Qommodore

Styles

ExtraLightBuy from €80 ExtraLight ItalicBuy from €80 LightBuy from €80 Light ItalicBuy from €80 RegularBuy from €80 ItalicBuy from €80 MediumBuy from €80 Medium ItalicBuy from €80 BoldBuy from €80 Bold ItalicBuy from €80 ExtraBoldBuy from €80 ExtraBold ItalicBuy from €80

Qommodore In Use

Parade is the design practice of April Zelenka, a graphic designer based in the American Midwest with a focus on clients in the interior design industry. Zelenka, who also has a background as professional photographer, has been designing brands for over ten years. Recently, she tackled her own visual identity.

For the logo of her studio, she chose Qommodore. This typeface was released just a week ago in Production Type’s library. Drawn by Hugues Gentile, it’s a monospaced serif in six weights, in roman and italic styles. With a build following 19th-century display types including high contrast and bracketed serifs, it makes for persuasive titles – or, in this case, wordmarks. Qommodore’s proportions, however, are monospace. In some glyphs like the R with its retracted leg, this leads to an enigmatic mix of elegance and quirkiness, and provides the Parade logo with a certain je ne sais quoi.

The additional brand fonts used by Parade are Signifier, a synthesized roman by Kris Sowersby of Klim, “determined by machine logic and a Brutalist ethos”, and ABC Rom, Seb McLauchlan’s “sturdy, confident fusion of classic Grotesk and Gothic typeface styles” released earlier this year with Dinamo.
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Qommodore Bold
Parade logo and website

Information

Design

Hugues Gentile

Team

Ilya Ruderman

Yury Ostromentsky

Version

1.001

Awards & distinctions

Hiii Typography Finalist 优异奖 2023

Download PDF Specimen

About this font

Qommodore is a typeface better left uncategorized, being an amalgam of entirely different constructs to achieve a new and experimental texture. Born out of the creative encounter between Hugues Gentile and Jean-Baptiste Levée, Qommodore is the merger of their common interest for monospaced serif. Even its name introduces a wholly twisted operation that challenges convention at every turn.

That makes it difficult to start at the beginning, because Qommodore is a high-contrast serif, drawn with the construction of 19th-century display types. But its proportions are monospace, forcing many of the natural widths of calligraphy, and the 19th century, out of the equation. Choosing the priority of which quality speaks first will come down to its use in graphic design.

There is a pervasive appreciation for high-contrast serifs, and Qommodore’s delicate and detailed hairline strokes are no exception. Like most typefaces in this genre, Qommodore gains weight only in its thick strokes, and the hairlines stay hairlines throughout. Despite the ubiquity of the high-contrast category, however, Qommodore restricts any dated notions. Breaking with convention, for example, the typeface comprises six weights, beginning with a skeleton frame in ExtraLight that will feel wider than its bolder weights simply because the thicker strokes aren’t prevalent. In ExtraBold, Qommodore is practically egregious in its contrast; because the font is monospace, the thick strokes borrow from the interior space, creating a dramatic and glitchy texture.

All-capitals titles will set beautifully as small as 60pt in ExtraLight and set a more traditional tone, with a narrow letter-fit and modern classic details. As you increase the weight, increase the scale, and drop the character count – it’s the best way to maintain comfort in reading while enjoying all of the quirky details to make designs feel unique and beautiful, unless you’re going for something with intentional tension.

That’s precisely the opportunity this typeface invites designers to enjoy – an unpredictable mashup of details like the intricate serifs on lowercase t and the graceful ß, with spatial discordance increasing with weight. Despite this experiment in spacing, one thing Qommodore avoids is any clashing of characters, instead just threatening legibility. These moments where one would expect discomfort get literally shaved off, such as in the ExtraBold Italic, where the rounds of characters abruptly stay in their allotted space. In these most dramatic moments of Qommodore, designers can amplify short words and even single characters for applications in media covers like albums, podcasts, and books. Check out its eponymous Q, stifling bold W and Extra Bold m, and corseted R; conversely, the shapely lowercase a and even the delightful punctuation.

Formats

Static (OTF, TTF, WOFF, WOFF2)

Language support

Abaza, Acheron, Achinese, Acholi, Adyghe, Afar, Afrikaans, Aghul, Ahtna, Alekano, Aleut, Amahuaca, Amarakaeri, Amis, Anaang, Andaandi, Dongolawi, Andi, Anuta, Ao Naga, Aragonese, Arbëreshë Albanian, Arvanitika Albanian, Asháninka, Ashéninka Perené, Asu (Tanzania), Atayal, Avaric, Balinese, Bari, Bashkir, Basque, Batak Dairi, Batak Karo, Batak Mandailing, Batak Simalungun, Batak Toba, Belarusian, Bemba (Zambia), Bena (Tanzania), Bikol, Bislama, Borana-Arsi-Guji Oromo, Bosnian, Breton, Budukh, Buginese, Candoshi-Shapra, Caquinte, Cashibo-Cacataibo, Catalan, Cebuano, Central Aymara, Central Kurdish, Chamalal, Chamorro, Chavacano, Chechen, Chiga, Chiltepec Chinantec, Chinese Buriat, Chokwe, Chuukese, Chuvash, Cimbrian, Cofán, Congo Swahili, Cook Islands Māori, Cornish, Corsican, Creek, Crimean Tatar, Crimean Tatar, Croatian, Czech, Danish, Dargwa, Dehu, Dungan, Dutch, Eastern Arrernte, Eastern Oromo, Embu, English, Erzya, Ese Ejja, Faroese, Fijian, Filipino, Finnish, French, Friulian, Galician, Ganda, Ga’anda, German, Gheg Albanian, Gilbertese, Gooniyandi, Gourmanchéma, Guadeloupean Creole French, Gusii, Haitian, Halh Mongolian, Hani, Hiligaynon, Ho-Chunk, Hopi, Huastec, Hungarian, Icelandic, Iloko, Inari Sami, Indonesian, Ingush, Irish, Istro Romanian, Italian, Ixcatlán Mazatec, Jamaican Creole English, Japanese, Javanese, Jola-Fonyi, Judeo-Tat, K'iche', Kabardian, Kabuverdianu, Kala Lagaw Ya, Kalaallisut, Kalenjin, Kalmyk, Kamba (Kenya), Kaonde, Kaqchikel, Karachay-Balkar, Karelian, Kashubian, Kazakh, Kekchí, Kenzi, Mattokki, Khasi, Kikuyu, Kimbundu, Kinyarwanda, Kirghiz, Kituba (DRC), Komi-Permyak, Komi-Zyrian, Kongo, Konzo, Kuanyama, Kumyk, Kven Finnish, Kölsch, Ladin, Ladino, Lak, Latgalian, Lezghian, Ligurian, Lithuanian, Lombard, Low German, Lower Sorbian, Lozi, Luba-Lulua, Lule Sami, Luo (Kenya and Tanzania), Luxembourgish, Macedo-Romanian, Macedonian, Makhuwa, Makhuwa-Meetto, Makonde, Makwe, Malagasy, Malaysian, Maltese, Mandinka, Manx, Maore Comorian, Maori, Mapudungun, Matsés, Mauritian Creole, Meriam Mir, Meru, Minangkabau, Mirandese, Mohawk, Moksha, Mongolian Buriat, Montenegrin, Munsee, Murrinh-Patha, Muslim Tat, Muslim Tat, Mwani, Mískito, Naga Pidgin, Ndonga, Neapolitan, Ngazidja Comorian, Niuean, Nobiin, Nogai, Nomatsiguenga, North Azerbaijani, North Azerbaijani, North Ndebele, Northern Kurdish, Northern Qiandong Miao, Northern Sami, Northern Uzbek, Norwegian, Nyanja, Nyankole, Occitan, Orma, Oroqen, Otuho, Palauan, Paluan, Pampanga, Papiamento, Pedi, Picard, Pichis Ashéninka, Piemontese, Pijin, Pintupi-Luritja, Pite Sami, Pohnpeian, Polish, Portuguese, Potawatomi, Quechua, Romanian, Romansh, Rotokas, Rundi, Russian, Russian Buriat, Rusyn, Rutul, Rwa, Samburu, Samoan, Sango, Sangu (Tanzania), Saramaccan, Sardinian, Scottish Gaelic, Sena, Seri, Seselwa Creole French, Shambala, Shawnee, Shipibo-Conibo, Shona, Sicilian, Silesian, Slovak, Slovenian, Soga, Somali, Soninke, South Azerbaijani, South Ndebele, Southern Aymara, Southern Qiandong Miao, Southern Sami, Southern Sotho, Spanish, Sranan Tongo, Standard Estonian, Standard Latvian, Standard Malay, Sundanese, Swahili, Swati, Swedish, Swiss German, Tabassaran, Tagalog, Tahitian, Taita, Tajik, Talysh, Tatar, Tedim Chin, Tetum, Tetun Dili, Tiv, Tok Pisin, Tokelau, Tonga (Tonga Islands), Tosk Albanian, Tsakhur, Tsakhur, Tsonga, Tswana, Tumbuka, Turkish, Turkmen, Tuvinian, Tzeltal, Tzotzil, Uab Meto, Udi, Ukrainian, Ume Sami, Upper Guinea Crioulo, Upper Sorbian, Venetian, Veps, Võro, Walloon, Walser, Wangaaybuwan-Ngiyambaa, Waray (Philippines), Warlpiri, Wayuu, Welsh, West Central Oromo, Western Abnaki, Western Frisian, Wik-Mungkan, Wiradjuri, Wolof, Xhosa, Yanesha', Yao, Yapese, Yindjibarndi, Yucateco, Zulu, Zuni, Záparo

About the designers

Hugues Gentile
Designer
Hugues Gentile is a type designer and font developer. He is an instructor at the EsadType Amiens postgraduate program.
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Stylistic Set 6

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