Upon payment in full, Commercial Type will grant you a non-exclusive terminable License to the Font Software that accompanies this EULA. Use of the Font Software is limited to Personal or Internal Business Use only. For the purposes of this Agreement, Font Software shall be defined as the design of the Fonts together with the Font Software which, when used generates the typeface, typographic designs and, if applicable, ornaments or other designs. Personal or Internal Business Use shall mean Use of the Font Software for your customary personal or internal business purposes and, except as may otherwise permitted herein, shall not mean or include the commercial distribution or use of Font Software, the design of the fonts or artwork embodied therein or any component thereof for any commercial use or in any Commercial Product for sale whatsoever. If you are unsure whether your use is not permitted, contact Commercial Type.įor the purposes of this Agreement, prohibited commercial uses include, by way of example not limitation, T-shirts, third-party software, electronic devices, mugs, animation, etc. Your failure to contact to seek permission or the lack of a specific prohibition in this Agreement shall not be interpreted or deemed a waiver or permissible use of any kind. You hereby agree that the Font Software shall further comprise all bitmap representations of typeface and typographic designs and ornaments created by or derived from the Font Software. The Font Software shall be deemed to include any upgrades, updates, related files, permitted modifications, if any, permitted copies, and related documentation. Reed Reibstein is product design manager at The Philadelphia Inquirer, where he focuses on design and user research for and its mobile apps.If you are a design consultancy, advertising agency or purchasing this license for use by or on behalf of such an entity, the ultimate end user should also purchase a license appropriate for their intended use of the Font Software, if their use of the Font Software is likely to involve uses not permitted under this Agreement. Instead of seeking a transparent small type experience, prioritizing readability at all costs, should I contemplate typefaces with far more flavor? Must “display” mean that a typeface only works at large sizes? Or should I use the term to identify a tone more than a size, referring to the outsize impact such a typeface has on a website or magazine design? Druk Text is the rare new release that provokes questions about how we practice typography. This type family made me reconsider my assumptions about what faces I should consider for a particular role. The Wide is easiest to parse at very small point sizes, when the eye can see more of a word at one time. Druk Text Wide pursues the same strategy, but works better for labels and subheads than captions. Setting a whole page in it might wear out its welcome, but it could thrive in many briefer contexts, aided by four weights and italics. Comparing them to the original Druk, however, I was struck by how drastically their designer, Berton Hasebe, has moderated their proportions.ĭruk Text is shockingly easy to read for its width, thanks to its ample spacing and relatively open apertures. My first impression was how extremely condensed and extremely extended these typefaces are, and I found it hard to imagine using them below headline sizes. They are named “Text” and yet, in an apparent contradiction, Commercial Type’s specimen states that “Druk Text is a display face designed for small sizes…” But the new additions to the Druk family, Druk Text and Druk Text Wide, are outliers. One group is designed for small sizes, the other for big everyday workhorses versus once-in-a-blue-moon spectacles.Ĭommercial Type’s Druk clearly fits into this scheme as a display face: Tânia Raposo’s review last year appropriately centered on the word “extreme”. It’s easy to sort typefaces into broad categories of useful text faces on one hand and exuberant display faces on the other.
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