Article 103524 of comp.fonts: From: "Apostrophe \('\)" < apostrofe@mail.com > Date: April 6, 2000 Newsgroups: comp.fonts Take it easy on worshipping foundries. It can only provoke headaches. Every foundry burns out after a while. In this case, Adobe Type has not released anything of value since March of 1999 (boutique foundries with Starbucks ways of packaging seem to have more enthusiasm these days). Besides, they're still selling multiple masters, even though they already announced that they already have no plans to support or build on the technology in the future. Adobe is just a ghost of its old self now. Stone and Twombly are not there anymore, and their public representative is dodging bullets back and fourth from people who know more about Adobe's secrets than he does. Not much manpower left there to keep the horse running either. Adobe Type is nothing more than Slimbach, a few technicians, and a whole troop of business people. Big distributors are being cursed by every designer out there now. And who can blame them? Adobe burned out, ITC and Monotype sold out, Berthold is a squeeze, Scangraphics is not around anymore, Precision Type are knocking themselves off to impress people who are not buying anyhow, Linotype have become a collector haven with no more common sense about marketing than they originally had (they actually SELL their sample catalogue for $26), Fontshop also keep knocking themselves off as well as selling the young's shareware-like fonts. And the more snot-nosed places are being chastisized as well: Enschede keeps putting sample scan on their web site, but no fonts are ever released, Dutch Type, same deal, Emigre, not even 10% of type output compared to just two years back. And designers wonder what the hell happened? Royalties are not enough, marketing is not efficient, and waah waah people are not buying my fonts anymore. Well here's what happened: industry. Bitstream happened, software-bundles happened, and a bunch of business people started selling CDs. When you buy the Bitstream CD for $50, or even their brand new CD for $1700, you basically have all that you need to design under proper license for years to come. And that's it! Fonts have become less of a practical accessory to design, and more of a luxury, something that people on a budget would not pay for. And I'm afraid there's no way out of this one. This is the way private enterprise works, and it's damn good in certain respects, but for some reason it's rearing its ugly head in the type industry. Most of it has something to do with the legal structure and the way we have people who make a living out of exploiting it. Under bankrupcy laws, Bitstream got away with selling 500 fonts for $50 without having to pay royalties to designers. Not a pretty statement about legal systems. Berthold intimidated Primafonts out of their legally purchased rights. Also not a pretty statement. And who is the victim of all this? Of course, the designer. The royalties are still low, the marketing is still inefficient, and people are not buying fonts anymore. What's the way out. I took the time to type out all this, just to let you know, Dennis, that everything about type ethics has been rehashed back and fourth, and we're all reluctant to admit that the type industry, to use a cliché, is going to hell in a handbasket, and there is mostly nothing anyone can do about it. In the case of Cronos, in defense of Adobe (though I'm not their greatest fan), they sure did rip off Kuester, but Cronos' selling feature at the time was its multiple master design and how it could be used in ways that Today Sans could not. All ethics aside, and from a strict business point, the question that mattered was: how could I appeal to a designer enough to purchase my product? And multiple masters was one of the answers. Now, of course, they can ask themselves that same question, but they won't be able to answer it without exercising some unethical action. Alright, rant is over. Now you can sit there and brood, just like I do, about Adobe killing the multiple master technology. '