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.

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.

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.

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.

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.

Heading Deva's design journey began with the original vision of Francesco Canovaro, Cosimo Lorenzo Pancini, and Andrea Tartarelli, who meticulously crafted the Heading superfamily. Shrishti Vajpai expanded upon this foundation, bridging the gap between the Latin and Devanagari scripts seamlessly. [...] Heading Deva's design journey began with the original vision of Francesco Canovaro, Cosimo Lorenzo Pancini, and Andrea Tartarelli, who meticulously crafted the Heading superfamily. Shrishti Vajpai expanded upon this foundation, bridging the gap between the Latin and Devanagari scripts seamlessly. By extending the powerful industrial grotesque skeleton of Heading to Devanagari, Heading Deva creates a visually striking tool to create attention-grabbing headlines, branding, editorial design, or digital interfaces. With its wide range of weights and widths, Heading Deva ensures that designers working with languages using the Devanagari script have the same ease of use and creative possibilities as their Latin counterparts. Embrace the versatility of Heading Deva, and unlock a world of space-saving, expressive typography for the Devanagari script

Heading Pro is a typeface family designed by Francesco Canovaro for Zetafonts. [...] Heading Pro is a typeface family designed by Francesco Canovaro for Zetafonts. The original design has been expanded and developed by the Zetafonts Team (Andrea Tartarelli, Cosimo Lorenzo Pancini, Chiara Ghezzi) in a full type system of 146 variants.   Built around 8 different widths from ultra-compressed to ultra-wide and nine weights from thin to black, Heading Pro provides a wide spectrum of sans serif type solutions to your design problems. Born as a space optimizing typeface for headers and titles, Heading Pro can be used in its ultra-compressed, compressed and normal widths to optimize space on the printed page and on the screen. In these widths Heading Pro excels in titles and subheadings, timetables, name and credit lists and cases of exuberant and excessive copywriting.    Heading Wide and Heading Ultra-Wide are extended width variants that have been added to the original family to be used for titling where style and raw energy matter more than pixel or paper economy. Still keeping the original design of Heading, with a (post) modernist attention to readability and detail, the wide sizes allow you to write strong headlines and play with subheadings and short text blocks. Accompanying italics can provide you with versatility in text use as well as a viable display alternate for bolder weights, with a strong sport/energy feel.   But Heading family is not only made for extreme widths: the original condensed family has been complemented with a range of three medium width variants: Heading Medium, Heading Double and Heading Treble. When you need to pair the extreme display widths with some medium-proportioned text, these three widths allow you to design text block with a fine grain control on appearance and a wide array of open type features.   Each Heading Pro typeface includes over 800 characters with coverage for 100+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight including stylistic alternates, small caps, oldstyle and tabular numerals and positional figures.

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.