zetafonts

Marcovaldo

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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.

Marcovaldo • 1 styles

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Coco Tardis

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Cosimo Lorenzo Pancini’s Coco Gothic has just been updated to an awesome new Pro version (out now on MyFonts) and we thought that its wide array of historical alternates could be made more visible... Coco Tardis, the first time traveling typeface, was born! [...] Cosimo Lorenzo Pancini’s Coco Gothic has just been updated to an awesome new Pro version (out now on MyFonts) and we thought that its wide array of historical alternates could be made more visible... Coco Tardis, the first time traveling typeface, was born! It’s easier to use than Doctor Who’s blue phonebox or a De Lorean: just select the date with a handy variable font slider, and Coco Tardis will magically take on a period-relevant appearance.

Coco Tardis • 1 styles + variable

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Gronau

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Andrea Tartarelli discovered the letterforms that would inspire his Gronau family in a 1912 specimen by the Berlin-based Wilhelm Gronaus Schriftgießerei, that showcased the typeface Fette Reichs-Deutsch, designed by Wilhelm Gronau in 1902. Even if Gronau also cerated Art Nouveau inspired typefaces like Berolina or idiosyncratic Sütterlin “blackletter cursives” like Hohenzollern Schrift, his work mostly centres on gothic letter shapes. [...] Andrea Tartarelli discovered the letterforms that would inspire his Gronau family in a 1912 specimen by the Berlin-based Wilhelm Gronaus Schriftgießerei, that showcased the typeface Fette Reichs-Deutsch, designed by Wilhelm Gronau in 1902. Even if Gronau also cerated Art Nouveau inspired typefaces like Berolina or idiosyncratic Sütterlin “blackletter cursives” like Hohenzollern Schrift, his work mostly centres on gothic letter shapes. Fette Reichs Deutsch, that Tartarelli digitised as Gronau Fette, sports a very broad and square structure, mild contrast and a very geometric treatment of shapes, with slightly rounded terminals, straight lines and clear 45 degree angles. This unusual, pre-modernist approach to letterform inspired Tartarelli to explore its potential for display use, with the creation of an inline version that modernises the original and pushes to the maximum its dynamic energy. Gronau inline design transforms the broad nib marks into a ribbon folding in 3d to recreate the original letterforms, adding a dynamic, sporty language to the original typeface gothic feel. With Gronau Neue, Tartarelli tried to find a contemporary, gestural interpretation of blackletter shapes, adding a slightly calligraphic look and feel to to the original hasty lines and energetic construction. This third variant of Gronau is the one that most departs from the original mode: using generous x-height and condensed proportions, it achieves a more contemporary feel and extends the family expressive range into display, editorial and packaging options. All the versions of Gronau sport a wide range of Open type features and glyph alternates, further enriching the usage possibility of this typeface that embodies our contemporary swap culture by embracing the many subtleties and historical interpretations of blackletter typography while at the same time playfully expressing with a digital, dynamic spirit.

Gronau • 4 styles

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Swanstone

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Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary [...] Mario De Libero designed Swanstone while investigating XIX Century Old Style typefaces. Designs like Theophile Beaudoire’s Romana (1860) or Miller & Richard’s Modernized Old Style, that re-imagined the classical “Venetian” letterforms adding flared serifs and early Art Nouveau influences. In Italy, one of these fonts was Raffaello Bertieri’s Raffaello, which De Libero used as the starting point of his research in a contemporary retelling of these exuberant and sexily unsettling letterforms. Developed as a single weight to be released in our Zetafonts Singularity line, Swanstone will be available for a limited time as a gift to all subscribers of Zetafonts Type Club. Don’t forget checking our next newsletters!

Swanstone • 1 styles

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Visconte

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After Marcovaldo, here comes Visconte: a new singularity variant expanding the Calvino typeface family by Andrea Tartarelli with Cosimo Lorenzo Pancini and Francesco Canovaro as a branding font for the Desina Graphic Design Festival in 2023. It takes the design of the original Calvino typeface in the "brutal serif" territory, expanding spiky serifs and creating unexpected distortions and connections while keeping the original calligraphic old [...] After Marcovaldo, here comes Visconte: a new singularity variant expanding the Calvino typeface family by Andrea Tartarelli with Cosimo Lorenzo Pancini and Francesco Canovaro as a branding font for the Desina Graphic Design Festival in 2023. It takes the design of the original Calvino typeface in the "brutal serif" territory, expanding spiky serifs and creating unexpected distortions and connections while keeping the original calligraphic old style structure of the Calvino Family. The typeface takes its name from Italo Calvino's famous novel "Il Visconte Dimezzato" and uses the lowercase letter "i" as a way to evoke its surreal premise, with its titular character split in two by a cannon ball. The whole family expands on the contrast axis of Calvino, going beyond the "Grande" subfamily to look for a more extreme contrast, to be used mainly in display / poster size. Raw and unapologetic, this variant of Calvino has all the ruthless fascination of the italian middle ages, and it's thought for editorial headlines, posters and book covers, and other attention-grabbing designs. Visconte is perfect for pushing boundaries and creating a design that stands out from the crowd, so if you want to make a bold impact, Visconte is the font for you.

Visconte • 1 styles

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Deep dream

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Deep dream is a collection of generated Typefaces. This is our first font collection created with the help of an AI, The fonts are generated from 50.000+ vector shapes, we used a Deep Neural Network to create new typefaces from these shapes, the results are amazing, each font have a different story, some are more organic, some have a tech feel, some have a retro feel, but all of them are beautiful in their own way and can be used for any kind of [...] Deep dream is a collection of generated Typefaces. This is our first font collection created with the help of an AI, The fonts are generated from 50.000+ vector shapes, we used a Deep Neural Network to create new typefaces from these shapes, the results are amazing, each font have a different story, some are more organic, some have a tech feel, some have a retro feel, but all of them are beautiful in their own way and can be used for any kind of projects, Deep dream typefaces are here to stay and we will keep creating more and more, stay tuned! (This description is not written by humans)

Deep dream • 2 styles

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Geppetto

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The project of Geppetto started as a revival of a condensed Tuscan typeface family appearing in the 1903 Tubbs Wood Type catalog. The design, probably derived from an 1859 typeface by William Hamilton Page, was used by Cosimo Lorenzo Pancini as a basic frame on which to build a variable typeface expanding the design space on a width axis. Named after the character in Carlo Collodi’s notorious fibster Pinocchio, Geppetto is at the same time a [...] The project of Geppetto started as a revival of a condensed Tuscan typeface family appearing in the 1903 Tubbs Wood Type catalog. The design, probably derived from an 1859 typeface by William Hamilton Page, was used by Cosimo Lorenzo Pancini as a basic frame on which to build a variable typeface expanding the design space on a width axis. Named after the character in Carlo Collodi’s notorious fibster Pinocchio, Geppetto is at the same time a love letter to wood type letterforms, and an exploration of the concept of "authenticity" in a typeface revival. What is kept and what is lost in the process of making wood shapes digital? Can the rich historical texture of wood type be translated in a font that is still readable, versatile and useful in the contemporary design panorama? And which of the two is a true typeface, making the other a mere ghost?

Geppetto • 4 styles

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Quenta

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Francesco Canovaro was inspired for the design of Quenta by the discovery of the handlettered masthead of Queenslander, a weekly magazine of news related to "society, sport, literature, theater and rural life", published in Queensland, Australia, during the first half of XIX century. [...] Francesco Canovaro was inspired for the design of Quenta by the discovery of the handlettered masthead of Queenslander, a weekly magazine of news related to "society, sport, literature, theater and rural life", published in Queensland, Australia, during the first half of XIX century. The condensed serif letterforms of the magazine title, embellished by a highlight effect, had been complemented by a vibrant cursive script. It was an eye catching combination typical of the so called "showcard" lettering style, widely used in advertising during the first half of last century. Looking for the same vintage vibes, Francesco's research moved to the books by penmasters like Ross F. George or Samuel Weld. In their showcard manuals, he found a peculiar ambiguity in the letterform treatments, halfway between calligraphic execution and contour drawing. This warm, human touch and the historical references gave the condensed shapes of Quenta a lively personality and a literary charme. To match a design so rich in vintage storytelling, Francesco choose for the typeface a name that comes from the writings of one of the master world-builders of the last century. "Quenta" is the Elven word for "story" used by J.R.R. Tolkien in the Silmarillion. To let you experiment with his vintage decorative layers, Quenta comes in four styles and different color font formats. It also includes Discretionary ligatures to allow you to use script elements to enrich its expressive range for editorial and logo design.

Quenta • 4 styles

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