The goal of this paper is to give some insights to see how the so crowded Latin type offer could still find outlets. It raises a question of sustainability: how Latin type diversity finds its audience and how type designers could keep getting revenues from their work?

I am a chartered accountant, but also the founder of Velvetyne Type Foundry, and a keen customer for many years for many foundries. I also regularly teach font licensing and copyright at ANRT and advise type foundries on their type market approach.

I sell a typeface (Forward) on Future Fonts

Also an experiment on digital design ownership.

Before purchasing fonts like a sport, I was collecting pens. I still do.
Diving into fonts, I quickly understood that things could be incredibly more complex in the digital world. You cannot buy a font like you buy a pen.
If you go for a commercial font, of course you pay something…

A sculpture of a head, made in metal, from symbols and letters, used in communication (Singapore) — Nick Fewings (Unsplash)

Je suis expert-comptable et je suis typographe. J’ai voulu combiner ces deux compétences pour poser la question économique des caractères typographiques occidentaux, c’est-à-dire couvrant essentiellement les langues s’écrivant avec l’alphabet latin.

Les alphabets grec et cyrillique sont également occidentaux mais ne sont pas le sujet de mon propos.

Pour poser la question économique de la typographie en termes simples : il y a une infinité de ressources typographiques mais l’emploi qui en est fait ne reflète pas cette richesse. Pourquoi ?

Frank Adebiaye

I compute letters & numbers

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