Louis XIV said:
Bah! Frickin' amateurs. I ALSO design fonts. But I do it on DARKNET! like the stealthy 'Font Ninja' that I am! Nyah! Nyah! Nyah!. :rofl!:
Here's what
my font looks like,
Louis XIV:
You can see it in the .pdf, but it looks a whole lot better printed, especially the smallest size. Electronic monitor display doesn't do it justice; it looks best on paper.
The font itself will be free to download and for personal, non commercial use, but there will be a fee for commercial use licensing. In my business model for the commercial use fee, the amount payable will be variable, depending on who want to use it, and how they plan to use it. I'll lose out on $5, $10 here and there, from people who use it commercially, without authorization. I'll make that back from large corporations, who want
THIS particular font for hard cover book titles, athletic uniforms, food and beverage labels, etc.
There's no other font like it, that has so much detail at the small sizes, so I'll be able to charge huge sums to those who can afford it, and I won't charge much, to people who can't. All other commercial use fonts have the same price for everybody. This one doesn't.
I do the editing on a scale where each letter, number, or character is about 14 feet tall, and on that scale, I can make adjustments to control point locations with a minimum distance change of about one millimeter. Changes that small are noticeable to the eye, but only at the very small text sizes. I just measure the distances precisely, so a computer will scale all of them proportionally, regardless of the size. This font actually looks its best with text six inches tall, or larger, and I expect it to be popular for store signs.
The letters are meant to appear to be three dimensional, with a vertical height. The observer is below the letter in two dimensions, and above and right of center in three dimensions, or exactly the angle from which someone would see lettering on a store or business, looking up at the sign from the sidewalk. The 3D effect is very noticeable, when printed on paper. The 'shadows' are not shadows. They're the visible edges of the raised letters, as seen from the observer's vantage point.
Some people may think I'm an artist, but I'm not. The design is almost entirely based on high school level
Cartesian and
Euclidean geometry. I just make the diagonal line slopes precise, so they won't be 'rounded' in one direction or another, when the size changes.
The font's all finished, I just have to finish writing the technical guide, so that other people who want to create something similar will have the option of trying my non standard methods, but they'll need a computer with Windows XP or earlier, because the font editing program I use doesn't work with more recent Windows operating systems. I needed to have MS Word 2007, to display text at larger than 72 point size, but other than that, I used mid 1990's technology, and more recent apps can't reproduce what I can do with the older apps.
I want to take type design out of the exclusive domain of people who have art talent. Many people, myself included, have creative minds, but poor 'brain-hand' coordination. They can't translate their imagination to a hard copy. My method gives them the opportunity to do just that. I can teach it to people, but not using the "
Keep it Simple Stupid" method, espoused by people like
Transient. This procedure requires a longer attention span than a few lines of text that's easily read on a mobile phone. I'll find a few young and creative minds that want to learn how to do this from me. I think I found one on Monday night.
She works in a
Tim Horton's, and she's very attractive, but way too young for me, for romance, but just the right age to be a student, and perhaps an artistic collaborator. Just because she's young and relatively hot, doesn't mean I want to bang her. There are plenty of other young and hot women to bang, and just as many who aren't as young, but are more attractive in other ways. I have a lot of female friends that I don't want to bang. Many of them are relatively attractive, but some aren't. That doesn't matter, if my interest in them isn't primarily sexual. It works out fine, as long as the ones I don't want to bang, also don't want to bang me. When they're interested, but I'm not, that's when things get awkward.
Women can relate to that completely. It's not a 'relegation to the friend zone', where a woman likes you, but doesn't LIKE you, so she treats you like her brother, and tells you about how rotten the guys she bangs really are. It's just friendships, where people have common interests, but different genders, and those common interests are not based on lust.
If you were very good friends with a friend's wife, or his mother, or his daughter, or your aunt, cousin, or niece, it would be the same sort of thing. A teacher and a student can have a very intellectually intimate relationship, that's fully clothed at all times. Emotionally mature people can behave that way, if they chose to.
Some people of the opposite sex can interest a guy for reasons other than sex. That's certainly the case, with my lesbian friends. Not all lesbians are militant, joyless, politically correct automatons. Some of them are just normal people, who'd rather have sex with a woman than with a guy, and we have that in common.
Many women are interested in fonts and graphic design, including a lot of single moms, who do graphic design work from home, so they can be a stay at home mom, and also be gainfully employed. Many of them use lots of fonts for making things like wedding invitations, but they don't make the fonts themselves. I only make fonts, I don't use them for anything much. I make them for other people to use.
Type design is a conversation topic that appeals to many women, more so than talking about baseball, or beer, or how much money you have in the bank, or what kind of car you drive, or what a great athlete you were in high school.
A big company will understand that by setting a high price for commercial use of my font, very few rich customers will want to purchase the license, so it won't become 'too common'. It will also be less expensive to pay my licensing fee than to hire a graphic designer to create custom lettering.
If I can't reach an agreement with a potential customer on adequate compensation to me for intellectual property I own outright, I can always deny them the right to use my font commercially.
It's good enough that I can succeed with this approach. If someone wants
this font enough, they'll pay my price. I just won't charge everyone the same price. It will depend on how much income they are likely to get from using my font, instead of someone else'.
If someone wants to use it for titles in a movie, a fee of, say $5,000 is very reasonable, if the budget of the film is hundreds of millions of dollars. If somebody wants to use it for titles on an Indy CD, for an unsigned band, a few copies of the CD, or some tickets for when they play a Toronto gig, is also very reasonable. If this marketing approach is a successful, other type designers will try it, too. I just don't want to give anyone the opportunity to set their own price for commercial use. A buddy of mine from Argentina made a font you all see every day. He was paid by voluntary donation. Some people donated nothing, but used his font. Other people donated anywhere from $1-$10. A few donations were more than $1,000.
So,
Louis XIV, do you have any samples of
your own font that you can share with us, or were you just farting out of your mouth, again?