Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. [...] Arsenica is a serif typeface designed by Francesco Canovaro for Zetafonts, and developed by a design team including Mario De Libero, Andrea Tartarelli and Cosimo Lorenzo Pancini. The design of Arsenica takes its inspiration from italian poster design at the beginning of the century, a time where typography, lettering and illustration where closely interwoven. Dawning nationalist movements, rather than using the modernist language, pushed on traditional Old Style letterforms often imbued with Art Nouveau and Deco sensibility. Artists like Giorgio Muggiani not only illustrated posters for Cinzano, Pirelli and Rinascente, but also provided logo design for newspapers, like "Il Popolo d'Italia". Starting from this mix of eclectic influences, Canovaro first developed the Arsenica Antiqua family, designed as display typeface that keeps the original Old Style low-contrast, wide proportions and quirky stylistic inventions. These where then distilled in a high contrast, Arsenica Display family, expanding the weight range to include both poster, ultrabold weights and lighter weights that give the design a distinct calligraphic flavour. Bringing the letterforms into contemporary taste meant also developing alternate letterforms that were included in the Arsenica Alternate family, that drops the art nouveau details in favour of a more controlled modern serif aestethic. Finally, Arsenica Text was developed by expanding the design space in the optical size axis, creating a low contrast, strongly readable old style typeface family, with a reduced weight set, oriented for long body copy typesetting. The final result is a superfamily of 41 weights, covering the design space with an expanded charset of over nine hundred glyphs, with full coverage of over two hundred languages using latin and cyrillic alphabets. All the weights of Arsenica come with a full set of open type features allowing to explore its vintage-inspired visual inventions thanks to stylistic sets, discretionary ligatures, contestual alternates and positional numbers. Two variable typefaces are included in the full family, allowing you to explore the design space and precisely control not only the weight but also the optical size design variations.

Pellegrino Artusi was a celebrated Italian food writer, who is credited with the creation of one of the most influential cookbooks in the history of Italian cuisine. Taking inspiration from his legacy, Francesco Canovaro decided to work on a typographic homage to the delicacy and finesse of Italian traditional cuisine. [...] Pellegrino Artusi was a celebrated Italian food writer, who is credited with the creation of one of the most influential cookbooks in the history of Italian cuisine. Taking inspiration from his legacy, Francesco Canovaro decided to work on a typographic homage to the delicacy and finesse of Italian traditional cuisine. Aptly named Artusi, the typeface is an enchanting combination of traditional Italian style, contemporary refinement and a playful touch of innovation. It is a transitional serif typeface with both text and display versions, developed on a wide range of seven weights and including a huge range of alternates, open type features and ligatures. Each weight of Artusi works like a different course in a balanced meal. Lighter weights are our starters, with their high contrast between thicks and thins, delicate curves, balanced proportions and subtle spiky serifs. The main course are naturally the regular and bold weights, where traditional Italian old style is enriched with a peppery kick of modern details. For dessert, the heavy weights offer luscious curves, opulent calligraphic swashes and eye-catching details, suitable for packaging and logos. When it comes to typography, let Pellegrino Artusi's legacy inspire you. From packaging to web pages, Artusi typeface will bring a feeling of tradition, craft and quality to any project. Because, as Pellegrino would say, “To make a great impression, you have to choose the finest ingredients... Buon Appetito!

Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has  defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. [...] Blacker Pro is the revised and extended version of the original wedge serif type family designed by Cosimo Lorenzo Pancini and Andrea Tartarelli in 2017. Blacker was developed as a take on the style that Jeremiah Shoaf has  defined as the "evil serif" genre: typefaces with high contrast, oldstyle or modern serif proportions and sharp, blade-like triangular serifs. Due to the high contrast in the design - slightly reminescent of didone typefaces - Blacker has been developed in two optical subfamilies. The display version offers tighter tracking, higher contrast and sharper corners for maximum effect at big sizes, while the text variant offers better readability and screen rendering at smaller sizes, with lower contrast and looser spacing. In the pro version, two additional condensed variant families have been added (condensed display and condensed text) allowing for more freedom and versatility in typesetting where space constraints are present. Also, three titling uppercase-only variants have been added, with a slightly extended feel, and two decorative subfamilies (inline and diamond). Each of these seven variants has been developed in six weights from light to heavy, with matching italics, for a total of 69 styles covering a wide range of editorial and advertising uses. All Blacker Pro feature a revised and extended character set covering over two hundred languages using the latin, cyrillic and greek alphabets. Open type features include small caps, positional numerals, fractions, superior & inferior figures, alternate forms, and an extended set of standard and discretionary ligatures. With its bold personality, Blacker aims to be a modern classic used for bold statements and self-conscious brands, making your text look great both on paper and on the screens.

Bogart has been designed in 2020 by Francesco Canovaro as a personal homage to the iconic look of low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922) and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of Bookman, these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively [...] Bogart has been designed in 2020 by Francesco Canovaro as a personal homage to the iconic look of low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922) and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of Bookman, these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively bursting with hippie energy and exuberant vitality, they often included an extensive repertoire of swash characters, bridging the space between lettering and typography. In researching these shapes, Canovaro decided to include also the influence of another idiosyncratic american old style typeface, Windsor, quoting its sloping shapes and quirky solutions, and expanding the weight range of Bogart to include a selection of display light weights where the muddy shapes of the heavy weights distill into elegant teardrop terminals. All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over 1600 glyphs, covering 219 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features including alternate forms, discretionary ligatures, small capitals, stylistic sets, positional numbers, case-sensitive, terminal and initial swash forms. To add flexibility for editorial usage, a text-oriented Bogart Alternate set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range. Hollywood icon Humprey Bogart, famously said: "things are never so bad they can't be made worse.". This typeface was named after him, aiming at a way to embody the moody spirit of vintage typography, from film noir aesthetics, to the pop culture reference, from joyous swash titling and logo design to strict, balanced text typesetting. Because "typefaces are never so good that they can't be made better".

In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added [...] In designing the Calvino typeface family Andrea Tartarelli set himself the challenge to follow the principles expressed by the italian writer Italo Calvino in his masterpiece Six memos for the next millenium. Exactitude and visibility are translated typographically through the reference to sixteen century garalde typography and its controlled, highly legible letterforms. To balance this formal rigour, lightness and quickness were added by letting the design be inspired by the calligraphic hand, following the lesson of Gudrun Zapf. The idea of molteplicity was kept central, developing Calvino in a range of weights encompassing both display and text use cases, and then expanding the design space with the inclusion of a display sub-family, Calvino Grande, to provide users with a full typographic palette to cover all editorial needs. Sharing the same formal structure, Calvino Grande sports condensed proportions, sharper details and tighter metrics. Both Calvino and Calvino Grande are complemented with a set of italic letterforms, with differences in design and slant to better work at different point size. All the 34 weights of the Calvino family come with a extended latin and cyrillic charset, covering over two hundred languages, and all equipped with a wide range of open type features including positional numerals, alternate forms, and stylistic sets. Four variable typefaces are also included in the full package, for any need of fine-tuning the typeface grade of weight. Special thanks go to Laurène Girbal for the help in developing the regular weight.

With a name that is an homage to the influential photojournalist, Walker Evans, this typeface embraces the vintage appeal of a semi-condensed old-style structure with a very slight transitional slanted axis, combining optimal legibility and visual charm. The timeless quality of old-style letterforms is enriched by calligraphic touches for a smooth reading experience, and complemented by a high x-height that ensures maximum legibility, even at small font size.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and [...] Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

Developed by Andrea Tartarelli as an extension to Calvino typeface family, Marcovaldo is a heavy condensed wedge serif, optimized for display design. The high contrast and rich texture of the old style letterforms marry digital aesthetics in a typeface that is at the same time impactful and refined. With its nod to the Elzevir and DeVinne tradition, it tries to translate typographically the value of Visibility that Italian writer Italo Calvino [...] Developed by Andrea Tartarelli as an extension to Calvino typeface family, Marcovaldo is a heavy condensed wedge serif, optimized for display design. The high contrast and rich texture of the old style letterforms marry digital aesthetics in a typeface that is at the same time impactful and refined. With its nod to the Elzevir and DeVinne tradition, it tries to translate typographically the value of Visibility that Italian writer Italo Calvino had described in his masterpiece Six Memos for the Next Millennium.

Designed by Mario De Libero, Quark typeface takes the principles of flat nib calligraphy and mixes them with bold typographic expermentation. It blends serif sophistication and digital aesthetics, with its unique identity stemming from the letters' peculiar inner space, that transforms along the weight axis. Mixing traditional translation details with a contemporary serif structure, Quark aims for timelessness through a fusion of forms, where tradition and modernity harmoniously coexist.

Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to fat, each with true italics style, for a full range of editorial and advertising uses.  Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display sizes. Four [...] Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. It features a wedge serif design with nine weights from thin to fat, each with true italics style, for a full range of editorial and advertising uses.  Its wide counters and low x-height make it pleasant and readable at text sizes while the uncommon shapes make it strong and recognizable when used in display sizes. Four additional stencil weights provide options for fancy titling and logo creation. Anaphora features an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, four sets of figures, fractions, superior & inferior figures, alternate forms and discretionary ligatures.

Barnum pays homage to Clarendon, the 1845 classic by Thorowgood and Co. of London. Rooted in the enduring appeal of nineteenth-century slab serif romans and embracing their robust structure and bold slab serifs, Barnum emphasizes a departure from tradition with a subtle brutalist approach in selected letterforms, mixing contemporary flair and timeless elegance.

Blacker mono was developed out of a brief by Isabella Ahmadzadeh by Cosimo Lorenzo Pancini and Francesco Canovaro for the editorial project "A beautiful mistake" by OFFF Tlv in 2022. It is a monospaced version of our typeface Blacker, bringing its "evil serif" aesthetics in the realm of typewriter and coding typefaces. In designing these, usually the letterforms are deformed to better fill the space, but in Blacker Mono only the serifs are [...] Blacker mono was developed out of a brief by Isabella Ahmadzadeh by Cosimo Lorenzo Pancini and Francesco Canovaro for the editorial project "A beautiful mistake" by OFFF Tlv in 2022. It is a monospaced version of our typeface Blacker, bringing its "evil serif" aesthetics in the realm of typewriter and coding typefaces. In designing these, usually the letterforms are deformed to better fill the space, but in Blacker Mono only the serifs are modified to balance letters, while letter skeletons are kept consistent with the ones of the original Blacker family. This gives the typeface an uneven, unexpected rhythm, underlined by the unusual choice of providing three optical sizes and some extreme display weights - both uncommon choices in monospaced fonts. The resulting typefamily is thought for use in editorial situations where readability must be married by a strong personality, and is complemented by all the wide array of Open Type features that are present in all Blacker variants, from positional numerals to small case letters and alternates.

Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called "italian" or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, [...] Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called "italian" or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.  

The design of new typefaces often involves a delicate dance between honoring tradition and embracing modernity. Mario De Libero's Claus stands as a testament to this artistic interplay, as it emerges as a reinvention of the classic Stunt Roman, a hand-lettering alphabet masterfully crafted by the penmanship virtuoso Ross Frederick George. First gracing the pages of the Speedball Text Book in 1929, this hand-lettered serif alphabet blended [...] The design of new typefaces often involves a delicate dance between honoring tradition and embracing modernity. Mario De Libero's Claus stands as a testament to this artistic interplay, as it emerges as a reinvention of the classic Stunt Roman, a hand-lettering alphabet masterfully crafted by the penmanship virtuoso Ross Frederick George. First gracing the pages of the Speedball Text Book in 1929, this hand-lettered serif alphabet blended the classical beauty of Old Style letterforms with the narrow proportions and fluid elegance of Art Deco. Inspired by its iconic proportions, Mario De Libero embarked on the design journey that birthed Claus. With a keen eye for harmonizing classic charm with a brutalist twist, De Libero introduced etched serifs and calligraphic quirks, subtly adapting the letterforms to a more contemporary, digital taste. The result is a festive typeface that effortlessly transitions between traditional and modern design landscapes. Claus comes with a full range of OpenType features, boasting quirky ligatures, design alternates, and a Small Caps version. This versatility ensures seamless integration into diverse projects, from editorial layouts to luxury branding. The contrasted texture of Claus invites designers to explore the timeless beauty of deco hand-lettering translated in a contemporary context, promising a harmonious blend of sophistication and functionality. 

Designed by Cosimo Lorenzo Pancini and Mariachiara Fantini with the help of Solenn Bordeau, Erotique is an evolution of the original design by Zetafonts for Lovelace, that challenges its romantic curves with the glitchty & fluid aestethic of transmodern neo-brutalist typography. The seductive "evil serif" look of the Pheimester-like Oldstyle letter shapes is made edgier by the quirky connections and unexpected calligraphic twirls that marry [...] Designed by Cosimo Lorenzo Pancini and Mariachiara Fantini with the help of Solenn Bordeau, Erotique is an evolution of the original design by Zetafonts for Lovelace, that challenges its romantic curves with the glitchty & fluid aestethic of transmodern neo-brutalist typography. The seductive "evil serif" look of the Pheimester-like Oldstyle letter shapes is made edgier by the quirky connections and unexpected calligraphic twirls that marry digital distortions to traditional penmanship. Sensuous but sharp, Erotique speaks the language of teasing, and unrequited love, over-the-top and restrained like a show of japanese Kinbaku, and beautifully heartbreaking like a friendzone valentine.  Designed for display use, this high-contrast serif typeface is ready to take center stage in projects where a subtle elegance and an edgy, aggressive touch are required. For branding use it is paired by a Erotique Ornaments, a set of interlocking patterns based on the font letter-shapes, allowing for striking packaging, digital and ambient design. For editorial use it can add a sharp sensuality to logos and titles thanks to an impressive array of alternate glyphs, subtle ligatures and a set of whiplike fleurons, collected in the Erotique Flourishes pack. The typeface has been developed in the regular, medium and bold weight plus a monoline version, all of which have been paired with an Alternate version to give immediate access the more exotic alternate letterforms.  With a character set of over five hundred glyphs, all the the weights of Erotique cover almost 200 languages using extended latin, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Swash and Case Sensitive Forms. If you are a typeface lover, be warned: Erotique could be your fatal attraction!

Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing [...] Probably as a reaction to the pragmatism of modernist design, the seventies saw an explosion of buoyant, vivacious typography. Psychedelia fueled a return to the melting, lush shapes of Art Nouveau while Pop culture embraced the usage of funky, joyful lettering for advertising, product design and tv titling. New low-cost technologies like photo-lettering and rub-on transfer required new fonts to be expressive rather than legible, pushing designers to produce, bubbly, high-spirited masterpieces, where geometric excess and calligraphic inventions melted joyfully. Freitag is Cosimo Lorenzo Pancini's homage to this era and its typography. His starting point was the design of a heavy sans serif with humanist condensed proportions, flared stems and reverse contrast, that generated both the main family, and a variant display subfamily. The main typeface family slowly builds the tension and design exuberance along the weight axis - a bit like our desire for the weekend increases during the week. In Light and Medium weights the font shows a more controlled, medium-contrast design, tightly spaced for maximum display effect. The Book weight follows the same design but uses a more relaxed letter spacing to allow usage in smaller sizes and short body copy. As weight increases in the Bold weight the style becomes more expressive, with a visible reverse contrast building up and culminating in the Heavy weight with his clearly visible "bell bottoms" feel. In the display sub-family the design is pushed further by introducing variant letterforms that have a stronger connection to calligraphy and lettering. Also, the weight range becomes a optical one, with weights marked as Medium, Large, XLarge, as bringing the contrast and the boldness to the extreme creates smaller counterspaces that require bigger usage sizes. Another important addition of the display subfamiily is the connected italics that sport swash capitals and cursive letterforms, developed with logo design and ultra-expressive editorial design in mind. To balance the extreme contrast in the XL weight, contrast of punctuation is reduced, creating a rich, highly-dinamyc texture wherever diacritics and marks are used in the text. The full family includes 16 styles + 4 variable fonts, allowing full control of the design over its tree-hugging design space. All 20 fonts share an extended latin charset with open type features including case sensitive forms, single and double story variants and alternate glyphs.  According to its creator, "Freitag is the typeface that sounds like an imaginary Woodstock where on the stage with Jimi Hendrix with Novarese, Motter, Excoffon and Benguiat playing onstage with Jimi Hendrix". Jeepers creepers!

The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the [...] The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few years before by Gutenberg for his first moveable types. Between these two typographical traditions there's an interesting and obscure middleground of historical oddballs, like the Pannartz-Sweynheym Subiaco types, cut in Italy in 1462.   Keratine is the result of Cosimo Lorenzo Pancini's exploration of that territory. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism. Using contemporary digital aesthetics to combine the proportions of humanistic type with the gestural energy of Fraktur letterforms, Keratine developes a "digitally carved", quasi-pixelated appearance (clearly stressed in Keratine's italics) that allows an unexpected balance between small-size readability and display-size personality.   Keratine also relies heavily on a variable identity as the letterforms change dynamically with weight, developing from a contrasted, text-oriented light range to more expressive and darker display range, for a total of 8 weights with italics. Open type features and glyph alternates further enrich the usage possibility of this typeface that embodies our contemporary swap culture by embracing the contradictory complexity at the crossroads between Gothic and Humanist styles, while playfully empathising with a digital, brutalist spirit.

Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the [...] Designed by Francesco Canovaro with help from Andrea Tartarelli and Maria Chiara Fantini, Kitsch is a typeface happily living at the crossroads between classical latin and medieval gothic letterforms. But, rather than referencing historical models like the italian Rotunda or the french Bastarda scripts, Kitsch tries to renew both its inspirations, finding a contemporary vibe in the dynamic texture of the calligraphic broad-nib pen applied to the proportions of the classical roman skeleton. The resulting high contrast and spiky details make Kitsch excel in display uses, while a fine-tuned text version manages to keep at small sizes the dynamic expressivity of the design without sacrificing legibility. Both variants are designed in a wide range of weights (from the almost monolinear thin to the dense black), and are fully equipped with a extended character sets covering over two hundred languages that use latin, cyrillic and greek alphabets. Special care has been put in designing Kitsch italic letterforms, with the broad-nib movements referencing classical italian letterforms to add even more shades to your typographic palette. The resulting alternate letter shapes have also been included in the roman weights as Stylistic Alternates - part to the wide range of Open Type features (Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms) provided with all the 32 weights of Kitsch. Born for editorial and branding use, Kitsch is fashionable but solid, self-confident enough to look classic while ironic enough to be contemporary.

Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G.,  Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. [...] Noctis was originally born as a single weight display typeface, designed by Luca Terzo who took inspiration by the unusual wedge serifs of Aldo Novarese's 1972 typeface for H. Berthold A.G.,  Primate. The design was developed by the Italian Type team into a full family of five weights from thin, each with its own true italic, and with a complementary set of decorative patterns. The strong didonesque contrasts make this typeface both impressive at display sizes and easily readable in text size, while the sharp shapes of the triangular serifs and the distinctive letter shapes show their strength in logo design and impressive editorial use. Inspired by the elegant, self conscious and over-the-top aestethics of italian fashion scene of the eighties and nineties, Noctis finds its strength in its strong textural nature, that is explored in the Noctis Texturae subfamily, where each letter is used as a tile to produce seamless patterns that can be used to extend the branding capabilities of Noctis. Noctis features an extended latin character set of 481 glyphs covering over 190 languages, and includes advanced open type features like standard and discretionary ligatures, positional numerals, stylistic alternates and case sensitive brackets. Mixing versatility and personality, Noctis is ready to be like a top model on the design catwalk, making your projects looking classic but contemporary, finely tuned but assertive, and elegant as the best italian luxury fashion.  

Radcliffe is a typeface family designed in 2018 by Cosimo Lorenzo Pancini and Andrea Tartarelli, as a reinvention of traditional clarendon design in search of a "contemporary classic" typeface look. Tailor made for elegance, Radcliffe features the strong bracketed serifs, vertical stress, and little contrast of clarendons, refined with a humanist touch and a calligraphic approach, obvious in the italics. [...] Radcliffe is a typeface family designed in 2018 by Cosimo Lorenzo Pancini and Andrea Tartarelli, as a reinvention of traditional clarendon design in search of a "contemporary classic" typeface look. Tailor made for elegance, Radcliffe features the strong bracketed serifs, vertical stress, and little contrast of clarendons, refined with a humanist touch and a calligraphic approach, obvious in the italics. Primarily intended as a display typeface with a wide range of finely-tuned weights for editorial and logo-design uses, Radcliffe has been complemented by Radcliffe Text, developed in five weights with a taller x-height and slightly condensed proportions, allowing for maximum readablity in long texts on the web and at small size.  The family also includes the two funky weights of Radcliffe Casual, designed with a slight reverse contrast aestetics, perfect for your Country Club activities. All Radcliffe fonts include full open type features with stylistic alternates, discretionary ligatures, positional number forms, swash forms (in italics) and full language coverage fo +70 languages using latin and cyrillic alphabets.

Radcliffe Hand is a typeface family designed by Cosimo Lorenzo Pancini with the help of Giulia Ursenna Dorati, re-inventing our Radcliffe family as a handwritten typeface. [...] Radcliffe Hand is a typeface family designed by Cosimo Lorenzo Pancini with the help of Giulia Ursenna Dorati, re-inventing our Radcliffe family as a handwritten typeface. Each glyph of the original typeface has been lovingly traced by hand, interpreting every design quality as a calligraphic quirk, thus allowing Radcliffe Hand to live in the middle ground between type and writing. Thanks to its wide & highly legible humanist skeleton, imbued with the dynamic qualities of handwriting, the typeface works both in display and text sizes, balancing expressivity and readability, and excelling in editorial and packaging uses where you want the text to keep display quality without becoming too hard to read.   Radcliffe Hand has been developed in four weights plus an extra connected cursive version, Radcliffe Script, that can be used together with Radcliffe Hand or with the standard Radcliffe and Radcliffe Casual to add an extra touch of handwriting to your designs. All the Radcliffe Hand typefaces include over 400 glyphs with extended latin languages coverage, open type number positional forms and a set of twenty hand-drawn arrows that can be accessed through discretionary ligatures allowing easy creation of "fake handwritten" side notes to your text.  

Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary [...] Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms. Developed as a single weight to be released in our Zetafonts Singularity line, Swanstone will be available for a limited time as a gift to all subscribers of Zetafonts Type Club. Don’t forget checking our next newsletters!  

After Marcovaldo, here comes Visconte: a new singularity variant expanding the Calvino typeface family by Andrea Tartarelli with Cosimo Lorenzo Pancini and Francesco Canovaro as a branding font for the Desina Graphic Design Festival in 2023. It takes the design of the original Calvino typeface in the "brutal serif" territory, expanding spiky serifs and creating unexpected distortions and connections while keeping the original calligraphic old [...] After Marcovaldo, here comes Visconte: a new singularity variant expanding the Calvino typeface family by Andrea Tartarelli with Cosimo Lorenzo Pancini and Francesco Canovaro as a branding font for the Desina Graphic Design Festival in 2023. It takes the design of the original Calvino typeface in the "brutal serif" territory, expanding spiky serifs and creating unexpected distortions and connections while keeping the original calligraphic old style structure of the Calvino Family. The typeface takes its name from Italo Calvino's famous novel "Il Visconte Dimezzato" and uses the lowercase letter "i" as a way to evoke its surreal premise, with its titular character split in two by a cannon ball. The whole family expands on the contrast axis of Calvino, going beyond the "Grande" subfamily to look for a more extreme contrast, to be used mainly in display / poster size. Raw and unapologetic, this variant of Calvino has all the ruthless fascination of the italian middle ages, and it's thought for editorial headlines, posters and book covers, and other attention-grabbing designs. Visconte is perfect for pushing boundaries and creating a design that stands out from the crowd, so if you want to make a bold impact, Visconte is the font for you.

Francesco Canovaro was inspired for the design of Quenta by the discovery of the handlettered masthead of Queenslander, a weekly magazine of news related to "society, sport, literature, theater and rural life", published in Queensland, Australia, during the first half of XIX century. [...] Francesco Canovaro was inspired for the design of Quenta by the discovery of the handlettered masthead of Queenslander, a weekly magazine of news related to "society, sport, literature, theater and rural life", published in Queensland, Australia, during the first half of XIX century. The condensed serif letterforms of the magazine title, embellished by a highlight effect, had been complemented by a vibrant cursive script. It was an eye catching combination typical of the so called "showcard" lettering style, widely used in advertising during the first half of last century. Looking for the same vintage vibes, Francesco's research moved to the books by penmasters like Ross F. George or Samuel Weld. In their showcard manuals, he found a peculiar ambiguity in the letterform treatments, halfway between calligraphic execution and contour drawing. This warm, human touch and the historical references gave the condensed shapes of Quenta a lively personality and a literary charme. To match a design so rich in vintage storytelling, Francesco choose for the typeface a name that comes from the writings of one of the master world-builders of the last century. "Quenta" is the Elven word for "story" used by J.R.R. Tolkien in the Silmarillion. To let you experiment with his vintage decorative layers, Quenta comes in four styles and different color font formats. It also includes Discretionary ligatures to allow you to use script elements to enrich its expressive range for editorial and logo design.