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).
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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.
The letterforms that we now accept as the historical standard for printing latin alphabets were developed in Italy around the end of 1400. Deriving from Roman capitals and from italic handwriting, they soon replaced the blackletter letterforms that were used a few decades before by the first moveable type printers like Gutenberg. Keratine, designed by Cosimo Lorenzo Pancini, exists in a space between these two traditions, mixing the proportion of humanistic writing with the strong slabs and fractured handwriting of gothic calligraphy. At small point size it keeps it readability while it shows all its strong personality when used in big point size. Like our Kitsch by Francesco Canovaro it explores the impossible territory between antiqua and blackletter, not as a mere historical research, but rather as a way to re-discover and empower an unexpected and contemporary dynamism - resonating with today’s brutalist typographic taste.
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.
