Commit Mono
Extra Light
Italic
200
Light
Italic
300
Regular
Italic
400
Medium
Italic
500
Semi Bold
Italic
600
Bold
Italic
700
Characters
Commit Mono was designed by Danish creative developer and designer Eigil Nikolajsen and released in 2023. Informed by the “Super Normal” design philosophy associated with Jasper Morrison and Naoto Fukasawa, the project approaches neutrality as a practical goal: a programming typeface should support reading without continually drawing attention to its own construction. Nikolajsen’s references include the letterforms of Franklin Gothic, particularly its double-storey g, the simple monospaced shapes of Letter Gothic, and the treatment of symbols in Fira Mono. The restrained character of Klim Type Foundry’s Untitled Sans provided another point of reference.
The design combines low stroke contrast, open apertures, and clearly differentiated characters within a fixed-width grid. Letters and figures that can be confused in code—such as zero and capital O, or the numeral one, lowercase l, and capital I—receive distinct constructions. Its central spacing feature, Smart Kerning, addresses the uneven gaps that arise when narrow and wide forms share identical advance widths. Contextual OpenType substitutions select alternate glyphs whose outlines sit farther left or right within their cells, moving them toward narrower neighboring characters while preserving the character grid. The variable family runs from Extra Light to Bold with companion slanted styles. Optional features include more cursive italic forms, character alternatives, connected arrows, code ligatures, and adjustments to punctuation and symbol spacing.
Commit Mono is primarily suited to code editors, integrated development environments, terminals, diffs, and technical documentation. Its subdued forms let syntax and layout carry the hierarchy, while the optional spacing features offer a more adjusted texture without disrupting column alignment. The same qualities can serve tables, captions, and editorial settings that call for a quiet monospaced voice. For continuous literary text, its fixed-pitch rhythm is more conspicuous than that of a proportional reading face; for expressive titling, its restraint is a deliberate aesthetic choice rather than a source of graphic emphasis. Its particular contribution lies in refining the optical behavior of the monospaced grid while retaining its practical structure.
Words
Questography
difficult waffles
Havana Plywood
Château d’Yquem
Högertrafikomläggningen
hamburgevontpids
Headlines
Extra Light · 200
Brawny gods just flocked up to quiz and vex him
Extra Light Italic · 200
Brawny gods just flocked up to quiz and vex him
Light · 300
Amazingly few discotheques provide jukeboxes
Light Italic · 300
Amazingly few discotheques provide jukeboxes
Regular · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Regular Italic · 400
Why shouldn’t a quixotic Kazakh vampire jog barefoot?
Medium · 500
Grumpy wizards make a toxic brew for the jovial queen
Medium Italic · 500
Grumpy wizards make a toxic brew for the jovial queen
Semi Bold · 600
Jackie will budget for the most expensive zoology equipment
Semi Bold Italic · 600
Jackie will budget for the most expensive zoology equipment
Bold · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Bold Italic · 700
Monsieur Jack, vous dactylographiez bien mieux que votre ami Wolf
Paragraphs
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
With matted beard, and swathed in a bristling shark-skin apron, about mid-day, Perth was standing between his forge and anvil, the latter placed upon an iron-wood log, with one hand holding a pike-head in the coals, and with the other at his forge’s lungs, when Captain Ahab came along, carrying in his hand a small rusty-looking leathern bag. While yet a little distance from the forge, moody Ahab paused; till at last, Perth, withdrawing his iron from the fire, began hammering it upon the anvil—the red mass sending off the sparks in thick hovering flights, some of which flew close to Ahab. “Are these thy Mother Carey’s chickens, Perth? they are always flying in thy wake; birds of good omen, too, but not to all;—look here, they burn; but thou—thou liv’st among them without a scorch.” “Because I am scorched all over, Captain Ahab,” answered Perth, resting for a moment on his hammer; “I am past scorching; not easily can’st thou scorch a scar.” “Well, well; no more. Thy shrunk voice sounds too calmly, sanely woeful to me. In no Paradise myself, I am impatient of all misery in others that is not mad. Thou should’st go mad, blacksmith; say, why dost thou not go mad? How can’st thou endure without being mad? Do the heavens yet hate thee, that thou can’st not go mad?—What wert thou making there?”
Figures
1234567890
Tabular Lining (default)
Code Ligatures
font-feature-settings: 'ss01';
Arrows
font-feature-settings: 'ss02';
Smart Case
font-feature-settings: 'ss03';
Symbol Spacing
font-feature-settings: 'ss04';
Smart Kerning
font-feature-settings: 'ss05';
Character Variants
font-feature-settings: 'cv--';
'cv01'
'cv02'
'cv03'
'cv04'
'cv05'
'cv06'
'cv07'
'cv08' · Italic
'cv09'
'cv10'
'cv11'
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| Unicode | Not encoded |
| HTML entity | Not available |
| CSS escape | Not available |