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What are the hidden expenses in this case?

And a note, the license applies to users, not CPUs. If I have two computers, one tablet and one mobile phone, I'm still one user, and I can use the font on as many devices as I want.

I know these things can be easily misleading, and I tried my best with the IP lawyer to make the EULA intelligible and simple as much as possible. This particular clause shouldn’t be seen as potentially damaging for the customer. I want to be absolutely clear about this: you buy the font now, and the EULA included in the package that you get will be valid forever.

But as a business, I cannot tie myself to a document that is published and that in two years’ time could be obsolete. I understand some people think it’s already obsolete, but it’s not. With one license you have what most commonly requires three licenses: Desktop, Web and App.

Regarding the tiers, the principle is simple: the font is a value for a business, either in terms of brand value or product value, and a business pays according to the value that the font brings.

A startup with little investment has all what it needs to adopt the font throughout the entire range of usages and assets (in Print and Digital).

Going back to the ‘Darth Vedery’ clause. If there will be any change to the EULA, this will apply to the fonts distributed from the time we will publish the new EULA (this is also why EULAs come with a version number and a publication date).

The new EULA won’t work retrospectively. That would be beyond evil, I totally agree. No fear of “Luke, I am your father” kind of situation. If previous customers will find the new EULA a better fit for their needs, they will be free to comply to it, if not, they will refer to the original EULA attached to the font they bought. In simple words, older customers will always have the best of what comes next.

Hello, I'm glad you like the font. Would you DM me so I can come back to you? You can find my contact at cinetype.com .

Quick answer about the product usage: the font can be embedded in a limited amount of products (defined in the License chosen). Products can be, for example, apps, softwares, video games, ebooks, dashboards, mobile devices.

Started with FontLab around 2003. Nowadays, my primary tool for development is Glyphs. It’s very easy to use, it’s pretty quick to learn how to use it, and it has quite an active forum/community open to help. Also, you can find plenty of tutorial around. Production wise, apart Glyphs, I use OTMaster quite a lot, fontmake and fonttools (these two are command line tools). VTT (Visual TrueType) for hinting.

My first experiments with fonts were pure trash, bad under many respects. Either super modular and stiff, or completely unaware of letterform construction (how the weight distribution works, proportions, etc.). Most useful thing for myself is to have a brief in mind and to give a sense to the shapes I draw.

I would study letterform, trying to reverse-engineer the design, looking at patterns within each letter but also among the whole alphabet. For example, how the shape of the curves is implemented across the glyph set (if you go for squarish curves, you would expect to get a similar personality wherever you have a curve).Feel free to drop me a line if you need more advice. There are also few good books that can help to focus on the important bits of letterforms construction.

Thanks a lot. The balance between strength and warmth is really something that I think identifies the typeface.

I haven’t noticed anything in the lowercase ‘b’, but I’m running further rasterisation tests as we speak, and I’ll push out an update that hopefully addresses the issue. Thanks a lot for the feedback. Much appreciated.

You are definitely right. The slightly, almost out-of-balance feeling is an integral part of the design. The white areas within letters are not of equal weight, and this creates the internal dynamism that I’m referring to. B is a good example. The lower mass of white is bigger than the upper one and this gives the feeling that is pushing upwards, while the upper mass of white is contrasting it. There is not a perfect equilibrium between the two areas, and this creates a tension that I was looking for.The overall stems construction holds in place the two forces.I still find the font utilitarian in its nature. It is quite easy to use, and flexible; I would define it as a workhorse, but with its personality. Its features become more relevant at bigger sizes, but they are toned down enough to work well at smaller sizes. I have to say that possibly the N is one of the more border-line cases, and I’m considering keeping the more traditional one as default, and use this as stylistic alternate. It’s been a while since I’m thinking about it, and some comments here confirm it might be a good idea.

Many many thanks!

Uh! This is a good question. I studied Graphic design & Visual communication, and I wanted to work on film titles for my final dissertation, a topic that I’m particularly fond of. Of course, typography is one of the key ingredients of a film title, so I’ve started to study type and typography, and I basically never stopped. After several books, I pivoted and focused exclusively on typefaces. My final dissertation became designing a typeface for film subtitles (still hanging around cinema but from another perspective : ).

I guess today I’m still doing this for three primary reasons:

– It allows me to discover and learn new things daily. Letters are everywhere and with so many forms and functions that I won’t get never bored and as society and culture develops, so design does, including type design.

– It gives me full control of the design and production processes; I can make a typeface from the first sketches to the final delivery with no need of a print-shop, or a factory, or anything else. This also means that I’m fully responsible of all the problems you will see in my typefaces. But it’s ok, I like to be accountable for what I do : )

– It is a sort of monastic, iper-focused specialty that requires a lot of attention and discipline, and somehow fits pretty well with my designer persona. I find it to be a pretty zen activity.

Hi everybody! Fabbrica designer here. If you have any question, or if you have any feedback, I would be super happy to hear.