It's been a few months since then, and I forgot the details — what I sent was UFO, not PDF files. So… of course I can't attach the UFOs — here's a PDF with the diacritics I added.
But I got some other vector file — in 2013 I made a PDF with corrections for the Romanian diacritics of almost all the fonts shipped with Mac OS X and whatever other fonts I got from the AI and MS Word installations. I'm attaching that, too – even if it's not a "Romanian Diacritics How-To", maybe it will be useful if anyone has the patience for it. (If on Mac, I recommend viewing this one in Acrobat Reader, not Preview, to see the errors the Adobe type engine has when displaying Courier New Italic & Bold and Times New Roman Italic, Bold & Bold Italic).
@ Andreas Stötzner: You're right — although a bit slow, things are moving forward. And in their defense, maybe some font designers are afraid of regenerating a font from old files, when regenerating it with a new version of the program could mean trouble.
I’ve posted many of my type design proofs to Github. They’re licensed under the MIT license. Included are proofs for testing glyph forms, spacing, kerning, diacritical marks, Devanagari conjuncts, book layouts, etc. The repository is: https://github.com/DunwichType/DTF_Proofs
Igor and Nicolas, I encourage you to document the indigenous American languages you have worked with on the Diacritics Project wiki: http://diacritics.typo.cz. I think that other designers (at least myself, anyway) are more likely to support these languages if they have reference material that comes from type designers.
Yes, I'm getting a lot of sales for app/web licenses for older free fonts. I think those old fonts, unlike my recent free fonts are installed on more computers and are included with more software packages. The chances of someone using the font in a project, getting accustomed to it, requiring a different license and actually purchasing it are slim. If a font is already on millions of hard drives as opposed to thousands, revenue can exceed that of a conventional commercial pricing scheme.
The problem I recently had was just getting the free fonts out there. It could be a matter of my new fonts not being good enough, but some of the old ones that earn the most in upsold licenses, are inarguably terrible. My guess is that these days, people don't hunt for free fonts the way they used to. If you're reading this and you're under 20, try to imagine a time when people bought computers and they didn't have enough fonts. I'm not talking about design professionals, I mean your average person. If you wanted something other than the small selection of OS fonts, you had to go get some. Now, when you install Windows 8, you get a cornucopia of wonderful fonts.
Latin typography is going to see many more derivative novelty fonts created with python scripts. Rounded fonts are being succeeded by typefaces with angles replacing curves. As the growing number of new type designers run out of ideas and look for ways to reprocess the old ones we can look forward to countless derivative fonts with octagons instead of curves, distressed outlines, ink traps, etc.. Free/cheap tools for creating these fonts will be made available to end users who will engage in rampant wild manipulation of the entire GWF library.
Layered color fonts will be a big part of the computer generated novelty trend. Expect to see lots of derivative fonts with automagically generated bevels, pattern fills, and drop shadows.
If Adobe develops a decent OpenType UI and implements it consistently across Creative Suite and graphic designers learn to use it we’ll see a surge in use of OpenType programming that goes beyond LIGA and CALT. In particular people will do more with stylistic sets if DTP software supports naming the sets. Some people will combine this with layered color fonts to do some amazing work.
Central and Southeast Asian typography is going to explode. Libre fonts combined with cheap computers and cheap/free software are rapidly making design accessible in places it never has been. This will stimulate a market for affordable-at-developing-world-prices non-Latin display types. MyFonts.in is going to be big by 2020.
By 2020 there will also be a booming market designing non-Latin Frutiger and Prokyon clones for companies that want to distinguish their brands with bespoke type that looks like everybody else’s bespoke type.
Western type designers will continue to shift their focus to non-Latin type design where there is more room for original work rather than trying to compete in the market for scripted novelty fonts sold at 99% discounts. Every time Glyphs adds another language to its automatic OpenType feature code compilation it will open a door for designers who lack the resources to do such heavy lifting on their own, encouraging this trend.
The pamphlet magazine/newspaper market will finally collapse in the next decade due to continued ad revenue decline and a crash in impulse buying caused by Americans shifting to online grocery shopping. Nobody will be making money off editorial web sites because all standards for web ads will have been abandoned and they’ll have negative value. This will cause the market for custom editorial fonts to collapse. That will dramatically change typography in the US and Europe as the old trendsetters fall from grace and are usurped by something. I have no idea what that something will be. Probably something to do with custom fonts to be embedded in spam for Oprah’s gluten-free kombucha extract penis pills.