Between 1925 and 1950, in the city of Buenos Aires, typography begins to emerge in the urban space. It pops out of bas-relief in walls, documents and books to occupy its own space: it becomes solid, geometrical and with a protagonic role. In this moment, contemporany to the arrival of sound films, it brings its dimensions and luminosity, it shines and shows itself like movie divas: grand, imposing. It transforms the city into a scenary where typography assumes the role of narrator of its era.
The old posters and signs in this place inspired me to design a typeface that rescues the beauty of urban typography from the first half of the twentieth century. The goal is to rescue what is in Montserrat and set it free, under a free, libre and open source license, the SIL Open Font License.
As urban development changes this place, it will never return to its original form and loses forever the designs that are so special and unique. To draw the letters, I rely on examples of lettering in the urban space. Each selected example produces its own variants in length, width and height proportions, each adding to the Montserrat family. The old typographies and canopies are irretrievable when they are replaced.
There are other revivals, but those do not stay close to the originals. The letters that inspired this project have work, dedication, care, color, contrast, light and life, day and night! These are the types that make the city look so beautiful.
At a formal level, I do not neglect aspects of type design that are functional and contemporary. Montserrat is a geometric style of type that has subtle optical adjustments. The result is a sans serif family with multiple versions and multiple possibilities, both in the editorial and corporate realm.