YOUR IMPERIAL STYLE TYPE
FOR EDGY DESIGN
![](/img_posted/Arsenica_IMG - SB cs6_Zetafonts P07.png)
![](/img_posted/Arsenica_IMG - SB cs6_Zetafonts P17.png)
"I believe in pink. I believe that laughing is the best calorie burner. I believe in kissing, kissing a lot. I believe in being strong when everything seems to be going wrong. I believe that happy girls are the prettiest girls. I believe that tomorrow is another day and i believe in miracles."
Audrey Hepburn
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
Arsenica Roman Pack
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.
Writing system:
Language Supported:
Features
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QuorContextual Alternates
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RIKIDiscretionary Ligatures
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waveStylistic Set 2
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ARQStylistic Set 3
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granStylistic Set 4
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garaStylistic Set 5
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ARKStylistic Set 6
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avaStylistic Set 7
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evylStylistic Set 8
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&Stylistic Set 9
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1a2oOrdinals
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12360Oldstyle Figures
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120Slashed Zero
Variable Typefaces
Arsenica Variable Italic
Variable fonts are only available with the full family package (and might not be supported by all software)
Arsenica: the eclectic languid serif
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.