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Yes. Then would you like a Non-Profit Project / Pro Bono Project?

Interested. Then please contact via this web site.


(This message is also for other "forums" where the one forum user visits via their browser bookmarks and clicks)

Hi Typophiles,

I'd very much like to support independent type foundries. However, it seems that they generally have more restrictive licenses than the big names. Maybe this is because they're unaware if that is legally enforcable or not?

I'd like to propose the following EULA, inspired by the VIllage / Incubator EULA. Comments are given in {COMMENT}:

This is an agreement between you, the purchaser, and [FOUNDRY]. In accepting the terms of this agreement, you acknowledge understanding and promise to comply with its terms. If you do not accept the terms, please do not complete the purchase transaction.

What you are purchasing from [FOUNDRY] is the license to use digital typeface software – hereafter “fonts” – on a certain number of computers within your organization; you are not purchasing the copyright to the design of the fonts, but the rights to use the fonts.

The fonts are provided in [FORMAT]. Additional formats may be available upon demand, and may require the purchase of supplemental licensing.

When purchasing licensing for fonts, you may use the fonts on the maximum number of computers within your organization as specified in the license table. You can purchase additional licenses at any time, which grant you the rights to use the fonts on additional computers.

The fonts may not be used with any webfont replacement technologies without the purchase of supplemental licensing. Webfonts are provided in [FORMAT]. Please contact us for details.

The fonts may only be embedded if they are hard to extract, and are non-editable. For other applications the purchase of supplemental licensing is required. Please contact us for details.
[ORIGINAL: The fonts may not be embedded in other documents, such as Portable Document Format (PDF), Flash files (including sIFR), Word or PowerPoint without the purchase of supplemental licensing. Please contact us for details. COMMENT: This is absolute craziness. With the move to digital embedding in non-editable formats should be permitted.}

You may make archival copies of the fonts for your own purposes. You may not distribute the fonts to people outside of your organization. A copy of the fonts may be sent as part of a file release to a prepress bureau, if absolutely necessary.

You may only modify, convert, adapt, decompile, or otherwise reverse engineer the fonts for compatibility reasons. Any derivative words that you create may not be shared with others unless they also have a license. {ORIGINAL:
You may not modify, convert, adapt, decompile, or otherwise reverse engineer or create derivative works of the fonts. NOTES: Again, this is completely ridiculous. Reverse engineering for compatibility reasons is expressly permitted by fair use law. Things such as adding glyphs can be argued to also fall under this, as they are necessary for compatibility with unicode ranges of various programmes.}

We have done everything we can to produce our fonts to the highest and most up-to-date technical standards, and we test the fonts extensively in the latest versions of technically-compliant applications. If you do experience any difficulties with our fonts, we will work with you to resolve any technical issues in the fonts. If, after we have worked to resolve any technical issues, you are still not satisfied with our software, we will be pleased to refund your money, which shall be the limit of our liability in this transaction. {NOTE: In some countries this won't be enforceable.}

We grant the rights of use of our fonts to you in good faith, and request that you adhere to the terms of this agreement to the best of your ability, and in good faith.

[NAMES] is a copyright of [FOUNDRY].

But, you know, maybe I should just not bother with this. With open-source this is just as much an issue, because you need to be careful your work doesn't suddenly turn open source as well. However, you don't need to read through wads and wads of legalese, most of which is not enforceable anyway.


PS. Some nice reading before you're deciding on a EULA:
and the case

Hi all,

I am considering purchasing Freight Sans however I would like to know exactly how editable the typeface is. More specifically, I require the ability to outline the type in order to send it to print. Is this an option when I purchase? (TrueType, OpenType etc.) Or is it up to the foundry to enable/disable this option.

Basically I want to use this typeface at a number of printers, so I would like to use the outline method to embed it into the document, unless you guys know of a better way?

Hope you guys can fill me in...


Hello everyone,

this year we teamed up with ourself and made you a little Christmas song.

Have a long, relaxing holiday :-)


G'day guys, merry Christmas,

Something's been bugging me for a while EULA-wise and I haven't found anything quite explicit enough on Typophile to answer my question, so forgive me if it's been covered in depth before.

My current understanding of 'commercial product' is that it is something which keeps on generating revenue every time it's sold, like an ebook or magazine. Am I right to assume that a set of information leaflets which I sell to a client on PDF, for which he pays me, but which he is going to distribute free is not a 'commercial product'? What is the protocol here? Do I warn him of the licensing obligations the fonts carry and that these pdfs are not to be sold? What if he sells them in the future (not likely but concievable) am I liable?

One more question, if I am paid to make electronic advertising brochures which market a product or service but which are distributed freely, is this now a commercial product?
blah, blah blah EULA EULA EULA, I know, I know, but it's just been bugging me
cheers and thanks


Hi, i'm new here...
My question is:
If I download a free font today with its proper license, will this license allow me to use it for indefinitely time or could the license change in some time without giving me a notice. Note that i´m talking about licenses with no warning about changes in the future. Thanks...

I had an idea for promoting my foundry's ( Greater Albion Typefounders) latest releases. It goes like this. Three of our larger families on (Whitehaven, Vertrina and the newly released Bonning) include free faces. The challenge would be to take one or more of these faces and use them to design an advertising poster that respects the spiri of the chosen faces. The best submissions would be published on our blog and the winners would receive complimenary copies of font faces as prizes.

Now the questions:

What do people think of this idea?

Does anyone have any suggestions of where to publicize it, apart from on here and our own blog?


Mokka is now available at MyFonts (50% off until end of June).
You can find more information about the type family on my webpage. Here you can also find a specimen.

Hope you like it

The 18th issue of the TYPO magazine is dedicated to British typographer Matthew Carter, who recently celebrated the fiftieth anniversary since the beginning of his career. The essay outlining Carter's lifelong work was composed by Margaret Re, American researcher of typography and a curator of the exhibition Typographically Speaking: The Art of Matthew Carter. It also includes an overview of all Carter's typefaces composed since 1963.
On further twenty pages of the magazine, Carter was interviewed by our Polish contributor Adam Twardoch, recapitulating his career, sharing his intimate views on the work of a typographer, and even revealing personal details from the life of this typographic star.

The TYPO magazine is published bi-monthly in English and Czech since January 2003. It contains 32-44 full color pages printed on high quality coated paper of 250 × 310 mm format. Information on subscriptions at Contact: Linda Kudrnovska, editorial office manager, linda(at)magtypo(dot)cz.

Rocket Pop and Rocket Pop Outline are influenced by product packaging and cereal box art from the 1960's and 1970's. The fonts will work as companions or separate. Best used over 36pt as a headline display face, these fonts will bring a bold playfulness to any project where a vintage or retro style is in the concept. The style reflects the era when things were indeed, mad, where men (and some women) did crazy art for vinyl records, food packaging and kiddie products. Sugar frosted blue donut cereal is yummy for your tummy like... Rocket Pop and Rocket Pop Outline. Buy both and get the discount! Watch for the Cerealboxx Set coming soon that will include the astroluxtype fonts, Sugarbang! Koo Koo Puff and Rocket Pop together in one box. Link: Link:


Gerusa Type Family will be released today!

Gerusa is a technical sans-serif typeface family by

It features a 1000+ glyph set per cut, with (almost) monospaced uppercase and text-suitable lowercase characters, a very complete set of diacritics, math glyphs, greek and a full range of OpenType features.

This family is OCR and ISO inspired, with an engineering/architectural feel, robust and pragmatic, with the usual technical ugliness chopped away.

Gerusa Medium and Gerusa Medium Italic are available for free!

You can check it here:
Gerusa at Loligovulgaris
Gerusa at Behance Network
Gerusa at MyFonts


ReType announce the release of Yomar Augusto's 'Lasagna' typeface.

'Lasagna' began as an experimental font used by Yomar Augusto in CDs and posters. It is an ironically geometric typeface suitable for contemporary design work.

Yomar Augusto is a brasilian graphic designer, graduated in the Type & Media's Royal Academy of Art, The Hague.
He has been involved in two Rojo ArtStorm projects and been published by Taschen in 'Contemporary Graphic Design'.
Recently, he took part in the Letter Forest art show, which featured experiments in calligraphy, painting, drawing and printmaking, and was held at Nanzuka Underground Gallery in Tokyo, Japan.
Yomar lives in Rotterdam and is currently working at 180Amsterdam in Amsterdam, The Netherlands.

I take the pleasure to announce the release of FEHLIAN, a caps-only titling font. It owes much to my former Arthur and Lindau releases.

If a typeface is very graphic/display or contains gradients or whatnot which only ai.- format allows, leaving kerning to the customer.... Some graphic vector elements are sold that way. Would it be a good idea for a typeface?

Nearly 3 years ago, I discovered Typophile and the first type in the Critique area to catch my attention was the work of Kris Sowersby. I remember his early frustration as the work progressed and his joy as it moved to realization. I knew it was in him then and I am happy to see it out and about for the rest of the world to see. Bravo Kris and thank you Village for having the vision to see what a great contribution Kris has made to the type world.

Go have a look and even a buy at:



Fountain and PSY/OPS in a joint release

Catacumba Pro - inspired by tomb inscriptions

Fountain and PSY/OPS come together in a special joint release of a
new typeface from Portuguese type designer Rui Abreu.

Catacumba Pro is a six-weight typeface inspired by the painted
inscriptions of the Igreja de São Francisco church's catacombs in
Porto, Portugal. The forms are clearly influenced by Victorian
style, with an unmistakable French heritage, and yet they somehow
convey a decidedly Portuguese sensibility.

Catacumba's centerpieces are its two titling styles: the exuberant
Excelsa , and the Didonesque Moderata.
From these two decoratives, four new cuts are derived. These,
the Text fonts, are tamer and more understated, but maintain
the same artisanal grounding and DNA as the display fonts.
Each Catacumba font includes a wide selection of OpenType ranges
and features, allowing for extensive use within the Latin range.

Designed by Rui Abreu and mastered by PSY/OPS

Catacumba Pro can be found at:

Video for Catacumba can be found at:

For a limited time (until May 16) we are offering
a special price of 89 Euro / 124 USD for the complete family.

Thank you for your time
and have a nice day

Peter W. Bruhn [Fountain] &
Rodrigo Xavier Cavazos [PSY/OPS]

Fountain is an independent and friendly digital type
foundry based in Malmö, Sweden. We’ve been
sending out nice typefaces to the world since 1993.

PSY/OPS is a type design studio in sunny/foggy San Francisco.

totally theoretical:

licenses can be used to manage how many machines type is used on, what formats it may or may not be converted into, and whether or not the license can be resold.


can licenses be taken a step further - and be used to enforce how a font can be used ... aesthetically? i.e., face may not be mechanically extended or compressed, may never be combined with comic sans, its lowercase may not be letterspaced, it may not be extruded and printed in hot pink spot ... etc.

what say you typophiles?

Hey, everyone, I just assembled my fonts, some previously released on DeviantArt, some never before seen, on to their own website here:

There are 9 original fonts now, from handwriting-style to ornate to weird and I'll be adding more this summer and fall, along with refinements to the site and more extras.

Small family called Bartender, for the lovers of retro style typefaces.

More at:

Available or it will be soon on:
ITC Fonts

Typophiles, I ask you for some advice.

Over the past two years or so, I've been working on a new digitization of the Centaur types of Bruce Rogers. I've publicly posted images of the 60pt caps (visible on my " fonts in progress" page under "Museum Caps"), but have since drawn 60pt lowercase and a moderately complete 14pt optical scale.

My feeling was that Monotype Imaging, the foundry with clear lineage from the Monotype that did the first wide release of this font, should get first dibs. However, I've just received a definite "no" from them, so I'm in a bit of a quandary about what to do with the outlines I've created so far.

My choices include:

  1. Give it up entirely.

  2. Finish what I have, which is an extremely faithful reproduction of the Monotype metal version, and release it with my own naming (I like "Museum") on, say, MyFonts.

  3. Adapt it so that it's still very clearly Centaur, but less slavish to the Monotype metal. There are plenty other sources to draw on, including the original handset Centaur, its predecessor Montaigne, and of course Jenson's original.

  4. Start over on my own Jenson revival, with a similar design brief: a calligraphic interpretation with the same letter architecture and proportions as the Jenson Eusebius. A danger here, though, is that if I "clean up" the outlines too much, I might end up with something very close to Adobe Jenson.

  5. Go after a different 20th Century metal Jenson revival entirely. I'm intrigued with Mardersteig's Zeno, but haven't been able to get my hands on a really high quality sample (there's a middling reproduction in Anatomy of a Typeface).

Lastly, is there any problem with posting a PDF of what I've done so far? I'm really trying to balance the ethical questions of rights and the like with my strong sense that making a really high quality version of Centaur available is the right thing to do.

Greeting Friends!

It is our distinct pleasure to announce the return of the first Filmotype typefaces to return to the graphic designers palette since their heyday in the 1950s as photo lettered alphabets.

The first two releases are Filmotype Glenlake and Filmotype MacBeth

Filmotype Glenlake - Initially designed and released in 1955, this Gothic Sans Serif having disappeared from graphic design history reappeared in 1994's Ed Wood in it's starring role as the opening credits of Woods famous film "Glen or Glenda" ironically.

It is joined by Filmotype MacBeth - This Free Style typeface owes its origins to Lettering Inc where its original author penned a similar style prior to creating a unique version of the typeface for Filmotype in the early 1950s.

Both typefaces were remastered and expanded with exacting precision and include a full international character compliment, automatic fractionals, ordinals, and a complete suite of alternate characters in dynamic OpenType format.

We hope you enjoy these timeless gems of typographic design and will find them as exciting as we have.

You can purchase, preview and discover more about these faces online exclusivly at Font Bros!

See 'em here:


My new typeface “Recovery” is now available from TypeTrust. Recovery is a reinterpretation of Charles Coiner’s letter designs for the National Recovery Administration and M.F. Benton’s typeface “Eagle Bold” which was based on Coiner’s work. Recovery comes in one weight with small caps, fractions, and an extended character set.

View and buy it here:

And the PDF is here.

Thanks to Silas Dilworth for his invaluable assistance with the production of this typeface.

LETIMES has the latest installment of the Segoe Saga!!!!

We're so excited about it that we're posting to Typophile before doing anything else.

Breathtaking new heights have been scaled in design piracy, which will shortly be the subject of new content at, which as you know is the site that celebrates type piracy (though it sure doesn't update its website too often).

When Adobe pirated Frutiger in 1993, the designer complained, and Adobe sent Frutiger a letter explaining in seven dense pages, all the true differences there were between Myriad and Frutiger.

But Microsoft's new corporate typeface, Segoe, will cause less trouble. This masterpiece of fidelity is so hard to distinguish from Frutiger that, as we learnt in the EU ruling today, Microsoft now takes the official position that there is no difference between the two designs.

See the EU trademark and design authority decision here:

The latest news in this saga is that the EU trademark and design registration office has declared Linotype the winner and invalidated Microsoft's registration of Segoe as an original typeface, which just proves our point.

However, though Microsoft may have lost at the EU, we at Le Times congratulate Microsoft for doing an even better job than Adobe in getting to the true essense of Frutiger. Can anything rival the fidelity and sensitivity with which this princely project of piracy has been realised? Can a Peignot award be beckoning for its gifted designers?

Sadly, Le Times must note that Frutiger won't be able to discuss his typeface with Microsoft this time around. Now seventy-five, and ill with lung disease, it seems he doesn't have the strength to concern himself with the matter.

But there is good news too!!!! We expect that Microsoft's shareholders will be grateful to Microsoft for hitting upon this delightful method of saving money. Before commissioning Segoe, Microsoft did, Le Times has heard from Linotype, try to license Frutiger, but baulked at Linotype's price: one penny per OS sold. Kudos to Microsoft for realizing that pennies add up to an unacceptable and unfair shareholder burden.

We expect there will be some carpers out there who fancy it unfair that Frutiger will be deprived of substantial royalties for his work. We can allay their anxiety by advising them to consider the practical, shareholder-driven view: Frutiger will soon no longer be with us.

We ask everyone in the design community to join us in endorsing Microsoft on this felicitous occasion. It takes an entity of Microsoft's philanthropic resources to be able to deliver this final tribute to a great designer on his sickbed.

(Personally, I would have sent flowers instead.)

Have you ever NOT licensed type because the EULA was too restrictive? Have you ever licensed type only to realize that the EULA was too restrictive? Are there certain type foundries from whom you do not or will not license type because their EULA is too restrictive? On the other side of the proverbial coin, are there foundries for whom you are loyal because (besides beautiful and useful type) they have what you deem to be a fair EULA?

If you had a say in the standardization of the EULA, how would you format it? (Within reason, of course, and with what is semi-standard now.) Would you have it side with output devices or with desktops? Would you include a laptop or some sort of 70/30 clause?

Thoughts? Ideas? Links to favorite EULAs?

(No flaming or insulting or name calling, please.)

Hi guys,

Now I can finally say that Jana Thork family is released and available at MyFonts!


This type family can be seen as a historical approach that considers our increasing needs for freedom in a post-historical world. Jana Thork is a synthesis of the stone engraved capital letterforms and the uncial and half-uncial calligraphic styles.

The idea of the typeface designer, Ricardo Esteves Gomes, was to seek the limits between our uppercase and lowercase mental concepts. In this respect, it unites references from both Roman and Celtic cultures in one place.

The Jana Thork family includes more than 120 extras including ligatures and swashes. If you want to use open type features you can see them all (ligatures, swashes and fractions) in one font file, that is Jana Thork Pro.

This family can be useful to compose titles, short texts and letterings that need to look attractive to the eye.