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Mimolette

Mimolette

by The Ampersand Forest
Individual Styles from $20.00
Complete family of 12 fonts: $200.00
Mimolette Font Family was designed by DC Scarpelli and published by The Ampersand Forest. Mimolette contains 12 styles and family package options.

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About Mimolette Font Family


Every designer has a favorite geometric sans serif. For a century, they've been a staple for text that needs to be clear, strong, architectural, and objective.


Mimolette offers a sans serif family that's great for text and display alike—the panache of Neutraface, the readability of Avenir, the sleekness of Avant Garde, the strength of Mark, the architecture of Gotham, and the classic lines of Futura—but she's entirely her own creature, and she's designed to offer maximum versatility and beauty at an affordable price.


And she's got some nifty features, too!


  • Her italic is a true italic, not just an oblique.
  • Are the uberpointy diagonals (AMVW) not working in a particular context? Activate Stylistic Set 01, and they become flat-topped!
  • Want more playful cursive alternatives in the italic? Activate Stylistic Set 02, and you've got them in the A, E, K, Q, R, and k.
  • She's got true small caps in all styles!
  • She's got true fractions in all styles, as well as oldstyle (small cap) and lining numerals, in both tabular and proportional widths.


Best of all, perhaps, Mimolette was made with love, as always, by yer pals in the Ampersand Forest.

Designers: DC Scarpelli

Publisher: The Ampersand Forest

Foundry: The Ampersand Forest

Design Owner: The Ampersand Forest

MyFonts debut: Jun 22, 2022

Mimolette

About The Ampersand Forest

The Ampersand Forest is DC Scarpelli. And probably vice versa. I am a wholly inveterate Type Nerd. I’ve been in love with letterforms my whole life, and, for 16 years, I taught type history, type design, and typography as a college professor. Type is voice, and I love giving people a voice. A variety of voices, actually, so that they can choose whichever one is best for them for a particular context. And I don’t just mean designers, either! Type’s for everyone, and every typeface has a purpose and context.For me, deliciousness—flavor—is key. Not all type has to be “good type,” whatever that means. It should be designed with thought and care and craft. It should be supremely usable. But it should aim beyond usability toward (trust me: this is the right word) yumminess.

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