse a contemporary spark to them. It also borrows ideas from the gallery's architecture, a building valued for representing the early influence of modernist aesthetics in Colombia.

With unapologetic attention to visual impact, ORO was initially intended for posters that featured single letters, words, and short phrases. Consequently, we took care to emphasize the sculptural qualities of every single character.

Doctrine explores the crossroads of neutrality and universality that sans serif typefaces are supposed to embody.
The initial drafts were conceived by Jon Abbott and Jonathan Barnbrook at Barnbrook Studio.
They used a fine mix of corporate and totalitarian iconography, posing that the omnipresence of these letterforms has infused them with connotations of authoritarian and repressive ideologies.
My role consisted of transforming their ideas into a type family suitable for extended reading while maintaining its conceptual integrity; a typeface with distinctive influences capable of meeting a wide range of typographic demands.

Doctrine /

Developed in collaboration with Barnbrook Studio.

Doctrine explores the crossroads of neutrality and universality that sans serif typefaces are supposed to embody.

The initial drafts were conceived by Jon Abbott and Jonathan Barnbrook at Barnbrook Studio. They used a fine mix of corporate and totalitarian iconography, posing that the omnipresence of these letterforms has infused them with connotations of authoritarian and repressive ideologies.

My role consisted of transforming their ideas into a type family suitable for extended reading while maintaining its conceptual integrity; a typeface with distinctive influences capable of meeting a wide range of typographic demands.

Doctrine Stencil draws from the imagery of propaganda and bureaucracy that shaped the original Doctrine family.
This design brings forward some underrated approaches to shaping stencil letters, and aims to retain the distinct aesthetic that is expected from this kind of typeface.
The result is a system for display typography with an ample range of alternate characters.
Our aim was to allow designers the flexibility to adjust the expressive qualities of the fonts according to their wishes.

Doctrine Stencil /

Developed in collaboration with Barnbrook Studio.

Doctrine Stencil draws from the imagery of propaganda and bureaucracy that shaped the original Doctrine family.

This design brings forward some underrated approaches to shaping stencil letters, and aims to retain the distinct aesthetic that is expected from this kind of typeface.

The result is a system for display typography with an ample range of alternate characters. Our aim was to allow designers the flexibility to adjust the expressive qualities of the fonts according to their wishes.

Orca Italic explores the influence of tools on the consistency and personality of typefaces.
The original roman design is by Bastarda, a type design duo based in Bogotá. Their brief asked for an Italic, mainly for text use, with as much flair and personality as possible, that would fit nicely with the existing variants of Orca.
The exploration went like this: what if the typeface carries calligraphic traits and mechanical personality in equal parts?
How can we mix these ingredients and remain faithful to the expectations of traditional text italics?

Orca /

Developed in collaboration with Bastarda Type.

Orca Italic explores the influence of tools on the consistency and personality of typefaces.

The original roman design is by Bastarda, a type design duo based in Bogotá. Their brief asked for an Italic, mainly for text use, with as much flair and personality as possible, that would fit nicely with the existing variants of Orca.

The exploration went like this: what if the typeface carries calligraphic traits and mechanical personality in equal parts? How can we mix these ingredients and remain faithful to the expectations of traditional text italics?

Στην Κρήτη, στα Χανιά, στις 18:30, η συγκέντρωση της σκόνης έφθανε τα 800 μικρογραμμάρια και στο Ηράκλειο τα 200.
Στην Κρήτη, στα Χανιά, στις 18:30, η συγκέντρωση της σκόνης έφθανε τα 800 μικρογραμμάρια και στο Ηράκλειο τα 200.
Официальные лица США начинают признавать, что их стратегия давления на Нигер и другие пострадавшие от войны африканские страны, чтобы те разорвали связи с Москвой и приняли демократические нормы.
Στην Κρήτη, στα Χανιά, στις 18:30, η συγκέντρωση της σκόνης έφθανε τα 800 μικρογραμμάρια και στο Ηράκλειο τα 200.

Greek & Cyrillic Extensions

Character set extensions for various projects.

These samples represent the outcome of select opportunities I've had to contribute to projects that required adding support for Greek and Cyrillic scripts.

My motivation for exploring these scripts, of which I'm not a native user, came from observing that through their study it was natural to reach choices that contradicted common assumptions about Latin type design.

The process of familiarizing oneself with an existing typeface, and translating these insights into the framework of other written traditions is as rewarding as type design gets; all the messy and interdependent decisions required by this process make it a wonderful means for learning and growing as a designer.

Selected projects include:

Skillset

Through freelance projects I've delved into various aspects of the font-making process. I've been handling projects from start to finish or simply contributing with specific skills and assignments to broader blueprints. These experiences can be distilled like this:

Concept

Opportunities are all around. I enjoy imagining and defining new concepts for projects. Handling abstract thoughts, sorting across seemingly infinite possibilities, and ultimately reaching an evocative direction for a new design.

I think of this as an exercise in narration:

  • You connect themes, histories, and references.
  • Then translate these connections into visual and practical experiments.
  • And devise some possible directions that harmonize with the project's aims. (Or... if needed, you cycle through the process all over again).

Shape & space

Drawing, shaping, fitting, and spacing are the bulk of most jobs. They bring to life and transform the face of any conceptual decisions —for better or worse.

This process can be about drawing letterforms and characters from scratch, or translating an existing concept into new styles and variations, like that wonderful SemiBold Ultra Extended Display your font was missing.

Or perhaps, it just means extending the language support of a typeface that needs to reach new users.

Tech

Fonts are tools and software; users expect them to perform flawlessly, without exception.

So I've devoted time to various technical aspects of font development:

  • Polishing and updating batches of old fonts to meet new technical requirements.
  • Assessing and ensuring the technical qualities of existing and ongoing projects.
  • Ensuring that those shiny new designs work seamlessly on all required platforms.