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I'm not saying "all".. I'm only saying "many", as they needs evolve, in the same way the people will move from GF to other services as their needs evolve.
I'm sure that Font Bureau fonts are not exposed in the same way as the bulk of proprietary webfonts seem to be on the major servers.
David Berlow wrote: But what you see and what I see are very different things because what you do and what I do are not the same, though they overlap.
And then the big question is why do type designers accept these systems of font delivery that allow such easy theft of their designs?I think the answer to that goes back to standards. When Adobe launched PS there was encryption and no one could steal fonts without a bunch of really smart programmers. The disadvantages of their system to the legal user were substantial, and I suspect the cost of soothing these users when encryption ran amok was difficult to support.
You say people sign contracts that, in return for % royalties, leave their webfonts exposed to easy thefts — are surrendering. But signing a contract in return for nothing, leaving your webfonts to only benefit others is not surrendering, bending over, or anything but heroism. I think, as I wrote, this must be a generational thing.
Vernon: John raised interesting issues. Mr Berlow offered interesting insights. And the one thing that gives you an Eureka Moment is ... this?
Pablo: I think 'proprietary' vs 'libre' is irrelevant for the aspect that you speak about. The aspect that is relevant to GF users most likely is not that fonts are 'libre' (vs 'proprietary') but that they cost nothing (vs costing some fee) – which I think is what you are speaking about when you refer to Fontspring vs Fontsquirrel. I noticed that Vernon spices up his comments with a 'proprietary' here and there, I think it obscures rather than clarifies anything.
The *only* difference between the two is the accompanying license.
Do we expect Apple, Microsoft, Adobe, and every other big software/internet company to keep our livelihood in mind …?
Google webfonts are not going to be the commercial font industry's end-all.
it seems to me what we're showing here is misdirected anger/frustration, which may speak volumes about us rather than solve some of our industry's real issues.
Karsten(?) said:You could abbreviate the show a bit by providing the text of the confession that you seem to to want to read.
Barbieri is a casual sans type family, based on a German lettering style from the '60sKade is a display/semi display sans family of fonts based on vernacular lettering photographed over the last ten years in and around the harbours of Amsterdam and Rotterdam.While conceiving Winco, Ramiro Espinoza studied the work of the masters of postwar book cover design ... Having established a stylistic framework...‘Krul’ is a typographic interpretation of the lettering style created by Dutch letter painter Jan Willem Joseph Visser at the end of the 1940sDulcinea ... sometimes come close to ugliness ... is far from being just a revival ... myriad interesting details that can be rescued and preserved, along with the playful spirit of the original.Medusa is Ramiro Espinoza’s homage ... capitals were redrawn in order to strike a greater balance and enhance the consistency of the set of letters as a whole. Several swashes and ligatures were also created from scratch. 'Kurversbrug' is a revival of the Amsterdam's bridge letters. The original alphabet was probably designed by Anton Kurvers around 1930. Ramiro Espinoza solved many inconsistencies in the original model, completely redefined several letters, added punctuation marks
@Dave: You are justifying derivative fonts and trying to make poor design standards acceptable. For me that's enough to have a very negative opinion about you.
DaveCrossland said: Skyfonts allows installing a font for 5 minutes for use in any application; since this includes font editors, you can open the font and save it on your desktop. This is not more difficult than dragging a font out of the developer pane of the browser.
So my observation as product manager and font library manager for WebINK is that we know of essentially zero piracy from WebINK itself. Presumably because there are much easier ways to get the original, intact fonts. Why bother ripping them from WebINK or Typekit?
Scott Martin wrote:The implications of your rejoinder to Ramiro Espinosa's remarks are utterly false and I would think you know it--at least I hope you do. The fonts you cite are serious, interpretative work based upon lettering styles that never before existed as type.
Have most of you guys read this by John Downer? http://www.emigre.com/Editorial.php?sect=2&id=1