Anna Pizzey

Desperate Joke is a handmade, kind of grungy, brush font with loads and loads of attitude. Every letter has 7 different versions, and by using the contextual alternates, they automatically cycle as you type!

Holden is a typeface family designed in 2018 for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli as a research in texture and extreme weight range.

Its curvy shapes, inspired by pointed brush aesthetics, are developed in six different weights, from the lightly contrasted thin to the fluid and rhythmic fat. The lightest weights are mostly designed for text usage, while the heavier weights work better at display sizes, where the extreme shapes and tight counter-spaces are better appreciated.

Holden aims to fill the space between display and text typeface, with a range of variants that allows maximum expression in display use and great legibility in long texts, on the web and at small size. It’s designed for editorial or packaging use where a contrasting range of weights and variants is required to fight monotony while keeping branding consistent.

All Holden fonts include full open type features with stylistic alternates, small caps, discretionary ligatures, positional number forms, swash forms (in italics) and full language coverage for +70 languages using latin alphabet.

An array of extra decorative dingbats are included to complement your design with pointing manicules and fleurons (also called “horticultural dingbats” by Robert Bringhurst in The Elements of Typographic Style).

Neuropa is a five-weight semi-extended sans that projects a muscular corporate authority. The bowls of the rounded characters use an ‘obround’ form, and the apexes of the A and V and the uprights on the D and E are curved to suggest a sleek modernity.

Need a font for your headlines? Go for Chargeback!

Maskina is straight out of the future...well, only if you live in 1985! Just kidding, the Machine font was made to look retro futuristic...but with a slight twist of the 21st century.
Use this future font for your headlines, logos or perhaps even if you have sci-fi documentary in mind!

Vandmelon (watermelon in English) is one of my all-time favorite fruits. The letters in this font actually made me think of watermelon. The ripe watermelon is juicy and has got the right kind of taste. Take a closer look at the smooth curves of the font, and tell me if you too think of watermelon! :)

TT Firs Neue is a contemporary reincarnation of the good old Scandinavian TT Firs sans-serif. In the process of updating the old typeface, we realized that the number of innovations and the amount of work done definitely deserve a full-fledged new release, and thus TT Firs Neue has come to life.

What has changed? Everything, starting from the proportions of letters and ending with a new formula for the interpolation of weights! So, we changed the proportions of uppercase and lowercase characters; corrected the difference in weight between the letters in fonts of different weights. We changed the basic thicknesses of the strokes so that none of their 18 fonts would stand out with their weight and would be completed following a strict system. We created completely new Italics. And, of course, we made changes directly to the style of the typeface and its letters—the letters have become fresher and cleaner from the geometric point of view.

The most interesting change in the font is the significant extension of its scope. While the old type family was primarily focused on display matters—that is, very large short inscriptions, the new version implies active use of the typeface in the text and on the web. With all this, the font’s character has not been weakened, but has even gained some more strength. This can be perfectly seen in the radical extenders of the letters gltf, or in the super-display visual compensators for horizontal strokes in the bold weights of the typeface. Even though the standard display of TT Firs Neue has become brighter and more audacious, you can always calm it down a little by simply turning on stylistic alternates.

And that is not all! And how about small capitals, and other OpenType features, you ask? In TT Firs Neue, you will find small caps (for Latin and Cyrillic alphabets) and a set of stylistic alternates. In addition to the “standard ligatures”, in TT Firs Neue you can find a large number of original ligatures (30 items) for capital letters, which cover popular two- and three-letter high-frequency combinations from Scandinavian languages. In addition, to support the linguistic features of Scandinavian countries, we prepared a set of capital letters with pinned-down diacritics (including their small capital versions). To access this function, you need to use the calt feature (contextual alternates), or enable the second stylistic set (ss02) in InDesign. And that’s not all, there are a lot of useful features in TT Firs Neue, such as: ordn, case, c2sc, smcp, ccmp, frac, sinf, sups, numr, dnom, tnum, onum, lnum, pnum, dlig, liga , salt (ss01), ss02, locl, calt.

Spitzenklasse is for that project of yours, where you need something really stylized, legible and beautiful at the same time!

Body is a type family designed for Zetafonts by Cosimo Lorenzo Pancini with Andrea Tartarelli. Conceived as a contemporary alternative to modernist superfamilies like Univers or Helvetica, Body tries to maximize text readability while providing a wide range of options for the designer. It comes in two variants (Body Text and Body Grotesque), each in four widths and four weights: regular and bold for basic typesetting, light and extrabold for display use.

Body Grotesque applies to the sans serif modernist skeleton little imperfections and quirks inspired by our research in early 20th century type specimens. Curves are slightly more calligraphic and a light inverse contrast is applied to bold weights, giving the typeface a slight vintage appearance in display use.

Body Text, on the contrary, challenges the modernist aesthetics maximizing horizontal lines and using open terminals for letters like “s” and “a” that appear normally dark in modernist grotesques.

For both variants, the normal width family is slightly condensed in an effort to maximize space usage; the Slim width is provided for extremely dense texts or side notes while the Fit width is optimized for display usage as in logos, headings or titles. The Large width manages to look elegant in its light weight while becoming a valid heading or subtitle font in its extrabold weights.

All the 64 fonts in the Body superfamily include a complete latin extended character set with small caps for over 70 languages, Russian cyrillic, open type positional numbers, stylist sets and alternate forms.

Sugarbell is ready for your next project that needs a little extra handmade energy!