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No monthly fees. Pay once, use forever.
All webfont licenses on MyFonts are perpetual and don’t require a subscription. There’s no monthly fee to use your fonts. Once you purchase the license, it’s yours.
The vast majority of webfonts on MyFonts are licensed with a Pay-Once model. This means that you’ll pay one flat fee for your webfont license and never have to think of it again. The only time you’d be required to pay more is if your site traffic exceeds the monthly number of pageviews your license is set for.
Webfonts by Monotype, Linotype, and Ascender have a different licensing model. These foundries have elected to set their licenses as a Pay-As-You-Go model. You can think of Pay-As-You-Go as a bucket of pageviews. This means that you’ll buy a certain quantity of pageviews, and once that quantity has been used up, you’ll have to come back to add more views.
Once you’ve purchased the license, you’ll be able to customize and download a webfont kit that you’ll host on your own server. This keeps you in control of the speed and uptime of your font resources.
Fonts with Webfont Licenses
The Adagio Family is a part of Mateusz Machalski’s, Warsaw Academy of fine arts Master Degree Diploma in multimedia studio, conducted by Professor Stanisław Wieczorek and his brave PHD Jakub Wróblewski. Adagio is a modern type family. It consists of 3 main varieties: sans, serif and slab. Each one of them has it’s own “true italic” set. All of the styles together have over 400 characters in 9 different thicknesses. The Adagio family was created mostly for company identities. The idea was to create a wide range of different varieties which are stylistically consistent.
Peoni is sweet and quirky… and distinctly different. Her hand-lettered glyphs have retained their original textured appearance for an even more authentic custom-lettering feel.
Azo Sans is a new sans serif loosely based on the elementary forms of geometry. It is constructed in a geometric manner and inspired by the constructivist typefaces of the 1920’s, but is instilled with a humanistic quality. Azo Sans is full of nuances that soften the strictness of pure geometry, making the typeface more human and pleasant to read in longer body text, while maintaining a sober and rational appearance. Azo Sans comes in six weights from Thin to Black, with a matching cursive italic for every weight.
Brooklyn Samuels is a sans-serif family of fonts designed by Hans Samuelson. Based on geometrical shapes it is primarily intended for headline use but also offers excellent legibility in small sizes.
Stylistic sets offer a more text-friendly alternative for some letters.
Kleide is an elegant font inspired by handwriting. The Kleide family includes 6 weights, from Thin to Black, with their corresponding italics. This elegant family includes OpenType Features such as Proportional Figure, Tabular Figures, Numerator, Superscript, Denominators, Scientific Inferiors, Subscript, Ordinals, Fractions and a lot of ligatures.
Kiro is a minimal, simple condensed sans-serif family designed by Ryoichi Tsunekawa and the whole family consists of 12 style: six weights from Thin to ExtraBold and their matching Italics. The range of styles provides flexibility for title, headline and body text. And the large x-heights gives them legibility and readability.
The basic skeleton was designed semi-modularly and the letterform was minimalized by removing their unnecessary stems. Their corners were finished with subtle rounded effect.
The minimalized semi-modular design gives this family contemporary urbane taste and rounded corners make this family warm and friendly.
Kiro supports almost all European languages: Western, Central, South Eastern Europeans and afrikaans. And superior figures, inferior figures, denominators, numerators and fraction can be accessed by using OpenType features.
Initially conceiving this face as a competitor for Ludwig & Mayer’s Colonia, Walter Cunz at Stempel guided Hermann Zapf to the creation of this most elegant and legible of twentieth century sanserifs.
Linotype’s cautious licensing policies encouraged a number of unauthorized copies, none of which can be said to have added to the original.
The Corporate ASE typeface trilogy was designed by Prof. Kurt Weidemann, a well-known German designer and typographer, from 1985 until 1990.
Loew is a geometric sans serif font influenced by the methods of the early industrial designers. Pure mechanical shapes are carefully adjusted to give the characters the right form, function and usability. These subtle human touches combined with the technical detail provide great readability at both large and small point sizes. Loew is a versatile sans serif font with simple and honest geometry aimed at a wide range of modern applications. Details include over 800 characters with alternative lowercase a, e and g. Seven variations of numerals, true small caps with accents, manually edited kerning and Opentype features.
Any typeface has two intrinsic elements that does´t work at the same levels, form and appearance. These peculiar visual behavior generate a wide range of graphics games. At reading level, we observe a uniform gray spot, but large bodies allows us to appreciate their shapes and counterforms. Milio takes this duality to offer unparalleled service in newsprint and magazine publishing, specially in small bodies but hard and formal cogency in titling.
Semplicita Pro is a new sans serif design that effortlessly straddles the tri-cornered divide between the geometrical, humanist, and gothic sans serifs. We started by reappraising Semplicità, Alessandro Butti’s important 1930 design for Nebiolo. Fueled by Futura, Semplicità gave us the clue to the future: Replace the cool geometric Teutonic soul of Futura with the warm, humanist, calligraphic letterforms that are characteristic not of the Bauhaus but of the Italian Renaissance. With its radically revised formal structure, where only a few characters have a hint of geometric perfection, and the rest are drawn in a calligraphic manner, Semplicità is buzzing with ideas and has served as a gene pool for several new typefaces over the last two decades.
This sans serif counterpart to the award-winning Adelle type family proposes a cleaner and more spirited take on the traditional grotesque sans. As typical with TypeTogether fonts, the most demanding editorial design pieces were taken into consideration when engineering Adelle Sans. The combination of its lively character and unobstrusive appearance that is inherent to grotesque sans serifs make it an utterly versatile tool for any imaginable graphic application, whether it is branding, signage or advertising. Without any doubt, the key word behind Adelle Sans' design is “flexibility”.
Exquise FY, an elegant & distinguée 6 fonts family. With its round and elegant shapes, this new didone typeface is developed in six styles, including a “poster” weight. Though inspired by classical thick and thin shapes, Exquise FY’s design is innovative with its sharp drops.