Monthly Archives: September 2014

Dalton Maag Wins Four Awards at Granshan 2014

We are delighted to announce that Dalton Maag has won four awards in the Granshan 2014 International Type Design Competition, for non latin typefaces. The competition, which is in its 7th year, judges typefaces in categories relating to their script system. Our designers were awarded prizes for Cyrillic, Arabic, Thai and Bengali typefaces.

IntelClear_Cyrillic_Granshan_Page_6

Intel Clear Cyrillic, designed by Tom Foley, Mary Faber, Hanna Donker & Stuart Brown. 2nd prize in the Cyrillic category

Granshan_Thai_Page_6

HP Simplified Thai, designed by Pilar Cano. 2nd Prize in the Thai category.

IntelClearArabic_Template_Granshan_Page_6

Intel Clear Arabic, designed by Naïma Ben Ayed, Damien Collot. 1st prize in the Arabic category.

Granshan_Nokia_comp_entry_Bengali_Page_6

Nokia Pure Bengali, designed by Amélie Bonet. 3rd prize in the Indic category.

London Design Festival – Typography in the Digital Landscape

Typography In The Digital Landscape – LDF2014 from Dalton Maag on Vimeo.

Last week, I participated in an evening panel event with collaborative design studio Method’s David Eveleigh-Evans, to discuss type and typography in a digital landscape, expertly moderated by John Walters, editor of Eye Magazine. The event was hosted by Method’s London studio and featured installations that explored the interaction between typography and people.

The conversation between John, David and myself revolved around type and how information is consumed. In particular, how editorial, layout and type create a responsive experience. Presenting information on a laptop is a very different proposition to presenting the same information on a mobile phone. Does the change in medium not require a different treatment of the information, in all its expressions? One possibility is that a typeface responds to the device by changing its proportions dynamically for best functionality.

10641181_10152513083458778_7878312739444881077_n

How can we encourage creators of content, not only authors but the digital designers, to actively think about how the typeface affects tone of voice of the content? One installation explored this by having audience members speaking into a microphone, and the computer responding with a typeface from Dalton Maag’s font library, depending on pitch and volume parameters.

The furious pace of digital development is forcing everyone to rethink their economic models. There is no dispute that creators have to be paid; the conversation must be around access and font licensing models, and software in general. During the development of Dalton Maag’s website, conceptualised by Method, it emerged that new, and simple licensing models were needed to help content creators achieve more typographic diversity.

Method and Dalton Maag both hope that this event is only the start to a debate around bringing digital creators together. As digital content production increasingly requires specialisation, not unlike the days of letterpress content, events like this provide a platform to bring together specialists and experts in their respective areas, to help each other create inspiring work.

Bruno Maag

1546394_10152513083623778_781147954418493502_n 10610772_10152513083293778_7827287332157017755_n 10653747_10152513083278778_1807343028729916994_n

1 2 10171133_10152513083263778_187856530989008776_n 10647149_10152513084028778_6466171875811035859_n

It’s never been easier to use our fonts

Developments in digital technology over the last few years have dramatically changed the ways in which fonts are used. Only ten years ago the main use for fonts was still in print, but today they’re first-and-foremost used in a digital world; fonts are now consumed beyond a user’s desktop computer or a company’s network server, on mobile phones, tablets, e-readers, watches, and wearables, drawing together content from websites, apps, and the cloud. In twelve months’ time we expect that our fonts will be commonly used in ways that we haven’t even thought of yet.

All of these developments have brought change to how customers access and use fonts. So it’s clear to us that traditional ways of licensing fonts, with licences that are not straightforward to understand or are difficult to administer, are misaligned with today’s user expectations. While some initiatives, such as cloud-based fonts, are offering an alternative, they still don’t fully satisfy customer needs. To address this we’ve reviewed our approach to licensing and now offer five simple, flexible, user-friendly licences.

license-types

Our most exciting innovation is that we now offer everyone the opportunity to ‘try before you buy’ with trial fonts, functionally identical to the commercial versions, available under our new Trial Licence. This licence allows our fonts to be used in non-commercial pitches to clients, in testing, and in academic or student projects. When you’re ready to use the fonts for real, you just need to buy the appropriate commercial licence.

trial-indesign

We have listened to customers who have told us they sometimes don’t need everything offered by the industry-standard minimum five-user licence, or by the all-in-one approach which our current licence brings to webfont use; they feel that they’re being forced to pay for things they don’t need. So we now offer a single user licence at a very affordable £15 per font style for all of our Single Edition fonts.

We have also listened to corporate customers who are looking for ultimate flexibility in how they can use our fonts. So we now offer a licence for any of our fonts that allows unlimited use within the organization with no limit on number of users, number of domain names, or number of apps, and with no time restrictions, for £9,375 per font style.

It is for digital media – websites and apps – that we make the biggest changes. We have heard from customers time and again how cumbersome it is to constantly monitor and report on visitor numbers and downloads. So we now offer Webfont and App licences that don’t rely on any traffic or distribution statistics, they’re priced according to the number of domain names or apps to be covered – there is no limit on downloads, visitor numbers, or page views. And to provide ultimate flexibility, the licences can be purchased annually, or in perpetuity.

checkout-2

Summary of Our New Licences

Trial Licence

Free

End-User Licence

From £15 per font style for one user

Webfont Licence

£48 per font style per domain name for 1 year

£480 per font style per domain name, perpetual

App Licence

£48 per font style per app for 1 year

£480 per font style per app, perpetual

Unlimited Licence

£9,375 per font style for an unlimited number of users within your organization

Contact us for details of our Redistribution Licence, which allows you to distribute our fonts as part of a software application or hardware device and for bespoke solutions for licensing your suppliers and contractors all in one transaction.