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.

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.

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). 

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.

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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.

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!

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.