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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.

Anaphora • 22 styles

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Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark [...] Created as a custom brand typeface in 2008 by Francesco Canovaro, Aquawax is one of Zetafonts most successful typefaces - having been chosen, among the others, by Warner Bros for the design of the logo for the Aquaman movie. Its logo design roots are obvious in the design details, from the blade-like tail of the Q and the fin-like right leg of the K to the intentionally reversed uppercase W, as well as the rounded edges softening the stark modernist lettershapes. While this details make the typeface extremely suitable for logo and display design, especially in the bolder weights, the open, geometric forms of the letters and a generous x-height make it extremely readable at small sizes, making it perfect for body text and webfont use. In 2019 the family was completely redesigned by the Zetafonts team, expanding the original glyph set to include Cyrillic and Greek and adding three extra weights and italics to the original six weights, for a total of 27 weights (including 9 pictograms). The restored and revamped version, named Aquawax Pro, also includes full Open Type features for Positional Figures, Stylistic Alternates, Discretionary Ligatures and Small Caps, and adds to the typeface new alternate glyph shapes, accessible as Stylistic Alternates. Optimized for maximum screen readability, it covers over 200 languages that use the Latin, Cyrillic and Greek alphabet, with full range of accents and diacritics. NB: Original Aquawax styles are included in compatibility packs of matching weights.

Aquawax Pro • 28 styles + variable

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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.

Barnum • 9 styles + variable

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Beatrix Antiqua

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Beatrix Antiqua is a humanist sans-serif typeface designed by Francesco Canovaro. Beatrix Antiqua is part of the Beatrix Family that takes its inspiration from the classic Roman monumental capital model: its capitals are directly derived from the stone carvings in Florence Santa Croce Cathedral - where the serifs are often removed while keeping the variable width strokes. So, even if it's basically a sans-serif, Beatrix keeps a subtle [...] Beatrix Antiqua is a humanist sans-serif typeface designed by Francesco Canovaro. Beatrix Antiqua is part of the Beatrix Family that takes its inspiration from the classic Roman monumental capital model: its capitals are directly derived from the stone carvings in Florence Santa Croce Cathedral - where the serifs are often removed while keeping the variable width strokes. So, even if it's basically a sans-serif, Beatrix keeps a subtle swelling at the terminals suggesting a glyphic serif - in the same vein as Herman Zapf classic Optima typeface. In the lowercase design, Beatrix references early humanist typefaces, keeping small calligraphic details (as the prolongation of the e nose) that are especially visible in the italics. While Beatrix Antiqua, the companion typeface to Florentia, slightly exaggerates its antique stylistical features, Florentia tries to mix those influence with a more robust & digital age ready design, featuring bigger X-height and an extended character set that covers over forty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

Beatrix Antiqua • 18 styles

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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.

Blacker Mono • 10 styles + variable

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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.

Blacker Pro • 73 styles + variable

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Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic [...] Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use. Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use. Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like "s" and "a" that appear normally dark in modernist grotesques. For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights. All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over seventy languages, russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Body • 64 styles

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Boring Sans, designed by Cosimo Lorenzo Pancini, is a typeface family designed along two variable axis: weight and weirdness. These two parameters allow designers to explore a full range of variations on sans serif design, starting from a neutral set of proportions and evolving to a strongly contrasted and dynamic treatment, ready to raise eyebrows on social media. [...] Boring Sans, designed by Cosimo Lorenzo Pancini, is a typeface family designed along two variable axis: weight and weirdness. These two parameters allow designers to explore a full range of variations on sans serif design, starting from a neutral set of proportions and evolving to a strongly contrasted and dynamic treatment, ready to raise eyebrows on social media. The basic "A" subfamily, developed in in five weights plus italics, behaves like a traditional, solid workhorse sans serif, with finely tuned proportions for optimal readability and minimal emotional impact. The "B" subfamily, developed in the same ten weights, shows a more contemporary "brutal" approach, with slanted lines, deep inktraps and stronger contrast. All these features are brought to the extreme in the ten weights of the "C" subfamily, with each letter a bombastic show of exhuberant weirdness. Each of the style variant is developed in five weight with matching italics, with a glyph set covering extended latin languages and including many alternate forms and stylistc sets. For control freaks the family package includes two variable font versions that allow fine tuning and control of the design options.

Boring Sans • 32 styles + variable

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Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood [...] Cairoli was originally cast by Italian foundry Nebiolo in 1928, as a license of a design by Wagner & Schmidt, known as Neue moderne Grotesk. Its solid grotesque design (later developed as Aurora by Weber and Akzidenz-Grotesk by Haas) was extremely successful: it anticipated the versatility of sans serif superfamilies thanks to its range of weights and widths, while still retaining some eccentricities from end-of the century lead and wood type. In 2020 the Italiantype team directed by Cosimo Lorenzo Pancini and Mario De Libero decided to produce a revival of Cairoli, extending the original weight and width range and developing both a faithful Classic version and a Now variant. The Cairoli Classic family keeps the original low x-height range, very display-oriented, and normalizes the design while emphasizing the original peculiarities like the hook cuts in curved letters, the high-waisted uppercase R and the squared ovals of the letterforms. Cairoli Now is developed with an higher x-height, more suited for text and digital use, and adds to the original design deeper inktraps and round punctuation, while slightly correcting the curves for a more contemporary look. Born as an exercise in subtlety and love for lost letterforms, Cairoli Now stands, like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs. Its deviations from the norm are small enough to give it personality without affecting readability, and the expanded weight and width range make it into a workhorse superfamily with open type features (alternates, stylistic sets, positional numbers) and coverage of over two hundred languages using the latin extended alphabet.

Cairoli • 88 styles + variable

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Coco Gothic Pro

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Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (from Caslon's first inventions to Futura, Berthold Grotesque or the italian Semplicità) had when printed on paper. [...] Inspired by a biography of Coco Chanel and trying to capture the quintessential mood of classical fashion elegance, Cosimo Lorenzo Pancini designed Coco Gothic looking for the effect that the first geometric sans typefaces (from Caslon's first inventions to Futura, Berthold Grotesque or the italian Semplicità) had when printed on paper. The crisp modernist shapes acquired in printing charme and warmth due to ink spread and imperfection - something that has been translated digitally in a slight rounding of the corners in the glyphs of Coco Gothic. This signature touch is enhanced by the inclusion of light humanist touches to the proportions of the letters, resulting in the unique mix that makes Coco Gothic both contemporary and vintage looking. After six years from the original project (that has spawned in the meanwhile successful families like Cocogoose and Coco Sharp), we went back to the design to completely redraw and expand the original family, creating with a Pro version that has better on-screen readability, a wider weight range, variable type versions and more language coverage (with Coco Gothic Arabic adding a new script to the latin, greek and cyrillic of the original). Coco Gothic Pro comes in three subfamilies, each with seven weights with matching italics and featuring an extended character set with open type support for small caps, ligatures, alternates, European languages, Greek and Cyrillic alphabets. The original, body-text optimised Coco Gothic and Coco Gothic Alternate subfamilies have been complemented whit a new Coco Gothic Display subfamily aimed at display usage, featuring tighter spacing and optimised letterforms. A distinguishing feature of Coco Gothic Pro is the inclusion of ten alternate historical sets that allow select period letterforms that range from art deco and nouveau, to modernism and to eighties’ minimalism. Equipped with such an array of historical variants, Coco Gothic Pro becomes an encyclopedia of styles from the last century, ready to transform itself and adapt to the mood of your text. To complement the family, a full range of variable font versions is provided to the buyers of the full family, including the special Coco Gothic Tardis variable typeface, allowing access to historical versions through variable sliders as in a typographic time machine. Please notice: All advanced features (small caps, alternate sets & ligatures) are developed using open type technology, fully compatible with Adobe software and major design softwares and OS, but not supported by every software. Historical variants included only for uppercase letters, and avalaible in Indesign / Photoshop through stylistic sets and in illustrator through Glyph Window. Download trial version and check your configuration before buying.

Coco Gothic Pro • 48 styles + variable

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Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aestethic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to [...] Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aestethic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark. The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and Xlarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and Xsmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use. Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide.

Coco Sharp • 62 styles + variable

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Cocogoose Classic

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Created as a display typeface in 2012 by Cosimo Lorenzo Pancini, Cocogoose is one of Zetafonts most loved typefaces. A sans serif typeface of geometric proportions, with very low contrast and slightly rounded corners, it was the first typeface to be produced in the Coco series, an ongoing research on the design variation in gothic typefaces through the ages. Cocogoose extreme x-height and ultrabold weight (with regular being comparable to [...] Created as a display typeface in 2012 by Cosimo Lorenzo Pancini, Cocogoose is one of Zetafonts most loved typefaces. A sans serif typeface of geometric proportions, with very low contrast and slightly rounded corners, it was the first typeface to be produced in the Coco series, an ongoing research on the design variation in gothic typefaces through the ages. Cocogoose extreme x-height and ultrabold weight (with regular being comparable to heavy weights of other typefaces), have since then made it very popular for effective display and logo use, also thanks to decorative versions like Cocogoose Letterpress. Since 2016, Andrea Tartarelli has been improving the typeface expanding the original glyph set to include cyrillic and greek and adding extra weights, widths, and italics to the original family range, and bringing Cocogoose to an impressive count of 52 variants.In 2019, Francesco Canovaro has teamed with Andrea Tartarelli and Cosimo Lorenzo Pancini to create a new variant subfamily: Cocogoose Classic, featuring 8 weights and matching italics. Cocogoose Classic keeps the original design for uppercase characters while developing a new design for lowercase, with a smaller x-height, round dots and expanded open-type features, including positional numerals, alternate forms, and extended ligatures and bringing the glyph count to over 1000 characters.

Cocogoose Classic • 16 styles

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Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. [...] Designed by Cosimo Lorenzo Pancini in 2013, Cocogoose was first expanded in 2015 with the help of Francesco Canovaro who co-designed the decorative display weights and Andrea Tartarelli who developed the condensed widths. In 2020 a full redesign of the typeface has been published: Cocogoose Pro now includes new widths, weights, open type features and characters, thanks to the help of Mario De Libero. Influenced by vernacular sign-painting and modernist ideals, Cocogoose is drawn on a classic geometric sans skeleton, softened by rounded corners and slight visual corrections. Its very low contrast, dark colour and tall x-height make it a solid choice for all designers looking for a powerful display typeface for logos, headings and vintage-inspired branding. The tall x-height makes texts set in Cocogoose very readable even at small sizes, while the bold regular weight allows for maximum impact when used as a branding, signage or decorative typeface. Cocogoose Pro was designed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs, starting from its wide range of widths and weights. Its 2000+ latin, cyrillic and greek characters make sure it covers over 200 languages worldwide, while its comprehensive set of open type features allows faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. A wide range of alternate letterforms, developed along nine different stylistic sets, gives you an extra level of design fine-tuning. The layerable and colour-ready display variants include inline, outline, shadow and a letterpress version that can simulate the effect of old print, also thanks to programmed randomization of its letters. Cocogoose Pro has been completely re-engineered in 2020 to include extra features and technologies. A variable font version allows you to fine tune precisely the appearance of the text while minimizing download size on the web. A darkmode weight range has been added to the whole family, to keep consistency of effect when the typeface is used in reverse on the web and in dark mode interfaces. Also, a new text subfamily has been developed for body text usage, to keep the look and feel of Cocogoose while maximizing readability on screen and on the printed page.

Cocogoose Pro • 87 styles + variable

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Codec Pro is the newest incarnation of the Codec family, developed in 2017 by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli as a research on the subtleties and the variations on the theme of the geometric sans-serif design. [...] Codec Pro is the newest incarnation of the Codec family, developed in 2017 by Francesco Canovaro, Cosimo Lorenzo Pancini and Andrea Tartarelli as a research on the subtleties and the variations on the theme of the geometric sans-serif design. The original typeface has been completely redesigned and expanded to feature a wide range of eleven weights, from the hairline thin to the bulky fat, while the character set has been extended to include not only latin, cyrillic and greek but also arabic, farsi and urdu scripts. A veritable swiss-knife for the designer, Codec Pro also includes a wide range of alternates and stylistic sets that cover all the subfamilies and the moods of the original type system. So while the standard set (Codec Cold) has terminals cut parallel or perpendicular to the baseline, emphasizing geometry for a more constructed look, stylistic set 4 (Codec Warm) uses open diagonal cuts and humanist shapes to give the typeface a gentler, warmer feeling. Set 3 (Codec Cold Logo) comes alive with funky ligatures, while Set 5 (Codec Warm Logo) stretches uppercase characters horizontally for a dynamic, unexpected effect.

Codec Pro • 24 styles + variable

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בּ‎ב‎גּ‎ג‎דּ‎ד‎ה‎ו‎ז‎ח‎ט‎י‎כּ‎כ‎ךּ‎ך‎ל‎ ببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ‎מ‎ם‎נ‎ן‎ס‎ע‎פּ‎פ‎ףּ‎ף‎צ‎ץ‎ק‎ר‎שׁ‎שׂ‎תּ‎ת‎ ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎ בּ‎ב‎גּ‎ג‎דּ‎ד‎ה‎ו‎ז‎ח‎ט‎י‎כּ‎כ‎ךּ‎ך‎ל‎ ببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ‎מ‎ם‎נ‎ן‎ס‎ע‎פּ‎פ‎ףּ‎ף‎צ‎ץ‎ק‎ר‎שׁ‎שׂ‎תּ‎ת‎ ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎

Codec Pro ME is an extended version of our Codec Pro typeface, that provides language coverage for Middle Eastern countries, with extended Arabic and Hebrew glyphs. It developes the original Codec typeface created in 2017 by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli and features the same wide range of eleven weights, from the hairline-thin to the bulky fat, as well as the original extensive array of alternate glyphs and [...] Codec Pro ME is an extended version of our Codec Pro typeface, that provides language coverage for Middle Eastern countries, with extended Arabic and Hebrew glyphs. It developes the original Codec typeface created in 2017 by Cosimo Lorenzo Pancini, Francesco Canovaro and Andrea Tartarelli and features the same wide range of eleven weights, from the hairline-thin to the bulky fat, as well as the original extensive array of alternate glyphs and open type features. The Middle East extension has been realized in collaboration with Oded Ezer (who designed the Hebrew glyphs) and Omaima Dajani (who provided consulting on the Arabic glyphs). By seamlessly integrating diverse scripts, Codec Pro ME affirms the power of design to foster understanding, bridging gaps and creating connections through the universal language of typography.

Codec Pro ME • 12 styles + variable

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Codec Warm Cold

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Codec Warm/Cold is a geometric sans serif type system, designed by Cosimo Lorenzo Pancini and Francesco Canovaro with Andrea Tartarelli. As in many contemporary typefaces that take inspiration from the constructionist logic of Futura, design is defined by the small choices in the space between rigorous geometric perfection and minimal humanist corrections. But rather than solving this tension with a collection of arbitrary choices, Codec [...] Codec Warm/Cold is a geometric sans serif type system, designed by Cosimo Lorenzo Pancini and Francesco Canovaro with Andrea Tartarelli. As in many contemporary typefaces that take inspiration from the constructionist logic of Futura, design is defined by the small choices in the space between rigorous geometric perfection and minimal humanist corrections. But rather than solving this tension with a collection of arbitrary choices, Codec provides you with two coherent variant fonts built on the same base skeleton: Codec Cold and Codec Warm. In Codec Cold terminals are always cut parallel or perpendicular to the baseline, emphasizing geometry and giving the typeface a more constructed look. In Codec Warm, on the contrary, open diagonal cuts and two-storey letterforms give the typeface a slightly more humanist look and a gentler, warmer text feeling. Both Codec Cold and Codec Warm come with a wide range of glyphs for language coverage, including cyrillic and greek alphabets, and of open type features, including small caps, positional numerals and swash forms. Codec Warm/Cold typefaces also include over a hundred variant ligature and alternate glyphs.These glyphs, usually avalaible as discretionary ligatures, have been made permanently active in the two Codec Logo subfamilies, designed for display use and logo design, and thus avalaible with a bolder weight range and tighter metrics. Codec Logo Cold makes the cold geometry alive with funky ligatures, while Codec Logo Warm randomly stretches characters: both allow for quick, unexpected solutions in logo design and display type treatment.

Codec Warm Cold • 48 styles + variable

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Drawing on brutalist design principles and a keen sense of balance, Dialogue tries to reinvent the traditional roman Oldstyle letterforms with a digital language that is is at once elegant and rugged, with crisp, sharp edges and smooth curves.

Dialogue • 26 styles + variable

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Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. [...] Etrusco Now is the revival of a lead typeface originally cast in lead by Italian foundry Nebiolo in the early 1920s. Heavily inspired by the design of the Medium weight of Schelter & Giesecke's Grotesk, Etrusco was, like Cairoli, an early precursor of the modernist grotesque superfamilies: a solid, multi-purpose "work-horse" typeface family that could solve a wide range of design problems with its range of widths and weights. When designing the new incarnation of Nebiolo's Etrusco, the Italiantype team directed by Cosimo Lorenzo Pancini and Mario de Libero decided to extend the original weight and width range to keep this "superfamily" approach. Etrusco Now has twenty-one styles widths in three widths of seven weights each, with matching italics; the original weights for the typeface have been collected in the Etrusco Classic subfamily. Etrusco Now new widths allowed the team to include in the design many nods and homages to other vintage classics of Nebiolo. The lighter weights of the normal width have been heavily influenced by the modernist look of Recta, while the heavy condensed and compressed widths refer to the black vertical texture of Aldo Novarese's Metropol. This infuses the typeface with a slightly vintage mood, making Etrusco at the same time warmly familiar and unexpected to eyes accustomed to the formal and cold look of late modernist grotesques like Helvetica. Contemporary but rich in slight historical quirks, Etrusco Now is perfect for any editorial and branding project that aims to be different in a subtle way. Etrusco Now's deviations from the norm are small enough to give it personality without affecting readability, while its wide range of open type features (alternates, stylistic sets, positional numbers) and language coverage make it a problem solver for any situation. Like its cousin Cairoli, Etrusco is born out of love for lost letterforms and stands like its lead ancestor from a century ago, at the crossroads between artsy craftsmanship and industrial needs.

Etrusco Now • 52 styles + variable

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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.

Kitsch • 32 styles

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Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans. [...] Klein is Zetafonts love letter to the grandmother of all geometric sans typefaces, Futura. Starting from a dialogue with Paul Renner's iconic letterforms and proportions, Francesco Canovaro and Andrea Tartarelli decided to depart from its distinctive modernist shapes with slight humanist touches and grotesque solutions - with some design choices evoking the softness of humanist sans serifs like Gill Sans. The end result is a workhorse superfamily of 54 fonts with full multilingual capabilities and coverage of over two hundred languages using latin, cyrillic and greek alphabets. The original display-oriented family, developed in nine weights with matching italics (from the hairline thin to the sturdy black), has been paired with a text version (with slightly higher x-height, better readability and maximum legibility at small point size) and with a condensed version, to be used for space-saving display solutions in editorial and advertising formats. With a name that is both a nod to its humble functionality and an homage to french nouveau realiste artist Yves Klein, this typeface aims to become your next trusted companion in all your adventures in print, digital and motion design.

Klein • 55 styles + variable

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اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎ اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎

Mayson is a humanist sans serif typeface fusing Arabic and Latin scripts. It incorporates calligraphic elements, including sharp nib angles and fluid shapes from Arabic, while maintaining simplicity and clarity. With monolinear, low-contrast design and various weights, Mayson suits formal and creative applications. Its sleek lines and readability at small sizes make it versatile for both print and digital projects. Mayson seamlessly blends two visual languages, offering a warm, inclusive, and contemporary vibe that appeals to designers and type enthusiasts.

Mayson • 8 styles + variable

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Designed by Mario De Libero, Quark typeface takes the principles of flat nib calligraphy and mixes them with bold typographic experimentation. 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.

Quark • 16 styles + variable

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Studio Gothic is a geometric sans typeface designed by Andrea Tartarelli of Zetafonts with Cosimo Lorenzo Pancini and Francesco Canovaro. [...] Studio Gothic is a geometric sans typeface designed by Andrea Tartarelli of Zetafonts with Cosimo Lorenzo Pancini and Francesco Canovaro. It takes inspiration from the ideas used by Alessandro Butti for his historical typeface Semplicità created in the thirties at the Studio Artistico of Fonderia Caratteri Nebiolo in Turin. In his design Butti reintepreted the modernist proportions of Futura while adding many original touches, creating a typeface that knew some success in the thirties and forties. More a reinvention than a revival, Studio Gothic keeps the minimal and bare design logic of the original typeface (Semplcità in italian meaning simplicity) while proposing many original takes on letter shapes and proportions, with the aim to create a typeface that looks classic but unexpected, slightly modernist but still contemporary and fresh. These principles have been used also in the design of the companion italics, featuring slight calligraphic elements and making the italic weights suitable for display and logo usage. These same elements have been incorporated in the Studio Gothic Alternate family, giving you additional options to experiment with letter shapes and moods. Each of Studio Gothic variant features a range of eight weights from thin to fat, coverage of over forty languages using the latin alphabet plus greek and cyrillic and a wide array of open type features.

Studio Gothic • 24 styles

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Tarif is a typeface family inspired by the multicultural utopia of Convivencia - the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, togheter with Muslim culture and aesthetics. [...] Tarif is a typeface family inspired by the multicultural utopia of Convivencia - the peaceful coexistence of Muslims, Christians and Jews in tenth century Andalusia that played an important role in bringing to Europe the classics of Greek philosophy, togheter with Muslim culture and aesthetics. Designed for Zetafonts by Andrea Tartarelli, is a slab serif typeface with a humanist skeleton and inverted contrast, subtly mixing latin zest, calligraphic details, extreme inktraps, and postmodern unorthodox reinvention of traditional grotesque letter shapes. The exuberant design, perfect for titling, logo and display use, is complemented by a wide range of seven weights allowing for solid editorial use and great readability in body text. Matching italics have been designed with the help of Cosimo Lorenzo Pancini, while Rania Azmi has collaborated on the design of the arabic version of Tarif, where the humanist shapes and inverted contrast of the latin letters find a natural connection with modern arabic letterforms. As buoyant as reliable, Tarif includes also a wide array of Open Type Features (alternates, ligatures, positional numerals, case sensitive punctuation) to make design smooth and multi-script projects as exciting as a surf ride in the sunny Tarifa. Please Notice: Tarif Arabic weights have a limited latin charset. The commercial weights of Tarif include full Arabic and Latin charset.

Tarif • 16 styles + variable

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اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎ اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎

[...]

Tarif Arabic • 8 styles + variable

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