TYPOGRAPHY

MADE TO FIT
TypeTogethers primer
about lettering, font usage
and tailored typography
 this is

NOT
an end user
license
agreement
Buying fonts has become almost as challenging as using them.
Nowadays graphic designers are faced with a rather complex uni-
verse of legal and technical issues that can turn buying fonts into
a frustrating and time consuming experience. But do not panic!

In the following pages, we have put together a series of thoughts

and tips about the basics of lettering, font usage and tailored typog-
raphy that serves as a checklist for the sensitive process of choos-
ing and purchasing the right typeface for the job. This publication
also provides guidelines about custom typography; when it is viable,
how to order it, and what are its advantages when compared with
retail typefaces.

You will also find some words that will help you understand the dif-
ferent kinds of licensing models, in plain and easy to comprehend
words, but please be warned about the legal validity of this booklet...

Thats right, this is the unavoidable disclaimer: this document is

not an end user license agreement and has no legal validity. It is just
meant to broadly inform you about some of the basics of font licens-
ing. If you are in doubt about licensing issues we strongly encourage
you to contact us.

To read the different kinds of EULAs of

TypeTogether please visit this url:
www.type-together.com/eula/
CO
NT
EN
TS
Foreword 2
Why typography is important 3
How is typography sold 4
Licensing at TypeTogether 5
Retail vs tailored typography 6
Custom typography 7
Font selection checklist 10
Summing up 11
Why typography is important
Graphic and editorial designers, information ar-
chitects and web developers play a central role
in modern communication and human interac-
tion. They make sure that the visual messages
are delivered in an appropriate and effective
manner. Their raw material is language, which
most commonly appears in the form of written
language, as letters. And most of the times, those
letters appear in the form of typography.
Typography is, to a great extent, graphic designers
main tool to communicate and convey messages.
Understanding how type works and developing
typographic sensitivity is in many cases what
sets successful design aside from the rest. Fonts,
if well used, amplify the effectiveness of words
and the overall visual quality of a piece of design.
However, composing text is no simple task. Espe-
cially when it comes to those design pieces that
deal with many different elements that should
work harmoniously together, and that require
the combination of multiple type families. In
these cases, each typographic decision must
be in tune with the contents, the reproduction
means, and the rest of the texts and images in
the page. Such is the endless game of black and
white that designers play every day.
Furthermore, theres an identitary side to letters.
Type communicates, but it also represents, and it
is as important as iconography and colors when
it comes to corporate identity programs. That is
why tailored typography has become a very ap-
pealing option for companies of certain sizes. A
typeface sets the tone in which an organization
speaks to itself and to others. In this sense, hav-
ing a unique voice is as important as a logotype.
 LICENSES AT TYPETOGETHER
how is typography sold?
For more than 500 years type was cast in metal. Hence
buying fonts implied moving around heavy boxes of lead.
FONT FILE
In the digital era typography lost its mass and weight to
make way for binary code, zeros and ones. Therefore
typography is commercialized like software or music FONT & STYLE NAMES
files. Although most people speak of buying fonts, all
that is really sold is the license to use them. The actual GLYPH OUTLINES
design of the font software remains the property of the
type designer. SPACING & KERNING

The license describes permissions and restrictions HINTING

about how the font software is to be installed and used.
Here are some of the most common things to be found LICENSE
in an End User License Agreement1.

Amount of CPUs Whether the font Defines if the font Sets permissions Explains which
and geographical can be placed on can be modified, to transfer the font, uses of the font
locations where the web servers or be decompiled and redistribute or send would require
font can be installed. embedded in files and recompiled. it to a print bureau. additional licensing.
apps.
1. This text is based on the text published by the Association Typographique Internationale called Fonts and Fairness, which
we recommend and is publicly available at <http://www.atypi.org/fonts-and-fairness/five-basic-rules-for-buying-fonts>

Most typefaces are designed by individuals or a very

small group of typeface designers. There are two ways
in which you can go font shopping.

FOUNDRY DESIGNER MODEL

Buy fonts directly at the
FONT developers online store:
1 Just a handful of font families
2 Consistent quality of construction
FOUNDRY FONT and language coverage
3 Focus on similar style & function of
typefaces (editorial, packaging, book,
FONT
script, etc...)
4 Direct contact with designers allow
for quick font customization
FONT
5 Fast technical support

FOUNDRY DISTRIBUTOR MODEL

Visit a font distributor
FONT MARKET FONT to buy fonts:
FOUNDRY
1 Thousands of font families to
B N
choose from
FONT 2 Carries fonts for every use
FOUNDRY
3 Mixed levels of font quality and
language coverage
FONT
4 Provide only first layer of customer
FOUNDRY support
FONT 5 No direct contact with the designer
RENTAL FONT
TypeTogether offers different kinds of licenses. The most common ones are described
below. As it is possible with fonts, licenses can be tailored to the customers specific
needs. If you are unsure about licensing or require a tailored license please do not
hesitate to contact us at info@type-together.com

DESKTOP WEBFONT APP EMBEDDING

1 Fonts are provided in OpenType 1 TypeTogether provides webfonts 1 Fonts are provided in OpenType
format (OTF). for selfhosting only, but we part- format (OTF).
2 Smallest license allows the ner with other webfont service 2 Read-only embedding in a single
installation of font software in providers2. application. Multi-app & editable
up to 5 computers. Multi-user 2 Fonts are provided in optimized licenses are available too.
discounts are available. for screen rendering. 3 Each license allows for any
3 You can embed the fonts in PDF 3 Fonts are provided in EOT, WOFF, number of app downloads and
and Flash files. TTF and SVG formats. any number of mobile platforms.
4 You can use the fonts to design 4 Webfont licenses are priced 4 One license is good for the
printed and digital pieces. according to the website traffic. lifetime of the product.
5 Font can be sent to a print bureau 5 Licenses can be bought on a 5 One license is good for any
for production of design pieces. yearly or perpetual basis. amount of ebook titles.

Graphic designers: Use this type
of license to install TypeTogethers
fonts in your studios desktop and
laptop computers, and use them to
create artwork for your clients.
Web designers: Use this type of
license to host TypeTogethers fonts
on a web server and use them with
@fontface CSS code in your clients
group of domain names.
Developers: Use this type of license
to embed TypeTogethers typefaces
in a mobile application, regardless
of its price, amount of sales and
supported platforms.

2. We also advise visiting our webfont service part-

ners, who provide a more cost-effective solution for
websites with a lower amount of monthly visitors:
FontDeck, Typekit and Webink.

Most of the common uses of our EDITABLE EMBEDDING

typefaces are covered with one of
the three licensing models described
above. However, we do require addi-
tional licensing in those cases where
our typefaces become a significant
part of a commercial product or
enterprise.
Fonts are used in a software product, which allows
the end user to interact with the fonts, e.g. in a search
field or other user-editable dynamic text.
COMMERCIAL TEMPLATE LICENSING
Fonts to be embedded in a software or web application,
that can be used as an option for customizing an end
product, e.g. business cards, t-shirts, etc...

UNLIMITED COMMERCIAL OEM LICENSE

Blanket license to include the fonts in any potential
commercial product of a company or organization.

LIMITED COMMERCIAL OEM LICENSE

Same as the previous item but limited to a single
product.

HIGH PROFILE BRANDING & BROADCASTING

Fonts to be included prominently within a feature film
Ask for a temporary TESTING or as a part of a TV channel identity.
license, to create artwork for
presentation purposes in the MERCHANDISING PRINT LICENSE
Use letters and illustrations embodied in the font files
concept and mock-up phase on products for sale such as clothing, bags, and other
of your project. merchandising.
 It is commonly accepted that retail fonts are those that are
already made and that designers can buy online for just a few
Euros. On the other hand, custom typefaces are made on demand
for very large organizations that have a lot of time and money to
invest in this. In reality, the borderline between custom and retail
typography is much more blurred than this.

So, what is right for your client? Here are a few tips to help you
find your way around this...

RETAIL
Retail fonts are ready to be downloaded and
their availability is immediate. Just add them to
your shopping cart, checkout and you are ready
to start using them.
VS CUSTOM
TIMEFRAME There are different levels of customization, from
modifying a couple of characters of an existing
retail font to creating a complete tailored type
family. The first scenario takes only a few days,
and the second may take several months.

The fonts in our library are open to be purchased
by anyone. Retail fonts can also be adapted to
specific needs, whether they are technical or
aesthetic. As a result, customers obtain a type-
face that is unique up to certain point, but it is
anchored in a retail development.
IDENTITY Nothing will represent a company or organiza-
tion more accurately than a typeface designed es-
pecially for it. Tailored typefaces will be consistent
with the rest of a companys branding program.
In many cases, a complete typeface is developed
out of the logotype lettering.

Copyright of all of our retail typefaces is owned by
the original designers. You can purchase, howev-
er, a company-wide license which would allow for
unlimited use of the font files within the broader
company structure.
COPYRIGHT It is possible to order a tailored typeface with
full copyright transfer or not. If the customer
acquires the copyrights they are entitled to re-
distribute, give away, or even sell the fonts. Oth-
erwise they can use the fonts unrestricted within
their organization, but not make them available
to third parties.

Retail typefaces are by definition not exclusive.
However, TypeTogether can offer custom modifi-
cations of retail fonts. When these modifications
are of an aesthetic nature, such as the redesign
of some glyphs, these can be purchased as ex-
clusive variations of the fonts. This system allows
companies to have unique versions of existing
fonts at an accessible price.
EXCLUSIVITY When typefaces are ordered with full copyright
transfer, the customer receives perpetual exclu-
sivity of that design. Otherwise, a limited period
of exclusivity can be agreed. TypeTogether then
reserves the right to sell the product or a modi-
fied version of it under a different name when this
exclusivity period ends.

Our fonts are provided in cross-platform Open-
Type format, and all of the necessary webfont
formats. Other formats are available upon re-
quest. Our minimum character set covers Latin
Extended A, which supports all of the European
languages and more. Check our website for de-
tails about language and script coverage for each
type family.
COMPLIANCE Custom typography will always comply with the
technical and linguistic needs of the customer.
We take everything into consideration, from the
size of the character sets to the different repro-
duction methods and the customers software
framework.

The price of our retail fonts depends on the
amount of characters included. Fonts with small
caps are slightly more expensive than basic ver-
sions. We also have a few free fonts. Check our
website and download them immediately.
PRICING Pricing for tailored fonts is provided on a per case
basis. The required amount of letters and scripts,
complexity of the design, quantity of style vari-
ations and post-production processes have an
impact on the final price of the project.
 Without any doubt, one of the most com-
mon requests for custom lettershapes is for
logo refinement. Installing a font and typing
the brand name does not make a logo. This
is due to a wide range of reasons. Main one
being that when we design an alphabet we
make letters in such a way that they can fit
before and after any other letter. This is a
condition inherent to the very definition of
typography. If we knew the final word that
will be written we would certainly make let-
ters differently. And this is exactly what we

LOGOTYPES
do with logos: We interpret the designers
ultimate intention and create and modify
shapes to create a more harmonious, cohe-
sive and appealing shape.

Graphic designer Csar Cesio chose the Retail typography

VAG typeface, developed for Volkswagen
AG in 1979, as the type family for the cor-
porate identity of Pomera Maderas, a FSC
certified forest management company and
wood producer. Our task here was to design
the lettering for the logo in concordance to
the overall feel of the corporate typeface.

The resulting logo shows letters with more Custom lettering

coherence in their horizontal proportions,
that work together towards stressing the
importance of the letter O. Horizontal
strokes have a more appropriate width and
the roundness of terminals is a bit more
squarish. Still, both type family and logo
resemble each other.

As part of the redesign of the award-win-

ning Islamica Magazine it was decided to
use our Karmina as text typeface and to re-
design the bodoni-style logotype. We were
Masterhead asked to develop something more human-
istic with classical proportions that would
reflect the magazines reputation.

The problematic letter combinations LA

and AM were solved by a stronger tilt on Ls
serif and a fluid connection between the A
and M serifs.

Sub Headline
The logotype was intended to be used in
different functions, scenarios and sizes.
Therefore the design had to be adjusted
correspondingly. In the small version the
contrast between thin and thick strokes
was reduced and serifs were thickened to
guarantee good performance. The mast-
head on the other hand could feature much
thinner strokes and serifs and so have an
Small Size elegant appearance.
FONT CUSTOMIZ
The magic of OpenType Per country brand,
designed by FutureBrand

Design studio FutureBrand com- quently as they have very strong

missioned this customized version impact on the resulting text. The
of our successful type family Bree. capabilities embodied in the font
The objective was to introduce a format OpenType allowed for a sim-
series of changes that would help ple solution. The six resulting fonts
connect the typeface to the new use different OpenType features to
logotype of the country brand for allow users to activate and deacti-
Per, which is based on drawings vate the new ornamental shapes
from the Nazca lines. by just one click of the mouse. As
a consequence, graphic designers
The approved design reinforces the have a quick and versatile shortcut
characteristic feature of the logo: to the iterative process of testing
the spiral. However, the resulting these shapes on current DTP appli-
shapes could not appear too fre- cations3.

3. OpenType support in DTP applications varies, so

fonts are engineered according to the software that
is used by our clients.

Built-in character replacement Characters that were simply redesigned

to match the clients brief.
@Q @Q
Stylistic Set 01 Initial and final shapes that match the
branding and can be accessed through
ASPegt& AS Peg t& stylistic alternates.

Stylistic Set 02 Alternate letterforms that are

engineered for better performance
aegkyz& aegkyz& in text sizes or continuous reading.

Discretionary ligatures Optional ligature for letter pair Qu,

which is highly common in Spanish
Qu Qu language.

Contextual Alternates Series of initial and final ornaments that

can be typed through math characters
<B<D<E<F<H <B<D<E<F<H and then accessed by means of the
contextual alternates OpenType feature.
<I<K<P<R<T <I<K<P<R<T
=B=D=E=F=H =B=D=E=F=H
=I=K=P=R =I=K=P=R
E>L>a>d>h> E>L>a>d>h>
i>m>n>u> i>m>n>u>
ZATION
One of the most cost-efficient ways of
purchasing a tailored font is getting a custom
modification of an existing retail typeface.

LEVIS Levis customized font

for its 2011 campaign. Compliance & common sense

Probably the lesser known

part of our work is the one
A B C D E
related to consultancy and li-
cense management. Ironically,
this may be one of the most
FGHIJK
important reasons to seek a
LMNOP
LATIN

type foundry. We make sure

design studios can achieve
their goals without spending
a fortune and keep their com- Q R S T U
VWXYZ
panies legally compliant.

Portland based advertising

agency Wieden-Kennedy con-
tacted us with a simple brief:
they needed a stencil version

of Bodoni that supported the
three scripts Latin, Greek
and Cyrillic. However, the re-

quired font did not exist. In-
GREEK

stead of designing a complete-

ly new typeface, TypeTogether

advised a more immediate and
inexpensive solution:

1. We located a version of Bodoni
that already had Latin and
Cyrillic, commercialized by
Russian type foundry Paratype.

2. We secured the appropriate

license and permissions to
modify the typeface.

3. We located a Greek Open
Source version of Bodoni that

would serve as a starting point.
CYRILLIC

4. We improved the design of

the three scripts, added the
stencil cuts and joined
them under the Paratype

Bodoni font file.

This required only a small

fraction of the time and in-
vestment that would be need-
ed for a complete tailored font.
Out of the ten most widely spoken languages only three use the Latin alphabet4.
And even within Latin typography, there is a big percentage of fonts that does
not support Central or Northern European languages.
4. Source: www.ethnologue.com

Into the Tower of Babel

The Typography unit at Apple As a result, Apples Athelas

requested a version of our type-
face Athelas to include in their
successful e-book reader, the
iBooks mobile app. A character
set extension was needed so that
Athelas would support dictionar-
ies, scholarly journals and pub-
lications in different languages.
carries over 2400 glyphs
while the retail version has
950. Language support is an
important factor in the type
selection process, but type
families can be expanded
upon request in order to fit
specific needs.

Standard TypeTogether
LAT character set. It in-
cludes Latin extended A,
discretionary ligatures,
five sets of numbers,
full super and subscript
alphabets, small caps,
math symbols and var-
ied bullets, arrows and
ornaments.

The language extension

requested by Apple
includes several additions
to the Latin A range, Latin
B (used in languages from
Africa and Southeast Asia),
Polytonic Greek, Extended
Cyrillic and full Interna-
tional Phonetic Alphabet
(used in dictionaries and
other academic texts).

TAILORED
Pete McCracken together with Cinco Design
commissioned us to create a custom typeface
family for the life simulation hit computer
game, Spore. The exclusive fonts were to be
used for all communication material linked to
Spore including the extensive game manual,
and the marketing campaign announcing the
game. The typeface was conceived to be one of
the pillars of Spores branding strategy, func-
tioning in body text as well as in display situa-
tions. A tailored typeface greatly supports the
companys recognizability and distinctive-
ness, guarantees the process of exchanging
information both internally and externally,
and allows for the companys expansion at no
!
extra licensing charges. Developing the cus-
tom font from the companys logotype is often
a good starting point. This will ensure visual
coherence throughout the brand speaking in
one tone.
In Spores case, the agency indicated three
main features that the fonts should fulfill:
1 Circular geometry, 2 Rounded ends and
3Symmetry. Given the multi-purpose use of
the Spore fonts, legibility was a clear concern
during the design. For example, the little out-
stroke on a and q helps to distinguish the a
from the o in text setting and it gives the q a
bit of idiosyncrasy.

Brand coherence

ABCDEFGHIJKLMNOPQRSTVWXYZ
abcdefghijklmnopqrstuvwxyz0123456789
The resulting shapes are a bit quirky and rather inspired by
handwriting than printing, e.g. M N W X Y. Although apparently
geometric, letters had to be optically adjusted for them to work
harmoniously in text and to avoid unpleasant dark spots. So
were counters slightly squashed to make them appear round
and all connections were made thinner to avoid blobbing.

ABCDEFGHIJKLMNOPQRSTVWXYZ
abcdefghijklmnopqrstuvwxyz0123456789
ABCDEFGHIJKLMNOPQRSTVWXYZ
abcdefghijklmnopqrstuvwxyz0123456789
TYPOGRAPHY
Find your own style

Even the slightest adjustment in a font can

make a sensible difference in typesetting. In
this vein, text-intensive pieces such as newspa-
pers, web portals or magazines depend a good
deal on the graphic designers typographic sen-
sitivity and good taste.

News consultancy firm Cases i Associats con-

tacted us to develop a tailored font based on
our own newspaper type family Abril. The ob-
Abril Display Abril Text Abril Almera
jective was to generate a new style that, while
sharing the curve strength and low contrast of
the Abril text fonts, could be used for setting
titles.

Lettershapes, proportions, color and spacing

Style request checklist
1 How many characters
should fit per line?
2 What is the printing size(s)?
3 What is the main function of
the font (text, title)?
4 How will it be rendered?
5 What is the target color
of the blocks of text?
6 How tight will the leading be?
in headline typefaces are distinctly different
from text fonts. The personality of lettershapes
in headlines should be molded in careful agree-
ment with the editorial direction of a publica-
tion. For the development of Abril Almera we
were able to work side by side with the news
consultants in the fine tuning of a new typeface
for these tailored headlines, which furnished
La Voz de Almera with a highly effective and
unique voice.

El veloz murcilago
Abril Display

El veloz murcilago
Abril Almera

Abril Text

El veloz murcilago
The resulting face is based on Abril Text, but due to its display use,
some features were changed. For example, some of the optical
compensations, such as the serif angle, necessary for text sizes,
were removed. This adds to the newsy feel and gives the shapes
more evenness along the x-height. Additionally, the letter widths
and spacing were condensed to fit more characters per line and
the overall color was increased to deliver more impact in large
headlines on the front pages.
 G It is important to consider the multiple communication channels
in which a font is likely to be used. Consistent rendering in
different platforms is key to consistent branding.

Delivering on screens

In the Latin alphabet

there is a series of let-
tershapes that, without
careful design, may
present recognition
problems.

Il1
The serifs in I help to
make a clear distinction
to letter l.

0O
Stressing the brand

The stroke in number 0

and its condensed shape
make it immediately
recognizable.

68
Clear difference in
construction helps to dif-
hinting is the process by which fonts are adjusted for optimum rendering on computer screens.
Hinting uses mathematical instructions to adjust the display of a fonts outline so that important
parts of lettershapes such as stems or x-height appear consistent in a low resolution grid. At low
screen resolutions, hinting is critical for producing clear, legible text.

ferentiate the numbers.

QlikView is a software that helps community, and could become the

present intensive amounts of data on defacto choice for data analysis and
screens. In other words, the software visualization. This project involved
piece is a tool for application devel- an extra layer of complexity because
opers. Being stuck with system fonts the fonts would be rendered in differ-
(Arial, Times, etc...) presented sev- ent browsers, operating systems and
eral problems for them: They were devices.
generic and lacked brand value, had
poor legibility for data visualization Ideally, fonts would be engineered to
and their appearance did not express excel in their performance on the de-
a forward facing piece of software. sired printing and rendering technol-
ogies from very early design stages to
For those reasons, we set out to cre- the last post-production processes
ate a type family that could be freely such as hinting.
distributed, work well for the data
 Role & Technical
purpose requirements
e What are the contents? e What are the printing conditions?
Make sure the font supports the required languages and contains Remember that sturdy shapes and ample forms are preferable
the necessary letter and number alternates such as small caps or for small texts. Ink traps can help printing on rough paper and low
old style figures. contrast typefaces are favored for coated surfaces.

e What is the role of the text? e Will it be delivered on screens?

The selected typeface must have appropriate vertical and horizon- When choosing webfonts, consult to verify if the fonts have been
tal proportions. It should fit the right amount of characters per optimized for screen and verify the rendering is good enough on
line and deliver the desired typographic color. different browsers and operating systems.

1 2
e How long is the text and how is it read? e What about software compliance?
The letter shapes must collaborate towards content delivery and It is important to check whether the font format is compatible
the type family should have enough styles for the design. Also, with your design application. Be careful: some design applications
ensure that the typeface does not produce fatigue in long texts. may have limited support for OpenType features.

FONT
SELECTION

3 4
CHECKLIST
We recommend this 4-step conceptual framework to ask the
right questions in the right order when selecting fonts. A
font selection process that is fully aware of complexities
that go beyond decorative issues can only help to achieve
better design, and it will hopefully guide graphic designers
through a journey of type discovery. Remember, selecting
the right font does make a difference!

Aesthetic Budget &

considerations
e Will it work well with the contents?
Letters may carry loads of different emotional properties and
create a general atmosphere. It is important that this impression
feels in harmony with the message that is being conveyed.
licensing
e Does the license fit my needs?
Look into some limitations that font licenses may have: deploy-
ment as webfonts, embedding in software applications, use in
mainstream broadcasting or some commercial applications may

e Will it work well with the other fonts?

require additional and sometimes much more expensive licensing.

e What are the budgeting limitations?

If several font styles need to work together in the same block of
text try to match the x-height or choose a superfamily5. If using
contrasting sizes, try choosing fonts that share a design intention. Check your budget when selecting fonts, and see whether the

e Does it fit the lifespan of the piece?

fonts must work together with other types that have already been
licensed. Also, we recommend checking that the licenses can be
Be careful about choosing fashionable type. Trends change, and easily upgraded at a later date.
the design can look outdated very quickly. Take special care when
developing designs with a more permanent character.
5. Large font families that have different construction features (serif and sans
serif, condensed and expanded, etc...) are often referred to as superfamilies
 summing

UPR E TA I L F O N T S
WEBFONT DESKTOP APPLICATION WEBFONT COMPANY-WIDE
SERVICES LICENSE EMBEDDING SELFHOSTING LICENSE
Use our fonts in your Buy a font from Embed our fonts in a Host TypeTogethers This license allows for
website through the TypeTogethers library. mobile application, re- webfonts on your own unrestricted use of
services of our trusted With our basic license gardless of the amount server, hence con- the fonts within your
partners: FontDeck, you can install the of copies sold or the trolling load speed and broader company

4
Fonts.com, Typekit and fonts in up to 5 CPUs. supported platforms. reliability. structure. Suggested
Webink. for 2000+ CPUs.

FORMAT SCREEN
CONVERSION OPTIMIZATION
Buy re-engineered Request a manual-
versions of our retail ly optimized version
fonts in order to fit of our webfonts, and
your current software host them on your own

MORE BUDGET
workflow structure. server.
LESS BUDGET

CHARACTER SET SCRIPT

EXTENSION EXTENSION
Commission TypeTo- Have a further char-
gethers typefaces acter set extension by
with tailored language adding one or more
support. writing systems to our
typefaces.

TAILORED CUSTOMIZED
LETTERSHAPES FONT STYLE
Request one of our Get a new font style
typefaces with a lim- from an existing de-
ited number of rede- sign, tailored to your
signed lettershapes to communication and
achieve a unique voice technical needs.
for your brand.

CUSTOM TAILORED LIMITED COPYRIGHTS

LETTERING FONT DRAFT EXCLUSIVITY TRANSFER
Have TypeTogether Request a new font Commission a tailored Commission a tailored
fine tune a logotype to based on your sketch, type family according type family accord-
achieve better brand extended to a fully to your needs, and use ing to your needs and
cohesiveness and working type family, it exclusively for a limit- secure exclusivity by
consistent rendering according to your ed period of time. acquisition of copy
across sizes and media. needs. rights.

TA I L O R E D F O N T S
 C /TypeTogether
D /photos/typetogether
HIGH QUALITY FONTS E @TypeTogether
& CUSTOM TYPE DESIGN o info@type-together.com