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Selling and Protecting Typefaces addresses the many concerns of developing and marketing typefaces for the professional environment. The course also discusses the different roles of a type foundry, an aggregator, and the individual designer who wishes to license and sell a typeface.
The course covers all the issues involved in selecting and licensing typefaces for commercial use in all sectors of the design industry: e-commerce, direct sales, social media, traditional advertising, intellectual property, licensing models, and pricing. It includes start to finish instruction in creating design briefs for custom-type projects for clients of all sizes and budget levels. Fee scales for custom type design will be discussed in depth. Participants will be familiarized with professional industry standards for high-quality digital typefaces in contemporary markets, including language support, font file formats and technical concerns.
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: Developing Design Briefs For Typefaces (February 19, 2019)
Our first session will focus on working with clients. We'll discuss the design brief, the document that should define the terms and scope of any custom type project. We'll also dig into some of the intellectual property and ownership issues that are very important to understand when beginning a design project with a client.
2. The Design Brief: Type of Project
3. The Design Brief: Scope of Project
4. Modifying Designs, The EULA, and Anonymity
6. Assignment: Finding a EULA
7. A Conversation with Patrick Griffin
Session 2: Guide To Typographic Usage Licenses and Licensing Fees (February 26, 2019)
In this session, we will go over some of the types of licensing and licensing fee structures you might assign to your work, intellectual property rights from potential source material you might be working from, as well as IP protections you can assert over your own work. This always comes back to the most important document that you create to accompany your work: The End User License Agreement (or EULA). Finally, we'll discuss various distribution channels that you might consider for making your work available.
2. What is a License?
3. The End User License Agreement
4. Pricing & Utilizing Non-Public Domain Source Material
5. Additional Legal Protections
6. Protecting Your Work
7. Methods of Distribution
8. Assignment: Your EULA
9. A Conversation with Frank Martinez
Session 3: Marketing Your Typefaces (March 5, 2019)
Expanding on the previous session's discussion of potential distribution channels for your work, we'll conclude the course with a look at approaches to building your brand and creating marketing materials. We'll pay special attention to the type specimen, one of the most important tools for promoting a typeface.
2. The Type Specimen
3. Building Your Brand
4. Case Study: P22 Type Foundry
5. Case Study: Indie Fonts
6. Find Your Audience
8. Assignment: Your Type Specimen
9. P22 Marketing Materials
10. A Conversation with James Montalbano
Below you will find an overview of the Learning Outcomes you will achieve as you complete this course.
Working with Clients
• Understanding the role of the design brief in defining the terms and scope of a custom type project.
• Ability to recognize intellectual property issues to consider when working on a project for a client.
Protecting Your Work
• Ability to define how your commercial typeface(s) can be used by creating a preliminary End User License Agreement.
• Ability to recognize other legal protections that may apply to typefaces that you create.
Promoting your Work
• Ability to create a type specimen highlighting the best features of a typeface of your choice.
• Ability to compare various potential distribution channels for your work.
• Understanding of marketing materials, social media, and other approaches to promoting your work.
Instructors & Guests
Richard Kegler is the lead designer and founder of P22 type foundry. Mr. Kegler's background in typography and book arts includes ventures in bookbinding and letterpress printing. However, the historical context and background of type continue to be his greatest interest and shape the evolution of P22.
Richard is currently the director at Wells Book Arts Center in Aurora, NY and a trustee for the American Printing History Association (APHA). He is former chairman of the board for the Society of Typographic Aficionados (SOTA). He has a masters degree in Media Study and produced the Making Faces film as a culmination of his interests and experience.
Frank J Martinez
Frank J. Martinez, is a former artist, designer and Design Patent Examiner. Frank earned a BFA from Pratt Institute in New York and was the Production Director at Landor Associates in New York prior to attending law school. After serving as a Design Patent Examiner at the U.S. Patent and Trademark Office and an associate at several law firms, Frank founded The Martinez Group PLLC in 2008. Frank is admitted to practice law before the courts of the State of New York and the Federal District Courts of the Eastern and Southern Districts of New York as well as the Federal District Court for the Western District of Texas (Austin). Working closely with professional designers, type font designers, industrial designers, software developers and creative entrepreneurs, Frank understands the business and intellectual property law issues faced by creative professionals. Frank is an Adjunct Professor at The School of Visual Art where he teaches Intellectual Property Law in the MFA Designer as Author and Entrepreneur Program. Frank is also a Mentor in the SVA GroundFloor Incubator Project where he counsels the Incubator participants regarding Intellectual Property Law matters. Frank earned an MBA in 2017 and is now attending advanced management courses at Harvard Business School’s HBX Program. Frank is also learning to code in Python at Code Academy.
James Montalbano fell in love with type while cleaning out a California Job Case of 12pt Brush Script. After taking all the graphic arts courses he could in high school and college, he started teaching printing to middle school students in New Jersey. When asked to teach wood shop he quit and went to grad school, eventually finding work in the wild world of NYC type shops and magazine art departments. After spending too much time in meetings as a publications design director he worked in packaging until pharmaceutical folding cartons made him ill. He incorporated Terminal Design on the terminal moraine in Brooklyn in 1990. He honed his skills making and modifying custom typefaces for clients like Vanity Fair, Glamour, Details, Vogue, Lucky, Warner Music, and anyone else who could afford it. This allowed him time to begin creating the large retail type library Terminal Design has today.
What You Need to Take This Course
- Adobe Creative Suite
Please note: Taking part in a Kadenze course as a Premium Member does not affirm that the learner has been enrolled or accepted for enrollment by School of Visual Arts.
If a student signs up for the Complete Typographer program, it is recommended that these courses are taken sequentially.
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