Desktop fonts are designed to be installed on a computer for use with applications. Licensed per computer. Web fonts are used with the CSS @font-face rule. They are licensed for a set number of page views with no time limitation. Mobile App Fonts can be embedded in your mobile application. Each app requires a separate license. The license is based on the number of app installations. Electronic Publication Fonts can be embedded in an e Book, e Magazine or e Newspaper. Fonts are licensed per issue. Server fonts can be installed on a server and e.g. used by automated processes to create items. A license is per server core CPU per year.
Contributed by book designer, page compositor and layout artist Stephen Tiano. Choosing typefaces is one of the two most important choices you make when designing a book. Aside from a cover photo or illustration, it is the detail that is most out there in front of readers. Fonts* used on a book cover make the initial reading impression and, when properly chosen, prepare readers for how the reading experience will feel when they turn to the first page. I know of two ways to select typefaces for book projects. First, the lazy — though not necessarily uninteresting way — is to choose superfamilies comprised of both serif and sans serif fonts. The other way is arguably the more creative way, and is what, intuitively, one expects to pay a book designer to do: dope out perfect matches for each book he or she works on. A few of my favorite type superfamilies are Fontin/ Fontin Sans, Liberation Serif/ Liberation Sans, and Scala Pro and Scala Sans Pro. ( As a bonus, both the Fontin superfamily and the Liberation superfamily are open source — that is, free to use.) There’s also an interesting list of forty superfamilies in an article on Peyton Crump’s Viget Inspire blog. Stay on your toes, however, as not each of these pairs is suitable for making books. The second way to pair types is the “hard,” creative way; the doping-it-out kind of way, where the book designer does the matching. And that leads to the two ways to pair serifs and sans serifs: by contrasting or by matching. Contrasting, at first blush, is by far the easier of the two ways to work out pairings. Theoretically, nearly every difference provides contrast. Some obvious points to compare are letter height, x-height, stroke weight, character shapes, and direction of the axis (vertical or angled). The most practical contrast, however, when using serifs and sans side-by-side are roman to bold — the more extreme, the.
Download Now