FONT LICENSE VETTING
Need to license a new font?
After initial consultation with you to find out exactly how the font will be used, Font Shield will review the EULA (end user license agreement) of the prospective font. If the licensing of the font is deemed to be “generous” and “simple”, we’ll advise you to proceed with the purchase and tell you exactly which licensing models you require.
If the font is deemed to be “restrictive” (and often expensive in order to lift restrictions) we will secure a price based on your requirements. We will also source and recommend alternate fonts that will honor the same look, feel, and integrity of the prospective font and have licensing terms and conditions that are more generous and simple – as well as cost-effective.
FONT LICENSE VETTING
Need to license a new font?
After initial consultation with you to find out exactly how the font will be used, Font Shield will review the EULA (end user license agreement) of the prospective font. If the licensing of the font is deemed to be “generous” and “simple”, we’ll advise you to proceed with the purchase and tell you exactly which licensing models you require.
If the font is deemed to be “restrictive” (and often expensive in order to lift restrictions) we will secure a price based on your requirements. We will also source and recommend alternate fonts that will honor the same look, feel, and integrity of the prospective font and have licensing terms and conditions that are more generous and simple – as well as cost-effective.
FONT LICENSE VETTING
Need to license a new font?
After initial consultation with you to find out exactly how the font will be used, Font Shield will review the EULA (end user license agreement) of the prospective font. If the licensing of the font is deemed to be “generous” and “simple”, we’ll advise you to proceed with the purchase and tell you exactly which licensing models you require.
If the font is deemed to be “restrictive” (and often expensive in order to lift restrictions) we will secure a price based on your requirements. We will also source and recommend alternate fonts that will honor the same look, feel, and integrity of the prospective font and have licensing terms and conditions that are more generous and simple – as well as cost-effective.
Greg Mitchell, Founder & CEO
Well-respected in the advertising industry, Greg has a vast depth of knowledge in – and passion for – typography. He has mentored art directors, designers, developers, production and QC staff, and countless others on the delivery of a quality typographic product.
As a typographer for over 40 years, Greg has witnessed many changes in the world of typefaces, fonts and the technologies that use them. Significant changes have also occurred in font licensing terms and conditions.
Greg graduated from The George Brown College of Applied Arts and Technology in Toronto in their three-year Graphic Arts Printing Technologist Program, specializing in Typography.
His first job was with two traditional typographers who taught him the craft of typesetting for the next seven years. Following that, he freelanced around Toronto in various type houses.
In 1990, Greg joined Ogilvy & Mather Advertising as a typesetter/production artist and shortly after moved into the role of Type Director until 2012.
After a few years of developing and implementing a font management and licensing policy for Ogilvy & Mather North America, Greg became Type Director with Ogilvy’s Global Creative Technologies Group in June 2014.
In March 2015, Greg moved to IBM Global as Type Director, working on font management and licensing for the WPP account.
Having worked with fonts in an advertising environment for most of his career, Greg is acutely aware how convoluted font licensing can be. This can put brands and agencies at risk by misunderstanding their licensing requirements.
Realizing the need for font licensing expertise in the advertising industry, Greg launched Font Shield Inc.
Greg Mitchell, Founder & CEO
Well-respected in the advertising industry, Greg has a vast depth of knowledge in – and passion for – typography. He has mentored art directors, designers, developers, production and QC staff, and countless others on the delivery of a quality typographic product.
As a typographer for over 40 years, Greg has witnessed many changes in the world of typefaces, fonts and the technologies that use them. Significant changes have also occurred in font licensing terms and conditions.
Greg graduated from The George Brown College of Applied Arts and Technology in Toronto in their three-year Graphic Arts Printing Technologist Program, specializing in Typography.
His first job was with two traditional typographers who taught him the craft of typesetting for the next seven years. Following that, he freelanced around Toronto in various type houses.
In 1990, Greg joined Ogilvy & Mather Advertising as a typesetter/production artist and shortly after moved into the role of Type Director until 2012.
After a few years of developing and implementing a font management and licensing policy for Ogilvy & Mather North America, Greg became Type Director with Ogilvy’s Global Creative Technologies Group in June 2014.
In March 2015, Greg moved to IBM Global as Type Director, working on font management and licensing for the WPP account.
Having worked with fonts in an advertising environment for most of his career, Greg is acutely aware how convoluted font licensing can be. This can put brands and agencies at risk by misunderstanding their licensing requirements.
Realizing the need for font licensing expertise in the advertising industry, Greg launched Font Shield Inc.
Greg Mitchell, Founder & CEO
Well-respected in the advertising industry, Greg has a vast depth of knowledge in – and passion for – typography. He has mentored art directors, designers, developers, production and QC staff, and countless others on the delivery of a quality typographic product.
As a typographer for over 40 years, Greg has witnessed many changes in the world of typefaces, fonts and the technologies that use them. Significant changes have also occurred in font licensing terms and conditions.
Greg graduated from The George Brown College of Applied Arts and Technology in Toronto in their three-year Graphic Arts Printing Technologist Program, specializing in Typography.
His first job was with two traditional typographers who taught him the craft of typesetting for the next seven years. Following that, he freelanced around Toronto in various type houses.
In 1990, Greg joined Ogilvy & Mather Advertising as a typesetter/production artist and shortly after moved into the role of Type Director until 2012.
After a few years of developing and implementing a font management and licensing policy for Ogilvy & Mather North America, Greg became Type Director with Ogilvy’s Global Creative Technologies Group in June 2014.
In March 2015, Greg moved to IBM Global as Type Director, working on font management and licensing for the WPP account.
Having worked with fonts in an advertising environment for most of his career, Greg is acutely aware how convoluted font licensing can be. This can put brands and agencies at risk by misunderstanding their licensing requirements.
Realizing the need for font licensing expertise in the advertising industry, Greg launched Font Shield Inc.
THERE’S NO SUCH THING AS BAD PUBLICITY, RIGHT? WRONG!
If you think font license infringement lawsuits are folklore, think again – they can and do exist. In fact, the majority of font licensing infringements are settled well before they make it to court in order to mitigate negative publicity and additional costs.
No advertising agency or brand likes bad press. The optics of being accused of infringing on someone else’s intellectual property can be unsavory and damage your reputation.
The cases shown here are some that made it to court (and the press).
All these cases were preventable. Don’t let this happen to your business – contact Font Shield.
Hover over boxes to reveal details
According to the article, confectioner Haribo of America allegedly used Font Diner’s Stovetop typeface on packaging for “Haribo Trick or Treat Mix” sweets. A basic desktop license was purchased by Haribo’s design firm, but the necessary license upgrade for commercial, for-profit use wasn’t.
See article: http://bit.ly/2AHbIKQ
FONT DINER
vs
HARIBO
FONT DINER vs HARIBO
NOVEMBER 2017
Damages Sought: $150,000
Final status of complaint: Currently being litigated
BERTHOLD vs TARGET
OCTOBER 2017
According to the article, Target allegedly used Berthold Type Group’s Akzidenz Grotesk font in a promotional video which violated the licensing agreement. The font originally was only licensed by Target for internal business purposes only.
See article: http://bit.ly/2zrGB5j
BERTHOLD
vs
TARGET
Damages Sought: up to $150,000 per infringement
Final status of complaint: Currently being litigated
According to the article, Berthold alleges that Volvo used Berthold’s typeface and typeface software without permission. According to the complaint, the plaintiffs further allege the defendants created the typeface “Volvo Sans 2012 OT Pro”, which was derived from the plaintiffs’ typeface software under copyright.
See article: https://bit.ly/2M9PkfD
BERTHOLD
vs
VOLVO
BERTHOLD vs VOLVO
JUNE 2017
Damages sought: $30,000 per day
Final status of complaint: Unknown
According to the article, HypeForType alleges Universal Music Studios used their Nanami Rounded and Ebisu Bold fonts in the logo of British band “The Vamps” and created artwork, promo materials and merchandise without obtaining licensing. While Designer Stuart Hardie did purchase a basic license in 2013, Universal did not purchase the additional license upgrade to use the fonts on a commercial scale.
See article: http://bit.ly/2u8GvgQ
HYPEFORTYPE
vs
UNIVERSAL MUSIC STUDIOS
HYPEFORTYPE vs
UNIVERSAL MUSIC STUDIOS
AUGUST 2017
Damages sought: $1.25 Million + destruction of existing materials and merchandise
Final status of complaint: Unknown
According to the article, it is alleged that Hasbro used Font Bros’ Generation B font to create My Little Pony toys, videos, advertising materials and website without obtaining/purchasing licensing. It is also alleged that Hasbro created unauthorized copies of the Generation B Font Software and distributed them to their third party vendors.
See article: https://bit.ly/2W299wf
FONT BROS.
vs
HASBRO
(MY LITTLE PONY)
FONT BROS. vs HASBRO
(MY LITTLE PONY)
JANUARY 2016
Damages Sought: $150,000 per infringement
Final status of complaint: Currently being litigated in court
According to the article, Brand Design alleged NBCU subsidiary Oxygen Media purchased a basic, 36-user license to use the CHALET font. However, Brand Design says the licensing agreement did not permit the use of the copyrighted font software on NBCU’s websites. NBCU is accused of using a free font software conversion utility to convert the font into a format allowing it to be embedded into websites. This purportedly violates licensing terms on modification.
See article: https://bit.ly/3aXSv5a
HOUSE INDUSTRIES
vs
NBC UNIVERSAL
HOUSE INDUSTRIES vs
NBC UNIVERSAL
JULY 2012
Damages sought: $3.5 Million
Final status of complaint: Settled
P22 alleged that their Cezanne font was used by NBC Universal and some of their manufacturers to create various Harry Potter themed souvenirs sold at Universal theme parks and through their web site. It is also alleged that some of the manufacturers did not even purchase a basic license or any additional licensing required to create and sell commercial products.
See article: https://bit.ly/2SyNKsz
P22 vs
NBC UNIVERSAL (HARRY POTTER)
P22 vs NBC UNIVERSAL
(HARRY POTTER)
JANUARY 2012
Damages sought: $1.5 Million + destruction of all relevant
merchandise
Final status of complaint: Settled
Font Foundry Typotheque asserted that Raise Digital had no license to use their “Fedra” font. They also claim they modified the same unlicensed “Fedra” font software in order to use it on Rick Santorum’s website – a further licensing violation.
See article: https://bit.ly/3c73gDu
TYPOTHEQUE
vs
RAISE DIGITAL (RICK SANTORUM CAMPAIGN)
TYPOTHEQUE vs RAISE DIGITAL
(RICK SANTORUM CAMPAIGN)
AUGUST 2011
Damages sought: $2 Million
Final status of complaint: Unknown
According to the article, Font Bureau alleged NBC used three of Font Bureau’s fonts to produce network and show promos on TV and the web. These fonts were only licensed for a single workstation but were used on multiple computers. Font Bureau also alleged NBC distributed several copies of the same fonts to third parties outside of NBC.
See article: https://bit.ly/2z4yTix
FONT BUREAU
vs
NBC
FONT BUREAU vs NBC
OCTOBER 2009