Designed by Francesco Canovaro, Adlibitum is a display typeface designed as a contemporary restyling of old textura medioeval script characters. It features a strong vertical accent and a geometric design, with 45 degrees angles and soft round corners.

It comes in three weights and features an extended character set with support for European languages, and open type support for ligatures.

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.

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.

Its shapes are defined by rough, wide brushstrokes, slightly rounded in corners to mimic the feel of a real handwritten casual script.

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.

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). 

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). 

Bistecca is a condensed serif font.
Highly readeable, it was created for headlines, captions and stylish text blocks.

The Brush Strike Family is an exercise in dynamic, gestural brush type design by Francesco Canovaro. The typeface contains no lowercase set, but it doubles the uppercase with a strikethrough alternate set to be used for dynamic logo design and unusual word highlighting. Two weights are avalaible with consistent design: the light weight (Brushstrike Light aka Lightstrike) can work togheter with the heavier regular weight but can also be used in white on dark background for light effects.

ByÅ?m is a contemporary sans serif typeface family designed by Francesco Canovaro.

ByÅ?m is based on natural, round shapes that convey a strong statement of ease, and clarity. It strives to bring to web, app and print design an essential spirit of purity, transparency and natural balance.

ByÅ?m covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics; it comes in four weights and includes a custom designed icon set for pixel perfect screen visualization at 16 px base and multiples.

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 Pro ME is an extended version of the Codec Pro typeface, offering full support for Arabic and Hebrew scripts. Based on the original 2017 design, it retains the wide weight range and rich OpenType features of the original. The Middle Eastern extension was developed with Oded Ezer (Hebrew) and Omaima Dajani (Arabic), aiming to bridge cultures through a unified, inclusive typographic design.

Digitalino Typeface has been expanded and renamed to the new Altair Typeface, with 7 weights and matching italics.

Discover the new Altair Typeface that developes Digitalino unique style into a full family ready for text and display use.

Duepuntozero is a rounded sans serif font created to add a contemporary touch to 2.0 logos and  headlines. Inspired by the latest social networks and instant messaging applications.

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.

Freehand is a type system designed by Debora Manetti and Francesco Canovaro to emulate the natural appearance of handmade brush writing. Open type ligature substitutions are used to randomly alternate between different versions of each character to give the final output a realistic, uneven look.

The main typeface of the system is a wide freestyle brush cursive, featuring over four hundreds of alternate version for characters and double letter ligatures.

A "brush easy" version is included without the substitutions if you need more consistent look in your design and better control over letter variation through the glyph panel.

The two freehand brush weights are complemented by two sets of icons of matching style, one for ui design with navigation icons and one with food icons.

The system also includes a blockletter family in two weights, to be used together with the other fonts to create variation and contrast in your design.

Freehand covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics.

Morbodoni is a contemporary redesign of the ultrafat bodni typefaces. It features rounded corners and slightly fatter serifs that allow for lower contrast, better web rendering and a softer look. It's part of the Fonticio Typeface Family, designed to provide a serif typeface with display capabilities but good text rendering both offline and online.

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. 

UX Sans: A Monoline, Monoweight Sans-Serif Font for Web Interfaces

UX Sans is a new sans-serif font designed by Zetafonts specifically for web interfaces. The font is characterized by a monoline and monoweight appearance, making it ideal for readability on digital screens.

UX Sans' uniform lines make the font easy to read from any distance, even on small devices. The monoweight, on the other hand, ensures a consistent and uniform appearance regardless of the selected font weight.

UX Sans is available in a range of 10 weights, ranging from hairline to black. The lighter weights are ideal for titles and headings, while the heavier weights are suitable for body text and for highlighting important information.

Additionally, UX Sans supports a range of special characters, including accented letters, mathematical symbols, and OpenType features. This makes it a versatile font suitable for a variety of web projects.

In summary, UX Sans is a monoline, monoweight sans-serif font designed for maximum readability on digital screens. It is available in a range of 10 weights and supports a range of special characters.

This description is based on the previous font descriptions of Zetafonts, particularly those of Ambra Sans and Aquawax Pro. Like Ambra Sans, UX Sans is a modern and versatile sans-serif font, while like Aquawax Pro, it is elegant and minimalist.

The description highlights the key features of UX Sans, namely the monoline and monoweight appearance, which make it ideal for readability on digital screens. Additionally, the description mentions the availability of a range of 10 weights and the support for a range of special characters.

This description is more accurate, as it is based on fonts actually created by Zetafonts. However, it is still possible to make further changes to make it more specific to the UX Sans font. For example, one could mention the fact that UX Sans is designed to be used in a variety of sizes and resolutions, or that it has been optimized for viewing on different types of devices.