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.
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).
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.
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.
