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Michael Shavalier, Director of Creative Operations joins us on September 14th for a live webcast to share SANDOW’s font management success story.

During a recent interview Michael talked about the critical role font management plays at SANDOW, and how finding the right font management solution has helped him and his team improve their efficiency and productivity.

Join us live on Wednesday, September 14th, 10:00 a.m. Pacific; 1:00 p.m. Eastern, where he delves deeper and shares best practices he used from planning to implementation.

Michael will talk about

  • the importance of brand consistency and font license compliance
  • challenges that led to the need for a font management solution
  • the most critical components to SANDOW in a font management solution
  • learnings in preparing for and implementing a font manager
  • SANDOW’s continuing journey with font management

Michael will be available for a live Q&A session after the webcast. After the webcast a recording will be emailed to everyone that registers.

To register, please follow this link.

Hope you can join us!

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In a recent What’s New in Publishing article Jim Kidwell, Senior Product Marketing Manager from Extensis, takes a closer look on how typography is trending in today’s society and what it means for publishers.

What’s New in Publishing is a United Kingdom news portal focused on the Publishing industry and reports on innovative solutions; case studies and success stories relevant to publishers worldwide.

In Jim’s own words: “If you’ve been in business more than a few months, you’ve likely been building up quite a collection of fonts. Average solo design professionals have around 4,000 fonts in their collections, and the average business can easily have many multiples of that baseline number.”

Sounds familiar? In the full article Jim highlights how the increasing number of fonts launched to the market daily is increasing the number of challenges publishers and designers are facing with managing their font libraries… And, how to best deal with it!

Read the full article here:


Font Compliance In Publishing Best Practices Guide

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Recently in the District Court of Lod, Israel, a lawsuit for NIS 5 Million ($1.4 US Dollar) was filed against Microsoft Corporation for intellectual property infringement of copyright for the font “Hadassah.”

The suit alleges that Microsoft copied the font when it was creating Hadassah monotype, and Hadassah Guttmann, which are included with the Microsoft Windows operating system and Microsoft Office.

A hefty sum, this case highlights the fact that copyright laws vary from country to country. Fonts are protected like computer software in the United States, with the software itself being the copyrighted material. In other countries, Israel included, the graphic forms themselves can be copyrighted, and thus this lawsuit.

As a creative professional, keeping yourself safe from lawsuits over creative material is important to understand how and where your work will be created and used. Understanding the copyright laws of the country where you work is critical. What you can do with a specific font is most often covered by your end user license agreement, yet cases like this extend beyond any license. Be wary of copying existing creative work when developing new creative works, as even though the physical shapes can’t be copyrighted in the US, that isn’t always the case in other countries.

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The Hollywood Reporter is breaking the news today that NBCUniversal has settled the $3.5 Million lawsuit brought by Brand Design Co (House Industries) for the alleged use of the font Chalet outside its license restrictions.

While the terms of the settlement weren’t released today, the amount in the initial suit is enough to make any organization stand up and take notice.

This case, as well as previous font licensing cases, brings to light the need for effective monitoring and distribution of fonts in creative environments.

Fonts are licensed just like software, and controlled by an End User License Agreement (EULA). When you purchase fonts for use in your organization, it’s very important that you understand your rights and restrictions outlined in that EULA.

Most type foundries create very reasonable terms in their license agreements, and are more than happy to help you understand what’s considered an appropriate use. If you’re unsure, always ask before using.

An area that many people get themselves into hot water around is the appropriate licensing of fonts for use as web fonts. Many foundries don’t allow direct use of their fonts on the web, unless it’s done through a web font service, such as WebINK and the like.

To track licensing issues, while enabling creative teams to be productive, most teams have moved to an environment that includes a font server. This type of setup can distribute fonts to the appropriate people, track font licensing, and help you determine wether you are in compliance.

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Font licensing. It’s something that many people don’t think about in their everyday lives. Yet if you’re in any creative field, it’s critical and potentially costly if you don’t. During a recent webcast, I surveyed the audience and asked whether they knew the font licensing terms for all of the fonts in their collection. These were the results.

Do you know the font licensing terms of all of your fonts?

This recent webcast included participants who were across the creative spectrum, from individual solo designers all the way up to those in corporate creative teams. Considering this mixed audience, I wasn’t surprised by the results too much. The push for font license management and compliance is something that has started from the corporate level and is steadily pushing its way down to the solo designer. This is apparent when comparing this data with that from a previous survey of primarily corporate, large workgroups where almost half of the audience indicated that they


read font licenses. With some very high profile and multi-million dollar lawsuits surrounding fonts and their appropriate licensing (see NBC Universal, Rick Santorum, Wizarding World of Harry Potter) we can see a trend where it’s important for designers at every level to understand what they can and cannot do with their fonts. Managing your font licenses is an ongoing process, and one that many may find a bit daunting. My advice is to just get started examining with what you know now about your collection and collect info from there. Locate your original paperwork & digital files where possible. When that’s not possible, connect with your type foundry to find out what their licensing permits. Don’t just assume that your license permits all uses. Remember, if we’re doing creative work, we want our work to be noticed. And being in the spotlight, it’s going to stick out like a sore thumb if you aren’t using a licensed font. You wouldn’t want to embarrass yourself or your client with a lawsuit, so it’s best to do the right thing from the start. Universal Type Server can help you manage font licenses with your team. Contact us for more information.

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NBC Universal is no stranger to font compliance lawsuits, and this week brings yet another.

This Wednesday, House Industries (Brand Design Co.) filed a $3.5 million claim against NBC Universal for alleged misuse of their font Chalet on the website

The key to this lawsuit is the licensing. A division of NBC Universal apparently purchased a number of copies for desktop use. Where the complaint lies is that allegedly NBC Universal converted the font for web use via an online tool, which is outside the scope of the font license.

Using fonts on websites is something that many creative groups want to do. It’s at the forefront of web design, and has many benefits for content management, SEO, readability and for overall design aesthetics. Unfortunately most fonts aren’t by default licensed for use on the web. This is because when fonts are used in web sites, they actually reside on the web server, and the font software is physically downloaded to each user when they view the page.

This means that the infringement isn’t just for converting the font to a different format. It’s also for the number of people who visited the offending site and received a copy of the font to display the page – estimated at 20,000 visitors. That’s where the $3.5 million dollar claim comes from – the original price of the font multiplied by the number of downloads.

So, how do you keep yourself safe from these types of lawsuits.

Firstly, read all of your font licenses when you purchase them. If you don’t understand something, clarify with the type foundry. Many of these shops are fairly small (sometimes even just one or two people) and they will very likely be happy to help you understand what you’re getting.

Second, for font use on the web, use a font service such as WebINK or be sure when purchasing fonts to explicitly include web licensing. If the font that you’re purchasing doesn’t support web usage, there’s likely an alternate from a reputable web font service that will meet the need. There are benefits to using a web font service beyond merely font selection, and you can read more on

Finally, manage all of your fonts and licenses using a server-based font manager like Universal Type Server. If you’ve got a creative team, it’s important to understand which fonts you have licensed, and what those font licenses are for. With server-based font managers, you can store all of your fonts and licenses centrally so users can have access to your collection.

As always, if you have any questions, I’m happy to answer what I can in the comments below, or shoot me an email using the contact form.

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Nicht wenige von Ihnen, hoffe ich!

Sie können lang sein, langweilig und voller Juristensprache, aber sie zu lesen, kann Sie vor kostspieligen Fehlentscheidungen bewahren.

Schriftlizenzen sind auch als „End User License Agreements“ (Endbenutzer Lizenzvereinbarungen, kurz: EULAs) bekannt. Diese Dokumente beschreiben, was Sie mit den Schriften, die Sie lizenziert haben, dürfen und was nicht. Während Schriftdesigns in den Vereinigten Staaten nicht speziell urheberrechtlich geschützt werden können, kann hingegen die Software, über die Schriften auf dem Bildschirm angezeigt werden, geschützt werden. Aus diesem Grund werden Schriften ähnlich wie andere Software lizenziert.

Wir haben kürzlich eine Befragung unter Personen durchgeführt, die sich für server-basiertes Font Management interessieren, und stellten Ihnen die folgende Frage:

Wenn Sie eine Schrift kaufen – lesen Sie die Schriftlizenz?

Yes = Ja, No = Nein, Somtimes = Manchmal

Ich war froh zu sehen, dass fast die Hälfte der Befragten die Schriftlizenzen tatsächlich lesen – insbesondere deswegen, weil es sich um Leute handelte, die sich für das Management ihrer Schriften über einen Server interessieren. Im Lichte dessen würde ich es gern sehen, dass diese Zahl noch höher ist.

Viele Schrifthersteller (diejenigen, die Schriften entwickeln und verkaufen) haben ihre EULAs mittlerweile einfacher und leichter verständlich gestaltet. Davon abgesehen gibt es noch viele Anwendungen von Schriften, für die Sie eine geänderte oder erweiterte Lizenz erwerben müssen.

Einige der Dinge, die erlaubt sein können oder auch nicht, oder die den Erwerb einer erweiterten Lizenz erfordern, sind unter anderem:

  • Einbettung in ein PDF
  • Einbettung in eine distribuierbare Anwendung – „There’s a font for that!“
  • Einbettung in ein eBook
  • Prominente Nutzung eines einzelnen Zeichens oder einer Glyphe in einem Logo
  • Der Verkauf eines Produktes, das vorwiegend von der verwendeten Schrift lebt (z.B. ein Becher mit einer Inschrift, ein T-Shirt mit eine Aussage oder magnetische Buchstaben für den Kühlschrank)
  • Konvertierung einer Schriftart aus einem Format in ein anderes
  • Bearbeitung der Schrift in einem Schrifteditor
  • Nutzung der Schrift als Web Font

Diese Bedingungen sind von Hersteller zu Hersteller unterschiedlich. Als ersten Schritt sollten Sie auf jeden Fall das EULA lesen, das Sie mit Ihrer Schrift erhalten haben. Sie können es nicht finden? Erkundigen Sie sich beim Hersteller. Viele dieser Hersteller sind nicht sehr groß, so dass Sie unter Umständen direkt mit dem Designer Ihrer Lieblingsschrift kommunizieren.

Wenn Sie das schon erledigt haben – gute Arbeit!

Wenn Sie sich über Ihre Schriftlizenzen im Grunde nicht im Klaren sind, dann ermutige ich Sie, sich noch heute zu informieren.

Und sobald Sie auf dem rechten Weg sind, dann machen Sie sich über Universal Type Server schlau, der Ihnen hilft, ständig über Ihre Schriften und Lizenzen im Bilde zu sein.

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Bon nombre d’entre vous s’en soucient !

Ces licences sont parfois longues à lire, ennuyeuses et rédigées dans un langage juridique difficile à comprendre, mais prendre le temps de les étudier peut vous éviter de coûteux problèmes.

On appelle aussi ces licences de polices des CLUF (contrats de licence de l’utilisateur final). Ces documents précisent ce que vous pouvez et ne pouvez pas faire avec les polices sous licence. Aux États-Unis, les conceptions des caractères ne peuvent faire spécifiquement l’objet de copyrights, mais le logiciel utilisé pour afficher les polices sur votre ordinateur est soumis aux copyrights. Ainsi, les polices font l’objet de licences similaires aux licences des autres logiciels.

Nous avons récemment posé la question suivante à un groupe de personnes qui s’intéressent à la gestion des polices reposant sur un serveur :

Quand vous achetez une police, lisez-vous le contrat de licence y afférent ?

Yes = Oui, No = Non, Sometimes = Parfois

J’ai été satisfait de constater que près de la moitié des personnes interrogées lisaient les contrats de licence des polices, surtout en sachant que ces personnes s’intéressent de près à la gestion de leur collection de polices au moyen d’un serveur. Toutefois, j’aurais aimé que ce chiffre soit encore plus élevé.

Beaucoup de fonderies (qui créent et vendent des polices) ont fait des efforts pour simplifier leur CLUF et les rendre plus faciles à comprendre. Dans certains cas, vous devez vous procurer une licence modifiée ou étendue pour couvrir l’utilisation spécifique d’une police.

Parmi les éléments pouvant être exclus d’une licence de base :

  • Incorporation des polices dans un document PDF
  • Incorporation des polices dans une application distribuable  Incorporation d’une police dans un livre électronique
  • Utilisation d’un caractère ou glyphe unique dans un logo
  • Vente d’un produit qui présente essentiellement la police (une tasse portant une inscription, un tee-shirt comportant un message ou des lettres magnétiques à placer sur un réfrigérateur, par exemple)
  • Conversion d’une police d’un format à un autre
  • Modification d’une police dans un éditeur de polices
  • Utilisation d’une police sur le Web

Ces conditions varient selon les fonderies. Le premier reflexe à adopter consiste à lire le CLUF livré avec votre police. Vous ne trouvez pas le CLUF ? Contactez la fonderie. Il existe des fonderies de toutes les tailles, mais la plupart ne sont pas très grandes et vous pouvez souvent contacter directement le créateur de vos polices préférées.

Si vous vous renseignez déjà systématiquement sur les dispositions des licences de polices que vous utilisez, je vous tire mon chapeau !

Si ce n’est pas le cas, il n’est jamais trop tard pour bien faire et je vous invite à vous en soucier dès à présent.

Et pour vous aider à prendre cette bonne habitude, n’oubliez pas que Universal Type Server peut vous permettre de mieux contrôler vos polices et leurs licences.

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Quite a few of you, that’s who!

They can be long, boring, and filled with legalese, but reading them can save you from costly missteps.

They’re font licenses, also known as the End User License Agreement (shortened to EULA). These documents cover what you can and cannot do with the fonts that you licensed. While typeface designs cannot specifically be copyrighted in the USA, the software that’s used to make them display properly on your computer can. This is why fonts are are pretty much licensed like other pieces of software.

We recently surveyed a number of people who were interested in server-based font management, and asked them the following question:

When you purchase a font, do you read the font license?

I was happy to see that almost half of our group actually read them. Since the survey was of people who are specifically interested in managing their font collection using a server, I was happy to see these results. That being said, I would like it to still be even higher.

Many type foundries (those who create and sell fonts) have worked to make their EULAs simpler and easier to understand. That being said, there are still many conditions where you may need to purchase an extended or modified license to use a font.

Some of the things that may or may not be permitted, or require you to purchase an extended license include:

  • Embedding into a PDF
  • Embedding into an distributable application – “there’s a font for that!”
  • Embedding into an eBook
  • Utilizing a single character or glyph prominently in a logo design
  • Selling a product that consists primarily of featuring the font (such as a mug with an inscription, a shirt with a phrase on it, or magnetic letters for a fridge)
  • Converting a font from one format to another
  • Modifying the font in a font editor
  • Using a font as a web font

These conditions vary by foundry. First step is to definitely read the EULA that came with your font. Can’t find it? Check with the foundry. While foundries vary in size, many of them aren’t very large, and you may be communicating directly with the creator of your favorite fonts.

So, if you’re already on top of this, good job!

If you’re “less than confident” about your licenses, I encourage you to get started today.

And, once you’re started down the right path, check out Universal Type Server to help you keep track your fonts and licenses.

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Font license compliance, what is it? Well, how we think of it is simple: No loopholes. No unwanted fonts getting into the workflow without approval and no fonts ‘walking off the premises’ while you aren’t looking.

The only way to ensure this is for the font administrator to control the environment: you know how many people have access to your licensed fonts; you know who is allowed to add/change fonts in the system; you know there are no ‘back doors’.

Universal Type Server 2 takes license compliance very seriously.

A font server solution provides complete compliance when the Administrator can:

  • Centrally control which fonts are accessible by which users.
  • Centrally monitor and remove rogue fonts.
  • Limit users’ permissions to add, delete and/or collect fonts for output.
  • Run and analyze reports of font license compliance for all users.
  • Prevent users from installing unlicensed fonts on their systems.
  • Prevent font conflicts by automatically and permanently activating sets of fonts for users.
  • Limit who can add fonts to a personal “sandbox” to experiment with fonts before they enter the workflow.
  • Restrict fonts on user machines by using an “on-demand” mode, where fonts are only downloaded when needed and then removed.

Your font compliance is full of holes if:

  • Users can choose to ‘deny’ changes made on the server by the administrator.
  • Changes made on the server are not immediately replicated, or can be ignored by the user.
  • If all fonts on the server are downloaded to each client, regardless of their permissions.
  • If users can add fonts onto their system without permission (back door).
  • If any user can copy fonts and ‘share them’.

Universal Type Server 2 launches next month. If you really mean business about font licensing compliance, take the trial for a spin.

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