Wollstonecraft

On a wet day in June 1816, five youngsters spent three days stuck indoors at Villa Diodati in Cologny, Switzerland, creating stories to entertain each other and challenge their perceptions of the human form. For one of these members, this unplanned story session laid the groundwork for one of the most popular gothic horror novels, Frankenstein.

Wollstonecraft was drawn as a sturdy, grounded 
text serif with semi-modular components that pays homage to the creation of Frankenstein’s monster. Wide letterforms demand and control the space, giving a sense of the silent threat that The Creature embodied throughout the novel as it lurked in the shadows.

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Frame 138

Hell of Intense Tortures
Deep, Dark, Solitude
Hell of Intense Tortures

I Shunned 
the Face of
All Man

All Sound 

of Joy or

Complacency
Was Torture

Dead
Calmness of
Inaction and
Certainty

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Reality Of 
The Evil

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14/18

Nothing is more painful to the human mind, than, after the feelings have been worked up by a quick succession of events, the dead calmness of inaction and certainty which follows, and deprives the soul both of hope and fear. Justine died; she rested; and I was alive. The blood flowed freely in my veins, but a weight of despair and remorse pressed on my heart, which nothing could remove. Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more, (I persuaded myself) was yet behind.

16/20

Nothing is more painful to the human mind, than, after the feelings have been worked up by a quick succession of events, the dead calmness of inaction and certainty which follows, and deprives the soul both of hope and fear. Justine died; she rested; and I was alive. The blood flowed freely in my veins, but a weight of despair and remorse pressed on my heart, which nothing could remove. Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more, (I persuaded myself) was yet behind.

18/22

Nothing is more painful to the human mind, than, after the feelings have been worked up by a quick succession of events, the dead calmness of inaction and certainty which follows, and deprives the soul both of hope and fear. Justine died; she rested; and I was alive. The blood flowed freely in my veins, but a weight of despair and remorse pressed on my heart, which nothing could remove. Sleep fled from my eyes; I wandered like an evil spirit, for I had committed deeds of mischief beyond description horrible, and more, much more, (I persuaded myself) was yet behind.

DesolationDesolationDesolation
SolitudeSolitudeSolitude
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KkLlMmNnOoPpQqRr
SsTtUuVvWwXxYyZz
0123456789.,“”!?&

32/38

This state of mind preyed upon my health, which had entirely recovered from the first shock it had sustained. I shunned the face of man; all sound of joy or complacency was torture to me; solitude was my only consolation deep, dark, death-like solitude. My father observed with pain the alteration perceptible in my disposition and habits, and endeavoured to reason with me on the folly of giving way to immoderate grief. “Do you think, Victor,” said he, “that I do not suffer also? No one could love a child more than I loved your brother”; (tears came into his eyes as he spoke); “but is it not a duty to the survivors, that we should refrain from augmenting their unhappiness 

by an appearance of immoderate grief? 
It is also a duty owed to yourself; for excessive sorrow prevents improvement or enjoyment, or even the discharge of daily usefulness, without which no man is fit for society. This advice, although good, was totally inapplicable to my case; I should have been the first to hide my grief, and console my friends, if remorse had not mingled its bitterness with my other sensations. Now I could only answer my father with a look of despair, and endeavour to hide myself from his view. About this time we retired to our house at Belrive. This change was particularly agreeable to me.

On a wet day in June 1816, five youngsters spent three days stuck indoors at Villa Diodati in Cologny, Switzerland, creating stories to entertain each other and challenge their perceptions of the human form. For one of these members, this unplanned story session laid the groundwork for one of the most popular gothic horror novels, Frankenstein.

Wollstonecraft was drawn as a sturdy, grounded text serif with semi-modular components that pays homage to the creation of Frankenstein’s monster. Wide letterforms demand and control the space, giving a sense of the silent threat that The Creature embodied throughout the novel as it lurked in the shadows. The typeface features a tall x-height that helps with the legibility of mixed-case and lower-case text. Several OpenType features like discretionary ligatures, slashed zero are also included for typographers’ needs.

Design & Font Engineering
Anmol Govinda Rao

Guidance
Richard Lipton

Release
2022

Classification
Text Serif, Transitional

Family
Regular & Italic

Supported Languages
Asu, Bemba, Bena, Cebuano, Chiga, Cornish, English, Gusii, Ido, Indonesian, Interlingua, Irish, Jju, Kalenjin, Kinyarwanda, Lojban, Low German, Luo, Luxembourgish, Luyia, Machame, Makhuwa-Meetto, Makonde, Malay, Morisyen, North Ndebele, Nyankole, Oromo, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Shambala, Shona, Soga, Somali, South Ndebele, Southern Sotho, Sundanese, Swahili, Swati, Swedish, Swiss German, Taita, Taroko, Teso, Tsonga, Tswana, Vunjo, Xhosa, Zulu

©2025 Anmol Govinda Rao