Merci pour votre article:
Polices de caractères, un piratage méconnu Cette prise de conscience est relativement nouvelle, comparativement aux décennies précédentes. Les graphistes, designers souffrent du manque de reconnaissance de leur travail, les dizaines de billets de blogs alertant des abus de ces plateformes de création graphique à 2€, comme ces concours de création de logos payés avec une bonne bouteille de champagne (la dernière du jour) ne sont que de petits exemples. Mais la conscience qu’un caractère typographique qui apporte de la valeur à projet et à ce titre doit-être payé pour son usage est acquise.
Not later than 2 days ago, I’ve got this discussion with Typofonderie’s team and shared the fact that many of reputable typographers speak a perfect french. Then, today, I found back this old piece, wrote this small homage about John Dreyfus in 2002, founding member and second president of ATypI. Already more than ten years ago.
Two articles discovered via Daring Fireball can be interesting in the context of font market quick analyse.
Depending font distribution, there is some way to sold type licences. At Myfonts, it seems that fonts sold by weights are the things people buying. In more traditional distributors, such FontShop or Monotype, families are the first thing you’re pushed to buy. Despite the analogy sound present compared to albums versus singles in music industry as described on the two articles, it doesn’t apply at 100%: separate fonts work mostly for headline, one shot use, compared to typefaces families used for longer time. I don’t cover here bespoke fonts who is a completely different subject.
In 1996, I was asked by the defunct FontShop France to design a page who featured some of my typefaces at the time. FF Angie and Apolline already available, Parisine in two weights only available directly from me. Anisette announced as the next typeface and Le Monde superfamily on the way, as this family was finished and launched in 1997. Then a review and comparison of prices between 1996 and now seems the most interesting part…
In graphic design, typography it can a good idea to develop such tool. In design schools, it should be used for all courses!?
Interesting if used to compare redesign of brands.
“I can’t afford a porsche, but it doesn’t give me the right to steal one.
Stealing typefaces is absolutely unnecessary considering the number of free ones out there, not to mention the ones that came on your OS.” Alphonse.
Quoted from Brandnew comments.
Interesting case about NBC and Font Bureau.
Another case about BoingBoing webfonts.
Updated the wrong link, thanks to AC