Coco Sharp is the newest evolution of the Coco typographic project, developed since 2013 by Cosimo Lorenzo Pancini for the foundry Zetafonts, with the help of Francesco Canovaro and Andrea Tartarelli. Influenced by vernacular grotesques sign-painting and modernist ideals, and inspired by the classy aesthetic of fashion icon Coco Chanel, Coco is drawn on a classic geometric sans skeleton but applies humanist proportions and visual corrections to key letters with the aim to create a warmer, subtly vintage texture on the page and on the screen. Coco Sharp drops the rounded corners of previous incarnations (Coco Gothic and Cocogoose) to pair the typeface display and logo capability with a sharper definition for text use. As in the other Coco families, a wide range of alternate letterforms allows to express different historical moods, including elegant, quirky and unexpected designs able to transform a simple word in a memorable wordmark. The other peculiarity of Coco Sharp lies in the wide choice of x-heights given to the user, both by providing a variable version and five graded sub-families, that allows designers to fine-control text readability and space usage. Large and XLarge versions provide big and easily readable lowercase letters, perfect for small point size typesetting or bold copywriting; Small and XSmall provide smaller lowercase letters with the elegant proportions of Futura and its modernist eponyms, optimized for display use or for adding a classy flare to body text; the Regular x-height offers a "one size fits all" solution that works both for texts and for display use. Alle the 60 weights of Coco Sharp come with a full set of open type features allowing faultless typesetting thanks to small capitals, positional numbers & case sensitive forms. Use Coco Sharp out of the box as a solid workhorse family or enjoy discovering the limitless possibilities of its 2000+ latin, cyrillic and greek glyphs covering over 200 languages worldwide. • Suggested uses: perfect for modern branding and logo design, editorial design, web design, packaging and countless other projects; • 62 styles: 6 weights + 6 italics x 5 different x-heights + 2 variable fonts; • 2011 glyphs in each weight; • Useful OpenType features: Access All Alternates, Small Capitals From Capitals, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Stylistic Alternates, Scientific Inferiors, Small Capitals, Stylistic Set 1, Stylistic Set 2, Stylistic Set 3, Stylistic Set 4, Stylistic Set 5, Stylistic Set 6, Stylistic Set 7, Stylistic Set 8, Stylistic Set 9, Subscript, Superscript, Tabular Figures, Slashed Zero • 220 languages supported (extended Latin, Cyrillic, Greek alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Vietnamese, Turkish, Italian, Polish, Afaan Oromo, Azeri, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Igbo, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Greek, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Zarma, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Zazaki, Latvian, Nahuatl, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Irish, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), Māori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Kaingang, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Onĕipŏt, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Cornish, Sami (Inari Sami), Yindjibarndi, Noongar, Hotcąk (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Old Icelandic, Old Norse, Slovio (Latin), Volapük;

Maestrale is a paradigm-breaking new take on calligraphy, built around a compact, serif-style core and outrageously long, flamboyant extenders. At large sizes, its confident, charismatic lettershapes are ideally suited for branding and decorative uses, whereas longer texts at smaller sizes naturally weave themselves into a flowing texture. The font comprises 1299 glyphs, including many stylistic alternates, ligatures, small capitals, and initial, terminal, and linking forms, and offers extensive OpenType programming to support them. The calligraphic form of Maestrale is complemented by a matching text font (Maestrale Text) with short extenders, available in three cuts (a serif-style Roman, an upright Cursive, and a tilted Italic). Maestrale is all about the lowercase; its capitals are deliberately understated so as not to steal the limelight. In fact, the font works very well when set exclusively in lowercase. Maestrale�s small capitals are fitted into the core space of the lowercase, allowing them to be freely interspersed with lowercase characters. Alternately, an OpenType feature is available to replace a and e in small-caps text with their lowercase equivalents for a fresh unicase look. Since alternates and ligatures play such an important role, Maestrale offers three different modes of use. The most straightforward approach is simply to start typing using Maestrale Pro � the extensive OpenType programming will ensure that collisions between extenders are avoided and attractive ligatures are substituted for common glyph combinations. A more interactive approach is provided by the font Maestrale Manual, which allows the user to manually select alternate forms and ligatures even in typographically unsavvy applications, such as PowerPoint (as long as standard ligatures are supported). Stylistic alternates are simply represented as ligatures of their base forms with one or more instances of the rarely-used by easily-accessed characters "~" (ASCII tilde) and "`" (spacing grave accent); linking forms are built with �_� (underscore), multi-character ligatures with "|" (pipe), and initial and terminal forms with the �less than� and �greater than� characters. For instance, the Maestrale wordmark in the posters above was simply typeset with the string (`ma`est|r_a```l```e)| in Maestrale Manual (The parentheses represent �less than� and �greater than� characters here.) Feel free to type this string into the test line below and see what happens! Make sure Standard Ligatures are enabled. An instruction sheet listing all alternate forms and their accessibility is available from the Gallery tab on this page. The third mode of usage is aimed at professional designers, who make use of sophisticated software with extensive OpenType support. These power users are advised to use the font Maestrale Pro again, where all glyphs are accessible as stylistic alternates. Maestrale Text is a less extravagant but more versatile variation on the design of Maestrale, replacing Maestrale�s swashes with efficiently compact extenders. It is intended to serve as a perfectly matching text companion to Maestrale calligraphy, but constitutes a full-fledged typeface in its own right. It is equally at home at display sizes as it is in pull quotes, titles, and high-impact blocks of text. Maestrale Text comes in three complementary faces: A serif-style Roman, an upright Cursive, and a tilted Italic. Maestrale is the Italian word for �masterful�. It is also the traditional Italian name for the northwesterly mediterranean wind, better known by its French name, Mistral. Acknowledgements: I am grateful to the helpful souls on the Typophile forums for extensive feedback and encouragement on Maestrale, and to the TypeDrawers forum for feedback on Maestrale Text. This font is dedicated to Simone.

Centennial Script was designed and cut by Hermann Ihlenburg in 1876 (the centennial of American independence, hence the typeface's name) for the MacKellar, Smiths & Jordan foundry in Philadelphia. Ihlenburg was then only 33 years old, and these beautiful forms put him on his way to become the most prolific and innovative deco, ornamental and script typeface designer and punch cutter of the nineteenth century. In trying to be a true homage to the history of the new world, Centennial Script transcends its then-contemporary deco fashion to embrace script elements historically similar to lettering found on maps or political documents of the 18th century. Letters like the p and s extend themselves high and mighty to accentuate words and lines of text in a fancy hand-drawn manner. The dots on the i and j are those of a careful scribe who acknowledges the importance of the document being lettered. The lowercase letters connect with two slight angular motions of the hand, also very carefully and elegantly. Even the ligatures and ending swashes Ihlenburg made for this face were reminiscent of a mapmaker's patient hand, though Ihlenburg's elegant touch in them cannot be mistaken. Although Centennial Script was one of the few Ihlenburg faces to make it to film type technology, the transition was neither credited nor faultless. The film type version was a bit sloppy in the way the connectors were made, so the lowercase needed a lot of manual work to typeset properly. To alleviate such waste of time for the user of this digital version, the connectors were redrawn according to the original metal ones made by Ihlenburg himself, and tested thoroughly in print to ensure the quality of the typeface's flowing cursive nature. This wasn't an easy task, and very time-consuming, since the changing angles on both ends of the connection made it impossible to escape from having to build every lowercase letter with both left and right connectors that would fit with the rest of the letters. This is one typeface that couldn't be revived in any other manner than the way it was originally made, regardless of more than 130 years of technological advances since the face was designed. Centennial Script comes in all popular font formats, and supports most Latin-based languages. Also included is an Alts fonts that contains alternates, ligatures, snap-on swash endings, some ornaments, as well as a complete set of the lowercase without left side connectors, for a more natural combination when following a majuscule, or just in case the user finds it fit to set the copy in a non-connecting script instead of the face's original connected flow. Centennial Script Pro, the OpenType version, combines the main font with the Alts font in a feature-packed single font. Use the ligature feature to set wordmarks like Mr, Ms, Mrs, Dr, and &Co, the stylistic alternates feature to replace some letters with their alternative forms, the contextual alternates feature for better uppercase-lowercase sequences, and the titling feature to set your text in a disconnected script. Centennial Script is the only script we currently know of that can be set connected or disconnected simultaneously, either using the titling feature in the OpenType Pro version, or manually in the other formats.

Grotesque sans typefaces: you know you won’t ever get tired of those. And any moment you decide that Vignelli was right and one Swiss font is enough, here comes a new specimen from the past inviting you to try new takes on the modernist letterforms. It's a tight and crowded design space, so design decisions are subtle and almost unnoticeable. Whoever you decide to be in the details - either God or the Devil - you surely need a taste for the infinitesimal to work with these shapes. Time design borders sandstoning shapes, in a delicate equilibrium between modernist precise ideals and the fascinating energy of old lead grotesques. The resulting typeface develops around an idiosyncratic relationship with negative space, inspired by the tight metrics modernist designers imposed on their layouts. Leaving a text optimised spacing to the text subfamily, Milligram plays with a feeling of attraction behind shapes, something brought to the extremes in the logo-oriented Milligram Macro Variant. Designed by Cosimo Lorenzo Pancini with Andrea Tartarelli, Milligram is a fine but bold homage to the Akzidenz Grotesk that never was. • Suggested uses: Milligram is a versatile type family: perfect for modern branding and logo design (Milligram Macro), for text and editorial design (Milligram Text), web design, packaging and countless other projects; • 36 styles: 7 weights + 7 italics x 3 different styles + 2 variable fonts; • 759 glyphs in each weight; • Useful OpenType features: Access All Alternates, Case-Sensitive Forms, Glyph Composition / Decomposition, Denominators, Fractions, Kerning, Lining Figures, Localized Forms, Mark Positioning, Mark to Mark Positioning, Alternate Annotation Forms, Numerators, Oldstyle Figures, Ordinals, Proportional Figures, Scientific Inferiors, 5 Stylistic Sets, Subscript, Superscript, Tabular Figures, Slashed Zero; • 207 languages supported (extended Latin and Cyrillic alphabets): English, Spanish, Portuguese, French, Russian, German, Javanese (Latin), Turkish, Italian, Polish, Afaan Oromo, Tagalog, Sundanese (Latin), Filipino, Moldovan, Romanian, Indonesian, Dutch, Cebuano, Malay, Uzbek (Latin), Kurdish (Latin), Swahili, Hungarian, Czech, Haitian Creole, Hiligaynon, Afrikaans, Somali, Zulu, Serbian, Swedish, Bulgarian, Shona, Quechua, Albanian, Catalan, Chichewa, Ilocano, Kikongo, Kinyarwanda, Neapolitan, Xhosa, Tshiluba, Slovak, Danish, Gikuyu, Finnish, Norwegian, Sicilian, Sotho (Southern), Kirundi, Tswana, Sotho (Northern), Belarusian (Latin), Turkmen (Latin), Bemba, Lombard, Lithuanian, Tsonga, Wolof, Jamaican, Dholuo, Galician, Ganda, Low Saxon, Waray-Waray, Makhuwa, Bikol, Kapampangan (Latin), Aymara, Ndebele, Slovenian, Tumbuka, Venetian, Genoese, Piedmontese, Swazi, Latvian, Silesian, Bashkir (Latin), Sardinian, Estonian, Afar, Cape Verdean Creole, Maasai, Occitan, Tetum, Oshiwambo, Basque, Welsh, Chavacano, Dawan, Montenegrin, Walloon, Asturian, Kaqchikel, Ossetian (Latin), Zapotec, Frisian, Guadeloupean Creole, Q’eqchi’, Karakalpak (Latin), Crimean Tatar (Latin), Sango, Luxembourgish, Samoan, Maltese, Tzotzil, Fijian, Friulian, Icelandic, Sranan, Wayuu, Papiamento, Aromanian, Corsican, Breton, Amis, Gagauz (Latin), M?ori, Tok Pisin, Tongan, Alsatian, Atayal, Kiribati, Seychellois Creole, Võro, Tahitian, Scottish Gaelic, Chamorro, Greenlandic (Kalaallisut), Kashubian, Faroese, Rarotongan, Sorbian (Upper Sorbian), Karelian (Latin), Romansh, Chickasaw, Arvanitic (Latin), Nagamese Creole, Saramaccan, Ladin, Palauan, Sami (Northern Sami), Sorbian (Lower Sorbian), Drehu, Wallisian, Aragonese, Mirandese, Tuvaluan, Xavante, Zuni, Montagnais, Hawaiian, Marquesan, Niuean, Yapese, Vepsian, Bislama, Hopi, Megleno-Romanian, Creek, Aranese, Rotokas, Tokelauan, Mohawk, Warlpiri, Cimbrian, Sami (Lule Sami), Jèrriais, Arrernte, Murrinh-Patha, Kala Lagaw Ya, Cofán, Gwich’in, Seri, Sami (Southern Sami), Istro-Romanian, Wik-Mungkan, Anuta, Sami (Inari Sami), Yindjibarndi, Noongar, Hotc?k (Latin), Meriam Mir, Manx, Shawnee, Gooniyandi, Ido, Wiradjuri, Hän, Ngiyambaa, Delaware, Potawatomi, Abenaki, Esperanto, Folkspraak, Interglossa, Interlingua, Latin, Latino sine Flexione, Lojban, Novial, Occidental, Slovio (Latin), Volapük.

Chucara next is the newest font designed by Juan Pablo De Gregorio, a typeface aimed at high readability when set in paragraphs or large chunks of text. Its predecessor "Chúcara", born in 2003, sought after increasing readability by achieving big and simple counterforms. This time around Juan Pablo went further by increasing the X-height and trimming both ascenders and descenders, thus the font appears to be much larger than it is and can be readable at smaller sizes. The DNA of the whole font is marked by the terminal of the "a" character. Juan Pablo used a specially crafted cut to design this counterform, and this shape together with the graceful and winding forms of the letter resembles the form of a horse, hence the name Chúcara, or untamed. The italic version has a 10-degree angle and a 10% condensation, making it way more streamlined than a regular italic font. The Philosophy of a larger counterform is maintained through and through in the italic variant. This version looks different not only due to its inclination, but the sheer effort put into carefully taking care of the condensation and the gestures allow the italic to enrich the texts gracefully, for the highlighting of the words stands out without affecting the grey of the paragraph. Chucara next is a typeface optimal for being used in books, newspapers, magazines, texts, printing, headlines, editorial, quotes, corporate identity, and lo res printing. The typeface has 8 weights, ranging from “thin” to “black”, and two versions: "regular" and "italic". Its 16 files contain 635 characters with small caps, stylistic sets and different kind of numbers. It supports 219 Latin-based languages, spanning through 212 different countries. Chucara next supports this languages: Abenaki, Afaan Oromo, Afar, Afrikaans, Albanian, Alsatian, Amis, Anuta, Aragonese, Aranese, Aromanian, Arrernte, Arvanitic (Latin), Asturian, Atayal, Aymara, Bashkir (Latin), Basque, Bemba, Bikol, Bislama, Bosnian, Breton, Cape Verdean Creole, Catalan, Cebuano, Chamorro, Chavacano, Chichewa, Chickasaw, Cimbrian, Cofán, Corsican Creek,Crimean Tatar (Latin),Croatian, Czech, Dawan, Delaware, Dholuo, Drehu, Dutch, English, Estonian, Faroese, Fijian Filipino, Finnish, Folkspraak, French, Frisian, Friulian, Gagauz (Latin), Galician, Ganda, Genoese, German, Gikuyu, Gooniyandi, Greenlandic (Kalaallisut)Guadeloupean, Creole, Gwich’in, Haitian, Creole, Hän, Hawaiian, Hiligaynon, Hopi, Hotc?k (Latin), Hungarian, Icelandic, Ido, IgboI, locano, Indonesian, Interglossa, Interlingua, Irish, Istro-Romanian, Italian, Jamaican, Javanese (Latin), Jèrriais, Kala Lagaw Ya, Kapampangan (Latin), Kaqchikel, Karakalpak (Latin), Karelian (Latin), Kashubian, Kikongo, Kinyarwanda, Kiribati, Kirundi, Klingon, Ladin, Latin, Latino sine Flexione, Latvian, Lithuanian, Lojban, Lombard, Low Saxon, Luxembourgish, Maasai, Makhuwa, Malay, Maltese, Manx, M?ori, Marquesan, Megleno-Romanian, Meriam Mir, Mirandese, Mohawk, Moldovan, Montagnais, Montenegrin, Murrinh-Patha, Nagamese Creole, Ndebele, Neapolitan, Ngiyambaa, Niuean, Noongar, Norwegian, Novial, Occidental, Occitan, Old Icelandic, Old Norse, Oshiwambo, Ossetian (Latin), Palauan, Papiamento, Piedmontese, Polish, Portuguese, Potawatomi, Q’eqchi’, Quechua, Rarotongan, Romanian, Romansh, Rotokas, Sami (Inari Sami), Sami (Lule Sami), Sami (Northern Sami), Sami (Southern Sami), Samoan, Sango, Saramaccan, Sardinian, Scottish Gaelic, Serbian (Latin), Seri, Seychellois Creole, Shawnee, Shona, Sicilian, Silesian, Slovak, Slovenian, Slovio (Latin), Somali, Sorbian (Lower Sorbian), Sorbian (Upper Sorbian), Sotho (Northern), Sotho (Southern), Spanish, Sranan, Sundanese (Latin), Swahili, Swazi, Swedish, Tagalog, Tahitian, Tetum, Tok Pisin, Tokelauan, Tongan, Tshiluba, Tsonga, Tswana, Tumbuka, Turkish, Turkmen (Latin), Tuvaluan, Tzotzil, Uzbek (Latin), Venetian, Vepsian, Volapük, Võro, Wallisian, Walloon, Waray-Waray, Warlpiri, Wayuu, Welsh, Wik-Mungkan, Wiradjuri, Wolof, Xavante, Xhosa, Yapese, Yindjibarndi, Zapotec, Zulu, Zuni.

Introducing "Te Hafs tharwat Emara" - An Exquisite Arabic Font for the Holy Quran Unveil the beauty and elegance of Arabic calligraphy with "Te Hafs tharwat Emara," a meticulously crafted font designed specifically for typing the Holy Quran. This magnificent typeface pays homage to the rich cultural heritage of Arabic script while embracing modern design elements, resulting in a captivating blend of tradition and innovation. With its unique and enchanting aesthetic, "Te Hafs tharwat Emara" captures the essence of Islamic art and typography, making it an ideal choice for any project related to the Holy Quran. Whether you're designing Quranic verses, Islamic manuscripts, or educational materials, this font will elevate your work to new heights and leave a lasting impression on your audience. The essence of "Te Hafs tharwat Emara" lies in its harmonious balance of form and function. Every letter has been meticulously crafted to ensure legibility and clarity, even at smaller sizes. The thoughtful spacing and meticulous attention to detail make this font a delight to read, enhancing the overall reading experience of the Holy Quran. One of the standout features of "Te Hafs tharwat Emara" is its ornate and intricate calligraphic strokes. Each character is a masterpiece in itself, reflecting the skill and expertise of traditional Arabic calligraphers. The fluidity of the strokes and the subtle curves create a sense of rhythm and grace, evoking a sense of reverence and spirituality. The versatility of "Te Hafs tharwat Emara" allows it to adapt effortlessly to various design contexts. Whether you're working on printed materials, digital platforms, or even signage, this font will maintain its beauty and legibility, ensuring your message is conveyed with utmost clarity and impact. To further enhance its usability, "Te Hafs tharwat Emara" includes a comprehensive set of Arabic ligatures, diacritical marks, and punctuation, enabling you to accurately represent the intricacies of the Arabic language. These thoughtful additions ensure that your typography remains authentic and faithful to the traditions of Arabic script. When it comes to font selection, readability is of utmost importance. "Te Hafs tharwat Emara" has been meticulously optimized for digital and print environments, ensuring exceptional legibility in both mediums. Each character has been carefully tested and refined to guarantee optimal reading comfort, making this font an excellent choice for long passages of text. Moreover, "Te Hafs tharwat Emara" supports a wide range of OpenType features, granting you creative control over your typography. From alternate character forms to contextual alternates, swashes, and ligatures, this font offers a plethora of options to customize and elevate your design. With such flexibility at your fingertips, your creativity knows no bounds. Beyond its technical prowess, "Te Hafs tharwat Emara" is a font with a story. It symbolizes a rich cultural heritage, embodying the devotion and reverence associated with the Holy Quran. Its elegant curves and intricate details evoke a sense of spirituality, making it a perfect choice for projects aimed at preserving and celebrating Islamic traditions. In conclusion, "Te Hafs tharwat Emara" is more than just a font; it is a celebration of Arabic calligraphy, Islamic art, and the beauty of the Holy Quran. With its exquisite design, unparalleled legibility, and versatile application, this font is an invaluable asset for any project related to Islamic typography. Embrace the artistry of "Te Hafs tharwat Emara" and elevate your designs to new heights of beauty and elegance.