Advertsing Script is a brush script typeface inspired by a handmade sample drawn by the calligrapher Ross Frederic George and depicted in  Speedball 1947 Textbook  Manual. Advertsing Scripti has a vintage brush script look, perfect for food packaging, display and logo design and period advertising.

The original design has been completely reworked and extended by the Zetafonts Masterclass 2016 Team to provide three lighter weights, a rough and a monoline variant, and to produce an extended character set with open type support for ligatures, alternates, European languages and ending swashes.

Advertising Script covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in four weights plus a special monoline weight.

Advertising Script makes full use of Open Type ligatures to provide swashes, alternates and a wide array of ligature characters for a more handmade, natural look. Swashes can be accessed through glyph palette or by typing one to six underscores after the letter.

Take care: open type features 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!

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.

Banana Yeti is a brush script typeface with a condensed vertical slant, inspired by a handmade sample drawn by the calligrapher Ross Frederic George and depicted in  Speedball 1947 Textbook  Manual.

Banana Yeti has a vintage brush script look, perfect for food packaging, display and logo design and period advertising.

The original design has been completely reworked and extended by the Zetafonts Masterclass 2016 Team to provide three lighter weights, and a monoline variant, as well as to produce an extended character set with open type support for ligatures, alternates, European languages and ending swashes.

Banana Yeti covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in four weights plus a special monoline weight.

Banana Yeti makes full use of Open Type ligatures to provide swashes, arching letters and a wide array of ligature characters for a more handmade, natural look. Swashes can be accessed through glyph palette or by typing one to six underscores after the letter. Typing an underscore before a phrase creates arching text; close arch with another underscore. Variant ampersands can be accessed through glyph palette or by typing multiple ampersand characters.

Take care: open type features 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!

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The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary. The languages only differ in their grammar, their pronunciation and their most common words. Everyone realizes why a new common language would be desirable: one could refuse to pay expensive translators. To achieve this, it would be necessary to have uniform grammar, pronunciation and more common words. If several languages coalesce, the grammar of the resulting language is more simple and regular than that of the individual languages. The new common language will be more simple and regular than the existing European languages. It will be as simple as Occidental; in fact, it will be Occidental. To an English person, it will seem like simplified English, as a skeptical Cambridge friend of mine told me what Occidental is. The European languages are members of the same family. Their separate existence is a myth. For science, music, sport, etc, Europe uses the same vocabulary.

Hello Script is a high contrast calligraphic script designed by Cosimo Lorenzo Pancini, featuring monoline swashes and terminals and strong, round body shapes designed with a parallel nib. It covers over 40 languages that use the Latin alphabet, with full range of accents and diacritics, and comes with over ten different swashes and two decorative fill typefaces (Hello Script Fill and Hello Script Striped Fill) to use as multilayer colour fonts.

The Hello family features a sans serif companion (Hello Sans) as well as a christmas-themed version (Hello Christmas) with a set of Icons (Hello Christmas Icons, designed by Cristiana Pezzatini), both featuring multilayer color fill.

Please Notice: Hello Script makes full use of Open Type substitutions to avoid letter clashes in uppercase and provide ligature, alternate and end characters. Ending forms can be accessed through openscript by typing an underscore after the letter, while multiple hypens before and after a word provide additional flourishes. Some advanced features (alternate endings & 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!

Older versions: Older, number-less versions for multi-size screen composing (Hello Script Large Size, Hello Script Small Size, Hello Script XXsmall Size) have been discontinued and are provided in the compatilbility pack to Hello Script. 

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.

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 the clear cut aesthetics of Bézier 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.

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.