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Poppy ThaxterWhat’s the deal with free fonts and when can you use them? We asked ITF, Monotype and CoType
In the vast world of branding, typefaces wield significant power over how a brand is perceived, shaping its visual identity and its communication with its audience. Typically, designers and studios either secure a typeface licence or commission custom iterations to ensure their client work resonates. But let’s consider an alternative – free and open-source fonts. What exactly are free fonts? How do they impact the graphic and type design industries? Who do they benefit? To better understand the enigma of free fonts, we delved into these questions in a two-part series and asked three industry experts for their hot takes – Satya Rajpurohit, Co-founder of Indian Type Foundry (ITF) and Founder of Fontshare; Tom Foley, Executive Creative Director at Monotype; and Mark Bloom, Creative Director and Founder of CoType Foundry. Here, they help us dig into the various classifications of free typefaces, their quality, and provide insights that every designer should keep in their back pocket.
Let’s get one question cleared up – what even is a ‘free font’? Ask a handful of designers, and there’s no guarantee they’ll all give you the same answer. Is it a ‘free’ trial font? Or part of a wider subscription service? What about those pre-installed on your computers? Some of us even remember being shown ‘free’ fonts on one of those compilation sites with a barefaced and aggressively capitalised name like FREEFONTS4U. To get to the bottom of what a ‘free’ typeface means, Tom Foley gives us the low-down of what’s out there.
‘Open-source’ typefaces, as the name would imply, should be pretty straightforward to navigate, right? For instance, those available on Google Fonts, are freely accessible to the public and can be modified as needed. However, this flexibility can lead to complexities and issues if the modifications are not handled by professionals with expertise in typeface design and font engineering. Furthermore, while all the typefaces on the site are commissioned by Google and designed by seasoned foundries, they’re intentionally built to be used on websites and in Google’s products. “This may seem obvious, but it is a key point,” Foley says, “Google’s currency is data. Every time a Google font hosted on Google servers is used on a website, it becomes another entry point for user data collection.”
To add to that, there are various other sources for free or open-source fonts. Firstly, there are countless websites that offer free fonts which are generally limited to use in personal projects and for non-profit organisations, or have limited commercial usage. Commercial usage of these fonts in wider or more specific applications like websites, mobile apps, logos, and banner ads, or for larger brands often comes with restrictions.
Secondly, the system fonts that come pre-installed on our electronic devices like laptops and PCs are usually licensed by the operating system owner or hardware manufacturer from type foundries. The commercial use of these fonts is typically not allowed. Besides, some of these are either custom or open-source fonts that are available as part of the operating system.
Additionally, some fonts are part of wider subscription-based services like Adobe Fonts. These are not free in the strictest sense as they are covered within the subscription fee for the service. “End-User License Agreements (EULA) for fonts incorporated into the Adobe Cloud subscription is quite robust,” Foley adds, “but it may not cover all potential use cases, so read the EULA and understand the restrictions before you deploy fonts as part of any client project.”
As always, it’s handy to read the small print before working with a typeface. But why is the EULA so vital to read? Put simply, this document provides a clear outline of the terms dictating what you can do with a font. It stipulates the contexts in which you can use the font, be it personal, commercial, or client work, and extends to print, web, or broadcast. Be aware that any violation of these terms invites legal ramifications. Hence, closely scanning the EULA prior to using a typeface is not just important – it’s essential.
“With free fonts, which come in many classes and kinds,” explains Foley, “what is ‘free’ is not the font itself, or ownership of the typeface, but the rights to use that font within defined parameters as set out in the EULA.” The font remains the property of the originator. “EULAs are also relevant because they may not cover all desired usage rights. A font that is free for print output may not have the same usage rights for digital use, in logos, in movie credits, or any other place you may wish to use that font.”
According to Foley, foundries sometimes implement this strategy of setting strict usage parameters to “seed the market with a new typeface.” This strategy allows users access to one weight or style as a free trial. “It gets the typeface into the hands of would-be customers,” he adds, “helping them fall in love with the design so that they come back and purchase more weights, and maybe even use it in a commercial client project.”
Beyond the allure of financial gain, numerous reasons prompt designers to offer their typefaces at no cost. For budding designers, it acts as a showcase, displaying their prowess to potential clients or employers. And by making a typeface free, a designer can ensure that it is widely used and recognised. Most importantly, the availability of well-crafted free typefaces is crucial as it empowers designers at every level to produce high-quality work, independent of their budget constraints. As highlighted by Satya Rajpurohit, it can be a way to give back to the design community, aiding fellow designers in their creative endeavours.
Rajpurohit, Co-founder of Indian Type Foundry (ITF), understood that while established designers and studios love creating their own custom fonts for a client, or buying the perfect one from a foundry, not all designers get this opportunity. “Why is it essential to offer high-quality typefaces for free?” he asks “Because not everyone has the financial means to consistently invest in premium fonts, yet this shouldn’t deprive them of quality fonts.” Introducing – Fontshare.
As Rajpurohit explains, the idea behind launching Fontshare was simple, “to create a platform where users can confidently download any font family, assured of the highest quality and free from any legal complications.” Like the array of high-quality paid typefaces available on ITF, every single font family on Fontshare is meticulously designed. Because the initiative is backed by a type foundry, users know who to contact with questions or when they are in need of support.
“They’re all 100% free for commercial use with no hidden terms,” Rajpurohit emphasises. At ITF, we believe in balancing profitability with a larger sense of responsibility to the design community.” This ethos sparked the decision to make every fourth Latin family they design available for free.
“Our goal with this initiative is to democratise access to top-tier fonts, ensuring that every designer, irrespective of their financial standing, is equipped with the best fonts. We want to promote inclusivity and fuel innovation by providing designers with the assets they need to excel. In a world riddled with financial barriers, we’re determined that access to quality fonts at least shouldn’t be one of them.”
So now that we’ve unpacked the mystery of a free font, let’s imagine a scenario where a graphic designer is in the process of selecting a typeface for a new project. Under what circumstances or specific contexts do type designers, who dedicate their time and skills to the creation of these typefaces, believe that it’s acceptable or fair for a designer to choose a free typeface over a paid one? Type designers might consider it fair for a designer to choose a free typeface over a paid one when the project has a very limited budget or is not-for-profit. Additionally, it may also be acceptable if the designer is just starting out and cannot afford expensive fonts yet.
“It’s about horses for courses,” says Foley. “Free-to-use and open-source fonts have their place and may be just the thing for some use cases. Imagine a primary school teacher making a flyer for a fundraising cake sale. Not any font will do, but the comic, curly or soft feeling typefaces available on the communal staff room PC will do the job fine. Now imagine a small independent brand in the initial stages of establishing itself. It’s highly likely the founder will rely on cost-effective solutions, turning to Google products, including Google Fonts, to swiftly establish an e-commerce site.”
With this in mind, when it comes to professional designers, the budget for typography will depend on the size and ambitions of the client they’re working with. In most cases, when a studio turns to free fonts it will be due to budgetary constraints, not out of preference. “Most designers prefer to use premium fonts,” Rajpurohit reflects, “but acquiring high-quality premium fonts can sometimes prove to be quite expensive, even for larger brands.” In some cases, there isn’t even a budget for fonts. “If budget were not a constraint,” he continues, “everyone would prefer to use paid fonts or have a custom font developed to stand out, regardless of the number of free fonts available in the market.”
Likewise, it can be a question of Accessibility and Language Support. “As a UK-based type foundry serving clients primarily in Europe, America and South America,” says Mark Bloom, Creative Director and Founder of CoType Foundry, “our typefaces inherently support Latin-based languages. However, given the global reach of larger Western businesses, we noticed a need for brand typefaces to accommodate additional scripts, such as Arabic, Hebrew or Chinese.” When designing for a script outside of their native language, foundries may either need to commission a type designer or work with someone familiar with the script to ensure legibility, consistency and cohesion. “While we strive to enhance our library’s language support – such as including Greek and Cyrillic scripts within Aeonik Pro – this process is time-consuming and demands a significant investment,” Bloom adds. “Due to time or budget restraints, some clients opt to pair a licensed typeface with a reputable free font that encompasses additional languages or scripts, serving as either a temporary or permanent solution.”
Take a gander at the expansive and radical playground of UNCUT.wtf or the website of Velvetyne – “an association and collective dedicated to researching and disseminating typography and typeface creation,” and suddenly the meticulous perfection of commercially viable x-heights and ligatures doesn’t seem to be at the top of the list of priorities. Depending on the context or use, “sometimes an unusual font may not warrant the price of purchase,” Bloom tells us, “especially if it’s intended for very specific circumstances or limited use, such as for a sentence or two.” And thanks to the vast selection of mind-bogglingly experimental and wildly playful fonts designers kindly share online, there will always be something that can provide a little razzle-dazzle. “We also offer two free typefaces on our website – Betatron and Gridular,” he adds, which are available in a single weight and can be used for both personal and commercial projects.
Having said that, free typefaces, while popular for their accessibility, are at risk of falling short in terms of originality and uniqueness. While, according to Foley, “this is fine for many use cases on the web, small startup brands, and amateur typographers,” a lack of ‘ownability’ can pose a problem for brands that are seeking to carve out a distinctive and memorable identity in a competitive landscape.
“The question I’m often asked is, ‘Why should I choose a paid font instead of a free font?’” Bloom tells us. “There’s no one-size-fits-all answer to this, as free fonts come with their own advantages. However, as a seasoned graphic designer, I prefer to address this question from a strategic standpoint.” According to the type designer, the identity of a brand is typically made up of four fundamental elements – the logo, the typeface, colour, and imagery.
“When typography, specifically typefaces, constitutes one of these four ‘essential’ brand elements, it is hugely important to get it right,” he suggests. “No company wants to see their typeface being used by multiple other brands, especially not by their competitors.” A unique typeface allows a brand to stand out and create a strong visual impression that can be applied consistently across various mediums and platforms. A paid typeface from a foundry is often “less commonly used than an open-source or free typeface, contributing to its status as a more ‘ownable’ brand asset. Additionally, most foundries (including ours) offer customisation options for their typefaces – such as re-shaping particular glyphs or custom font naming – helping to add further uniqueness or functionality to the brand font” adds Bloom.
Rajpurohit offers an interesting counter to this point, noting that the problem of overuse is not exclusive to free fonts. Even paid fonts, which are often chosen for their perceived exclusivity and quality, are susceptible to this issue. “Widely-used paid fonts such as Helvetica, Gotham, and Proxima Nova,” he points out, have seen ubiquitous application across a range of brands and industries, diluting their uniqueness.
Therefore, the choice between using a free or paid font should not be based solely on cost, but rather on a strategic consideration of the brand’s needs and objectives. While free fonts may serve the purpose for some, brands that value distinction and originality may find it worthwhile to invest in a custom or premium typeface. So, when it comes to the question of using either an open-source font, or a paid, or even a custom one, let your decision be guided by both what your client needs and what you want to achieve.
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