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The fact that the (overly small) small print is unintelligible, on letting and loan contracts and electoral policies might well be one of the causes explaining the cultural unease, the current situation of indignation. But it may also be the driving force that explains the response to this unrest with alternatives to traditional models of management.

In the publishing and music sector, the association of professionals in the form of co-operatives and self-management has proved to be effective. Now it seems it’s the type world’s turn.

Studios are increasingly organised to control the sale of their work directly and have a greater contact with the client, cutting out middle-men. They offer their creations at really cheap prices (for 10 dollars on Ten Dollar Fonts, for example) or even paying with a tweet or a post on Facebook.

Fonecian, by Rosalind Stoughton

Dayta, by Eli Sebastian Brumbaugh

There are also those who offer their treasured scripts for free or even on a voluntary exchange basis The Lost Type Co-Op is a prime example. And all without a trace of the small print we had gotten so used to, when paying was more important than distributing in a creative manner.

Arvil, by Ben Dalrymple

Another example: the studio ATIPO. in Asturias. Besides offering beautiful and sophisticated fonts for free, for each font they present, they dedicate an impressive body of work: an exclusive website, a booklet with examples for usage and a quite simply stunning video. Visit their website and take a look at the video that presents the Cassanet font (a luxury homage to Cassandre):

With fonts like these and this new way of presenting them and connecting to people, it’s a pleasure to read the print. Even the small print.