zetafonts

XO

arabic Script

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اريستوتيليچا پرو 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 
Aristotelica Pro is the 2020 redesign of the rounded geometric sans designed by Cosimo Lorenzo Pancini and Andrea Tartarelli developing the original philosophy of one of the classic and best-selling Zetafonts typefaces, Arista by Francesco Canovaro,  [...] Aristotelica Pro is the 2020 redesign of the rounded geometric sans designed by Cosimo Lorenzo Pancini and Andrea Tartarelli developing the original philosophy of one of the classic and best-selling Zetafonts typefaces, Arista by Francesco Canovaro,  Originally conceived as an exercise in restraint and simplicity, Aristotelica is typographic eulogy to the simple beauty of circular shapes, aptly named after the greek philosopher who pioneered formal logic. It shows its strengths mostly in display uses and logo design, with a palette of moods ranging from the stark elegance of the uppercase hairline weights to the playful softness of the lowercase bold weights. True to its universalist calling, it has however been developed in a variant text version that applies slight corrections to design and metrics to allow for better legibility in long body copy. In Aristotelica Pro both the display and the text subfamilies have been complemented with a condensed version, though especially for mobile screens and other situations where space-saving is a concern. Also the original language coverage (extended latin, greek and cyrillic) has been expanded with the inclusion of arabic language glyphs, bringing the typeface to a total of over 1100 glyphs and 200 languages covered. The family is further enriched by the inclusion of Aristotelica Icons, a set of matching variable-width monoline icons that can be used to faultlessly match the typeface line width. Open type features includes stylistic alternates, old style and lining figures and small caps. Free upgrade to Pro version is available to all owners of a license for Aristotelica bought on Zetafonts website, just by re-logging to original download page.     
Aristotelica Pro • 55 styles + variable
چوديچ پرو مي 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 
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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هاعريد 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 
Crypto-typography - the passion for unknown, weird and unusual character shapes - is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions [...] Crypto-typography - the passion for unknown, weird and unusual character shapes - is a disease commonly affecting type designers. Cosimo Lorenzo Pancini has celebrated it in this typeface family, aptly named Hagrid after the half-blood giant with a passion for cryptozoology described by R. K. Rowling in her Harry Potter books. Extreme optical corrections, calligraphic counter-spaces, inverted contrast, over-the-top overshoots: all the inventions that abound in vernacular and experimental typography have been lovingly collected in this mongrel sans serif family, carefully balancing quirky solutions and solid grotesque design. Hagrid is a typeface designed for editorial & display use, bringing dynamism to the printed and digital page thanks to its extreme contrast and unique details. It has been developed in a range of six display weights ranging from the monolinear and more traditional thin to the expressive heavy weight. For better readability in small sizes and on the web, a companion text family has been developed, with a slightly different selection of weights, wider metrics, and fine adjustments to keep the dynamic expressivity of the design without sacrificing legibility. This is evident in the design of italics: while the display italics sport a cursive feel with calligraphic terminals to lowercase letters, the text design is more restrained, with a more classical geometric grotesque slanted look.Given the crypto-typographer love for foreign specimens of letters, special care has been put into making Hagrid ready for multilingual projects, giving it an extended character sets covering over two hundred languages that use latin, cyrillic and arabic alphabets and adding a selected range of Open Type features to handle alternate forms and stylistic sets. 
Hagrid • 28 styles + variable
مايسون 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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ستينعير 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 
Since their first appearance as italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and [...] Since their first appearance as italians on the pages of the 1821 William Caslon type specimens, reverse contrast typefaces have been typography's best loved quirky outcasts. Subverting the traditional relationship between thick verticals and thin horizontals made them perfect for eye-catching advertisements. The unexpected contrasts and the thick slabs produced by reverse-contrast serifs became ubiquitous in period posters, and synonymous with wild west and circus iconography. In designing Stinger, the Zetafonts design team composed by Maria Chiara Fantini, Andrea Tartarelli and Francesco Canovaro and orchestrated by Cosimo Lorenzo Pancini decided to marry this subversive tradition with the workhorse approach of modernist sans serif typefaces like Univers, developing a super-family with four widths, each in five different weights, from thin to heavy. This gives the designer a full range of options for type setting, with the Normal and Fit widths providing two different text-sized alternatives, the wide width adding display and titling options and the Slim ready to deal with the space-saving necessities of extremely long texts. True italics have been added developed for all weights and variants, bringing the Stinger family to a total of 40 fonts, with a latin extended + russian cyrillic character set covering over 200 languages, and open type features including positional numbers, stylistic sets and alternate forms.  In the crowded panorama of contemporary grotesque typefaces, all aiming to stark geometric perfection, Stinger stands out with its bold choiches and strong personality. From the calligraphy-inspired terminals in the thin weights to the logo-ready sculptural approach in the heavy weights, each variant manages to look striking without forgetting the readability and flexibility lessons of modern reverse-contrast classics like those designed by Excoffon or Novarese. A variable version is included with the full family, allowing maximum flexibility and control for the designer over the wide range of expression capabilities of the Stinger super family.        
Stinger • 46 styles + variable
تاريف 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 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 • 21 styles
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