Font mac futura lt bt

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You may encounter slight variations in the name of this font, depending on where you use it. Fonts in the Adobe Fonts library include support for many different languages, OpenType features, and typographic styles.

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If you know you need a specific combination of languages or features covered, you can use these filters to narrow down your search while browsing our library. Learn more about language support. Learn more about OpenType features. Watch this space. In the US, typeface designs aren't copyrightable, so sure, you can trace and redraw any font you like.

It's not a good way to make friends, but many companies have done just that. It's the name that has trademark protection, as was mentioned, but the design is considered to have an "intrinsic utilitarian function for use in composing text. The workaround in the US is to call fonts software, but again, the shape of the letters isn't what's being protected, just the particular software that generates them.

Apart from the fact if type designs are copyrightable or not I think they are in Europe , copyright usually expires a certain period usually 70 years or so after the author has died , not after the material in question was released. So if you take that as an indication, Futura and Helvetica are not in the public domain. Especially not if you 'take a printout of the origin al Futura', as you put it, and trace those, as obviously any original hand drawings or printouts have copyrights on them But again, in the US those forms are not copyrightable, so tracing original Futura drawings doesn't violate copyright because typefaces are not copyrightable in the US.

I have no idea if that is true. Perhaps you're right, I don't know. Original hand drawings are basically lettering or technical drawings, one would think those are copyrightable? Or does that suddenly not count because there are letters on them? That would be quite retarded. If so, then yes, you could plagiarize because let's be honest, even if it's legally allowed, you're still taking someone else's work the material in the US. However, as the typefaces in question were designed in Germany and Switzerland, you'd possibly violate laws in those countries and other European ones , as they are copyrighted there.

So in any case, for that reason they are definitely not in the public domain because then they need to be copyright free everywhere.

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Unless somekind of law explicitly states where this doesn't apply, you always have copyrights on whatever original work you make. At least in most European countries. Peraps not in the US, as they seem to do these kinds of things differently for some reason. And then there is the Berne Convention, under which every country that agrees to this has to respect the copyright laws of other signatory countries. In other words, as far as I know, if a type design is copyrighted in a country that signed the Berne Convention, that copyright is valid in the US.

But I'm sure someone has found a loophole in that. But I think it is safe to say - unless I'm horribly mistaken - that Futura and Helvetica are not in the public domain, as that was the original purpose of this thread. Nevertheless, the criminal judges of the Reichsgericht, who admired the "German" font "Stefan George", granted "copyright" as a "work of art" to this font depicted on the first page of my documentation.

Incidentally, this "Stefan George" font has been digitized a few years ago and is available at a Heidelberg website here:. I'm not a lawyer, but "public domain" is simply intellectual property that isn't controlled by anyone. Since copyright doesn't apply to typeface designs in the US, I'm not sure the term "public domain" can be applied to them in any meaningful way in the US. And given the long and storied history of typeface cloning in this country, I don't think a font copyright in Europe means anything in the US.

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Speaking of Futura, there are a number Futura clones from the period and since. We have to distinguish here between what we believe should be right and what the law actually states, and again, and I don't know how else I can phrase this: US copyright law does not protect typefaces.


So, back to the original question. By all means consult a lawyer, but based on everything I've read, my understanding is that tracing the original Futura drawings, or indeed any typeface that catches your eye, is legal in the US. It's a double-edged sword. Imagine being a one-person foundry and getting a legal notice from Megafont, Inc that they believe your typeface infringes their copyright, dragging you into an expensive lawsuit.

In the same way that patent law has been perverted to stifle innovation by companies that exist only to hold and enforce patents, typeface copyright could be used to strongarm the little guys out of the business. But it was Typophile Moderator Tiffany Wardle herself, who counted the votes, when the ATypI decided no longer to abide by this moral code that restricts plagiarism for the members of this "International Type Forgers Association".

Well, that would be quite odd. As I said, under the Berne Convention - which the US signed - copyrights of all signatory countries are valid in every signatory country. Then again, I guess the USA doesn't really care about that; I'm sure some scumbag lawyer found a loophole in this so some major American corporations can abuse it. And Uli, what has Nazi Germany got to do with it? As I already said, copyright doesn't need to be granted or declared , you automatically have it when you create an original work.

Trademarks need to be registered, copyrights do not. And it's irrelevant if some Nazi font was copyrighted or not, because it doesn't change anything about the fact that every German type designer has copyrights on every type design he makes the same goes for every type designer in a EU country, as far as I know. Well, maybe someone can explain that, because if selling a Helvetica or Futura clone were lawsuit-worthy, we'd be seeing a lot of lawsuits. Yeah, true. Either I don't understand what they agreed on in the Berne Convention, which is possible because I'm not a lawyer, or there is a loophole that they can use to sell Helvetica or Futura clones.

I suggest that you read a book on copyright including its history to better understand these things. As John Hudson mentioned in the thread Uli cites, "signatory nations to Berne Convention on copyright agree to extend to works of foreign origin the same protection that they grant to domestic works. So it's not that the US has to enforce German law for German typefaces, it's that German typeface designs are protected by copyright in the US the same way domestic designs are.

That is, not at all. A EULA is an agreement between you the person forking over cash for a font and the creator of that font. Not sure how that relates to the question of copyright? A font EULA is not a purchase agreement, but it is a copyight license agreement granting to the licensee against payment of a stipulated license fee the non-exclusive copyright usage right to use a given copyrighted font in a particular manner. However, if a country's copyright law does not provide for the copyright protection of fonts at all, then such font EULAs are null and void, because a foundry cannot grant to you copyright licenses to non-copyrighted fonts.

Foundries which by means of font EULAs offer to you copyright licenses to non-copyrighted fonts commit the crime of fraud. I realize you don't accept that fonts are software, Uli, and I largely agree with you. But I don't know that it follows that font licenses are therefore null and void. They at least are binding to the licensor: You violated the agreement. We all view this issue through our personal lenses, and for me the frustration is finding type I'd like to use on my website one rendering device but many users , then reading through a license that seems to allow my use, and then contacting the vendor and being told either that my use is not allowable at all or only allowable for breathtaking stacks of cash.

Perhaps you're the one who must read some more? Actually, nearly every EULA is a license to software , not a license to the typeface design itself.

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So the EULA is not void or null at all. Metal type fonts could be made differently for each text size, so a variety of metal and phototype versions of Futura exist on which a revival could potentially be based. In addition, revivals will need to add characters not present in the original Futura like the Euro sign and Cyrillic, and therefore do not all have the same character set. Scangraphic's revival notably includes optical sizes , with a tighter-spaced design SH created for headlines and a more spread-out version SB for body text sizes. Conversely, round glyphs a, g, e, are more true to the circle.

The family includes 20 fonts in 6 weights and 2 widths, with book and demibold missing in condensed width, with complementary oblique. Small caps and old style figures are included in 18 fonts. The ParaType fonts added Cyrillic characters. They came in only Light, Book, Medium, Demi weights. This version is based on the previous ParaType design by Vladimir Yefimov see below , expanded to include seven weights, with Book, Medium, Bold, Extra Bold weights for condensed fonts. Additional Cyrillic styles were developed in by Isabella Chaeva.

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Condensed styles were added in by Vladimir Yefimov and Alexander Tarbeev. It is available in Light, Medium, Bold, Black without oblique weights, while condensed fonts were made in Bold, Extra Bold, all without obliques. This version is based on the Futura Black, but designed at the Polygraphmash type design bureau in by Elvira Slysh. Bukra is an Arabic variant designed by Pascal Zoghbi. The design was based on Kufi script, but using shortened descenders. The name Bukra itself is a phonetic representation of one way to express "tomorrow" or "in the future" in some Arabic cultures. Futura 1 has the larger range of weights with some unusual versions like stencil and shadowed designs, while Futura No.

According to URW, No. This release by Gert Wiescher is notable for presenting the original alternate characters planned by Renner. This free and open source typeface was digitized by Bastien Sozoo in around his presence at La Cambre art school in Brussels. The metal lead type in the letterpress facility of the school were given by Renner to Henry Van de Velde , the school founder, and the original forms are, as Sozoo described it, "the first draft of Futura as we know it. Some were near identical copies as in Spartan and Twentieth Century but others were uniquely different, including Nobel and Kabel.

Volkswagen's VAG Rounded typeface borrows the same letterforms as Futura, but has rounded terminals on all strokes.

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Typeface designer Adrian Frutiger acknowledges Futura as one of his inspirations for his typeface Avenir. Century Gothic borrows liberally from Futura letterforms, with the glyphs adjusted to be metrically compatible with another geometric sans-serif, ITC Avant Garde. Brandon Grotesque is inspired by Futura but with an unusually low x-height, giving it a more elegant appearance for uses such as headings and display settings.

Braggadocio is based on Futura Black. The typeface Gotham is similarly geometric and based on s signage. Passata is a modernised version of Futura specifically designed to replace Futura as the corporate branding font of Aarhus University. From Wikipedia, the free encyclopedia. Paul Renner: The Art of Typography. Princeton Architectural Press. Fonts In Use. Retrieved 3 October CJ Type. Retrieved 20 October Revival Type: Digital Typefaces Inspired by the Past.

Yale University Press. Fonts in Use. Retrieved 13 February Retrieved 19 August Retrieved 2 October The Typeface of Today and Tomorrow". Retrieved 21 January Graphic Design in Germany: University of California Press. Monotype Newsletter, also printed in Motif as "Letters without Serifs".

American Artist. Frere-Jones Type. Retrieved 1 December