Futura lt font for mac

The film Gravity and films Interstellar and Gone Girl also use Futura on their theatrical release posters. Futura is used in the film Captain America: Civil War Location Cards. The first person shooter game Battlefield 1 released in by Electronic Arts and DICE uses Futura as its main font both in-game and for promotional purposes.

Futura Condensed is a condensed version of the original Futura font family. Bold and bold oblique fonts were released in Medium, medium oblique, extra bold, and extra bold oblique fonts were released in Light and light oblique fonts were released in Futura Demibold is a variation of the original Futura.

Released in , Futura Display uses more angular strokes, resulting in rectangular letter forms. First released in , Futura Black is an alternative design that uses stencil letter forms. Steile Futura was Paul Renner's attempt to create a typeface that would be closer to the nineteenth century sans serifs than to the geometric model.

During the course of development, Renner developed several intermediate versions. Some of the early design could be found in the experimental font called Renner-Grotesk, which appeared as a trial type casting from the Stempel type foundry in Renner kursiv, a true italic companion to the regular version, was made after Stempel had been taken over by Bauer in The work on the type family continued in the s, but Renner's poor health had slowed down the development.

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Renner started to work again on this project in under the name of Steile Futura steil in German means "upright" or "steep". The font family released by Bauer consist of mager light , halbfett medium , fett bold , kursiv halbfett medium italic , and kursiv fett bold italic.

The font family was released in — The font family has rounder letters than Futura Display. For the first time, italic type features are incorporated in the italic fonts. The fonts incorporate handwriting features, especially in italic version. An " inline " version with a line drawn through each letter. With the demise of hot metal typesetting , Futura has been redrawn in digital formats.

Because of complex licensing agreements, there is no one digital version of Futura but several, each with different features. Some releases may be re-drawings or upgraded versions of earlier digital releases. As with all metal type revivals, converting Futura into a digital format poses interpretative challenges. 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.

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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. 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. 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.

We take all copyright concerns seriously. We urge you to first contact the other designer and try to work the issue out. If you believe that a shop owner has violated a copyright you hold please contact our legal department directly at ip creativemarket. They'll ask for some confirming information, review your claim, and then take the appropriate action. Turnaround time is typically one week. URW has established itself in the graphic design industry by continually developing and marketing innovative font and software products.

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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. So the EULA is not void or null at all. That is, this goes for the USA; as typeface designs are subject to copyrights in most European countries.

As it was designed in Germany, and copyrights apply to typeface there: Probably a loophole in the law, or perhaps they just didn't care about the copyrights? Quicunx, I think you may have missed my response that explains why the Berne Convention likely doesn't protect foreign typefaces:. Ah, it seems I did indeed miss your response!

It seems John is right, and I misuderstood the Berne Convention. My apologies. If they are in the public domain in Brazil where the thread starter comes from , I don't know. The German design law protects fonts for a short period, provided they are registered in the year of publication and provided the registration fee is paid for the period of protection. When Paul Renner designed the font Futura circa in the year , the period of protection for fonts by the German design law was a maximum period of 15 years. The German design law protects all technical forms of fonts including the outline data, which are called in EULAs "font software".

Since fonts are protectable by the German design law, protection of fonts by the German copyright law is practically impossible and was never confirmed by the German Supreme Court, because there is no need to protect a font by two different laws. The Berne Convention, to which Germany is a signatory, relates to the copyright law, not to the design law. Therefore it does not make much sense to discuss the Berne Convention in the context of German fonts, e.

Futura LT Condensed Light - Regular

For the public domain font Helvetica, which was designed by the Swiss designer Max Miedinger, the legal situation is similar. Apologies if I'm breaking the interesting but heated discussion here, but I would like to see some clear or semi-clear answer to the OP's question. Particularly, I'm interested since I would like to use Futura LT Light on a book cover for a book I'm currently writing and will eventually publish.

Would it be legal for me to use Futura LT Light in the cover? Or will I have to revert to some clone or alternative font? Additionally, because I already own a copy of each of the two fonts and several "strengths" - whatever you call "italic", "bold", "light", etc , does that mean I can automatically use it in commercial works including embedding. Again, I've been lurking around for a few days and have tried my best to get a straight answer from various people and searches for weeks and have gotten nowhere.

Just my luck I found this topic. I'm guessing it's gray-area legal? My conscious says the answer to the second question is "no". But then Linotype sells Futura and it's various weights. So then the contradiction somehow makes it legal? It sounds like: God, this is even more unclear.

I'll just use Cicle Semi instead. Why would Linotype have to acquire rights for Futura, if typeface designs do not have copyright on them? It is not particularly moral for a company to snatch a design and make their own release, but this seems to be legal. However, font software is usually protected by copyright, so that would also apply to Linotype's version of Futura as well.