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LiebeErika

LiebeErika™

by LiebeFonts
Individual Styles from $29.00
Complete family of 4 fonts: $79.00
LiebeErika Font Family was designed by Ulrike Rausch and published by LiebeFonts. LiebeErika contains 4 styles and family package options.

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About LiebeErika Font Family


Ever since we started publishing on MyFonts in 2009, we've received requests for a typeface to complement our popular dingbat fonts. So here it is: LiebeErika. Friendly and polite, rather thin, extra narrow, and of course‚ carefully hand-crafted. LiebeErika’s casual and warm style is perfectly suited for invitations and personal correspondence. It’s even in the name: German phrase, Liebe Erika‚ translates to, Dear Erika, the beginning of a personal letter. But LiebeErika is not limited to English or to the German character set. It supports many other languages, too! LiebeErika comes with a stunning variety of ligatures and alternative forms available through OpenType features. (Please make sure your software supports OpenType if you wish to use the advanced features.) The font contains over 500 glyphs, so it’s actually two or three fonts in one. If you like this font, you may want to look at LiebeOrnaments, our perfectly matching set of swashes and curls to complement LiebeErika. By the way: LiebeErika gets along great with our wide range of illustrative fonts such as LiebeCook, LiebeFish, and LiebeTweet.

Designers: Ulrike Rausch

Publisher: LiebeFonts

Foundry: LiebeFonts

Design Owner: LiebeFonts

MyFonts debut: Sep 9, 2010

LiebeErika™

About LiebeFonts

“Liebe” means “love” in German. “The name LiebeFonts is meaningful to me in more ways than one”, Ulrike Rausch said in her 2013 Creative Characters interview. “On one hand, my fonts obviously look ‘sweet’ — in other words, friendly and lovable. And of course the name also refers to my own love of fonts.” Ulrike’s skills are equal parts handicraft and digital savvy, and her fonts are as technically sophisticated as they are charming. “It is very important to me that my fonts serve a wide variety of languages so that they are suitable for professional typesetting,” she says. “I also invest a lot of time into sensibly grouped OpenType features like contextual and stylistic alternates as well as a wide range of ligatures and swashed letters.”

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