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A Day Without Sun is an ultra-condensed version of Panforte, created by Cosimo Lorenzo Pancini based on the design of Debora Manetti for Panforte. Hand drawn in easy big strokes, its an extremely condensed typeface that allows you to typeset text in faux-handamade fashion, with the subtle elegance of vintage handlettered menus. Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, [...] A Day Without Sun is an ultra-condensed version of Panforte, created by Cosimo Lorenzo Pancini based on the design of Debora Manetti for Panforte. Hand drawn in easy big strokes, its an extremely condensed typeface that allows you to typeset text in faux-handamade fashion, with the subtle elegance of vintage handlettered menus. Lovers of world cuisine will be delighted to discover that it supports over forty languages using the latin alphabet, spiced with hand-picked diacritics and comes also with a tasty side dish of greek and cyrillic characters.Its grungy, handmade characteristics are visible at medium and high point sizes but do not impact the effect of the font when set in text. A Day Without Sun open type features include small case characters, oldstyle numerals and a series of ligatures that help keeping the distinctive handmade look (they can be switched off by unchecking the “standard ligatures” option in your design software). A Day Without Sun includes some special ligature dingbats, accessible by typing the corresponding sequence of characters: please refer to the specimen for a guide to typing.

A day without sun • 8 styles

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Aliens and Cows

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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 [...] 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.

Aliens and Cows • 7 styles

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Amazing Grotesk

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Amazing Grotesk is a semi slab serif typeface family designed by Cosimo Lorenzo Pancini developing an original logo created by Francesco Canovaro. It's a typeface designed to embody the characteristics of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the ultra heavy characters drawn by [...] Amazing Grotesk is a semi slab serif typeface family designed by Cosimo Lorenzo Pancini developing an original logo created by Francesco Canovaro. It's a typeface designed to embody the characteristics of the startup scene: a feeling of innovation, information and energy, with a desire for simplicity and straightforward communication. The basic design shapes for the font come from the strong personality of the ultra heavy characters drawn by Francesco Canovaro. The basic shape has a modernist logic with slight calligraphic variations like the tail of the j, of the l and the hectic k. Uppercase letters are drawn with a slab serif look, as the font is thought to work better in upper/ lowercase combinations. The family comprises 4 weights from light to ultra with an italic version. Lighter weights were developed keeping the width of the character consistent and adding length to the slab serif. Amazing Grotesk covers over 40 languages that use the Latin alphabet, with full range of accents and diacritics, and features full cyrillic and greek alphabets The Amazing Grotesk includes the free font Amazing Infographics, a font designed to make information graphics easier to design.Through use of opentype letter substitutions, it can transform sequences of numeric characters into corresponding pie and bar charts, as well as male and female icons. The "@" character is used as a wildcard for the special sequences: following it with a "p", for example, and a number from 1 to 100 will display the corresponding pie chart. In this way, infographics can be kept editable at any moment without having to use graphic design software. Also, Amazing Infographics can be used with font face technology on the web o display charts that are both scalable and easily changed in realtime through dynamic html5.

Amazing Grotesk • 9 styles

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Ambra Sans

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Ambra is a humanist sans typeface family, drawn around a lively, expressive skeleton but developed with a contemporary, post-digital sensibility that implies low contrast and tall x-height.

Ambra Sans • 21 styles + variable

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Anaphora

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Anaphora is a contemporary serif typeface designed by Francesco Canovaro with Cosimo Lorenzo Pancini and Andrea Tartarelli. [...] 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.

Anaphora • 25 styles

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[...]

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Antipasto

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Antipasto • 17 styles

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Aquawax

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Codec (Warm/Cold) has been expanded and renamed to Codec Pro. Codec typeface is not supported more from Dicember 2019.

Aquawax • 18 styles

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Bakemono

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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 [...] 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).

Bakemono • 22 styles + variable

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Brushstrike

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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 [...] 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.

Brushstrike • 2 styles

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Coco Tardis

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Coco Tardis • 1 styles + variable

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Codec Pro

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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. [...] 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.

Codec Pro • 10 styles + variable

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Codec Warm Cold

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Codec (Warm/Cold) has been expanded and renamed to Codec Pro. Codec typeface is not supported more from Dicember 2019.

Codec Warm Cold • 43 styles

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Doc porn

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Filetto

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Filetto • 3 styles

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Heading Pro

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Heading Pro is a typeface family designed by Francesco Canovaro for Zetafonts. [...] Heading Pro is a typeface family designed by Francesco Canovaro for Zetafonts. The original design has been expanded and developed by the Zetafonts Team (Andrea Tartarelli, Cosimo Lorenzo Pancini, Chiara Ghezzi) in a full type system of 146 variants. Built around 8 different widths from ultra-compressed to ultra-wide and nine weights from thin to black, Heading Pro provides a wide spectrum of sans serif type solutions to your design problems. Born as a space optimizing typeface for headers and titles, Heading Pro can be used in its ultra-compressed, compressed and normal widths to optimize space on the printed page and on the screen. In these widths Heading Pro excels in titles and subheadings, timetables, name and credit lists and cases of exuberant and excessive copywriting. Heading Wide and Heading Ultra-Wide are extended width variants that have been added to the original family to be used for titling where style and raw energy matter more than pixel or paper economy. Still keeping the original design of Heading, with a (post) modernist attention to readability and detail, the wide sizes allow you to write strong headlines and play with subheadings and short text blocks. Accompanying italics can provide you with versatility in text use as well as a viable display alternate for bolder weights, with a strong sport/energy feel. But Heading family is not only made for extreme widths: the original condensed family has been complemented with a range of three medium width variants: Heading Medium, Heading Double and Heading Treble. When you need to pair the extreme display widths with some medium-proportioned text, these three widths allow you to design text block with a fine grain control on appearance and a wide array of open type features. Each Heading Pro typeface includes over 800 characters with coverage for 100+ languages using Latin, Cyrillic and Greek alphabets. A full array of open-type features is included in each weight including stylistic alternates, small caps, oldstyle and tabular numerals and positional figures.

Heading Pro • 146 styles

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Keratine

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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 [...] 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.

Keratine • 17 styles + variable

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Kitten

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Kitten is a multi weight script family with a signpainter aestethic and a wide range of variants, alternates and ligatures designed by Cosimo Lorenzo Pancini, with cat dingbats designed by Isabella Ahmadzadeh. Kitten curvy, bold shapes in the regular weight are perfect for logo design and display use, while the clean lighter weights, as well as the Monoline and the condensed Slant variant, are perfect for longer text blocks. [...] Kitten is a multi weight script family with a signpainter aestethic and a wide range of variants, alternates and ligatures designed by Cosimo Lorenzo Pancini, with cat dingbats designed by Isabella Ahmadzadeh. Kitten curvy, bold shapes in the regular weight are perfect for logo design and display use, while the clean lighter weights, as well as the Monoline and the condensed Slant variant, are perfect for longer text blocks. Kitten covers over 40 languages that use the Latin alphabet, with a full range of accents and diacritics. It comes in five weights and has three style variants: Regular, Slant and Swash. Kitten makes full use of Open Type ligatures to avoid letter clashes in uppercase and provide 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. A space followed by one to eight underscores produces different cat silouhettes. 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!

Kitten • 16 styles

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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 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 [...] 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.

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Mayson Arabic

اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎ اببب ججج دههه وزححح ططط ييي ككك للل ممم ننن سسس ععع ففف صصص ققق رششش تتت ثثث خخخ ذضضض ظظظ غغغء‎

Inspired by the rules of Arabic calligraphy, Latin letterforms adapt to some of its signature elements like sharp nib rotation angles and fluid, non-geometric shapes. To these elements, Francesco Canovaro has added a monolinear, low-contrast design principle, that paired with a wide range of weights gives the final family a bold, contemporary look, equally at home in formal business contexts and more playful, creative applications.

Mayson Arabic • 8 styles + variable

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Prozak

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Prozak • 4 styles

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Ux Sans

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

Ux Sans • 43 styles + variable

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These typefaces are defined by their extremely condensed, high-contrast serif and display designs, often rooted in Didone and Fat Face traditions of the 19th century, and revived or reinterpreted in the 20th century for advertising, posters, and magazine use. Their vertical stress, compressed proportions, and dramatic stroke contrast give them a sharp, glamorous, and theatrical quality, perfectly suited to headlines and luxury branding. The lineage begins with 19th-century fat faces and elongated romans, such as Pall Mall (Keystone, before 1901), Italia Condensed, Enge Antiqua (1890s, Bauer and others), and Elongated Roman (Stephenson Blake, 1937), often cast in ultra-condensed widths and capitals-only styles. These designs appeared in Victorian and early modern advertising, where space was tight and visual impact essential. Their shaded and ornamental variants, like Elongated Roman Shaded (1940), added depth and spectacle. The 20th century brought revivals and reinterpretations. Onyx (ATF, 1937, revived by Gerry Powell) became one of the iconic condensed fat faces of American typography, while Poster Bodoni Compressed and Bodoni No. 2 Ultra/Compress Ultra tied the tradition back to Bodoni’s Didone models. European adaptations included Normande Condensed (Berthold, 1952) and Liliom (Fonderie Typographique Française), continuing the lineage of narrow high-contrast display types. Phototype culture of the 1960s–70s expanded this condensed Didone style into eclectic experiments: Spire (Sol Hess, revived digitally), Olympic (Deberny & Peignot / PLINC), and Mannequin (Stocker & Gruber, 1954) all offered striking compressed serif alphabets for posters, fashion, and corporate imagery. Designers like William Fink (Sardonyx, 1965) and foundries like PLINC created ultra-condensed, lowercase-equipped variations that broadened the genre’s expressive palette. Later, the genre inspired hybrids and playful reinterpretations: Polyspring, a floral, ornamental take on Italia Condensed; Figura and Magari, variable or contemporary reimaginings of condensed Didones; and Smoosh, a 2015 all-caps display type for Wired, with a pixelated spinoff in Smoosh Bits. Experimental collections like Luzi Gantenbein’s First Aid Kit offer condensed serif “mini typefaces” as a postmodern echo of historical compression. Altogether, this cluster shows how condensed Didones and elongated romans evolved from 19th-century advertising to 20th-century fashion and into today’s editorial and experimental design, embodying elegance, drama, and economy of space.

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