Our fonts are provided in OpenType format as OTF and/or TTF depending on the licence type (see our licence for details). Fonts for the web are provided as EOT, WOFF, and WOFF2. All fonts are carefully crafted and optimized for screen.
Language and script support is specified on typeface micro-sites for all versions together (section Styles & languages), and for individual versions and fonts on the first checkout page. Click the red button to get the complete list of supported languages.
Our standards are derived from language support, not from specific glyph sets. Many fonts include typographic extras and other additional characters. Hence, the characters (glyphs) included in these fonts may differ.
We have tried to provide as many options to preview and test our fonts as possible. Besides the micro-sites and printable PDF specimens, you can try our testers. Testers on the typeface micro-sites provide more settings including testing OpenType features. The main tester, on the other hand, allows comparison of different typefaces.
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.
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 licence is limited to one-year, b) the fonts cannot be used for any non-student project, commercial or non-commercial, c) with your Test licence order you will receive a discount coupon to be used for the purchase of the proper licence. To order, simply select the ‘Test’ option in the left column during your checkout; then select the fonts you want to licence.
It differs from typeface to typeface. It is always clearly marked in the OpenType features sections.
Every company seems to give the Pro suffix a different meaning. For us, it is the inclusion of typographic extras. This may be different for each script, but for Latin the fonts will be equipped with small caps, various figure sets, superiors, and fractions as a minimum standard.
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. The pricing depends on the scope, but we often need to draw the character in multiple styles for the fonts to remain consistent. The fonts will need to be re-hinted, re-compiled and tested for functionality.
We provide high-quality webfonts (web-ready fonts) which perform great across all platforms.
You can purchase the webfonts for self-hosting from us (see below) or use all of our fonts via Typekit. The first option gives you more freedom, the second one is simpler.
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 the traffic for all web sites that use the fonts. The licence owner can use the fonts on an unlimited number of domains they own.
The default tier for the traffic is ‘up to 500K pageviews/monthly’. If the monthly traffic exceeds the tier limit at any time (even for a short period), an upgrade to a higher tier is needed. The cost of the upgrade is the difference between the initial cost and the cost of the higher tier. Get in touch via email and we will arrange that.
The self-hosting licence model is build on mutual trust. We do not enforce any tracking on our customers. In return we kindly ask them to 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 to them, 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, WOFF, and WOFF2 font formats. This covers most of the contemporary browsers. If you need a different format, please get in touch.
Sorry, you can not. The OTF or TTF fonts are not provided when you order a Web licence only. It is the toll for keeping the licence simple and generous. In order to create mockups in Photoshop you will need one of the following licences: Single, Studio, Universal, or Custom.
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 manipulated in the same way.
When you purchase a font licence in our shop you are agreeing to the terms of our End-user licence agreement (EULA) which clearly describes what can and cannot be done with the fonts. The licence is the legally binding contract between a licensor and Rosetta.
To make the process of licencing easier, we devised several licence types to fit our typical customers. These are: Single, Studio, Universal, Web, App, Custom, and Test. The complete licence and accompanying table describes the differences between them in plain English.
Simply, if none of the other licence types fits. For example: if you need to licence for more than 20 users; if you want to design merchandise that ‘stands on the shoulders’ of the fonts; if you are a major TV, newspaper, or magazine; if there is a need for automated processing of documents on your server; … Send us an email and we will arrange a Custom licence set up for you personally. We are usually quite fast and easy to talk to.
Whoever is using the fonts should have a licence. If you sell a design based on our fonts, you should have the appropriate licence.
A Test licence is not sufficient as it is intended only for testing, or creating mock-ups for the client to see before they commit to purchase your design. Once they do, you both need a licence.
Yes. If you are an agency or design studio acting on behalf of a customer, you can purchase a font licence for them. Simply sign up a different licence owner during checkout.
Whoever is using the fonts should have a licence. You have to count all potential users of the fonts in your company and purchase a licence which permits the sufficient number of individual users.
Yes, but only with prior written permission from Rosetta. We will have to update our database of font licence owners.
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. Make sure they remove the fonts from their computers after the job is done.
No other sharing is 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.
Yes. Except the Test fonts of course.
Yes. With apps like AnyFont, FondFont, Adobe apps, or Fontstand, you can upload the fonts to your mobile or tablet (iOS, Android, …) and use the fonts in your apps there. Just honour the number of devices permitted by the licence type you have purchased.
This is what the App licence is for. It permits up to three app titles. Don’t worry about the actual number of apps sold, minor version upgrades, or game extension packs. If you want to release an unlimited number of app titles, you can get the Universal licence or get in touch.
Yes and no. Generally, you can. But the moment the merchandise is build on the fonts appearance (e.g. there is just one big letter or dingbat from the font on your t-shirt), then you should get a Custom licence.
If you are not a major broadcaster or media company and if you do not want to embed our fonts in your software (apart from mobile apps), the Universal licence should get you quite far. We made it quite generous and worry-free.
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 the Rosetta webfonts section for details.
You should upgrade your licence when: a) there are more people using the fonts than the current licence permits, b) the traffic on your website is bigger than the purchased Web licence allowance, c) you wish to use the fonts for a purpose not permitted by the current licence.
If in doubt, regarding what is or 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 in our e-shop:
Click the ‘Buy now’ button anywhere in the Font catalogue to 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 simple.
First step. In the left column, select the licence type(s) which best cover your needs. In the right column, select the fonts you need. They are divided in groups based on language support which is clearly marked with the red buttons. When ready, click ‘Next step’ at the bottom of the page.
Second step. Fill in your details, review your order, and proceed with the payment.
Third step. Download the fonts from the web. The download link and receipt will be sent to you in an email as well.
We accept Visa, Visa Electron, MasterCard, Maestro, and Diners Club. Let us know via email if you wish to pay via bank transfer.
Non-EU customers are not charged Czech VAT (21 %). EU customers are charged their local VAT unless they provide a valid VAT ID during the Checkout process, in which case they are charged 0% VAT. However, EU customers who were charged 0% VAT from us are required to declare and pay the associated value-added tax (the so-called ‘reverse charge’ procedure) in their country.
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 and ownership databases.
Unless you opt out (via email), 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. These are announced independently via our newsletter or social media.
If you lose your font files and wish to re-download them, please let us know via email. We will resend your order email with a reactivated download link.
We have decided to provide clearly structured and reasonable pricing over too many discounts and promotions. There are two basic discount principles in our e-shop: a) discounted bundles of fonts, 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 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 we can support. We do not automatically provide discounts to non-profit organizations or startups.
If you received a promotional discount code, you can apply it in the ‘Order summary’ (second step of the checkout process) before proceeding with 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 that the Fonts should 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.
There are many online guides on how to install fonts on your system. Here is a good one from Adobe covering installation on major operating systems.
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 and it costs money to send the actual product (not to mention the price of the product itself). To show that we really appreciate your effort, 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. We’ll be happy either way. If you are unsure whether we’ll like it, 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 either. 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 of your work, and very good royalties.
Right now, we are not accepting any interns.
The term character refers to all individual letters, signs, symbols and marks in a script (writing system). Whether it is the Latin letter ‘a’, the Devanagari syllable ‘क’, the numeral ‘8’, or punctuation mark ‘?’. The implementation of a character in a font is called a glyph.
In a nutshell a typeface is the design of a collection of characters that implement particular script(s) (writing system). Ultimately it is the creative work of the designer. Commonly a typeface is represented as a type family that groups various styles and weights with shared design principles.
A type family commonly includes styles in various weights and forms (italic or upright/roman). Sometimes all the variations do not fit in one family and that’s when super-families (or type systems) come in. The super-families include individual families which differ in width (e.g. Skolar Sans Compressed and Skolar Sans Extended) or intended size (so-called optical sizes, e.g. Neacademia Text and Neacademia Subhead).
A script (or writing system) 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. The shapes themselves might not be complex.
Indic and Arabic scripts are typical examples of complex scripts.
A font is in effect the carrier of a typeface. It is a software. Typically, a font only carries a single type style (such as Regular Italic or ExtraBold), but there are font formats which can represent multiple styles (OpenType GX, Multiple-Master fonts).
These days the terms typeface and font are often used interchangeably. However, the former refers to the design ideas, the latter refers to their software or material implementation.
Webfonts are fonts in formats intended for the web, i.e., WOFF, WOFF2, or EOT. They should be optimized for the web and reading on screen.
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.
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 (and Cyrillic or Greek) 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 scripts, it may be 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 (or tracking), which is employed by the font user to manually adjust the defined spacing globally. 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 scripts with connecting characters; here any alteration of letter-spacing will corrupt the design.