Our desktop fonts come in the OpenType (.otf) format (with PostScript outlines if you wanna know it all). Our webfonts come in several formats. Our mobile fonts come in the TrueType format (.ttf).

Sure. Although they are not implemented in our webshop, we’ve got TrueType versions of all our fonts as well, which we can deliver by email after you’ve bought a license through our webshop. Just contact us by mail.

Sure. Every font comes with a certain amount of OpenType features. Which features are implemented depends on the design of the family, and varies throughout our library. Please have a look at the documentation of every font family itself to see which OpenType features are included.

OpenType is a font format that has some advantages to older formats it succeeded. OpenType has 3 important aspects:

• OpenType fonts are cross-platform [same file for Windows and OSX]

• OpenType fonts can contain large character sets [no need to have a separate font for Central European accents]

• OpenType fonts can contain Layout features [like automatic ligatures or alternate figure styles for example].

1) The simplified answer: a Variable Font is a relatively new font format (2016), in which a font can contain several related fonts. Usually separated fonts like Light, Regular, Bold and Black, can be combined into 1 font file within the Variable Font format. Next to these 4 predefined weights, the user can also use any other weight in between the Light and the Black. One font file suddenly contains an unlimited amount of weights along the “weight-axis”. A Variable Font can also contain multiple axes. The same font can for example not only contain all styles from Light to Black, but at the same time also all styles from Condensed to Expanded.

In case you’ve heard that Variable Fonts is the font format of the future: not every font which has even been made will become available as a Variable Font. If a font has only a single display style, then there’s nothing to vary about. Don’t vary, be happy.

Some of our fonts are available in the Variable Font format. In case you’re interested to test these, just contact us.

2) The more complicated answer: watch this.

Yes, we’ve been making Variable Fonts ever since the font format was announced. Two months after the introduction of this new font format, we released our font family Zeitung also in the Variable Font format. We’ve been making many other Variable Fonts since then.

But you won’t find them in our shop, because we believe any Variable Font which currently exists is still beta in practice. Tools to create them are still evolving & apps which support them are still evolving. In that perspective you could of course remove the word “beta”, but be aware that the Variable Font format is not as stable yet as OpenType or TrueType formats. Currently a cooperation between the maker and user of Variable Fonts makes more sense than offering them in the same way as any other font format. In case you’re interested to work with any of our Variable Fonts, please get in touch.

Because this new font format offers new possibilities, we’re wondering if, instead of wrapping old ideas into new technologies, new techniques also require new ideas. You can find a couple of experiments and ideas at our own Variable Font playground: very-able-fonts.com

Before you freak out: Small Caps come as separate fonts by default, but in case you prefer to have Small Caps embedded as an OpenType-feature: just drop us an email and we'll send them (in the near future clients can customize the fonts themselves in exactly the way they want). Now, take a breath, and relax. Indeed, by default we deliver Small Caps as separate fonts. Here’s why: After a decade of experience with OpenType, our top-1 support question became: 'Hey, I bought your Pro font but you forgot to send me the small caps. Can you please send them?" After explaining the OpenType menu in applications like Photoshop and InDesign too often (“wow, never saw this”), we have to say that most users take a font with its OpenType features as it is. Default behaviour should be ‘good’, unfortunately too many people don't want to think about OpenType features at all, a font ‘should just work’. Admitting that it would be handy to have small caps embedded in a font as OT-feature, apparently the interface requires too much knowledge for many average users. Due to the poor OpenType user interfaces of most current OpenType-savvy apps, the average designer doesn’t know the menu and its huge possibilities. Some other apps can’t even access the small caps feature at all. Which means only advanced users will notify or be able to use the small caps, also because it’s still not possible to inspect a typeface on the existence of small caps in a font management app for example. Even worse, not every style within a family always comes with small caps, but how do you figure that out? For some people it's really great if small caps are embedded in a font, the majority will unfortunately totally miss the presence of small caps. That’s a pity, also because we spend a tremendous amount of time in designing them. With other words: small caps are too important to leave them only for the experts, and therefore we deliver them as separate fonts. Now they are visible in the font menu. Everybody understands how that works. In the end, build-in small caps are ideal. True. But only if the interface makes them easy to use for a large audience. We want those small cap styles to be used, and we want to create user-friendly products. With better interfaces in the future, this might change. But we are not there yet. In case you prefer to swap the fonts you've bought to fonts with small caps embedded as an OpenType-features, just drop us a line and they will be send by mail.

A type designer can choose if he wants to apply one or more Layout Features to his font. So when a font supports OpenType Layout Features, it doesn’t automatically mean the font supports all possible features. Sometimes an OpenType font contains just one feature, ‘Swash’ for example, or ‘Ligatures’, but nothing else.

Geeh, which era are you from? Our fonts come in the .otf format, so you can install them on OSX as well as Windows. Just use 1 font file throughout your entire workflow. We did our best to flatten out cross-platform issues as much as possible, but there will always be some crazy app developers out there who don’t make their Windows app the same way as their OSX app. We feel sorry for them, but our fonts are as cross-platform as Ronald and Frank de Boer*. The question is not ‘are your fonts cross-platform compatible?’, but ‘is your app cross-platform compatible?’.

{Please note: Windows XP users need to use the .ttf versions (instead of the .otf versions which are offered by default in our webshop; just email us). Microsoft ended their support for XP in April 2014, so may the force be with them}.

There are issues displaying font families in the font menu of MS Word 2011 (v14+) on Mac. This is a known, reported issue of MS Word (and other Office 2011 apps for Mac). Microsoft has promised to fix this in their next major release of MS Office for the Mac. (Hopefully this comes soon) The font menu looks messed up for families which have more than the basic 4 style-linked faces. Bold and/or Italic fonts might not appear, because MSWord turns non-style-linked fonts into style-linked fonts. So a bold or italic style (wrongly) disappears from the font menu, and is only accessible through the [B]/[I] button. So in case you look for Auto Bold Italic 1: select Auto-Regular and click the [B] & [I] button. But Auto Bold Italic 2 needs to be selected straight from the font menu, and [B] & [I] buttons need to be unchecked. And euhm… switching platforms with Office apps can cause trouble on this issue, as those [B] & [I] buttons work differently on both platforms. To be clear: our fonts are according to the specs. This is a bug in the current version of Microsoft Office for Mac (2011), which Microsoft promised to solve in their next major release.

How old are you? Seriously. Unicode was once a big improvement in type technology, but is meanwhile as obvious as a sunrise in the morning. Asking if our fonts support Unicode is like asking if your mother gave birth to you. So yeah, all our fonts support Unicode.

Our fonts do not contain any style-linking by default. We chose for this approach to optimise the fonts for a design workspace and to improve cross-platform compatibility. This means that in applications which use the ‘Bold’ and ‘Italic’ buttons, you need to select every style through the font menu instead of clicking [B] and [I].

Although we are aware that style-linked fonts can be useful in office environments – where applications like MS Word are used frequently – most of our font families are not suitable for the drastic grid of 4 connected styles. Because we want to keep our library consistent, we decided not to implement style-linking.

If you’re in the situation that the lack of style-links is problematic, contact us to see if we can provide a custom solution.

Unfortunately there isn't any consistency across different type foundries in using “Pro” or “Std” names, and what to expect from fonts using these names. A “Pro” font from one foundry, might support completely different languages and contain a different amount of OpenType features than a “Pro” font from another foundry. You need to read the documentation of every foundry (or every typeface) to understand what the “Pro” and “Std” extensions mean.

Since the complete Underware font library has been upgraded in April 2013, all Underware fonts are named Pro. They are named Pro because they have a large language support (200+ languages), contain multiple OpenType-features, better cross-platform compatibility and have a much better screen performance. Next to that, it’s handy to quickly distinguish these new fonts from their previous, inferior versions.

Some applications allow you to view all glyphs within a font through a Glyphs palette. This can be quite handy sometimes, when you’re looking for a very specific ornament to finish your design or for that alternative ampersand to boost your logo. There are dozens of occasions a Glyphs palette comes in handy.

The order in which the glyphs appear will vary per font. We manually define a logical order for each font family, to make it easy for our users to find a certain glyphs quickly in a logical place within the glyph overview. However, sometimes the glyph order can look really messy in applications, like InDesign, which have several sorting options. Messy situations can be avoided by switching from sorting by Unicode to sorting by Glyph ID (GID). GID is the logical order we manually defined ourselves, and which can save you another crazy 30 seconds in your life.

Contact support@underware.nl in case you experience a technical problem. You don’t have to pull a ticket in a complicated system, remember super-safe-passwords or anything like that. Just mail us and we’ll try to figure it out together. Easy.

However:

1) Make sure the fonts are correctly installed
Before you mail us, make sure you’re fonts are installed correctly. We extensively test our fonts in as many circumstances as possible. So there is very little change that there is a problem with the font software. You might actually experience a problem with a font management application. If so: install the fonts directly in your system ‘Fonts’ folder. And restart your computer. Likely your problem is solved now.

2) Send a proper report
In case you want to report a bug, please mention:
• the operating system
• the version number of the operating system
• the application(s) you’re experiencing the problem
• the version number of the application(s)
• the version number of the font software
• a list of the font styles you experience the problem with
• precise description of the problem your experiencing, and mention everything you’ve tried so far to solve the problem
• include a screenshot where things go wrong

We know that technical problems can be frustrating, but try to put your emotions aside for a moment. And just mentioning that “the fonts don’t work on my computer” does not bring us any closer to a solution for your problem.

All our fonts support over 200 Latin languages. 200? Yep, 219 to be precise. We call that the Underware Latin Plus character set. Those 219 supported languages allow you to reach an estimated 2.103.569.421 speakers worldwide.

See the Latin Plus section for detailed info.

Here is a quick list (click on the language for more information):

No. Although we have some fonts (Bello, Kone Information, Sauna Mono, Stockmann Sans) with a Cyrillic and/or Greek character sets, these languages are not implemented in the fonts in our shop. If you are interested in our Cyrillic fonts, or if you desire a character set expansion for our fonts, contact us.

Did you ever wonder how many parts your car is made of? That's still easy to answer. But how do you calculate characters which oscillate between many different semantic data points? At which point of time a grammatographic stroke becomes a letter?

Easy. Quit all applications. Copy your fonts in the ‘Fonts’ folder in the User’s ‘Library’. Enjoy.

Or follow these instructions from Apple.

Just follow the instructions from Microsoft.

Wow, you want to personalize your phone or tablet? Installing fonts on mobile devices is slowly progressing, but still very different from installing fonts on desktop computers. The downloading of additional apps is always required, which causes a practical barrier for using fonts on mobile devices. In practice most people accept these limitations, and stick to the usage of webfonts on the websites you visit and the fonts that come with apps you have installed.

However, if you’re curious: on iOS devices you can download apps that install fonts from the App Store. See Install and manage fonts on iPhone. On Android devices installing fonts varies, and depends on the device maker. Some companies (Samsung, HTC and LG) have additional fonts pre-installed, and/or have restricted the usage of third-party apps for font installation. You might want to search the internet for up-to-date tips and tricks that fit your device.

If you’re an app developer: bundling fonts with your app is easy-peasy, but that’s something different than personalized font installation of course. Our fonts can be licensed for usage in mobile apps, just contact us if you’re interested in this.

In case you’ve got a previous, older version of the same font installed already, you have to do the following before installing this new, updated version:

• Quit all applications (InDesign/Illustrator/Photoshop/etc)
• Deactivate and delete the old fonts
• Search for any files on your computer containing "AdobeFnt"
• Then delete those files which end with ".lst"*
• Install the new font
• Start up your application

*This is an Adobe cache thingie, which can cause trouble for Adobe programs when you have several versions of a font with the same name flying around. Delete these files first, if they exist.

Of course it ain’t always easy to choose a typeface online, but we do our best to make it as comfortable as possible for you. There are a couple of options to help you out.

First of all, every typeface has an advanced online tester, which allows you to set your own custom text in any of our fonts, at your preferred size. That’s totally free, and offers previews of the desktop- as well as webfonts, with support for those fancy OpenType features.

Next to that, every type family has extravaganza PDF’s which you can download, preview and print.

But if that ain’t sufficient, you can always buy a single style of a typeface, and upgrade later to a larger package if you want. Single fonts are cheap. (The money you spend on a single font will be deducted in case you decide later on to upgrade to a family package)

Our returning customers can test our fonts for free. Directly download trial versions of fonts you didn’t buy in your account. No need to sign a testing license because we know each other already. We trust you.

The watermarked trial fonts are for evaluation purposes only, and are slimmed down versions of the retail fonts. You can use them in tests, mock-ups and presentations, but nothing more than that.

Just login to your account. There you’ll find desktop- and webfonts for testing under the “download test fonts” tab.

This feature is only available to our customers. If you are interested in the option to test our fonts but if this feature does not yet appear in your account, please email us.

Direct login: www.underware.nl/test

ps.
Font family name of a trial font has the TEST extension:

We think these 13 different licensing models pretty much cover it all: underware.nl/support/licensing/

If you accidentally run into exotic conditions not mentioned in that overview, we are very curious to hear about your situation.

Well… embedding is such a broad term, this cannot be answered in general. The ignorant answer however would be: No. Our desktop- and webfonts licenses don’t allow embedding of the fonts into documents, PDF’s or applications. We offer separate embedding licenses, fitting each occasion: eBook embedding license, Game embedding license, Product embedding license and Document embedding license. So in short: a separate license is needed before you can embed our fonts, but of course you can send a PDF to a commercial printer for production purposes if you have a Desktop License.

Most complicated questions have simple answers. If you have specific questions about font embedding, it’s best if we discuss these together, so don’t hesitate to reach out by email support@underware.nl.

No. You’re not allowed to embed the fonts into PDF’s with the default Desktop license agreement. However, there is one exception: you may take a PDF with the embedded Font Software to a commercial printer for approval and production activities, provided that the secured PDF is in a read-only mode and that the extraction of the Font Software is prohibited. That document is only distributed to the printer or service bureau for use by the printer or service bureau.

Yes, you can use our fonts in email campaigns, so you'll have a univocal typographic voice across all of your communications. Our Webfont license also allows for usage within email campaigns. Every opened email counts as a single pageview. So in case you have licensed 5 million pageviews/month, this license should cover both the website traffic combined with the opened emails. You can upgrade your Webfont license to accomodate additional pageviews for email campaigns in your personal account, or contact us so we work it out together. Remember we make things easy: our Webfont license is always a one-time fee, a single payment without repeating subscription costs.

Officially recognized institutions of design education can obtain our complete library for a moral and social price. This Educational License doesn’t cover the use of our fonts for the corporate identity of your academy, it doesn't allow offset printing or web embedding, it’s just for educational use.

Almost all our licensing models are paid with a one-time fee, making it easy for everybody. You're not bound to a subscription or have any financial obligations in the future. The only exceptions are the Web Production license and the App production license (for producing documents and products online), these cost € 1000,– per style per year.

The most common licenses, like the Desktop license and the Webfont license, are simply a one-time fee and leave you without worrying about future costs.

Our fonts are available for Adobe CC (Creative Cloud) customers within their CC subscription. This means that our fonts come as part of the Adobe applications, and can be used within those applications only. The Adobe Fonts will always remain on the Adobe server. This means that you can’t self-host Adobe Fonts on your own server. Read Adobe’s policy about this for more info.

In case you only have an Adobe CC subscription, but also would like to use our fonts outside of Adobe’s applications or Adobe’s servers, you need to obtain an additional, correct license directly from our website.

Of course. Although they are not implemented by default in our webshop – we wanted to keep our shop as simple as possible – fonts for mobile apps can be as easily and quickly licensed as desktop or web fonts. It’s a one-time fee, no annual costs, and it's not relevant for the price of the fonts if your app is really expensive or for free. Mobile fonts start already at € 40,– per style for one app. Just contact us in case you need fonts for apps.

Sure. Although they are not implemented by default in our webshop – we wanted to keep our shop as simple as possible – fonts for eBooks can be as easily and quickly licensed as desktop or web fonts. It’s a one-time fee, no annual costs, and and it's not relevant for the license fee of the fonts if your eBook is really expensive or for free. Prices of eBook fonts start already at € 10,– per style for one title. One title means one book title, for example Robinson Crusoe by Daniel Defoe. If you want to publish multiple titles, you can license one font style for € 80,–. This allows you to publish up to 25 different titles. Just contact us in case you need fonts for eBooks.

Sure, go ahead, and send us some images once you’re done. We would love to see what you have made. But please be aware that there is one limitation in our License Agreement. If the annual gross revenue exceeds € 3.000.000, additional fees apply for using our fonts in a logo or product.

- Annual gross revenue less than € 3 million: no additional charges
- Annual gross revenue of € 3 million to €7,5 million: € 4.000/style
- Annual gross revenue of € 7,5 million to € 30 million: € 7.500/style
- Annual gross revenue of € 30 million to € 50 million: € 10.000/style
- Annual gross revenue above € 50 million: get in contact with us for a quote

A license is always limited to 1 entity (company or organisation or individual). This means other companies cannot use that same license, also not when they work for the same client.

If a design agency creates a corporate identity for their client, let’s say a dentist, then that dentist would need its own license to use the fonts in his invoices.

Another example: if an agency asks an external freelancer or other agency to work on a certain project, that other agency or freelancer needs to have their own license for the fonts they are working with. If a certain advertisement campaign is created with (one of) our fonts, and multiple companies create work (print ads, tv commercials, web games, etc) for this campaign, then every company needs to buy their own license for the font(s).

You cannot share a license with other parties. You may also not send the fonts you licensed to other companies or people. Every entity needs to have their own license, and needs to buy the fonts if they use the fonts.

Fonts in our shop can only be bought by the end-user (licensee) directly. The license is on the same name as the one who pays. So, if you use a PayPal account for example, the license holder will be the same as the PayPal account holder. This means you cannot buy a font for somebody else. Only the end-user can buy fonts in our webshop.

For example: if a design agency for example creates a corporate identity for their client, and their client wants to install our fonts on their computers for correspondence, the design agency needs to buy their own license, and the client needs to buy their own license themselves through our webshop. The design agency cannot buy a bigger license, and then ‘share’ their license with their client. Licenses are always bound to a company, and cannot be shared with other companies.

Another example: you cannot buy our fonts in our webshop for further resale. If you buy our fonts, you agree to the licensing terms. You cannot buy fonts on behalf of somebody else. Only end-users can buy fonts in our webshop.

In case you want to buy a license for your client, and want to save your client from the “hassle” of buying fonts, just email us with all info and we work it out together. If any assistance is needed with buying our fonts, we are ready to help you. Just contact us.

We cooperate with Font Radar, to assess whether online use of our fonts is consistent with existing licences. If Font Radar contacts you on behalf of us, simply provide your purchase receipt or licence. The Font Radar team is always willing to assist you further with any missing licences of our fonts.

Licensing can vary from situation to the other. Not every situation can be mentioned here, but everything can be solved. Don’t hesitate to ask us all your questions, we’re here to help. We love to see your inquiries at support@underware.nl.

Payments of our webshop are connected to PayPal, so it’s very fast. You need either a credit card or a PayPal-account. The payment itself happens at the site of PayPal. We’ll never have access to your credit-card info. After you purchased the fonts, and completed the money transfer at PayPal, you’ll automatically receive a download link by email.

No, although the payment of the webshop is done at PayPal, it’s also possible at PayPal to pay with your credit card or bank account without having a PayPal account. Once you arrive at PayPal site, first you need to choose between paying with credit card or PayPal-account.

No worries. At PayPal you can also just use your bank account instead of a credit card. Another option is offered in our shop: you can just order your fonts through this form and transfer the money by bank, the old-fashioned way. Note that these orders are processed manually at Underware and require more time than a direct download. You'll then receive the fonts once we received the money, but this usually takes some days. Find the oldskool order form at the bottom of our shop:

Sure, no problem, just complete this form. Just be aware: this is an oldskool, manual order. We’ll contact you by email, and we’ll send you an invoice which you can pay by bank transfer. Once that invoice has been paid, you’ll receive the fonts. Very likely the process takes a couple of days from beginning to end. (If you’re in a hurry, pay by credit card/PayPal and download the fonts directly)

Yep. Once your payment has been completed, you’ll receive a download link by email within a couple of minutes. Then you can download your fonts here.

Usually the email with the download link arrives within a couple of minutes in your inbox. However, sometimes this might take up to 20-30 minutes (worst-case scenario), so don’t panic after two minutes of waiting. Play some music, make coffee, relax, fonts are on their way.

Look behind your spam filter. Very likely the email with the download link ended up there. The email with the download link is automatically send to you within just a couple of minutes, but in the worst case it might take up to 30 minutes before it arrives in your inbox.

Otherwise, check on PayPal if your payment came through completely. Maybe your payment is still pending. In that case: finish the payment, and you'll receive your download link automatically.

If none of these is the case for you, just contact us and we'll figure it out together.

Of course. Every font can be ordered as desktop- as well as webfont.

You can buy fonts for mobile apps at Underware, but only desktop- and webfonts are implemented in the shop. All other forms of licensing are done on request. Just contact us. So if you are a mobile developer, don’t go wacko-wacko; fonts are fonts, we have them in all formats. Also for your mobile app.

Yes, but the invoice and license will be addressed to the information you provide at PayPal. If you want to have the invoice and license on the name of your company, use the company’s PayPal account instead of your personal PayPal account.

Underware is legally registered in the Netherlands, so if you’re located in the Netherlands you always pay VAT. If you live in the EU you also pay VAT. If you live outside the EU, we won’t collect any taxes. However, there is one exception: companies within the EU which have a legal VAT registration number, can apply for 0% VAT. This is a so called intra-community supplies between member states. Four possibilities concerning VAT: [1] Inside Holland: 21% VAT added [2] Inside EU, outside Holland: 21% VAT added [3] Inside EU, outside Holland, with VAT number: 0% VAT added [4] Outside EU: 0% VAT added In situation [3] you need to enter your VAT number in the order form:

Once you have completed the money transfer, you’ll automatically receive a download link. That link allows you to download your fonts, as well as your invoice and license agreement in PDF format. You can print that and add it to your administration. If you need a printed invoice from us (we’ve got damn nice letterheads), just let us know after you’ve bought the fonts.

Fonts can only be returned for technical reasons. If you can proof that the fonts don't function according to the technical documentation, Underware has the option to replace the fonts with a version which works in your environment, or refund the license fee. In any case you need to contact us within 30 days from the moment you have bought the fonts. If you don’t contact us within 30 days after the moment you have bought our fonts, your purchase cannot be returned anymore.

There isn’t something as 'one price’ for a typeface. The price depends on the way you want to use a font. The smaller the volume, the lower the price. The smaller the amount of environments (desktop, web, app, ebook, etc), the lower the price.

Next to that: you get a lot of discount if you buy font packages instead of multiple single fonts. For example: Zeitung complete package contains 24 fonts, and doesn’t cost € 1280,– but only € 400,– (for a single-user license). That’s 69% bundle-discount.

Just select your desired amount of users and/or pageviews in our webshop, and you’ll automatically see the price of the fonts there.

Alternatively, take a look at Underware Font Prices PDF for a comprehensive list of desktop and webfont price tags.

Please note that most of our licensing models are one-time fees. Pay-as-you-go. No subscriptions, you don't have any annual financial obligations.

Yep, on our website we offer all our fonts as webfonts (for self-hosting), just check the webshop.

Buying webfonts at our site means you get the fonts (in all necessary font formats) together with some very simple instructions how to make fonts at work on your website.

Our webfonts are offered for a one-time fee, which means you don’t have any additional financial obligations in the future. No subscription costs, this keeps your expenses uncomplicated.

We offer webfonts for self-hosting, so that you’re always in full control. Sometimes people require hosted webfonts, which means our fonts are not located on your own server, but on an external server controlled by another company. One isn’t necessarily better than the other one, it’s just what you prefer yourself.

Self-hosted fonts
Most people want to have 100% server uptime and full control on their data, and want to host their webfonts themselves together with the rest of their website data. They also don’t have any additional financial obligations in the future, as we offer our webfonts with one-time fee. Simple.
Buy webfonts in our webshop

Hosted service
Sometimes there might be limitations, for example when you don’t have the possibility to upload fonts to your own server. For those cases our fonts are available as hosted webfonts for a small, but annual fee at TypeNetwork.
Get hosted webfonts at Type Network

No, not at all. Self-hostable webfonts are exactly as easy as a hosted service. You’ll get exactly the same fonts together with a piece of code. Put the fonts on your server, copy-paste the code in your CSS, and off you go. You don't need extra technical skills for self-hosting compared to a hosted-service.

Note: our self-hosted fonts have a perpetual license, so you don’t need to worry about the future of your webfont service.

In case you never did this before, this is a very simple, basic start.

1) Upload your webfonts
Upload the webfonts (which you downloaded from underware.nl) via FTP to your server. This folder should contain all 4 font formats (.eot, .ttf, .woff, .svg) for every font. Upload them in the same directory as your CSS.

2) Include the font files via CSS
The package you downloaded from underware.nl includes a _UnderwareWebfontsKit.css file. Copy-paste that complete text into your own CSS, or link the file by adding this line of code to the header of your html file.

3) Start using the font
You can now add the font to any element in your CSS, or use it directly on your website.
CSS
.yourclass {
    font-family: 'MyWebFontPro-Light';
}

HTML
...<span class='MyWebFontPro-Light'>some text</span>...

Sure. In case you want to use our fonts with a webfont service, check Type Network.

Hell no, this is strictly forbidden. Besides, we’ve already spend years researching and creating the best possible webfonts, why would you?

Currently you’ll get .eot, .woff, .woff2, .ttf and .svg files. This might change in the future once there is less need for some formats. Eventually the .woff format will likely be the only available webfont format, and will hopefully be supported everywhere.

But there are still some old browsers around: http://caniuse.com/woff

WOFF will eventually be the standard format for webfonts. Because old browsers are still around, here is a legacy overview:

The webfont kits provided by Underware currently come with this CSS syntax:

@font-face {
    font-family: 'MyFamily';
    src:url('font.eot?#iefix') format('embedded-opentype'),
        url('font.woff') format('woff'),
        url('font.ttf') format('truetype'),
        url('font.svg#svgName') format('svg');
}

While ordering the web license you’ll only receive fonts which work on the web, they cannot be installed a desktop computer. For creating Photoshop mock-ups of your website, you’ll need to obtain a separate desktop license. Very simple: webfonts are for web, desktop fonts to install locally on your computer. But don’t worry: both desktop as well as webfonts are attractively priced, costs can’t be the reason not to walk this path. We think that completely separating the desktop and webfont license is the best and most honest solution for anybody. No expensive all-use-bundles, only pay what you use.

If you buy webfonts through our webshop, you’ll receive an email with a download link. This links to your order-page where you can:
• download your fonts
• download your invoice
• download your license
• link to a free Typekit-voucher (activating the fonts on Typekit = optionally)
• download goodies (for example PDF’s)
• view your order history

The downloaded font package contains:
• Every font you bought in 5 different formats (.eot, .svg, .ttf, .woff, woff2)


• _UnderwareWebfontsKit.css


• demopage.html

Select one of the 35 languages to quickly preview the font in a browser with this demo file.

Mostly you’ll read and hear about “webfonts”, but sometimes you’ll also read “@font-face” (-display). In case you wonder what the difference is: basically nothing. They are the same thing. “@font-face” is just the technical correct term for webfonts, so in license agreements this term is likely mentioned. This term is the name of the declaration used in the CSS (Cascading Style Sheets), which defines how to display HTML elements. But when humans talk, they usually don't talk about “@font-face”, but mostly just name it “webfonts”.

• Think big.
• It’s okay to be ambitious, but stay relaxed.
• Pulverize your heroes.
• There is always more than one solution for a problem.
• Other people have knowledge you don’t have. Ask them. Age doesn't matter.
• Have fun. Just enjoy what you are doing.
• Take care of people surrounding you.
• Two people can do more than one.
• Surprise yourself, try new unexplored ways.
• Be better than last time.
• Make sure you are relevant.
• Be critical.
• Invest. Spend money.

Give flowers to your mother while she’s alive.

Draw letters, produce typefaces, design type, learn how to throw cannonballs, learn how to use computer applications, learn how to make a good coffee, learn programming, learn about rhythm and contrast in various areas, give presentations, learn one new keyboard shortcut a day, learn how to ride a wave, impress your friend with one new grep-command every week, and don’t forget what your mother told you: always be honest.

For those who want to learn to design type:

You can learn from tons of online resources these days, lucky bastards (like our type-basics on typeworkshop.com). You can read dozens of good books on type, there are many good books available.

But the most precious treat is time for practicing. Quit the internet, shut down your computer, switch off your phone, put your books back to the shelf. Silence and concentration. Get paper and some tools (pencils, pens, whatever), and start sketching, drawing, writing. It’s the best way to learn and discover your own direction. Do it.

No.

The educational license allows officially recognized places of design education to obtain our complete library for a reduced price, and allows all their students to work with all our fonts for a moral and social price. Read more about the Educational License Agreement here, or contact us if you think this applies your situation.

Next to that, we offer the Individual Educational License Agreements on a case by case basis, which allows students to work with some of our fonts for a specific educational project. Before you receive any font, you would have to sign the license agreement which explains what you can and what you cannot to do with the fonts. A regular license has to be obtained if an educational project is afterwards realized/published/printed. Contact us if you think the Individual Educational License Agreement applies your situation.

No educational license agreement covers usage of fonts for the corporate identity of a school. A regular license needs to be obtained for corporate use, educational licenses only allow *educational* usage.

Alles geben.
Never give up.

We don’t have interns. We have 3 studio’s in 3 different cities (Den Haag, Amsterdam, Helsinki). Each studio is mainly equipped with one person, but sometimes one person works at one of the other studios for a while. Sometimes we are teaching on different art academies. So there are days a studio isn’t equipped at all. Next to this, working on a typeface can be lots of production work, which is hard to explain to somebody who doesn’t have so much experience with making, designing and producing typefaces. It totally depends on which moment you would arrive here. Because we are so unorganized, and don’t always have a regular continuity in every the studio, it’s impossible to fit another person into it. We had some interns in the past, and it turned out to be fairly difficult to have a satisfying internship at Underware. That’s just because of our way of working. So, we’re sorry, but it’s not possible for you to join as an intern.

Euhm, not really. We’ve got many people helping us out with many things. Often. Very often. And we can't say enough how happy we are with all of them. Check the list.

We have a totally merged collaboration. It’s impossible to define who does what, as this varies all the time and totally depends on the situation. This might not be a satisfying answer, pigeon-holing is human’s nature. But Underware can’t be compartmentalized, it’s a united organism. One person continues where the other stopped, while a third drops in new ideas from the sideline. Essence of our collaboration: none of us would individually arrive at our final destination. It takes three for a synergetic tango. Our typefaces are always done by our whole team, not by single individuals. Making a new typeface has tons of phases, from hand sketching to digital outline fine tuning, from OpenType programming to preparing its online presentation. Everyone can easily contribute to it all. Three men, one mission.

Aha, good to hear you are interested to gain more knowledge in type design and are looking for useful sources. You can already find long, very long & really long reading lists on the internet, so we'll keep it short and provide only 3 titles of hands-on books & 1 bonus title:

1) Inside Paragraphs — Cyrus Highsmith
If you have never designed type yourself, or if you have tried but directly stopped because you couldn't control your letters, this book is what you need. The books simply shows how letters work together, and how they create sentences and how those are perceived by readers. This is all shown in a very simple way, which is as we all know very hard to achieve. A brilliant book for students.

2) The Stroke — Gerrit Noordzij
Many books show novices how stuff should be done, and if you follow that you can be a similar expert too. However, this book shows you not to follow somebody else, but instead provides enough foundations to start following yourself. Truly inspirational.

3) Finer Points in Spacing & Arrangement of Type — Geoffrey Dowding
Shows the basics of typography, spacing, leading, all that stuff you need to know to make text work. Useful for web & print designers. Old skool classic from 1954, outdated in the sense that it doesn’t mention software and pixels. But if offers another perspective than what you find on the internet today, so luckily it’s available in reprint again since 1995.

Students are not always aware that typefaces are made by human beings. Some students consider any typeface to drop from heaven. Well, that ain’t the case unfortunately. If you ever made a typeface yourself, you know that making typefaces is just hard work, lots of hard work. So: fonts don’t drop from heaven. They might drop from a torrent, from a colleague’s disk, from the internet, or from somewhere you can’t remember anymore. But fonts don’t drop from heaven. You need to buy fonts, not steal them. If you use a font, ask yourself what kind of font it is, where you have it from, who made it, why it was made, etc. If you think fonts are expensive: just use a free font. And in case you notice that those free fonts suck: buy a commercial font.

As a student it can be instructive to study existing typefaces. It can also be helpful to create your own typefaces. And yes, it’s rather logical that your first typefaces are based on existing typefaces you like. You need to start somewhere, right? That’s all totally okay, and can be a valuable part of your education as long as you consider this a study project. Releasing this font could be a instructive process as well, but then you’re walking the very thin ice of piracy. Did you make a remix-agreement with the original type foundry? If not, don’t do it. Fonts, like music, could be remixed of course. But in the music business it’s common to have remix agreements; in the font industry that is still in its infancy. Large font distributors should take a stronger position and have a more outspoken opinion on a case by case basis. They should have a management function on the subject of remixing fonts, which they unfortunately don’t take yet. All the responsibility ends up at the type designer.

So if our fonts inspire you: thanks. If you make a new typeface which is strongly “inspired” and “influenced” by ours, as part of your study: enjoy. If you want to release that: contact us for a remix-agreement. No remix-agreement? No release.

After working on a Liza for 3 years, we emailed each other the "final beta-version". After that, it still took us 2 years to release the final font, so that beta-wasn’t really beta. All together the development of Liza took five years. Ending up with 2000 (!) emails in a Liza-mailbox, and the folder with all Liza-files on our computers is almost 1 GB (a typeface is ± 300 kB, so calculate the amount of beta-versions yourself). Crazy. We’re very bad in finishing stuff, as we always keep developing new ideas. Sometimes projects just never seemed to come to an end. When we were almost done with Liza for example, we got the idea of the ‘out-of-ink’-feature, which simulates that you’re out of ink while sign painting and you would have to dip the brush into your ink pot again. Cool feature, but it meant we had to draw new glyphs for all letters, and rewrite the code of the complete typeface, another two months of extra work. As long as we think a new idea really adds value to the final product, we do it. No matter the stage of development.

Aha, now it’s getting interesting! Remembering our eduction we had at the Royal Academy of Arts in Den Haag, you could say there is only a difference between ‘italic’ and ‘cursive’. We described that in our type-basics. The difference between ‘italic’ and ‘cursive’ is the difference between function and construction. A cursive typeface only tells you something about the construction. It means that the typeface has an uninterrupted, continuous stroke. A cursive typeface still can have any angle, which means it can also be upright.

An ‘italic’ typeface however, tells you something about the function it has within a type family. It means there is a roman typeface, and this ‘italic’ is meant to stress and highlight pieces of text within roman text. But it can still have any shape, any design, interrupted as well as continuous strokes. Anything could basically work as an italic, also a cursive typeface. But an italic is not always a real cursive.

With Auto we created three different italics to explore linguistic possibilities. What happens for example if you design a theatre play, and you’ve got different actors with different voices? How do you graphically represent those? Do you always needs to use several font families for this, or can this be solved within 1 family? Or how do you represent a quote within a quote? Usually designers switch back to roman text within italic text, but wouldn’t it be possible to have an italic text within an italic text which still works as a separate italic text? Questions like these were the starting point for researching and creating the 3 different italics.

Keep on suffering.

This has to do with lots of factors. But definitely there is more than just the formal aspect of a typeface (the design). I once attended a lecture where a guy tried to explain how an art piece can become a classic. He took Mona Lisa as an example. Of course there are some formal aspects in the painting (style, composition) which were revolutionary at the time it was painted. But this is not the only (main) reason why it became such a legend. Not so long ago it was even not part of the top 10 list which the Louvre defined to be the most important paintings of their collection. Only with the rising popularity of da Vinci as a person and the fact that the painting was stolen and lost for a long time, the painting got so famous as it is now.

Another nice example he mentioned was also The Girl With A Pearl Earring from Johannes Vermeer. The painting from 1665, was sold only 125 years ago for 2,30 guilders (1 euro you can say) because nobody really saw much value in it. But now it is treated to be a very important painting. How can something like this happen? No idea, but it's not only the painting itself.

He ended his talk with the diamond-skull of Damien Hirst (For The Love of God). He was discovering some aspects which could make this work to become a classic: uniqueness & little scandal. Damien Hirst is probably the only artist alive which is able to get such an amount of money to produce one single artwork. And this aspect is probably the only possibility to get a scandal these days. But of course there are lot of other works of arts which produced a scandal, but got forgotten in the meanwhile. So there has to be more. The guy suggested that to become a real all-time-classic, there should be a little secret included in the work. And he was sure that Damien Hirst also thought of this aspect. The guy ended his talk with the vision: There will be a day in the future where Damien Hirst is telling us whose skull it is, which we are looking at all the time. And from this day on this work has a very good chance to become the new Mona Lisa.

I think something similar goes for typefaces. Not identical, but similar. Helvetica is treated to be a classical typeface by some people already now. I think it needs more time. There is a good chance that in 100 years from now, Helvetica will be treated as oldskool (and nobody will use it anymore). The same can go for Meta or Scala or whatever typeface. The older the typeface is, the more the chance that it is a real classic. Now. And in 300 years. Maybe.

To become a classic typeface, I think some things have to come together. 
They could be:
• Strong design (kind of new, surprising, high standard, good in details)
• Strong personality of the designer
• Strong story about the design of the typeface (purpose, context)
• Some magic