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  • Re: MyFonts and families

    I tend to think of Adobe’s bundling, and their price drops, as a response to Corel and Microsoft. Corel started bundling 830 fonts with CorelDraw in 1990.

    Adobe had their own discounted “Type Sets” collections as early as the summer of 1991, following on the availability of Adobe Type Manager. But they were not quite on the scale of Corel. Corel bundled vastly more fonts than Adobe did (830 vs 220), and kept their old app versions available at substantially lower prices than Adobe charged. Although initially there were some sketchy fonts in Corel's collection, most of the junk was fairly soon replaced by stuff from Bitstream, ITC, and URW. They became a big bundle of good quality fonts that in their previous-release version you could find at a supermarket.
  • Re: TypeSnitch Project Update

    fool me once...
  • Re: Out of print books

    Well I think that the AmazonUK entry was a mistake, they said it would take a month to deliver it and now the delivery has been put back another month. Also the Amazon original price version has been removed (only resellers on the page now).
  • Re: MyFonts and families

    When font prices dropped in the early-mid 90s, thanks to Microsoft and Corel, profits plummeted.

    But mainly thanks to Adobe, for bundling free fonts on CDs with Photoshop and Illustrator.
    Remember, this was before the internet and e-commerce, and the font market was primarily graphic designers using… Photoshop and Illustrator.
  • Re: MyFonts and families

    I don't know if it's really a race to the bottom unless we're sacrificing quality on the way. If I sell a typeface family for $100 to 10 people, $10 to 100 people or $1 to 1000 people, it doesn't make me want to make me cut corners on the next product any more or less. I get paid just as much in all 3 scenarios.

    I'm really thinking that bundles and deep discounting aren't a problem at all, they're a symptom of something. Does this happen in other fields? Any economists care to explain this phenomenon? I want to art college so I have no idea what I'm talking about.
    Well, speaking as a type designer who is also an MBA....

    What you say would be true, only if the price elasticity of demand is non-linear and makes *exactly* the right curve. In general, for most products and services, this is not the case. That is, it would be unlikely, a massive coincidence, for any particular good if the price elasticity curve happens to be shaped such that there is no profit-maximizing price and all points are equal.

    Note: don't forget the Cost of Goods Sold (COGS). That's why I wrote profit-maximizing rather than revenue-maximizing. If you have 1000 customers instead of 10, don't you think you might have higher support costs?

    We also have at least some experience with price changes for fonts. When font prices dropped in the early-mid 90s, thanks to Microsoft and Corel, profits plummeted. Adobe laid off half their type staff in 1994. So I am at least provisionally suspicious that further price drops are good for font revenue—although I will be the first to say that it may vary depending on what part of the market you're operating in.
  • Re: Style naming for font menus

    Moving forward, I'm hoping that the new STAT table will eventually replace much of the name table functionality with regard to menu names. The trouble with the name table approach is that it is neither flexible nor easily extensible. Every time software comes up with a new way of accessing font variants or a new way of presenting fonts to users, we needed a new name table ID, a new name table version, etc.. The STAT table is designed to record font variants as attributes, with the idea that font menus could be built on-the-fly from the STAT entries, and even allow for users to say how they prefer fonts to be sorted, organised, and names in menus.
  • Re: Jardin Solid

    That /Z feels strange to me, like the bottom was too short. But If it's part of the style, ignore me :) I am rarely comfortable with any S's and Z's in terms of balance.

    The foot of the /t feels out of character. I understand it replicates the terminal of /f, but it feels out of place when compared to flared terminals of /e and /c.

    The /a feels awkward, I'd either make the stem conform to the vertical or lean even more just to make it more "decided". I'd also add weight to the terminal, but that's just one person's taste.
  • Re: Freitag — toying around with a geometric display sans

    That /v/ might be a little light. And I wonder if your overshoot is a touch too much in this weight.
  • Re: Is there any harm done if I use a hyphen in a font name?

    I  named my one font "DigitaltS-Lime" and found that some programs (for example Scribus) treat part after hyphen as a style name ("Lime").

  • Re: Philippine piso symbol U+20B1

    "I would make the head of the "P" as large as possible; "
    A reasonable solution, I use it all the time when drawing this glyph. Just as long as it stays looking like a P and does not enter into D territory.