This is a listing of all glyphs contained in the
OpenType variants that may only be accessible via OpenType-aware
Each basic character (“A”) is followed by Unicode variants of the same
character (Á, Ä…), then OpenType variants (small caps, alternates,
ligatures…). This way you can see all the variations on a single
character in one place.
You can use this font in any of the following places. Read the full EULA text for details about each license. If
you have a usage in mind that's not covered by these licenses, contact us and we'll see what we can do.
Desktop: for use on a desktop workstation
For the most common uses, both personal and professional, for use in desktop applications with a font
Install the font on your Mac OS X or Windows system
Use the font within desktop applications such as Microsoft Word, Mac Pages, Adobe InDesign, Adobe
Create and print documents, as well as static images (.jpeg, .tiff, .png)
Desktop licenses are based on the number of users of the fonts. You can change the number of users by
clicking the quantity dropdown option on Buying Choices or Cart pages.
Please be sure to review the listing foundry's
Desktop license agreement
as some restrictions may apply—such as use in logos/trademarks, geographic restrictions (number of
locations), and products that will be sold.
Adding users later:
Desktop licenses are cumulative. If you require a Desktop license that covers additional users, simply
place a new order for the same Desktop package, for the number of additional users.
Webfonts can be used on a single domain. Agencies responsible for multiple websites, for example web
design agencies or hosting providers, may not share a single webfont license across multiple websites.
Every time the webpage using the webfont kit is loaded (i.e, the webfont kit CSS which holds the
@font-face rule is called) the counting system counts a single pageview for each webfont within the
For usage in graphic images shown on the website, consider a Desktop license instead as most allow for it.
MyFonts offers three types of webfont licenses: Annual, Pay Once, and Pay As You Go. Only one of these
three would be available for a given webfont. Click here to
You can use an Electronic Doc license to embed the font in an electronic publication such as an eBook,
eMagazine, eNewspaper, or interactive PDF.
An Electronic Doc license is based on the number of publications in which the font is used. Each issue
counts as a separate publication. Regional or format variations don't count as separate publications.
Updated versions of publications that are free to previous customers do not need a new license; otherwise,
each new version that is released counts as a separate publication.
For font usage in graphic images shown as the ePub cover, consider a Desktop license instead as most allow
You can use this type of license to embed fonts into digital ads, such as ads built using HTML5.
We'll supply a kit containing webfonts that can be used within digital ads, such as banner ads. This kit
may be shared with third parties who are working on your behalf to produce the ad creatives, however you
are wholly responsible for it.
HTML5 ads use webfonts, so why purchase a Digital Ads license rather than a Webfont license?
There are a few reasons, such as the Digital Ads EULA having terms that enable usage in digital ads and on
Digital advertisements also have different usage patterns compared to websites. Most websites generally
have consistent pageviews month-to-month whereas advertising impressions can vary wildly month-to-month.
Prices reflect this, making it much less expensive to use a Digital Ad license.
If you know the number of impressions the campaign requires, that amount can be ordered before the
campaign begins. For campaigns where number impressions is unknown until the end of the campaign, you can
true up at the end of each calendar month.
Times with a Human Face: In my article of the same name which appeared in the magazine Font, volume 2000 I described the long and trying story of an order for a typeface for the Czech periodical Lidové noviny (People’s Newspaper). My task was to design a modification of the existing Times. The work, however, finally resulted in the complete re-drawing of the typeface. The assignment, which was on the whole wisely formulated, was to design a typeface which would enable “a smooth flow of information in the reader’s eye”, therefore a typeface without any artistic ambitions, from which everything which obstructs legibility would be eliminated. A year later Lidové noviny had a different manager who in the spring of 2001 decided to resume the cooperation. The typeface itself definitely profited from this; I simplified everything which could be simplified, but it still was not “it”, because the other, and obviously more important, requirement of the investor held: “the typeface must look like Times”. And that is why the above-mentioned daily will continue to be printed by a system version of Times, negligently adjusted to local conditions, which is unfortunately a far cry from the original Times New Roman of Stanley Morison.
When I was designing Lido, the cooperation with the head of production of Lidové noviny was of great use to me. Many tests were carried out directly on the newspaper rotary press during which numerous weak points of the earliest versions were revealed. The printing tests have proved that the basic design of this typeface is even more legible and economical than that of Times. The final appearance of Lido STF was, however, tuned up without regard to the original assignment – the merrier-looking italics and the more daring modelling of bold lower case letters have been retained.
The typeface is suitable for all periodicals wishing to abandon inconspicuously the hideous system typefaces with their even more hideous accents and to change over to the contemporary level of graphic design. It is also most convenient for everyday work in text editors and office applications. It has a fairly large x-height of lower case letters, shortened serifs and simplified endings of rounded strokes. This is typical of the typefaces designed for use in small sizes. Our typeface, however, can sustain enlargement even to the size appropriate for a poster, an information table or a billboard, as it is not trite and at the same time is moderate in expression. Its three supplementary condensed designs correspond to approximately 80% compression and have been, of course, drawn quite separately. The intention to create condensed italics was abandoned; in the case of serif typefaces they always seem to be slightly strained. I named the typeface dutifully "Lido" (after the name of the newspaper) and included it in the retail catalog of my type foundry. In order to prevent being suspected of additionally turning a rejected work into cash, Lido STF in six designs is available free of charge.
I should not like it if the issuing of this typeface were understood as an “act out of spite” aimed against the venerable Times. It is rather meant as a reminder that there really are now alternatives to all fonts in all price categories.
“I bought my first computer in 1993 and realized that there were no good fonts around," František Štorm says, “so I had to make my own.” He founded the Storm Type Foundry in Prague that same year in the hopes that he would be able to restore the classical values of typography that often times don’t get translated into the digital world. “I started the business when I realized that the fonts I made for myself could be useful for others,” he says.
When he began digitizing original Czech typefaces, František teamed up with Otakar Karlas, Jan Solpera and Josef Tyfa, experienced Czech designers.“We are convinced that such teamwork is a guarantee of the permanence of the artistic value of our typefaces.”
He made his MyFonts debut with Regent and has released nearly 90 typefaces since, resulting in a collective library that has evolved with the technologies of the last two decades. He started out by drawing alphabets which could be used in book printing, and then proceeded to alphabets for film and photosetting. Now that he is creating typefaces for screens, he focuses on retaining the human touches that have always made his typefaces personable.