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.

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.

Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. The typeface name was chosen as an homage to the mythical [...] Francesco Canovaro designed Asgard as a way to mix his passion for the raw energy of extra bold sans serif typography with the expressivity of high contrast and calligraphy-inspired letterforms. He built the typeface around a strong geometric sans skeleton, to make the letters feel solid and powerful while using wood-type vernacular solutions to solve density through high contrast details. The typeface name was chosen as an homage to the mythical homeland of the Norse Gods, evoking a land of fierce warriors, power and strength - but also of divine, delicate beauty. Thanks to the help of Andrea Tartarelli and Mario De Libero the original design was extended along with the design space, expanding the number of weights and widths with a "workhorse typeface" approach, and adding also a slanted axis to experiment with italics. The result is a super-family of 9 styles of 8 weights for a total of 72 fonts, each coming with an extended set of 968 glyphs covering over 200 languages using Latin, Greek and Cyrillic scripts. The three variation axes (width, weight, slant) are also all accessible in a variable font version that is included with the whole family. This gives the designer a full range of options for typesetting, with the Normal and Fit widths providing basic display and text-sized alternatives, and the Wide width adding more display and titling options. The inclusion of backslant italic styles gives Asgard an extra chance to add its voice to the typographic palette. To complement this, all Asgard fonts have been given a full set of Open Type Features including standard and discretionary ligatures, stylistic sets, positional numerals and case sensitive forms. Dynamic and expressive, Asgard is a super-family that manages to look brutal and refined at the same time, quoting the vernacular typographic practices of letterpress print while expressing the contemporary zeitgeist.

Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical [...] Francesco Canovaro created Bakemono as a way to explore the design space around the duality of fixed/proportional width. He was also interested in the concept of monowidth design, inherent in monospaced typefaces, that can bring flexibility and ease of use also to proportional type - allowing you to change the weight of a word without losing the text alignment. In his research on fixed width type design he mixed the lessons of mechanical typewriter technology with the intuitions of eastern brush calligraphy, which has been dealing with for centuries with fixed space grids.  The name of the typeface comes from the Japanese shape-shifter yokais that could change their form freely between human and animal, and aptly describes the metamorphic nature of this wide superfamily coming in proportional, monospace and intermediate subfamilies. With a design mixing the expansion principles of the brush with the sharp technicality of typewriter and system fonts, Bakemono can both excel at text size in its regular widths optimized for legibility as well as owning the page at display size with its uncommon design details. Bakemono reflects its multicultural nature with its extended latin + cyrillic charset, soon to be expanded with Bakemono Arabic (exploring the fascinating world of monospaced arabic script) and Bakemono Kana (our first experiment in cjk scripts). 

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 Sans Pro is a complete redesign and developement of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the succesfull Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including [...] Blacker Sans Pro is a complete redesign and developement of the original family designed by Francesco Canovaro in 2019 as a sans-serif variant of the succesfull Blacker created by Cosimo Lorenzo Pancini and Andrea Tartarelli. The original idea of Blacker Sans was to create a versatile pairing for Blacker, parting with its spiky wedge serifs but keeping its dark, elegant character and extending its weight range to 20 weights including italics. This Blacker Sans Pro family did also differ in contrast from the original Blacker family, choosing a more even and monolinear, almost grotesque approach. This choice that favored versatility over elegance left some of the original uses of Blacker not covered by its sans counterpart, and so two subfamilies were added, applying to the same skeleton varying degrees of contrast, from the readability-optimized medium contrast of Blacker Sans Text to the extreme variations of Blacker Sans Display, with its elegant juxtapositions of thin curves and thick black slabs. The original signature details of Blacker, like the hook shape of lowercase "f", have been complemented by new alternate forms, ligatures and swashes, with stylistic sets providing options to easily make logos and headings stand out. The wide range of OpenType features (that includes also small caps, positional numbers, and alternate punctuation) is applied to all the 60 weights of the family, each with over 1600 characters offering language support for 220+ languages using Latin, Cyrillic and Greek alphabets. Ready to make your text look gorgeous? Ditch your usual sans-serifs and try Blacker Sans Pro!        

Bogart has been designed in 2020 by Francesco Canovaro as a personal homage to the iconic look of low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922) and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of Bookman, these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively [...] Bogart has been designed in 2020 by Francesco Canovaro as a personal homage to the iconic look of low-contrast oldstyle fat faces, like Cooper Black (Oswald Bruce Cooper, 1922) and Goudy Heavy Face (Frederic W. Goudy and Sol Hess, 1925-1932). Originating from the modern old style of Bookman, these muddy, goopy shapes found their pop culture iconic status thanks to rub-on transfers and phototypesetting systems in the 1960s and 1970s. Positively bursting with hippie energy and exuberant vitality, they often included an extensive repertoire of swash characters, bridging the space between lettering and typography. In researching these shapes, Canovaro decided to include also the influence of another idiosyncratic american old style typeface, Windsor, quoting its sloping shapes and quirky solutions, and expanding the weight range of Bogart to include a selection of display light weights where the muddy shapes of the heavy weights distill into elegant teardrop terminals. All the nine weights of Bogart, as well the matching true italics forms, feature an extended charset of over 1600 glyphs, covering 219 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features including alternate forms, discretionary ligatures, small capitals, stylistic sets, positional numbers, case-sensitive, terminal and initial swash forms. To add flexibility for editorial usage, a text-oriented Bogart Alternate set of nine weights was added to the family keeping the design more similar to its modern old style model and allowing for a heavy readable mid-weight range. Hollywood icon Humprey Bogart, famously said: "things are never so bad they can't be made worse.". This typeface was named after him, aiming at a way to embody the moody spirit of vintage typography, from film noir aesthetics, to the pop culture reference, from joyous swash titling and logo design to strict, balanced text typesetting. Because "typefaces are never so good that they can't be made better".

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.

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 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.

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.

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.

Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use.  [...] Designed in 2020 for Zetafonts by Francesco Canovaro and Andrea Tartarelli with help from Solenn Bordeau and Cosimo Lorenzo Pancini, the original Eastman typeface family was conceived as a geometric sans workhorse family developed for maximum versatility both in display and text use.  The original wide weight range has been complemented with three more additional widths, to give you maximum control over the appearance of text in your page. While Eastman Compressed and Eastman Condensed behave as space-saving condensed families, Eastman Grotesque adapts the family design style to humanist proportions. All share a solid monolinear design and a tall x-height that makes body text set in Eastman extremely readable on paper and on the screen. Influenced by Bauhaus ideals and contemporary minimalism, but with a nod to the pragmatic nature 19th century grotesques, Eastman has been developed as a highly reliable tool for design problem solving, and given all the features a graphic designer needs - from a wide language coverage (thanks to over one thousand and two hundred latin, cyrillic and greek characters) to a complete set of open type features (including small capitals, positional numbers, case sensitive forms). The most impressive feature of all Eastman fonts remains the huge choice of alternate characters and stylistic sets that allows you to fine-tune your editorial and branding design by choosing unique, logo-ready variant letter shapes. Don’t want to lose too much time with the glyphs palette? Use the Eastman Alternate weights, thought for display use and presenting a selection of some of the more eye catching & unusual letter shapes available for the family.       

Extenda is a variable width sans serif type family designed by Francesco Canovaro with Andrea Tartarelli and Cosimo Lorenzo Pancini. It has been created to provide designers with a powerful but flexible tool to create strong headlines, logos, and display text with tight spacing and maximum space coverage. Rather than providing a family of weights, it gives you a fine-grained range of widths to choose from, allowing maximum control in display [...] Extenda is a variable width sans serif type family designed by Francesco Canovaro with Andrea Tartarelli and Cosimo Lorenzo Pancini. It has been created to provide designers with a powerful but flexible tool to create strong headlines, logos, and display text with tight spacing and maximum space coverage. Rather than providing a family of weights, it gives you a fine-grained range of widths to choose from, allowing maximum control in display editorial uses, and proportional size variation in logo design, keeping consistent appearance and readability. From the vertical, ultra-condensed and thin Pica, Nano and Micro weights to the wide and ultra-bold Peta, Exa and Yotta weights, all Extenda fonts include an extended character set covering Latin languages as well as ones using Cyrillic and Greek for a coverage of 200+ languages. Full Open Type features are included, from small caps to stylistic alternates, positional number forms and discretionary & standard ligatures. The 11-weights family is complemented by the Extendable special weight, that uses Open Type scripts to create a dynamically scaling typeface where each letter becomes automatically tighter or wider than the previous one. 

Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 176 variant combinations. [...] Heading Now is the new incarnation of Heading Pro, developing the original typeface family designed by Francesco Canovaro for Zetafonts into a superfamily with 176 variant combinations. Built around 11 different widths, ranging from xTall to Extended and eight weights from Thin to Heavy, Heading Now provides a full spectrum of sans serif type solutions to your design problems. Born as a space-optimizing typeface for headers and titles, Heading Now can be used in its compressed widths to manage space on the printed page and on the screen. In these widths Heading Now excels in titles and subheadings, timetables, infographics and in situations of exuberant and excessive copywriting. On the other side of the width spectrum, you can find extended width variants, ready to be used for titling where style and energy matter more than pixel or paper economy. Heading family is not only made of extreme widths: you can use the medium width range to design body text. Matching italics provide versatility in text use, as well as a dynamic display alternate to the bolder weights. Heading Now keeps the original design of Heading Pro, but extends the width and weight range while keeping its (post) modernist attention to readability and details. Each Heading Now font includes over 1100 characters with coverage for 200+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight featuring also stylistic alternates, small caps, old-style and tabular numerals and positional figures.

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.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and [...] Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli with Maria Chiara Fantini, Lovelace is Zetafonts homage to the tradition of nineteenth century “Old Style” typography - a revival of Renaissance hand-lettered shapes driven by the desire to create a less formal and more friendly alternative to Bodonian serifs. While taking inspiration from the letter shapes created by Pheimester or Alexander Kay - with their calligraphic curves and heavy angled serifs that influenced Benguiat and Goudy’s typefaces in the 70s - we also tried to add elegance and contrast by following another 19th century revival style: the Elzevir. This digital homage to victorian typography, aptly named after the algorist daughter of lord Byron, is developed in two optical sizes, both in a six weights range from extralight to extrabold. The text variant offers maximum readability thanks to the generous x-height and screen-friendly design, while the display variant excels in the sharp contrast and thin details needed for editorial and large-size titling use. The italics, strongly influenced by calligraphy, have been complemented with a display script family, including luscious swashes and connected lowercase letters, lovingly designed by Zetafont in-house calligrapher. All the thirty weights of Lovelace cover over 200 languages that use latin, cyrillic and greek alphabets, and include advanced Open Type features as Stylistic Alternates, Standard and Discretionary Ligatures, Positional Numerals, Small Caps and Case Sensitive Forms.

. The designer wanted to find a way to bridge the classical letterforms of Roman Old Style typefaces with the readability of contemporary sans typefaces. This was achieved by using the so-called flared serif that emerges gradually from the stem of the letter, ending in a sharp angle. It's something that also reminds of the peculiar shapes of the Simoncini Method, invented by italian type designer Francesco Simoncini to get a sharper definition of letterforms. To this blend of classical elegance and modernist expertise, Malik adds the calligraphic influence of modern masters like Frederic Goudy or Ed Benguiat, visible in signature details like the reverse contrast uppercase B, or the calligraphic lowercase k.

Developed by Andrea Tartarelli as an extension to Calvino typeface family, Marcovaldo is a heavy condensed wedge serif, optimized for display design. The high contrast and rich texture of the old style letterforms marry digital aesthetics in a typeface that is at the same time impactful and refined. With its nod to the Elzevir and DeVinne tradition, it tries to translate typographically the value of Visibility that Italian writer Italo Calvino [...] Developed by Andrea Tartarelli as an extension to Calvino typeface family, Marcovaldo is a heavy condensed wedge serif, optimized for display design. The high contrast and rich texture of the old style letterforms marry digital aesthetics in a typeface that is at the same time impactful and refined. With its nod to the Elzevir and DeVinne tradition, it tries to translate typographically the value of Visibility that Italian writer Italo Calvino had described in his masterpiece Six Memos for the Next Millennium.

Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one swiss font is enough, here comes a new specimen from the past inviting you to try new takes on those grotesque modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a [...] Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one swiss font is enough, here comes a new specimen from the past inviting you to try new takes on those grotesque modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. This is how Milligram was born: designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, this typeface is an homage to the Akzidenz Grotesk that never was. Milligram revolves around an idiosincratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Delegating a relaxed rythm to the Milligram Text subfamily, the display-oriented Milligram family plays with a feeling of attraction behind shapes - something brought to the extremes in the "tight & touching" Milligram Macro variant. 

The island of Fuerteventura is more known for its white sand beaches and windsurf-friendly constant winds than for its typographic marvels. Still, it's on the walls of a ballroom next to its white-sand beaches that Debora Manetti found the hand-painted letterforms that she took as inspiration for her typeface Sala de Fiestas. The resulting font was a condensed sans serif full of curious details and a jumpy latino vibe that many years after [...] The island of Fuerteventura is more known for its white sand beaches and windsurf-friendly constant winds than for its typographic marvels. Still, it's on the walls of a ballroom next to its white-sand beaches that Debora Manetti found the hand-painted letterforms that she took as inspiration for her typeface Sala de Fiestas. The resulting font was a condensed sans serif full of curious details and a jumpy latino vibe that many years after still keeps its freshness and vernacular charme. Francesco Canovaro took the original typeface as a starting point for a grand tour into signpainter aesthetics, developing a reboot of the original into a new type family: Salad. While being faithful to the original proportions and feeling, Salad provides extreme versatility through its five-weights range, its extended charset and its set of Open Type features including stylistic sets, alternates, positional numerals, small capitals and case sensitive forms. While the roman family with its italic counterpart provide a good workhorse tool for informal branding, packaging and editorial projects, the interlocking and the inline weights add additional possibilities for display purpouses. This is enriched by the inclusion in the typeface of a set hand-drawn decorative dingbats that further complement the signpainting vibe of the family. All Zetafonts expertise in handmade lettering, typographic design and water sports has been put to test to assure Salad is the best typographical alternative to a a trip to Canary Islands!

A Day Without Sun is an ultra-condensed version of Panforte, created by Cosimo Lorenzo Pancini based on the design of Debora Manetti for Panforte. Hand drawn in easy big strokes, its an extremely condensed typeface that allows you to typeset text in faux-handamade fashion, with the subtle elegance of vintage handlettered menus. Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, [...] A Day Without Sun is an ultra-condensed version of Panforte, created by Cosimo Lorenzo Pancini based on the design of Debora Manetti for Panforte. Hand drawn in easy big strokes, its an extremely condensed typeface that allows you to typeset text in faux-handamade fashion, with the subtle elegance of vintage handlettered menus. Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, spiced with hand-picked diacritics and comes also with a tasty side dish of greek and cyrillic characters.Its grungy, handmade characteristics are visible at medium and high point sizes but do not impact the effect of the font when set in text. A Day Without Sun open type features include small case characters, oldstyle numerals and a series of ligatures that help keeping the distinctive handmade look (they can be switched off by unchecking the “standard ligatures” option in your design software). A Day Without Sun includes some special ligature dingbats, accessible by typing the corresponding sequence of characters: please refer to the specimen for a guide to typing.

Adlery is a brush typeface designed by Cosimo Lorenzo Pancini for display use. It has a handmade feel and it’s optimized for maximum readability at medium sizes. The typeface comes in three styles: Basic, Swash and Blockletter Uppercase and has a double set of lowercase alphabets that alternate in writing, so that no double letters are the same.

Aliens and Cows is an ultra condensed sans serif display typeface designed by Francesco Canovaro. Inspired by the title cards of 1980's science fiction movies, it features thin letterforms with a ultra wide spacing - perfect for minimal logo design and editorial display use. It features sci-fi themed alternates as well a set of lined small caps and word ligatures, and covers over forty languages using the latin alphabet as well as greek and [...] Aliens and Cows is an ultra condensed sans serif display typeface designed by Francesco Canovaro. Inspired by the title cards of 1980's science fiction movies, it features thin letterforms with a ultra wide spacing - perfect for minimal logo design and editorial display use. It features sci-fi themed alternates as well a set of lined small caps and word ligatures, and covers over forty languages using the latin alphabet as well as greek and cyrillic.

Amazing Slab is a typeface family designed by Francesco Canovaro and Andrea Tartarelli as a development of the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Mixing an egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity [...] Amazing Slab is a typeface family designed by Francesco Canovaro and Andrea Tartarelli as a development of the Amazing Grotesk family designed by Cosimo Lorenzo Pancini. Mixing an egyptian serif, low contrast approach with the curved endings and open shapes of humanist sans grotesques, it was developed to embody the energetic and friendly nature of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the extrabold letterforms drawn by Francesco Canovaro for his StartupItalia logo, that informed the display design of the four darkest weights (from medium to black). Each of these weights, has been paired with an inline version, designed by Mario De Libero, to extend the range of uses for the typefaces, from bold signage to logo design, to editorial titling. The lighter range of the family features two weights (regular and light) that are designed for text use, complemented by the thin and extralight weights that are better suited to big point size, for editorial and signage use.  All the weights of Amazing Slab, as well the matching true italics forms, feature an extended charset of over 900 glyphs, covering 211 languages using latin, cyrillic and greek alphabets, and sporting a complete set of Open type features including positional numbers, annotation and case-sensitive forms, standard ligatures and a wide array of stylistic sets to customize glyph shapes for logo and display usage. With its friendly, energetic mood and its versatile range of application use, Amazing Slab is born to make every design project look simply... amazing!

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.

  [...]   Another Shabby is a script typeface family designed by Francesco Canovaro for Zetanfonts. Its shapes are defined by rough, wide brushstrokes, slightly rounded in corners to mimic the feel of a real handwritten casual script. Another Wet Shabby covers over 200 languages that use the Greek, Russian Cyrillic and Latin alphabet, with a full range of accents and diacritics. The full family comes in four weights. The Raw and Wet versions allow you to create watercolor-textured and multilayered color images without having to resort to photo-retouch software. All characters are texturized for a watercolour (another wet shabby) or a chalk (another raw shabby) effect. Take care: the textured typeface is very processor intensive and should not be used for long text blocks. Previewing in MacOs and Windows may take some time or freeze your system temporarily. Try before buying!

Antipasto is a geometric sans serif font designed by Cosimo Lorenzo Pancini. The original family of three weights has been revised and expanded in 2017 with Antipasto Pro that now includes cyrillic and greek characters, open type features (small caps and old style numerals) and six new weights from the hairline to the extrabold.  [...] Antipasto is a geometric sans serif font designed by Cosimo Lorenzo Pancini. The original family of three weights has been revised and expanded in 2017 with Antipasto Pro that now includes cyrillic and greek characters, open type features (small caps and old style numerals) and six new weights from the hairline to the extrabold.  NOTICE: The Antipasto Pro license covers licensing for the original Antipasto fonts that are not supported anymore. The old versions can be found in the "compatibility packs" of the Regular, Extralight and Extrabold weights of Antipasto Pro.

Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterized by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast [...] Aquawax FX was developed by Francesco Canovaro as a new variant of the Aquawax family, one of the most beloved Zetafonts classics. This new typefamily is characterized by a contemporary and elegant design, that revisits the original design of 2008 with new geometric inventions, twisted with the current fluid zeitgeist. Aquawax FX builds on the original Aquawax family by adding counter-inktraps to the letterforms and emphasizing the inner contrast of curves and corners creating a smoother, flowing and dynamic look. While inktraps are a design feature that prevents ink from bleeding or filling small spaces in letterforms to achieve a cleaner, more readable look, anti-inktraps characterize the design with a distinctive watery appearance, suitable for logo design and titles. This watery effect is possible through a slight rounding of the inner and outer corners, keeping the original cuts at the letter terminals. A Space variant pushes FX experimentation furthermore, providing an alternate stencil-like style that takes legibility to the extreme, ready for logos and sci-fi headings.This does not limit the usability of Aquawax FX to mere display intent. The Aquawax FX font family includes two versions (Roman and Space), each with nine weights, ranging from Thin to Heavy, and matching italics. With a total of 36 variants plus one variable version, Aquawax FX is a versatile type family that can be used for a variety of design projects, from branding and packaging to editorial design and advertising. Aquawax FX offers a fresh re-interpretation of the original Aquawax letterforms and proportions, with a dynamic and flowing look that is sure to make your projects stand out.

Arista Pro is the definitive version of the successful Arista typeface, designed by Francesco Canovaro, first released in 2007 as Arista Z and then reissued as Arista 2.0 in 2010. The pro version of Arista features the geometric and soft approach of the original typeface but comes in a full range of weights and two alternate versions (Arista Pro Regular and Arista Pro alternate version). The typeface has been expanded with the inclusion of Greek [...] Arista Pro is the definitive version of the successful Arista typeface, designed by Francesco Canovaro, first released in 2007 as Arista Z and then reissued as Arista 2.0 in 2010. The pro version of Arista features the geometric and soft approach of the original typeface but comes in a full range of weights and two alternate versions (Arista Pro Regular and Arista Pro alternate version). The typeface has been expanded with the inclusion of Greek and Cyrillic alphabets as well as an extended range of latin characters. A companion icon typeface, Arista Pro Icon, has been developed, allowing for variable-width monoline icons that can be used to faultlessly match the typeface line width, up to semibold weight.

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.     

Bimbo ("baby" in Italian) is a monoline script font family created in 2018 by Francesco Canovaro for Zetafonts as an extension & redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi. Bimbo expands the original design with six new weights and over 300 new characters to cover over 70 languages using the latin, greek and cyrillic alphabets, while keeping the handmade aesthetic that made [...] Bimbo ("baby" in Italian) is a monoline script font family created in 2018 by Francesco Canovaro for Zetafonts as an extension & redesign of the original Arsenale White typeface created with italian illustrator Jonathan Calugi. Bimbo expands the original design with six new weights and over 300 new characters to cover over 70 languages using the latin, greek and cyrillic alphabets, while keeping the handmade aesthetic that made successful the original font. Bimbo is essentially a display font, born for minimal lettering and logos, with a handwritten sensibility enhanced by the built-in letter swapping open type feature that makes sure double letters are always different one from another.  Open counters and a monoline design allow for great readability at small sizes, making Bimbo the ideal font for creating fake handwritten notes and metatextual jokes.

Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called "italian" or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, [...] Blackest is an inverse contrast wedge serif typeface family, designed by Francesco Canovaro and Andrea Tartarelli as a development of the Blacker typeface designed by Cosimo Lorenzo Pancini. The classical skeleton and sharp edges of the original have been kept while bringing the contrast of the typeface in the realm of the so called "italian" or reverse-contrast typefaces. The result is a typeface family that manages to be quirky but classical, and playful without losing elegance. With its exuberance and six weights of eye-catching proportions, Blackest is perfect for display use: editorial & magazine design, poster design and logo development - but to allow its usage as a for typesetting of longer texts a text variant in two weights has been developed, with less contrast, looser spacing, and high readability. Blackest features an extended character set that covers over 220 languages using the Latin alphabet, as well as Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures.  

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.

Bubbleboddy Neue is the redesign of one of the first Zetafonts typefaces. It preserves the original round and chunky flavor and adds three new weights and a complete cyrllic and greek character set to infuse your design with an original 80s touch and all the juicy sweetness of a bubblegum. Born for logos and display use, the family has now got a complete facelift with better readability onscreen for web use and offline for text setting.

COCOBIKER is a typeface variant from the COCO GOTHIC family.  It’s inspired by contemporary grotesque typefaces, with a runic mood, geometric proportions and ultraconnected geometry. A sans serif font dedicated to hipster culture and bike lovers, it has been designed as a display Small Caps typeface, but it’s still readable in text blocks. [...] COCOBIKER is a typeface variant from the COCO GOTHIC family.  It’s inspired by contemporary grotesque typefaces, with a runic mood, geometric proportions and ultraconnected geometry. A sans serif font dedicated to hipster culture and bike lovers, it has been designed as a display Small Caps typeface, but it’s still readable in text blocks. It comes in five weights and features an extended character set with support for European languages, Greek and Cyrillic alphabets, and open type support for ligatures, and special dingbats and symbols.      

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. 

Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted [...] Cocomat has been designed by Francesco Canovaro and Debora Manetti as a development of the Coco Gothic typeface system created by Cosimo Lorenzo Pancini. It shares with all the other subfamilies in the Coco Gothic system a geometric skeleton with open, more humanistic proportions, a sans serif design with slightly rounded corners and low contrast proportions, without optical compensation on the horizontal lines, resulting in a quasi-inverted contrast look in the boldest weights. What differentiates Cocomat from the other subfamilies in Coco Gothic are some slight design touches in the uppercase letters, with a vertical unbalancing reminiscent of art deco design, notably evident in uppercase "E", "A","F","P" and "R" - while lowercase letters have been given some optical compensation on the stems, like in "n","m", "p" and "q". These design choices, evoking the second and third decade of the last century (Cocomat is also referred as Coco 1920 in the Coco Gothic Family) all give Cocomat a slight vintage feeling, making it a perfect choice every time you need to add a period vibe or an historical flair to your design, like in food or luxury branding.    The typeface, first published in 2014, has been completely redesigned by the original authors in 2019 as Cocomat PRO to include eight extra weights (thin, medium, black and heavy in both roman and italic form), extra open type features (including alternate forms, positional numerals), and extra glyphs making Cocomat cover over two hundred languages using latin, cyrillic and greek alphabets.

COCOSIGNUM takes inspiration from the typography of the italian thirties. [...] COCOSIGNUM takes inspiration from the typography of the italian thirties. The imperial uppercase with its propaganda deco overtones is softened by a cursive lowercase geometric script in the Corsivo Italico version. It comes in two styles and five weights, covering over forty languages using latin alphabet, as well as greek and cyrillic.

Cocotte is a small caps sans serif display typeface inspired by the graphic style of early art nouveau. It comes in three weights with matching italics and features a regular style, inspired by arts&crafts and geometric jugendstil, and an alternate style more reminescent of french and italian art nouveau. [...] Cocotte is a small caps sans serif display typeface inspired by the graphic style of early art nouveau. It comes in three weights with matching italics and features a regular style, inspired by arts&crafts and geometric jugendstil, and an alternate style more reminescent of french and italian art nouveau. Cocotte and Cocotte Alternates are the 1900 and 1910 versions of the Coco Gothic typeface family, a contemporary geometric sans serif typeface with slightly rounded corners featuring historical versions for each decade of the last century: an encyclopedia of styles ready to transform itself and adapt to the mood of your text. Cocotte features an extended character set with support for over forty European languages and Greek and Cyrillic alphabets.

Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to [...] Domotika was first designed for Zetafonts by Cosimo Lorenzo Pancini in 2018, trying to translate the modernist and humanist ideals into typographic form, looking for a conversation between the classical and the contemporary, the hand-made and the technological. Following the motto of Mies Van Der Roe and Gustave Flaubert ("God is in the details"), Domotika takes inspiration from architectural practice, with a pragmatic attention to functionality that doesn't forget aesthetics. Its design juxtaposes the open humanist letterforms to slight calligraphic curve endings that marries perfect readability to expressive design. The name itself of the typeface is an homage to the science of living comfortably, with its reference to "domotics", robotic technology for use in the home.   In 2021 Andrea Tartarelli, who originally designed Domotika italics, completely reworked the original type family adding over five hundred glyphs to the original set and extending the language coverage to include over two hundred languages using latin, cyrillic and greek alphabets. Open type features have been also expanded, including positional numbers, small caps, ligatures, contextual alternates and stylistic sets, as well as tabular, lining and oldstyle numerals.   Conceived as a great tool for editorial use, Domotika is a workhorse family with a humanist soul and a semi-condensed feel, great for editorial and display usage where readability and personality must match convenient space usage. 

Saul Bass iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence, as well as his innovative treatment of motion graphics still look fresh today, more than sixty years after they hit the screen. There's no way for a true lettering aficionado to avoid falling in love with Bass vibrating, almost brutal cut-out aestethics. As an humble homage to Bass inspiration and sensibility, and inspired also by [...] Saul Bass iconic hand lettering for Otto Preminger's The Man with the Golden Arm film title sequence, as well as his innovative treatment of motion graphics still look fresh today, more than sixty years after they hit the screen. There's no way for a true lettering aficionado to avoid falling in love with Bass vibrating, almost brutal cut-out aestethics. As an humble homage to Bass inspiration and sensibility, and inspired also by cartoon modern lettering and jazzy graphics of the fifties, we decidede to work on a typeface that could show interlocking rythm and variation in design without resorting to thousands of ligature special letters, but rather by virtue of its modular structure. The result is DoubleBass, a jazzy four-weights display family that provides an out-of-the-box tool for cartoon modern style logo and heading design. The alternating sets of capital letters and numbers make soure that a bouncy rythm is kept - by virtue of open type ligature substitution - while you type away.Lighter weights can work for small blocks of text, while the regular and heavy weights show their best in big sizes and display uses. Foreign languages using latin alphabet are covered, as well as russian cyrillic. Any time you need that jazzy retro vibe, just put on your turntable some cool bebop record and start designing!

Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was entirely redesigned by the Zetafonts Team, expanding the original [...] Created as a logo typeface in 2004 by Francesco Canovaro, Duepuntozero is one of Zetafonts classic typefaces. A monolinear sans serif typeface with rounded corners and condensed proportions, strictly based on modular geometric design, it was at first designed in five weights to be used as a condensed companion typeface to the rounded display family Arista. In 2019 the family was entirely redesigned by the Zetafonts Team, expanding the original character set to include Cyrillic and greek glyphs and adding four extra weights and italics to the initial weight range. This restored and revamped version, named Duepuntozero Pro, also includes full Open Type features for positional figures, fractions, and Small Caps. With his rounded, minimal aesthetic, Duepuntozero embodies the desire for simplicity and playfulness of contemporary mobile applications, making it a perfect choice for gaming and app interface design. Its compact design allows for maximum space saving on mobile screens when used as a text typeface, while the strictly geometric design and the extreme range of weights (including thin and black) make it excel in the display, logo, and editorial use. A complementary set of free icons in the same range of font weights is provided to help designers build consistent branding through pictograms in infographics, interfaces, and editorial products.   

Florentia is a humanist sans-serif typeface designed by Francesco Canovaro, designed developing his Beatrix Family design. Florentia takes its inspiration from the classic Roman monumental capital model of Beatrix but developes the influences derived from the stone carvings in Florence Santa Croce Cathedral into a more contemporary overall design, featuring lower X-height and an extended character set that covers over fourty languages using the [...] Florentia is a humanist sans-serif typeface designed by Francesco Canovaro, designed developing his Beatrix Family design. Florentia takes its inspiration from the classic Roman monumental capital model of Beatrix but developes the influences derived from the stone carvings in Florence Santa Croce Cathedral into a more contemporary overall design, featuring lower X-height and an extended character set that covers over fourty languages using the latin alphabet, as well as Greek and Russian Cyrillic.

Garbata was designed in 2020 by Francesco Canovaro, looking for an approach to sans serif design that ignored the over-exploited grotesque and modernist models. It takes its skeleton from old style typefaces like Windsor or Cooper, keeping the quirky sloped shapes of some letters and adding to the historical smooth shapes a flat brush calligraphic sensibility. [...] Garbata was designed in 2020 by Francesco Canovaro, looking for an approach to sans serif design that ignored the over-exploited grotesque and modernist models. It takes its skeleton from old style typefaces like Windsor or Cooper, keeping the quirky sloped shapes of some letters and adding to the historical smooth shapes a flat brush calligraphic sensibility. The result of these different historical influences is a humble yet distinctive sans serif typeface, developed in a wide range of weights, with finely-tuned differences between the medium, text-oriented cuts (with wider tracking and more regular design) and the more extreme, display-oriented weights. This play on subtlety allows Garbata to be surprising in all uses: humble and readable when set in body text, it shows all its elegant, whimsical qualities in logo design and display use. Equipped with all advanced Open Type features you expect from a production typeface, Garbata comes with an extended charcter set covering over two hundred languages with latin and cyrillic glyphs. Designed with an italian sensibility mixing craftmanship and artistry, Garbata is ready to help you make your designs timeless, elegant and unusual.          

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. 

Handvetica Neue is a hand drawn sans serif typeface designed by Cosimo Lorenzo Pancini and inspired by the look of classic modernist typefaces. It covers over 40 languages that use the Latin alphabet, with full range of accents and diacritics, and comes in two weights (light and regular) and a condensed version (Handvetica Neue Condensed, released in 2008 as "Handvetica"). [...] Handvetica Neue is a hand drawn sans serif typeface designed by Cosimo Lorenzo Pancini and inspired by the look of classic modernist typefaces. It covers over 40 languages that use the Latin alphabet, with full range of accents and diacritics, and comes in two weights (light and regular) and a condensed version (Handvetica Neue Condensed, released in 2008 as "Handvetica").  

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.

Iconic is a rounded condensed sans serif typeface designed by Andrea Tartarelli together with Cosimo Lorenzo Pancini and Francesco Canovaro at Zetafonts. It's a multi-purpose workhorse family designed for clear and effective editorial, interface and information design with minimum usage of space. The soft, rounded shapes are all derived from basic circular geometry, but slight humanist touches have been added to make the family look more [...] Iconic is a rounded condensed sans serif typeface designed by Andrea Tartarelli together with Cosimo Lorenzo Pancini and Francesco Canovaro at Zetafonts. It's a multi-purpose workhorse family designed for clear and effective editorial, interface and information design with minimum usage of space. The soft, rounded shapes are all derived from basic circular geometry, but slight humanist touches have been added to make the family look more informal and readable. With his slim, minimal aesthetic, Iconic embodies the spirit of contemporary tech, and the desire for an effortless, natural digital experience. The extensive range of weights allows both for text and display usage. In body copy Iconic excels in clarity from light to bold with a choice of medium and regular for text appearance fine tuning; in display use it allows endless design expressions with a range that goes from the hairline thin weight to the super-fat heavy, all with matching italics. To complement the basic, regular shapes of the Iconic family, a Stencil subfamily has been designed with a more aggressive technical look. Perfect for wayfinding, branding and interaction design, the six Stencil weights can also be used next to the base family for a rich textural approach to type setting. Both Iconic and Iconic Stencil feature an extended character set of over 1200 glyphs that covers over 220 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open type features include small caps, positional figures, alternate letter forms, stylistic sets, arrows and extra punctuation and discretionary ligatures. A six-weight icon set, Iconic Pictograms, has been also developed in matching weights to the base family to allow maximum control over the design of digital interfaces using Iconic.

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.

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!

In 1459, while visiting his dying mother, italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project.The resulting typeface system, [...] In 1459, while visiting his dying mother, italian painter Piero della Francesca spent seven days creating a fresco of a pregnant madonna in a small country church in the hilltown of Monterchi (Italy). Hailed today as one of the masterpieces of Italian Renaissance, the fresco was given a new branding in 2019 by Art Director Riccardo Falcinelli who asked the Zetafonts team to develop a custom font for the project.The resulting typeface system, designed by Cosimo Lorenzo Pancini together with Andrea Tartarelli and Maria Chiara Fantini as a rework of Francesco Canovaro original Beatrix Antiqua, is a 50-weights ode to the beauty of classical roman letterforms, that pairs elegant alternates and quirky ligatures with an array of design options for clear and effective editorial, signage, logo and wayfinding design. The base display family, Monterchi, allows endless design expressions with a range of six weights from the slender thin to the strong extrabold, all with matching italics and an array of over one hundred discretionary ligatures. A fine-tuned companion Monterchi Text has been developed to excel in body use, with a larger x-height and wider spacing - clear and legible even at small sizes. The use range of the family is enriched by Monterchi Serif and Monterchi Sans that feature different contemporary interpretations of the same classical geometric skeleton, allowing for layered editorial design and variation. All the fifty fonts in the Monterchi Type System feature an extended character set of over 1100 glyphs covering over 200 languages using the Latin alphabet, as well as Greek and Russian Cyrillic. Open Type features include small caps, positional figures, alternate letterforms, stylistic sets and discretionary ligatures. With his elegant, historical aesthetic, Monterchi embodies the spirit of early Renaissance and the humanist obsession with constructed and geometric beauty - still managing to function as a workhorse family, ready to help any designer in need of a timeless classic look, or looking for the right ligature to transform a simple word into a striking wordmark.

Radcliffe is a typeface family designed in 2018 by Cosimo Lorenzo Pancini and Andrea Tartarelli, as a reinvention of traditional clarendon design in search of a "contemporary classic" typeface look. Tailor made for elegance, Radcliffe features the strong bracketed serifs, vertical stress, and little contrast of clarendons, refined with a humanist touch and a calligraphic approach, obvious in the italics. [...] Radcliffe is a typeface family designed in 2018 by Cosimo Lorenzo Pancini and Andrea Tartarelli, as a reinvention of traditional clarendon design in search of a "contemporary classic" typeface look. Tailor made for elegance, Radcliffe features the strong bracketed serifs, vertical stress, and little contrast of clarendons, refined with a humanist touch and a calligraphic approach, obvious in the italics. Primarily intended as a display typeface with a wide range of finely-tuned weights for editorial and logo-design uses, Radcliffe has been complemented by Radcliffe Text, developed in five weights with a taller x-height and slightly condensed proportions, allowing for maximum readablity in long texts on the web and at small size.  The family also includes the two funky weights of Radcliffe Casual, designed with a slight reverse contrast aestetics, perfect for your Country Club activities. All Radcliffe fonts include full open type features with stylistic alternates, discretionary ligatures, positional number forms, swash forms (in italics) and full language coverage fo +70 languages using latin and cyrillic alphabets.

Stadio Now is the revival of a original design by Aldo Novarese for dry transfer brand R41, published in 1974. The original typeface, is an extra bold grotesque sans serif that is notable for its reverse contrast, with the horizontal lines being thicker than the vertical. This style, historically called “Italian”, result in a dramatic effect, in which the letters look slightly odd. In his never-ending quest for interesting letterforms, [...] Stadio Now is the revival of a original design by Aldo Novarese for dry transfer brand R41, published in 1974. The original typeface, is an extra bold grotesque sans serif that is notable for its reverse contrast, with the horizontal lines being thicker than the vertical. This style, historically called “Italian”, result in a dramatic effect, in which the letters look slightly odd. In his never-ending quest for interesting letterforms, Novarese was intrigued by this style and created some successful and interesting variations on the idea, from the calligraphic slab Estro to the sci-fi Sintex. In his book Il Segno Alfabetico Novarese described Stadio as a “decorative display typeface, in the so-called nineteenth century ‘Italian’ style, but sans serif. Horizontal proportions have been visibly enlarged, offering a very intriguing graphic effect”. Published in 2021 with a prerelease version offered in occasion of Novarese’s 100th birth anniversary, Stadio Now expands the original design into a multi-weight versatile family, with text and display variants and a variable version to fully explore its reverse contrast design space. In autumn 2021 the family was expanded with the inclusion of Stadio Deva, a devanagari version of the typeface in five weights, available exclusively on Canva.com.

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.        

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. 

Created as a logo typeface in 2006 by Francesco Canovaro, Sugo is one of Zetafonts oldest and most loved typefaces. A condensed geometric sans with a robust body, slightly rounded corners and no-nonsense street style attitude, it was designed in two weights (regular and extralight) and later modified to create the funky Sugo Funghetto weight, and used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Cocogoose [...] Created as a logo typeface in 2006 by Francesco Canovaro, Sugo is one of Zetafonts oldest and most loved typefaces. A condensed geometric sans with a robust body, slightly rounded corners and no-nonsense street style attitude, it was designed in two weights (regular and extralight) and later modified to create the funky Sugo Funghetto weight, and used by Cosimo Lorenzo Pancini as base inspiration for the design of the successful Cocogoose typeface. In 2018 the family was completely redesigned by Andrea Tartarelli, expanding the original glyph set to include cyrillic and greek and adding three extra weights and italics to the original two weights. The restored and revamped version, named Sugo Pro Classic, also includes full Open Type features for positional figures, Alternates and Small Caps, and restores alternate glyph shapes created by Canovaro for the original Sugo, accessible as Stylistic Alternates. A companion typeface, Sugo Display, uses these alternates as base glyphs and provides a tighter kerning, ideal for display use and logo design. The sturdy, robust design of Sugo makes it an ideal choice for sports branding and street-style editorial use. Lighter weights provide great legibility at small sizes while the regular and bold weights are more suited to titling, logo and headlines. Original styles are included in compatibility packs of matching weights.

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.

Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous [...] Thicker is a type-family designed for Zetafonts by Francesco Canovaro with Andrea Tartarelli. A geometric sans typeface on steroids, it was first designed in the muscular extrablack weight with the aesthetics of high-power dynamic typefaces used in sports communication, and then developed in the lighter weights where the shapes show some vintage-inspired proportions and the slightly squared look that nods to Novarese famous Eurostile, eponymous with retro-futurism. With these diverse influences the typeface allows for both impressive display use and effective logo design as well as more fine-tuned editorial use in body text - with a natural inclination for effective and powerful advertising. Sports typography usually uses italics to add dynamism and impact, and Thicker complies with this by offering a choice of three alternate italic forms with different slant, made even more customizable by the inclusion of variable font technology that allows fine tuning of the weight range as well as precise choice of typeface slant.  In each of the 44 weights of the typeface family (as well as in the all-in-one variable type solution) Thicker offers a extended charset of over 900 latin, cyrillic and greek glyphs, covering over two hundred languages and including useful Open Type features (Alternate forms, Positional Numerals, Small Caps and Case Sensitive Forms) for flawless typesetting.

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.

Amazing Grotesk is a semi slab serif typeface family designed by Cosimo Lorenzo Pancini developing an original logo created by Francesco Canovaro. [...] Amazing Grotesk is a semi slab serif typeface family designed by Cosimo Lorenzo Pancini developing an original logo created by Francesco Canovaro.   It's a typeface designed to embody the characteristics of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the ultra heavy characters drawn by Francesco Canovaro. The basic shape has a modernist logic with slight calligraphic variations like the tail of the j, of the l and the hectic k. Uppercase letters are drawn with a slab serif look, as the font is thought to work better in upper/ lowercase combinations. The family comprises 4 weights from light to ultra with an italic version. Lighter weights were developed keeping the width of the character consistent and adding length to the slab serif.   Amazing Grotesk covers over 40 languages that use the Latin alphabet, with full range of accents and diacritics, and features full cyrillic and greek alphabets The Amazing Grotesk includes the free font Amazing Infographics, a font designed to make information graphics easier to design.Through use of opentype letter substitutions, it can transform sequences of numeric characters into corresponding pie and bar charts, as well as male and female icons.    The "@" character is used as a wildcard for the special sequences: following it with a "p", for example, and a number from 1 to 100 will display the corresponding pie chart. In this way, infographics can be kept editable at any moment without having to use graphic design software.   Also, Amazing Infographics can be used with font face technology on the web  o display charts that are both scalable and easily changed in realtime through dynamic html5.  

Arturo is a sans serif family designed by Francesco Canovaro as part of his research in the digital reinvention of handmade brush lettering. [...] Arturo is a sans serif family designed by Francesco Canovaro as part of his research in the digital reinvention of handmade brush lettering. Marrying a fun, playful approach to letterforms to the versatility of a text family with multiple weights and advanced features, Arturo comes in seven weights with matching italics, and sports a wide array of OpenType features including stylistic alternates, small caps and discretionary ligatures (providing options for display usage and fine-tuning in logo design) as well as more offbeat features as ordinals, superior and inferior numerals, tabular, lining and oldstyle figures and OpenType-generated fractions.  The family is complemented with a outline version that can be used on its own or together with the heavy weight  for multilayer color font inventions.

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.  

This typeface - the third in the Zetafonts Signature artist-designed fonts - was hand drawn by italian illustrator Matteo Berton and lovingly digitized by Zetafonts to be used as main lettering font of the graphic novel "Voyage au Centre de la Terre" edited by La Pasteque, a lavishly illustrated re-telling of the classic Jules Verne tale. [...] This typeface - the third in the Zetafonts Signature artist-designed fonts - was hand drawn by italian illustrator Matteo Berton and lovingly digitized by Zetafonts to be used as main lettering font of the graphic novel "Voyage au Centre de la Terre" edited by La Pasteque, a lavishly illustrated re-telling of the classic Jules Verne tale. Born to complement the artist unique digital painting style, the typeface follows the Didot proportions with handmade quirks and differences, made natural by the programmed randomization of three different sets of alphabetic glyphs, to give a consistent and realistic handmade look. The chalky, rough finish is designed mainly for small point text size, to give a natural appearence to small texts, captions and any time you need hand-written notes to look realistic, elegant and readable. The typeface covers over seventy languages using latin alphabet, and includes also cyrillic glyphs for basic russian coverage. It comes in two weights, both with multiple character sets, alternating thanks to open type ligatures. 

Cinematografica is an Ultra Condensed Small Caps typeface created by Francesco Canovaro, developing his previous "Aliens & Cows" Typeface and used in the advertising campaign for Lucca Comics 2017 Festival. The family features seven weights from thin to heavy with open type alternate glyphs and some full word ligatures (accessible by typing an underscore after words like "and", "or", "the"). Cinematografica extra narrow width allow for extreme [...] Cinematografica is an Ultra Condensed Small Caps typeface created by Francesco Canovaro, developing his previous "Aliens & Cows" Typeface and used in the advertising campaign for Lucca Comics 2017 Festival. The family features seven weights from thin to heavy with open type alternate glyphs and some full word ligatures (accessible by typing an underscore after words like "and", "or", "the"). Cinematografica extra narrow width allow for extreme space-saving situations like movie posters and screen infographics.

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.

Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli, Kabrio is a sans serif typeface for the lovers of minimal design, high speed and great curves. Quick, efficent and great looking like a sports car on the winding roads of the French Riviera, Kabrio has been expertly crafted in Italy with a striking bodywork and finley tuned design details. Try it for a test-drive and enjoy the sheer pleasure of the Kabrio experience. [...] Designed by Cosimo Lorenzo Pancini and Andrea Tartarelli, Kabrio is a sans serif typeface for the lovers of minimal design, high speed and great curves. Quick, efficent and great looking like a sports car on the winding roads of the French Riviera, Kabrio has been expertly crafted in Italy with a striking bodywork and finley tuned design details. Try it for a test-drive and enjoy the sheer pleasure of the Kabrio experience. Kabrio features four different corner treatments to offer variation in display and logo use: the "alternate" variant features slightly rounded corners, that become even more round in the "soft" variant. "Abarth" features cut corner for a more mechanical, cold look. Each variant comes in seven weights with matching italics, for a grand total of 56 weights to add to your typographic palettes. All Kabrio weights feature an extended character set with accents to cover over forty european languages as well as russian and bulgarian cyrillc. Open type features include stylistic alternates and a wide arrange of numerals (oldstyle, tabular, tabular oldstyle, superior, inferior, fractions) to allow you maximum flexibility to use Kabrio in number-heavy documents: spreadsheets, tables, timetables.

Panforte Pro is the basic ingredient for any tasty visual feast: a prime-cut font family, deliciously readable online and offline, space-saving and organic, appealing to hipster consumers and seasoned gluttons. [...] Panforte Pro is the basic ingredient for any tasty visual feast: a prime-cut font family, deliciously readable online and offline, space-saving and organic, appealing to hipster consumers and seasoned gluttons.   Hand drawn in easy big strokes, its a very condensed typeface that allows you to typeset easily long texts.Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, spiced with hand-picked diacritics and comes also with a tasty side dish of greek and cyrillic characters. For all the nouvelle cuisine open type chefs, it features a set of proper small case character set and alternate oldstyle numerals, as well as a set of repeating letter ligatures to avoid that metallic taste of repeating double characters. Try it in our editable html5 sampler page.   Take care: 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. Check before buying!