I spend a lot of time following two obsessions: packaging and hand lettering. Alongside a few other minor obsessions, those two have been my major ones for so many years now, I've finally reached the point where I can actually claim them as “obsessions” without getting a dramatic reaction from the little voice in the back of my head. When you spend so much time researching and studying a subject, you become very focused, directionally and objectively. But of course some of the research material you run into turns out to be tangential to whatever your focus happens to be at the time, so you absorb what you can from it, then shelf it — like the celebrity bobblehead that amused you for a while, but is now an almost invisible ornament eating dust and feathers somewhere in your environment. And just like the bobblehead may fall off the shelf one day to remind you of its existence, some of my lettering research material unveiled itself in my head one day for no particular reason. Hand lettering is now mostly perceived as an American art. Someone with my historical knowledge about lettering may be snooty enough to go as far as pointing out the British origins of almost everything American, including lettering — but for the most part, the contemporary perspective associates great lettering with America. The same perspective also associates blackletter, gothics and sans serifs with Germany. So you can imagine my simultaneous surprise and impatience when, in my research for one of my American lettering-based fonts, I ran into a German lettering book from 1953, by an artist called Bentele. It was no use for me because it didn't propel my focus at that particular time, but a few months ago I was marveling at what we take for granted — the sky is blue, blackletter is German, lettering is American — and found myself flipping through the pages of that book again. The lettering in that book is upbeat and casual sign making stuff, but it has a slightly strange and youthful experimentation at its heart. I suppose I find it strange because it deviates a lot from the American stuff I'm used to working with for so long now. To make a long story short, what’s inside that German book served as the semilla, which is Spanish for seed, for the typeface you see all over these pages. With Semilla, my normal routine went out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these forms. They're the product of a true Bezier process, all starting with a point creating a curve to another point, which draws a curve to another point, and so on. It’s a very time-consuming process, but at the end I am satisfied that it can get to pretty much the same results easier and more traditional methods accomplish. And as usual with my fonts, the OpenType is plenty and a lot of fun. Experimenting with substitution and automation is still a great pleasure for me. It is the OpenType that always saves me from the seemingly endless work hours every type designer must inevitably have to face at one point in his career. The artful photos used in this booklet are by French photographer and designer Stéphane Giner. He is very deserving of your patronage, so please keep an eye out for his marvelous work. I hope you like Semilla and enjoy using it. I have a feeling that it marks a transition to a more curious and flexible period in my career, but only time will tell.

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Desktop License (Desktop)

"Desktop" refers to the computer, the desktop license allows you to install the fonts on your computer for offline design purposes, including the design of logos, posters, merchandise, magazines, etc. For example, the static images you design with fonts on your computer are allowed to be distributed at will (regardless of online or offline use); however, you cannot embed the fonts in any form. However, the font file cannot be embedded in your work in any form, that is to say, the font file cannot leave your computer, for example, it is not allowed to convert the font format and embed it in web pages or embed it in PPT and then distribute it; it should be noted that some copyright holders may additionally stipulate that the font is not allowed to be used for the design of LOGO and other specified purposes.

The license is usually licensed according to the number of users, the number of users refers to the number of computers that may have the font installed; the desktop license is generally valid for life, if there is a specified number of years our purchase page will be prompted; the works designed within the validity of the license can be used for life, but if you need to continue to use the font for design outside the validity of the license, you need to purchase a new license.

Webfont

As the name implies, webfont license is a kind of license that allows font files to be embedded into various web pages. Regardless of whether the font files are converted or not, and regardless of whether the font files are fully embedded or partially embedded, the license is required for any form of font files embedded into web pages.

Different copyright holders have different ways of selling web page licenses. In addition to the license period, they usually specify the total number of views or monthly views within the license period, you can choose to purchase according to your website needs.

Application License (App)

App license allows you to embed the font file into the APP you develop or operate, no matter it is game APP, education APP, music APP, any APP that embeds the font file needs to obtain the license.

Application license can be sold in various forms according to the license period, installed volume, APP quantity, etc.

E-book License (ePub)

The ePub license allows font files to be embedded in an electronic publication, but the font software cannot be installed in the operating system running the electronic publication.

This license can be sold in various forms such as license period, number of titles, total number of devices, and number of views.

Server License (Server)

The Server license allows you to install fonts on the licensed server in a way that they cannot be extracted, but not on any other computer or processing unit.

This license can be sold in various forms according to the license term, number of CPU cores, number of clients, etc.

Digital Ads License (Digital Ads)

The Digital Ads license allows you to access, download, and use the Web fonts provided in the Web Font Kit to create digital ads, but only for the purpose of publishing digital ads on the output device.

The license can be sold in a variety of formats based on license duration, number of releases, number of exposures, etc.

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After you complete the payment, the service provider will procure the relevant authorization for you in the first time, and the authorization process will usually be completed within 24 hours. After the procurement is completed, you can view the authorization voucher in the order details and download the font file or apply for invoicing.

Usually the "licensee" of font software license should be the end-user of the design solution, so the owner of the design solution must obtain the relevant authorization of the font used, and some authorization methods (such as desktop license) specify the number of terminals to be used, so all computers using the font for design or modification of the solution need to obtain authorization.

You can select or add "Licensee" information when you submit your order, and fill in your customer information in the "Licensee" form.

Windows system: Copy the font file directly to C:/Windows/Fonts, or right-click the font file and select "Install"; Mac system: Double-click the font file - click Install, or open "Applications "-"Font Book", drag the fonts into it.

Due to the operating system or software version, if you can't find the installed font in the software, we suggest you restart the system first, the font may be shown in the list as Chinese or English name, please look for it carefully, as long as the font is installed successfully, the font must exist in the font list.

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