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Prozak • 4 styles

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Doc porn

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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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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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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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Coco Tardis

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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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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 [...]

Brushstrike • 2 styles

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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 [...]

Marcovaldo • 1 styles

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Anterior • 10 styles

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These typefaces represent the “Fat Face” tradition of Didone typography, born in the late eighteenth and early nineteenth centuries as the extreme, theatrical counterpart of Bodoni and Didot’s neoclassical models. Characterized by towering contrast, narrow hairlines, and oversized vertical stems, these designs became the emblem of display printing in the 1800s, dominating posters, mastheads, and advertising. The cluster is anchored by Ultra Bodoni (ATF, 1928, Morris Fuller Benton), a spectacular American reinterpretation of the English Fat Face that pushed contrast and squareness to the limit, producing nearly rectangular counters and breathtakingly abrupt thick–thin transitions. ATF expanded the family with Condensed and Extra Condensed styles in the 1930s, securing its place as the archetypal American fat Bodoni. Alongside it, Pistilli Roman (VGC, 1970s, John Pistilli) distilled the Didone into extreme elegance and sensuality, influencing countless modern revivals such as F37 Bella and Posh. Earlier precedents included Thorowgood, Falstaff (Monotype, 1931), and the Normande / Normandia / Fette Bauersche Antiqua lineage (from German and French foundries, mid-1800s), each adapting the English model to continental tastes. Brunel (Paul Barnes & Christian Schwartz, 1995–2019) and Big Figgins faithfully revived these nineteenth-century sources, reintroducing them to contemporary publishing through St Bride and Commercial Classics. Italian and mid-century interpretations, such as Normandia (Butti & Novarese, 1949), introduced a calligraphic, Deco-inflected spin, while American designers like Ed Benguiat brought photo-lettering drama with Benguiat Montage (1960s). These were echoed in bold experimental forms like Carousel, Annlie, and later ITC explorations (ITC Fat Face, ITC Firenze). Contemporary digital designers have reimagined the Fat Face for branding and editorial use. Ohno Fatface, Mastadoni, Overdose, Zart, and Hera Big apply optical sizes, alternate sets, and fluid ball terminals for magazines and luxury branding. Eloquent JF, DiSpigna Ultra, and Margarita pay homage to both Giambattista Bodoni’s legacy and Herb Lubalin’s 1970s flair. Playful interpretations like Overdone, Pudgy Puss NF, and Las Vegas inject humor and excess, showing the style’s adaptability to pop culture and expressive typography. From the early nineteenth-century English fat faces (Figgins, Thorowgood) to ATF’s Ultra Bodoni (1928), through 1960s/70s phototype flamboyance (Benguiat Montage, Pistilli Roman), and into digital 2000s reinventions (Brunel, Ohno, Posh, Mastadoni), this cluster charts a continuous fascination with extreme contrast, luxurious elegance, and dramatic display power. These fonts embody both historical prestige and modern glamour, suited equally to book covers, fashion magazines, and nightclub posters.

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