We’ve made a couple of changes to our webfont license, removing some restrictions, putting others in place and adding a new use. The biggest changes are as follows:
- Licensed by pageviews
Our previous license was priced based on the number of domain names. The new one is based on the average monthly traffic, counted in pageviews, of the website using the fonts. The starting price for the lowest traffic level – 500,000 pageviews – remains the same as our previous single-domain price.
- Expanded domain name coverage
Although the new license is still for use with a single domain, the definition of a domain is more inclusive. So long as the unique identifier of the domain name remains the same, subdomains and top-level domains are now unlimited. For example, the following five domain names are considered a single domain:
example.com, example.dk, shop.example.com, blog.example.com,
In the past, this would have counted as four domain names (five subdomains were included with each domain) and required a separate license for each.
- Adding web-based mobile app usage
We were often asked if our webfont license covered web-based apps and our answer was that it didn’t. In our new license, we explicitly allow webfont use for web-based apps using @font-face to call the fonts. It’s important to note that mobile apps built with embedded or included fonts are not be covered by this or our desktop license and require the purchase of a license extension if such use is desired.
Already purchased a domain-based license from us?
If you already purchased webfonts under the previous domain-based license, don’t worry – this doesn’t change your license. It will remain domain-based and not tied to pageviews.
However, if you were to upgrade a previous purchase (say you bought Bryant 2 Web Bold and wanted to upgrade to Bryant 2 Web Complete Family), all the fonts in that order, including the previous purchase, would fall under the new license.
In a nutshell, our upgrade program let’s you add licenses or more family members of previously purchased fonts without re-paying for what you’ve already purchased. The benefit, in both cases, is that you can buy what you need, when you need it, without penalty. It’s also a great way to try out fonts, starting with a single weight or pack, knowing you won’t pay for those fonts again if you purchase larger packs that contain the same fonts later on.
There are three basic types of upgrades but they can be combined in just about any conceivable way. Both desktop and web fonts are upgradable but only purchases made directly through the Process Type Foundry are eligible.
1) Add more fonts from the same family
Start small, with just a single, then purchase the full family when you need a larger typographic palette. Or, for a larger family, start with a single, move to a pack and purchase the whole family when you’re convinced it’s a good fit.
2) Add OpenType Features
Bryant, Capucine, Elena, Klavika and Seravek all have various OpenType features like small caps, arrows and multiple numeral styles. They’re offered in two flavors for different budgets: the full versions have all their OpenType features and a higher price, and the basic sets have fewer features and a lower price. If you’re not sure you’ll use all the features, start with a basic character set and upgrade to the full version whenever you’re ready.
3) Add computers
This is the most straightforward of upgrade options. When your team has grown or the fonts you’ve purchased are on more computers than you’re licensed for, add more easily.
To add more computers, in this instance to an existing one computer license of Bryant Compressed Bold, simply choose the number of computers you’d like and ‘add’ to cart. That’s it! The previous purchase price of $39 is factored into the cost and the extra license ends up at just $4.
For all upgrades, the first step is to log into your account. Once logged in, any prices affected by upgrades will show up in blue.
From our Help pages:
An overview of our upgrade program
How to: upgrade to desktop packs, families or pro versions
How to: add licenses to a previous purchase
Since I need a login, what if I don’t have one?
Our Colfax has been finding a home for itself on the web as of late. You won’t find tiny type in this lot of featured sites, but generous sizing that gives the type room to breath and shine. Below are a few websites using Colfax to great effect.
From Normative, a multidisciplinary design firm based in Toronto, Canada, a website showcasing the firm set exclusively in Colfax.
Watch your screen burn in this Pitchfork cover story on Daft Punk, with headlines set in Colfax.
Lettering is so often composed of perfect, soaring curves. Never a hair out of place. So, I was delighted to run into this tin that once held fruit cake from Blum’s, a well-loved San Francisco bakery closed since the 70s.
The overall tone of the lettering is quick, fluid and slightly textured with a bit of angularity thrown in particularly at the baseline. When you get to the letters at the end or beginning of a word, say the B and s in Blum’s, things take a decidedly idiosyncratic turn. The angularity and texture is magnified and (dare I say it) the shapes feel slightly awkward. But, it’s those gestures that add such charm and warmth to the piece, a reminder that surprise and consistency are often perfect bedfellows.
For a closer look at the lettering, check out a full-sized detail on Flickr.
Three years ago, we became members of 1% for the Planet. Whenever
you see their logo, on a product or website, it means that company pledged to donate one percent of their annual revenue to environmental non-profit groups.
Besides helping build a healthier planet, a key benefit of the 1% program is that member organizations are audited every year to confirm they are donating their pledged amounts. When you purchase goods from a 1% for the Planet member, you are assured that one percent of the sale goes to an environmental cause, and that
includes fonts licensed directly through the Process Type Foundry. (Licenses purchased through our resellers still factor into our donation but at a smaller percentage depending on our royalty rate.)
For 2012, we donated to the seven organizations listed below. We’re excited to see what they accomplish in the coming year and are grateful for their work.
Customers have asked and we’ve always agreed – why doesn’t Klavika have a Black weight? Or an Extra Light? Good questions. Those lead us to wonder, what about an Ultra Black or a Thin as well? Why not fully explore the weight range, expand on the original and add something new? Sounds like the start of a great project!
And with that, Klavika Display was born. Available in four weights – Thin, Extra Light, Black and Ultra Black – and two widths – Standard and Condensed – the family is an addition to the existing Klavika and Klavika Condensed families. Although designed as en extension of the original series, Klavika Display works equally well on its own as a boastful display font. Singles, packs and the complete family are available in both desktop and webfont formats.
In the spring of 2012, eight students at North Carolina State University’s College of Design participated in a new course to curate, edit, design and publish The Student Publication, a journal that reports on important issues in the field of design. While they had the support of Dean Marvin Malecha, FAIA and were guided by the expertise of Assistant Professor Tania Allen, the students (Michael Carbaugh, Dwight Davis, Eric Flood, Anna Gonzales, Craig Maxwell, Rebekah Zabarsky, and Leigh Anne Zeitouni) managed every aspect of the project including selecting and inviting contributors, authoring content, designing the publication and managing its promotion. The result, Volume 35: Transformation: New perspectives on design methods and processes, was printed and released this fall.
Assistant Professor Allen was asked how building a course around the well-established publication enhanced the students’ learning experience. She explained that a dedicated course provided time and space for students to sit, think and discuss the strengths and weaknesses of a potential topic and whether it merited an entire issue.Continue reading...
If you happened by the FontFeed recently, you’ll find an interview with Process Type Foundry partners Eric Olson and Nicole Dotin by Yves Peters. Go ahead, read the words. Sometimes, though, we just want to ogle the pictures. Here are photos from the interview along with extended annotations, outtakes and some extras.
Eric and Nicole standing in the doorway of the Process Type Foundry studio.