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.
Webfont: for your website
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
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.
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.
Zebramatic - A Lettering Safari
Zebramatic is a font for editorial design use, to create headlines and titles in eye-catching stripes. Constructed to offer flexible and a variety of graphical possibilities, Zebramatic type is easy to use. The font is offered in three styles: POW, SLAM and WHAM. These styles work both as ready-made fonts and as patterns to create unique, individualized type. The font design’s full potential is unleashed by layering glyphs from two or all three styles in different colors or shades.
Working with the different styles I was reminded of the late Jackson Pollock poured paintings—in particular the documentation of his painting process by Hanz Namuth and Paul Falkernburg in the film Jackson Pollock 51. In Pollock’s pictures the complex allure arises from how he layered the poured and dripped paint onto the canvas. Similar joyful experience and exciting results emerge by layering the different styles of Zebramatic type.
In the heart of the Design is Zebramatics unique texture. It is based on an analog distorted stripe pattern. The distortion is applied to a grade that makes the pattern complex but still consistent and legible. You can view some of the initial stripe patterns in the background of examples in the Gallery. Zebramatic POW, SLAM and WHAM each offer a distinct pallet of stripes—a unique zebra hide. POW and WHAM use different distortions of the same line width. SLAM is cut from a wider pattern with thicker stripes. The letter cut and kerning is consistent throughout styles.
Attention-grabbing textured or weathered fonts are ideal for headlines, ads, magazines and posters. In these situations rugged individuality, letter flow, and outline features are magnified and exposed. Textured fonts also immediately raise the design questions of how to create alignment across a word and deal with repeated letters.
Zebramatic was conceived as an especially flexible font, one that could be used conveniently in a single style or by superimposing, interchanging and layering styles to create a unique type. The different styles are completely interchangeable (identical metrics and kerning). This architecture gives the typographer the freedom to decide which form or forms fit best to the specific project.
Alignment and repetition were special concerns in the design process. The striped patterns in Zebramatic are carefully conceived to align horizontally but not to match. Matching patterns would create strong letter-pairs that would “stick out” of the word. For example, take the problematic word “stuff”. If Zebramatic aligned alphabetically, the texture of S T and U would align perfectly. The repeated F is also a problem. Imagine a headline that says »LOOK HERE«. If the letters OO and EE have copied »unique« glyphs - the headline suggests mass production, perhaps even that the designer does not care. Some OpenType features can work automatically around such disenchanting situations by accessing different glyphs from the extended glyph-table. However these automations are also repeated; the generated solutions become patterns themselves.
Flip and stack
To master the situation described above, Zebramatic offers a different programmatic practice. To eliminate alphabetic alignment, the letters in Zebramatic are developed individually. To avoid repetition, the designer can flip between the three styles (POW, SLAM, WHAM) providing three choices per glyph. Stacking layers in different sequences provides theoretical 27 (3*3*3) unique letterforms. A last variable to play with is color (i.e. red, blue, black). Images illustrating the layering potential of Zebramatic are provided in the Gallery.
The design is robust and convenient. The font is easily operated through the main font panel (vs. the hidden sub-sub-menu for OpenType related features). The process of accessing different glyphs is also applicable in programs that do not support OpenType extensively (i.e. Word or older Versions of Illustrator).
Zebramatic is ready for your international typographic safari. The font contains an international character set and additional symbols – useful in editorial and graphic design. The font comes in OpenType PostScript flavored and TrueType Format.
This is the foundry of typographic artist Harald Geisler based in Frankfurt am Main, Germany.
Harald Geisler's fonts are conceptually inspired. For example Ciseaux Matisse the foundries first release in 2010 is inspired by an exhibition about Henri Matisse's drawing with scissors. The Sigmund Freud Typeface, a collaboration between H.G., the Freud Museum London and the Sigmund Freud Museum in Vienna, is inspired by the idea of a person writing a letter to his shrink set in Freud's own handwriting. Conspired Lovers a typeface inspired by his own Love-letters.
Among other publications the foundries fonts have been featured in the Wall Street Journal, The Huffington Post, Fast.Co, Design Taxi, Novum and Page.