All articles 1066

Why foundries are not protect their fonts by some kind of buildin "serial numbers" or marks? i understand that kan't stop piracy, but kan show the source were it was stolen.. i'm askin that becouse i've meet big packs of fonts from all major foundries at peer2peer networks..

Hi Everyone,

Just a quick early bird shout out to let you all know that Colophon Foundry has just released Reader in 6 weights – Regular, Regular Italics, Medium, Medium Italics, Bold & Bold Italics.

For a limited time of a week only, get yourself a bargain!

http://www.colophon-foundry.org/newsletter/001/buy/

Thanks

Colophon Foundry

Ingo Preuss released his ultra fat family BATTISTA coming in OpenType format and in five styles: Regular, Italic, Open, Stroke & Ornate.

The BATTISTA typeface stands in the long tradition of the designs developed by Giambattista Bodoni, who made his famous typefaces in the end of the eighteenth century. Similar designs can be found on various specimen books e.g. Alexander Wilson, John Bell, Edmund Fry and Alexander Thibaudeau. One of the best italics was available by Stephenson Blake & Co. foundry form Sheffield, England. In the end of the nineteenth century an unknown punch cutter at the German type foundry Schelter & Giesecke made an very bold cut of this Bodoni design. He brought both designs, the regular and the italic to an new level of harmony.

Compared to the original Bodoni designs the new typeface was a lot bolder, which was well taken by the audience in this time. The BATTISTA typeface is an remarkable design, assembled of ultra bold and very fine shapes, but in all, the spirit of Bodonis design was well preserved.

Have a look to the specimen PDF!

The typefaces can be licensed from Preusstype and MyFonts.

www.preusstype.com

it is little industrial, little vintage, little condensed, little bold.
Public Gothic is our new font family and beta release is free to use in all your designs, commercial or non commercial.

PB family members are PB Square, PB Vintage, PB Circular, PB Federal.
It's compatible with any os system. (Mac T1, Win OTF)

Download at:
http://www.a2591.com

Hello typophiles
This is Quincha, the new type-release by Cocijotype, its designer Diego Sanz based his work on incan walls, which fit their stones perfectly one to another. Quincha has 10 stylistic alternates to build your own wall, moreover, it has a large amount of contextual alternates (over 700). You can get it at MyFonts.
Regards.

Eli

If you want to know the salary of a font company's manager, then look here:

http://sec.edgar-online.com/2007/04/13/0001193125-07-080890/Section72.asp

Hello Typophiles!

We are proud to announce our new release!

"Yapa Rough" by Vicente Lamónaca, with a release offer of 50% OFF!!!

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough

Yapa Rough


Check out our website for FREE FONTS

TipoType.com

Nike uses Insider Regular Roman as textfont for their Annual Report 2005.
Download the Annual Report 2005 from Nike directly as pdf and see for yourself. Or download it from Characters Font Foundry.

Too bad they didn't ask me for the Insider Regular Roman LF, because the Insider Regular Roman they bought has old style figures. I have a font ready with lining figures that they could use immediately. In stead they used Helvetica for all the numbers! My god, they must love Insider, otherwise who else would go through all this trouble to change ALL the numbers into another font? ;-)
I tried contacting the designer at Nike, but without any luck.

If anyone comes across a printed sample, I'd love to have one. You find my address on the website. Please send me a copy.

This is the old thread about Insider: http://typophile.com/node/4094

Best regards,
®ené Verkaart

Characters Font Foundry { Typography to express yourself }
Become an Insider yourself. It's Really Simple: http://www.characters.nl/rss/rss.xml

| Attachment | Size | | --- | --- | | nike.jpg | 21.71 KB |

Lichtspielhaus Slab is an ultra condensed typeface based on Lichtspielhaus. It still transports you back to a time where neon lights and marquee letters decorated cinema facades. This time with Slab.
You can get it at myfonts if you like it









There are 8 styles: Hairline, Thin, Light, Regular, Medium, Bold, Black and Heavy.
“Lichtspielhaus Slab” is the third part of a Type Noir Quadrilogy.

[€73,99 ↘ €14,80] Until March 16, 2015 at Myfonts

Hi there!

I'm sure, this had been asked a lot of times before : )

It's about the pricing for a corporate headline font ( three styles, three weights ) for a european TV channel.

So, how much can I call? I have to submit an »exclusive« and a »not exclusive« offer. Is there a big difference, anyways?

What do you think? Please help me with some figures.

Thanks in advance,

Jui

FOR IMMEDIATE RELEASE

BlueVinyl Fonts Releases Taroca

BVFONTS.COM -- BlueVinyl Fonts is proud to announce the arrival of it's newest font Taroca! Taroca pronounced (Tah-Row-Kuh) is a word derived from the Italian word for Tarot. The Taroca font invokes the spirit of the traveling carnivals from the early 1900's. There are swash versions of: R, R small cap, Q, Q small cap, K and K small cap. Taroca Extras, which is included, is loaded with icons, word banners and flourishes. When using the OT version simply select Ornaments.

Please visit this webpage for images and further details of Taroca: http://www.bvfonts.com/taroca.shtml

Contact:

Jess Latham
Email: bluevinyl@bvfonts.com
http://www.bvfonts.com

I'm a bit surprised that I haven't seen a post around here about it yet (unless I've missed it), but according to Mark Porter Guardian Egyptian is now available for licensing.

Nothing's changed on Christian Schwartz's site (nor on Paul Barnes'), but I assume updates will be forthcoming. I also assume that although Porter only says "Guardian Egyptian," the entire suite (Sans, Text, Agate, etc.) will be available. But you know what they say about "to assume" ...

Hello!

Now and then the odd type designer makes a truly spontaneous display type graphic designers find inspiring & irresistable.

Introducing ----- Sentinel Jabberwub-----

============begin news release==============

A fresh new decorative display face bubbling with life & spontaneity, Jabberwub belongs to a rare genus of creature fonts that type forgot—casual animated. A fun & bouncy eye-catcher dancing a whacky line between discord & rhyme, Jabberwub packs tons of fun into a state-of-the-art OpenType font loaded with 270 extra glyphs, including stylistic alternates, discretionary ligatures, word ligatures and capitalized ligatures, allowing creative typographers to achieve a custom hand-lettered look without all the mess & spilt glue of a manual paste-up job.

Jabberwub is ideal for whatever zany stuff springs to mind. It takes an outline with no problem-o, and you can squish & squoosh it as the occasion takes your fancy. Optimal results are achieved by hand setting each individual glyph. Available in OpenType only.

Jabberwub can be viewed and test driven now at Myfonts:
http://www.myfonts.com/fonts/sentinel/jabberwub/

==============end news release==============

j a m e s

Lichtspiele — A typocalypse display typeface

Cinemas from the early 20th Century are called "Lichtspiele" in Germany. "Lichtspiele" transports you back to a time where neon lights and marquee letters decorated cinema facades.

Of the 5 styles, three have two versions of italics - one for each perspective. Display is your basic style. Neon is inspired by the old neon letters found outside cinemas.
Add Neon Outline to Display or Neon to add another layer to your artwork. Neon 3D is a extruded version of Neon. Screen Credits is based on the liner notes of movie posters.

You can get it at MyFonts for a introduction price of 29,85 USD
or with a limited edition (tote bag, showings newspaper, posters) for 59 EUR at lichtspiele3d.com

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

Lichtspiele

lichtspiele3d.com & MyFonts

Hello!
Today my fonts Newt Serif and Solveig (previously only on Veer) are now available on MyFonts. I'm excited to have them out now on the biggest font repository around, for everyone to see. I hope they do well in their new environment. To celebrate the move (and, no secret, to try to kick-start them onto the bestseller list), I'm holding an 87½ percent off sale (they're 1/8 the price). That puts these fonts squarely in the reach of casual font enthusiasts who can't afford to buy a font at design-firm-geared prices just to use for their own purposes. If that describes you — or, in fact, even if it doesn't — hurry over to MyFonts for these two fonts. Thanks, and I hope you like them!

[

Solveig](http://web.archive.org/web/20150415060942/http:/www.myfonts.com/fonts/looseleaf-fonts/solveig)

[

Newt Serif](http://web.archive.org/web/20150415060942/http:/www.myfonts.com/fonts/looseleaf-fonts/newt-serif)

Hi everyone,

I have made a promo video for one of my typefaces. It's a kind of a commercial to advertise a font.

Please check it out and tell me what you think:
http://www.radsn.net/

Thanks:)

We have a few shirts and stuff for sale at http://www.straightloop.com/ but one in particular I thought this forum might be interested in. Bend it like Bickham by my friend Chris King.

http://www.straightloop.com/bickham.php

How does one calculate appropriate licensing fees for broadcast? Specifically a network television sitcom using freeware fonts for opening credits?

Both MTV's The Osbournes and CBS's Still Standing are using my freeware fonts primarily in the main title sequences of both shows.

In the case of The Osbournes, the font usage has spilled out into licensed merchandise and continues to grow the brand based upon my work.

I'm usually not a stickler about licensing nor am I trying to be greedy and take money out of the franchise. I do however feel that if a major network is going to use a typeface as the basis of the brand of the show that they would attempt to compensate the typeface creator by acquiring the appropriate licensing for the font.

While it is truly flattering and I'm excited to see the fonts in use so notibly, no attempts to contact me have been made by either network.

I open it up to the group to offer any advice, opions, or suggestions as to what would be fair compensation for the usage.

Thanks for the ear,
Stuart :D

Chipperly, just released on MyFonts.com, is a brand new face inspired by the art of the Edwardian poster, especially travel posters. It’s good for clear ad legible headings which need a gentle and unobtrusive period touch, and is the latest is Greater Albion’s line of faces to explore the ‘small capitals’ idea.

In its regular weight, Chipperly’s glyphs are semi-shaded within an outer outline giving a distinctive look, while the Heavy weight maintains the separate outline but is completely filled. The Light form is an outline alone. All forms unite period elegance with the modern need for clear readability.

Light:

Regular:

Heavy:

See some examples of Chipperly in action at Greater Albion's announcements blog.

Try is out for yourself on MyFonts.com.

Greater Albion Typefounders have just published two free typeface offers on our blog.

These offers are for fully licensed commercial typefaces-not our designer's old freeware releases (as popular as those have proven. One offer is for a copy of Crewekerne Regular in your choice of Truetype or Opentype formats. The other offer is for a fully licensed copy of any single face of your choice from our releases to date.

Read all about the two offers here.

Hello everyone,

Just wanted to let you all know that i just created a new project called typegoodness. Its a site where anyone can join and share great typography. It's a work in progress and still in BETA mode. Have a look and let me know your thoughts and how you would improve it.

www.typegoodness.com

I spent most of yesterday wading through EULAs and EULA discussions here and elsewhere. (A lot of the threads and resources are a few years old, unfortunately.)

One of the really gray areas for me is reference to "modification" and "derivative works," especially as regards logos. I've been coasting along thinking that these clauses referred to the font software. That I was disallowed from cracking open the code and modifying the invisible 1s and 0s to suit my purposes, or to create another font-focused product - a derivative work - for sale (either directly to the font consumer market or to a design client as a custom in-house tool). While most EULAs are super vague on this, I've recently tripped across some that specifically prohibit logo design (without paying additional license fees). I also found one that prohibited using the font in "blasphemous" works, which really cracked me up!

My standard practice is that I never give a client a font file. If they want to use the chosen further but without my involvement I tell them where to license it (thereby, hopefully, further supporting font designers and foundries). What I do give to my logo clients is a vector version of their logo for whatever use they desire.

This seems to be acceptable practice from everyone with whom I have corresponded on the subject. However, one foundry representative recently told me this is only acceptable practice as long as I modify the letter form to make it my own work. That if I simply use an outline of the company name in the given font without making any changes to the letter forms, then I need to pay for further licensing.

So now I'm wondering what degree of change is needed and does this then violate the seemingly opposing concept of derivative work? (Sorry if these questions are naive, but they are nagging me.)

Attached is a super simplistic "logo" done in completely unmodified Geneva. This post is about the font, so I have added no embellishments that would normally be part of my design process. The plain source image is followed by six variations of same. In all six versions I outlined the font in Illustrator and then began modifying - either wholly or in part - various portions of the outlines.

I'd hugely appreciate it if the font designers or foundry reps on this forum would weigh in on what would be acceptable to them or not as part of a standard commercial-use EULA that would come with a purchase from someplace like MyFonts.com or similar. (Of course anyone is welcome to comment!)

My goal here is to really understand how to honor a EULA. I also want to learn which foundries and designers fit well with my work existing flow and practices (and embrace them and license their designs) and which don't and may need to be avoided unless demanded by my client, who will be willing to pay the additional fees (if any).

A reasonable approach?

Robert

We're at a point as foundries that sell fonts primarily where it's reasonable to only offer OpenType PS fonts for download to customers but there are some that say we must also include TrueType as well since so many older apps don't support loading OT fonts so, faced with the prospect of updating my entire library in OT, do I cover all bases and include OpenType PS, Mac/Win PS, and Mac/Win TT for the respective buyers? Do I only over OpenType PS? Do I offer OpenType PS AND Mac/Win TT?

The problem is, if I only offer OpenType PS, I'm likely to get e-mails from customers who can't use this format BUT if I offer all three I'm likely to get the same amount of folks who think nothing of dragging and dropping a single folder with all three font formats into Suitcase and none of 'em working so I'm trying to mitigate the difference.

I'd like as many different perspectives on this as the group can muster so please share this thread around because I don't feel I'm the first foundry to have this concern.

Thanks,
Stuart :D

Q1) Okay, lets pretend for a minute that I actually finish one of my fonts. What is the next step to release it through a reputable foundry?

Q2) Would it be appropriate to show samples from incomplete fonts? It think I would be more motivated to finish a font if I thought I could sell it.

'Tomate' has been released. It started in 2006 as a brush lettering exercise for a poster and was later used for the ReType identity. In 2008 its author decided to turn it into a super fat typeface suitable for packaging and mass consumption products. The possibilities of ultra heavy forms are explored in this alphabet; trying to solve the design problems that these sort of forms present. 'Tomate' shows influences from the beautiful 'Goudy Heavyface Italic' which is a design Espinoza admires.

http://www.re-type.com/