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Thomas Phinney

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Thomas Phinney
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  • 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: Private Use Area for ligatures and alternates

    In the cases when the OT feature lookups are being used to access glyphs, it doesn't much matter whether the glyphs are also encoded, or not.

    Composites are indeed essentially references from one glyph to another, used with TrueType outlines. Subroutines are a more automated and flexible version that does not necessarily deal in whole glyphs, used with PostScript CFF outlines. Both have been possible and widely used pretty much forever.

    I am afraid I am not a FontForge expert, but I believe it supports both mechanisms. Here's a bit: https://fontforge.github.io/accented.html

    T
  • Re: Transition To Digital Type

    Early computer fonts were printer-based, being neither WYSIWYG nor scalable on screen. As they only worked with a given high-end expensive device, they were licensed per output device. This was the norm in the 1980s, until TrueType and ATM (for PostScript Type 1) complicated things in 1991–92.

    I don't know any specific articles on the topic, though.
  • Re: Bill Andersen - Andersen Agency

    One of his other fonts is licensed through Linotype, so they might have contact info.
  • Re: Stroked vectors in FontLab Studio 6

    All this works very nicely with the live brush capabilities in FontLab VI, btw.