Our fonts are provided in OpenType format as OTF as well as TTF. Webfonts are provided as EOT or WOFF. All fonts are carefully crafted and produced. The details can be found on the micro-site of each family as well as in the PDF specimens.
There are several licencing options available during the checkout process. See our EULA for details.
Support for writing systems and languages is specified on type family pages for all versions together, and for individual versions and fonts in the checkout. Click the red button to get complete list of supported languages.
Our character set standards are defined by language support, not by specific glyph lists. Many fonts include typographic extras and other additional characters.
In the future, we plan to show them for all fonts in the PDF in Docs sections.
We have tried to provide as many options to test our fonts as presently possible. Beside the online specimens, you can download and print the PDF specimen to see the fonts on paper, or you can judge the rendering of our webfonts in the Web performance section of each family’s micro-site. We will soon have an online tester as well.
If none of this is quite enough, you can easily order test fonts in our e-shop. They are cheap and easy-to-upgrade when you are ready to get a proper licence. See the Test fonts section below.
We have introduced Test fonts so that our customers can try our fonts before making the investment in a proper licence. Test fonts are also great for students to use in their projects. A couple of important things to remember: a) the fonts have limited set of OpenType features, they are stripped of typographic extras (only basic features are included), b) they are marked with name suffix ‘TEST’, c) the licence is limited to one-year and the fonts cannot be used for any publicised project, commercial or non-commercial, d) within the year you can upgrade the test licence to a proper licence, just email us, e) you can order test licence during the checkout by selecting the ‘Test’ option in the left column.
It differs from typeface to typeface. It is always clearly marked in the OpenType features sections.
The Pro suffix means that the font includes typographic extras. This may be different for each script, but for Latin this means inclusion of small caps, various figure sets, superiors, and fractions at least.
PE stands for Pan-European. Fonts with this suffix support Latin, Cyrillic, and Greek.
It is possible for us to include it, however, it requires additional design work and post-production for which we are likely to charge.
We aim to provide high-quality webfonts (that is, web-ready fonts) which look great on all platforms. You can judge their quality in our Web performance section on each type family page and you can see a note on usage and hinting quality there as well.
The language and feature support is the same in fonts for print and for web. The webfonts always have the suffix ‘Web’ in the name.
Simply select ‘Web’ licence during the checkout process and all webfont files will be added to your order. The Web licence is perpetual (one-off payment) and only limited by number of domains and the traffic which should be under 500K pageviews/month (otherwise a licence upgrade is necessary).
Please note that we can provide self-hosted fonts only thanks to trustworthy customers who respect our licence restrictions and upgrade when appropriate.
Self-hosting means you can keep the webfonts on your own server. This has many benefits, there is no need for webfont providers, no monthly fees, no tracking code, no downtimes. On the other hand, it requires a bit of coding (CSS code is provided with the fonts) and reasonable measures have to be used to ensure that the webfonts cannot be extracted (prevention of direct links to the files, or hotlinking from other sites, and maintaining the cautionary note in the CSS).
The fonts are provided in EOT and WOFF font formats. This covers most of the contemporary browsers. The TTF version is included as well, but the TTF fonts are intended only for creating mockups and should not be used on the web without prior written permission from Rosetta.
The default licence in our e-shop assumes that your website traffic does not reach over 500K pageviews/month. You are required to upgrade the licence when the traffic reaches over the monthly quota for the first time.
During the checkout process you can select how many domains the fonts can be hosted on (1,5, 15, or 20). Again, an upgrade would be needed if you decide to use it on more domains than your purchased allowance. The amount of subdomains is unlimited and you can use it on up to three staging/testing servers.
The licence is perpetual. There is no time limit to it.
You are allowed to convert the webfonts to alternative webfont formats (for example: Cufón, sIFR, Typeface.js, SVG fonts). You can also subset the webfonts for the sole purpose of optimising loading times.
Note that non-web fonts cannot be converted or subset!
The abbreviation EULA stands for End-User Licence Agreement. When you purchase a font licence in our shop you are agreeing to the terms of our EULA which clearly describes what can and cannot be done with the fonts. EULA is the legally binding contract between a licensor (typically you) and Rosetta.
There are five licence types designed for broad models of customers and usage, these are: Freelancer, Studio, Publisher, Web, Custom, and Test.
Here is the full contents of our EULA with a table briefly describing the differences between individual licence types.
If you need to licence for more than 15 users, mobile apps, use in merchandise, broadcasting, automated processing, hardware device embedding, and other high-profile jobs, send us an email and we will arrange a Custom licence set up for you personally.
Whoever is using the fonts should have a licence. If you sell design based on our fonts, you should have appropriate licence (e.g. Freelance, Studio, Publisher).
Test licence is not sufficient as it is intended only for testing, creating mock-ups for the client to see.
If you are an agency or design studio acting on behalf of a customer, you can purchase a font licence for them. Simply fill in a different licence owner during checkout.
Again, whoever is using the fonts should have a licence. So you have to count all potential users of the fonts in your company.
Only with prior written permission from Rosetta.
Except for the Test and Web licence, you are permitted to make a temporary copy of the Fonts for use by a commercial printer or service bureau solely for use in the production of your own materials and/or include a temporary copy of the Fonts with a document solely for the purposes of facilitating your personal printing and/or viewing of the document.
Any other sharing is strictly not permitted.
There is a one-year limit only for Test fonts. All other licences are perpetual.
Good for you. No problem for us.
No. This is only possible with a Custom licence.
Only the Studio, Publisher, and Custom licences allow creation of logos and their subsequent use.
Yes. See the licence type descriptions for details.
No. This is only possible with Custom licence.
Purchased fonts cannot be converted or otherwise modified without prior written permission from Rosetta. The conversion and modification policy is different for webfonts (i.e. Web licence). See section Rosetta webfonts for details.
You should upgrade your licence when: a) there are more people using the fonts than the licence permits, b) the traffic on your website is bigger than purchased Web licence allowance, c) the number of domains where you use the fonts is bigger than the purchased Web licence allowance, d) you wish to use the fonts for a purpose not permitted by the licence you bought, …
If in doubt regarding what is or what is not permitted or whether licence upgrade is needed, please refer to this page, licence page or email us directly. We have tried to address all common scenarios, but will have surely missed some.
To be precise, shopping for fonts is actually shopping for font licences. Here is how you do it:
Click the ‘Buy now’ button anywhere in the Font catalogue and you can order fonts from a particular type family. You can only order fonts for a single family at a time, but thanks to that the process is really easy.
In the left column, select licence(s) which best cover your needs. In the right column, select fonts you need. They are divided in groups based on language support which is clearly marked with the red tag buttons. When ready, click ‘Next step’ at the bottom of the page. Now, you can add discounted merchandise to your order. On the next page, you have to fill in your details, review your order, and proceed with payment.
You will be able to download the fonts immediately on the next page. Download link and receipt will be sent to you in an email.
We offer beautifully designed specimens and posters printed on quality paper only for the cost of shipping. Check out our Merchandise page, where you can buy them right away. If you order any fonts, you can get the merchandise with a nice discount.
We accept Visa, Visa Electron, MasterCard, Maestro, and Diners Club. Let us know via email if you wish to pay via bank transfer.
Non-European customers are not charged Czech VAT (21%). European customers are charged the Czech VAT unless they provide a valid VAT ID during the checkout process, in which case they are charged 0% VAT. Furthermore, with proof of business registration, we can cancel the VAT on ‘services’ for any European business entity upon enquiry. However, European customers who were charged 0% VAT are required to declare and pay the associated value-added tax (the so-called ‘reverse charge’ procedure) in their country. Czech customers are always charged the Czech VAT.
This policy follows legislation defined in Czech and European laws.
There is no user account or password to maintain. No registration is necessary during checkout. We got rid of them deliberately in order to streamline the process. Your orders are matched with your email and maintained in our orders database.
Unless you opt out, you will receive free updates for fonts purchased in our e-shop automatically. Our policy is to provide maintenance and small updates for free. Additional script-support or new styles are paid updates and these are announced independently via our newsletter.
If you lose your font files and wish to re-download them, please let us know by referring to the email you used during purchase and we will provide you with a new download link.
We decided to provide clearly structured and reasonable pricing. There are two basic discount principles in our e-shop: a) we offer great-value discounted bundles, b) any order with four and more fonts gets 20% discount automatically.
Right now, there is no discount for academic institutions, but students can use the cheap Test licence for their projects.
If you are a charity or non-profit organisation and would like to get a discount, let us know, perhaps we could help. However, we do have a yearly limit as to how many non-profits we can support!
If you received a promotional discount code, you can apply it in the ‘Order summary’ before the payment.
You can cancel your order without giving any reasons within a period of 14 days provided the Fonts have not been downloaded. If they have been downloaded no refund will be made.
You can return merchandise within a period of 14 days without giving any reason, in which case we will fully refund the cost of the merchandise. However, you will have to pay for the return shipping.
Rosetta will replace the Fonts in the event the Fonts do not perform substantially in accordance with the documentation, provided that any such claim is submitted within thirty (30) days of purchase of the licence. Your sole recourse is replacement Fonts; no refunds will be granted. To submit a claim you must return the Fonts to Rosetta together with a copy of your sales receipt.
We’re constantly updating our ‘Fonts in use’ gallery and welcome submissions from designers who use our fonts. Of course, it is tedious to make nice photographs or it costs money to send the actual product (not to mention the price of the product itself). Why should you do it, you ask? And that is a very good question! Obvious reason: you will gain eternal fame and greater exposure for your work. But in addition, to show that we really appreciate your help, we will give you a font of your choice for free, if your work is selected for our gallery (single font per project). It doesn’t matter if you send photos or link to a website or ship a product for us to take the pictures (and enjoy the texture, the aroma, the weight, or the unbearable lightness… of your work!). We’ll be happy either way. If you are unsure we’ll like it, send it anyway, and drop us a line.
Simply send us an email. We are happy to have a look at your work, but at the same time our Type Committee™ is very very picky. It does not matter where you studied, or if you studied, type design formally. Having a non-Latin component at the time of the release is not obligatory. You need to show mature type design skills, the ability to achieve consistency, articulate your ideas in your design, and the willingness to suffer when everything is rethought repeatedly!
On the other hand, we provide feedback, post-production know-how, careful attention to your work before and after it has been released, promotion for your work, very good royalties, and of course, eternal fame.
Right now, we are not accepting any interns.
The term character refers to all individual letters, signs, symbols and marks in a writing system. Whether it is the Latin letter ‘a’, the Devanagari syllable ‘क’, the numeral ‘8’, or punctuation mark ‘?’. Depending on the font, a single character can however be represented with multiple glyphs.
In a font a glyph is a graphic symbol that represents a specific character or a combination of those (such as a ‘ffi’ ligature). Many fonts include multiple glyphs for the same character to allow for advanced typography such as language-specific forms, contextual alternates, case-sensitive punctuation or simply to enable designers to choose stylistic variants such as alternative characters or swashes.
In a nutshell a typeface is the coherent design of a collection of characters. Ultimately it is the creative work of the designer. Commonly a typeface is part of a type family with other closely related typefaces in various styles and weights with coherent design characteristics.
A type family is a collection of closely related typefaces sharing design characteristics. It commonly includes styles in various weights and widths. More extensive type families are also called super-families and may incorporate styles, so-called optical sizes, or coordinated variations of the same type family across various categories or writing systems (scripts).
A writing system or script is an organised set of signs, symbols and marks required to represent spoken language in written or printed form. In short there are three basic categories of writing systems: alphabetic (e.g. the Latin script), syllabic (e.g. Indic scripts) and logographic (e.g. Chinese).
The term complex script is used to describe scripts that require complex text layout features in order to ensure correct text shaping that allows the display of a given language adequately. Such complex scripts may need to make use of one or all of the following features: combining marks, glyph reordering and splitting, contextual shaping, specific rules for word breaks and justification.
Indic and Arabic scripts are typical examples of complex scripts.
A font is in effect the carrier of a typeface. More precisely, a font only carries a single typeface variant (such as Regular Italic or ExtraBold). While in the past a font (fount) was cast in metal, in contemporary usage a font refers to a computer file in a specific format (TrueType, PostScript, OpenType etc.), which embodies the design while connecting the individual characters to the keyboard input.
These days the terms typeface and font are often used interchangeably.
Webfonts are pretty much like fonts; with the exception that they are optimised (and/or licenced) for use on websites and are created in specific file formats that address the needs of different platforms and web browsers. The quality of hinting determines whether a webfont can be used on screen in small sizes, where required.
Please note that webfonts cannot be used in desktop applications.
Hinting refers to special instructions in fonts which control the rasterisation process in low resolutions. In other words, better hinting means better performance of a font on the screen in small sizes. Hinting can be automated or manual. The latter usually means good appearance in text sizes (around conventional 10–16 pixels sizes) on screen, auto-hinting is sufficient for display sizes (ca. 18 pixels and above).
However, the best way to judge the performance of webfonts is to compare screenshots from various platforms. See ‘Web performance section’ for each of our type families for details.
A type family often comprises a broad array of variants (or styles) across the following categories: weight, width, upright/italic, ….
The weight refers to different degrees of thickness of the letterforms or, in other words, different proportion of letter shapes to space within and in between them. The most commonly used weights are (from lightest to darkest): Thin, Extralight, Light, Regular, Medium, Semibold, Bold, Extrabold, Black. While the regular weight is traditionally the one used for continuous text, the extreme ends of the spectrum – such as Thin, Light, or Black – usually are more suitable for short texts, headlines, and for display purposes.
The width attribute refers to the broadness of letterforms, ranging from ‘narrow’ to ‘wide’. While the intervals between the two ends of the spectrum are unlimited, the most commonly used classifications are Compressed, Condensed, Normal, and Extended.
The two most common styles in the Latin script are upright (also roman) and italic. In contemporary use these two are seen as companions, the italic traditionally being employed to achieve emphasis within a text set in upright.
Note: while the name italic is not always applicable to other writing systems, it is used for technical or conventional reasons. In non-Latin scripts it usually refers to oblique or slanted styles.
In typeface design the term spacing describes the process of distributing space between characters in a font. By determining the space on each side of a character, the aim is to fit every character with all possible preceding or following characters (whether it be letters, punctuation etc.). The ultimate goal is to achieve a harmonious and balanced rhythm and an even colour/texture to ensure a pleasing and easily readable text.
In contrast to spacing, kerning only deals with specific combinations of letters, not with general distribution of space/rhythm in a typeface.
The term kerning is often used instead of spacing. Such usage is wrong and should be punishable by milder forms of death!
In close relation to spacing lies letter-spacing (also, tracking), which is employed by the font user to manually adjust the defined spacing of a font. If carefully applied, informed adjustments to the letter-spacing can prove to be useful in certain situations. Depending on the typeface, in display sizes, letters may appear a little too loosely arranged and in that case negative letter-spacing can be utilised to make for a more cohesive word shape. The same applies to small sizes where a moderate amount of positive letter-spacing can aid legibility and readability.
Excessive negative letter-spacing injures readers’ eyes and should be punishable by gently chopping both index fingers of the designer responsible.
Note: the concept of letter-spacing does not apply to writing systems with connecting characters; here any alteration of letter-spacing will corrupt the design.