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. 

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. 

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.        

Sunshine Pro was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection by Zetafonts, designed as a typeface for good vibes against Covid-19. [...] Sunshine Pro was designed by Cosimo Lorenzo Pancini and Solenn Bordeau expanding the original Sunshine design by Francesco Canovaro, part of the Quarantype collection by Zetafonts, designed as a typeface for good vibes against Covid-19. Sunshine Pro is a experimental Clarendon-style font with contrast varies along the weight axis: contrast is reversed in light weight, minimized in the regular weight and spikes up in the bold and heavy weights. A variable version allows you to explore the full design space and select your preferred variant.  Like all the fonts from Quarantype, Sunshine Pro is completely free for personal and commercial use, thanks to the supporters of our instagram likefunding.