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. 

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 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.

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.

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. 

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.

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

We are thrilled to introduce a new addition to our font family, and this time, it comes with the signature style of Valerio Monopoli – an Italian graphic designer hailing from Rome and currently making waves in Barcelona. Valerio has already left an indelible mark on the typography scene, notably with the development of original font families for Pangram Pangram, Blaze Type, Colllettivo, T1 Foundry and other foundries. In all his work, Valerio [...] We are thrilled to introduce a new addition to our font family, and this time, it comes with the signature style of Valerio Monopoli – an Italian graphic designer hailing from Rome and currently making waves in Barcelona. Valerio has already left an indelible mark on the typography scene, notably with the development of original font families for Pangram Pangram, Blaze Type, Colllettivo, T1 Foundry and other foundries. In all his work, Valerio mixes his unique aesthetic with a keen sense of readability and a deep knowledge of classical letterforms. With Maligna, Valerio Monopoli brings his creativity to Zetafonts with a contemporary serif blending great display personality with flawless text readability. Coming in an extensive range of weight from a super sexy thin to an imposing bold, and featuring  design details of infinite digital sharpness, Maligna brings Valerio's extraordinary vision to our Beats collection. Now in preview, the font is available for you to download and try for free in your projects. Feel free to engage with Maligna at this early stage, and to contribute to its refinement with your valued feedback. Stay tuned with us to follow the journey of Maligna to more updates as we move from this exclusive preview to its final release!

Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is Zetafonts homage to the Akzidenz Grotesk genre, revolving around an idiosincratic relationship with the tight metrics modernist designers loved to use in their layouts. Now, thanks to the same creative team, the typeface gets expanded along the width axis, with three new families designed to help you better solve your negative space issues. Milligram Narrow, Milligram [...] Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is Zetafonts homage to the Akzidenz Grotesk genre, revolving around an idiosincratic relationship with the tight metrics modernist designers loved to use in their layouts. Now, thanks to the same creative team, the typeface gets expanded along the width axis, with three new families designed to help you better solve your negative space issues. Milligram Narrow, Milligram Condensed and Milligram Compressed all keep the original expressive palette but expand Milligram into a versatile super-family for complex branding and editorial projects. Designed to save space and enhance readability, Narrow and Condensed variants are perfect for projects requiring a limited footprint. Meanwhile, Compressed and Condensed weights add visual appeal to headlines and subheadings. Rooted in grotesque design principles, all Milligram weights feature curved stroke endings, tapered stems, and rounded dots on lowercase 'i's, paying homage to typographic heritage while ensuring versatility and practicality in every application. As a Beats Preview, the Milligram Narrow Weights are available during developement at a reduced introductory price. Buyers of the full family will receive all future upgrades free of charge - our way of saying thank you for your continued support and partnership!

Designed by Cosimo Lorenzo Pancini with the help of Francesco Canovaro, Unigeo is an eulogy to the design style of vintage computing, with its obsession for geometric modularity, ultra-tight tracking and striped rainbow overload. It aims at giving a new perspective to the ever-useful geometric sans genre, by adding a vintage flair to selected letters while keeping optical adjustments to the minimum, to prioritize the modular, constructed look [...] Designed by Cosimo Lorenzo Pancini with the help of Francesco Canovaro, Unigeo is an eulogy to the design style of vintage computing, with its obsession for geometric modularity, ultra-tight tracking and striped rainbow overload. It aims at giving a new perspective to the ever-useful geometric sans genre, by adding a vintage flair to selected letters while keeping optical adjustments to the minimum, to prioritize the modular, constructed look aspect of the typeface. Furthermore, like every vintage gaming system, Unigeo has been developed with different "memory versions":32, 64 and 128. The main family, Unigeo 64, is display and logo-design oriented, featuring tight tracking and iconic signature letterforms, and referencing vintage design and typefaces from the photo-lettering era. These letterforms are substituted in the Unigeo 32 variant with more contemporary shapes, resulting in a workhorse geometric sans, highly optimized for text use but still suited for logo design and display use thanks to its wide weight range. Last but not least, the Unigeo 128 subfamily gives the same skeleton a striped treatment reminescent of optical art and modernist computer logos. All Unigeo families are developed in eight weights, ranging from Thin to Extrabold, for a total of 40 styles, each provided with an extended character set covering languages using latin, cyrillic and greek glyphs. Full Open Type Features are provided, including positional numbers, legatures and alternate glyphs, as well as a variable font version for each subfamily.