Do professional fonts, then, come in restricted versions with fewer options at a lower cost
Sometimes you do see that quite directly. A font might be available as a basic version, probably with enough characters to set text in a few common Western languages but few frills, and a “professional” version, which might have a much larger character set, more support for OpenType features, or other enhancements.
There are other ways that pricing scales as well. For example, professional-grade fonts are almost always presented as part of a family, with different variations of weight (often far more than just regular vs. bold), style (roman/italic/slanted) and perhaps other characteristics. Buying a single font (just one style/weight variant) is usually disproportionately expensive, so most people would buy a bundle. An entry-level bundle might contain just a couple of weights and plain vs. italic versions of them, and those four variations might be more than enough for a lot of users. On the other hand, professionals typesetting a book or magazine would almost certainly want a wider typographical palette, and would therefore buy a more comprehensive bundle with perhaps dozens of different variations within just one font family. The price-per-font for both bundles might be about the same, but that means the comprehensive set is many times more expensive in absolute terms.
Another common means of scaling is that, like software, computer fonts tend to be licensed per device. That means someone buying one copy to use for a personal project will pay far less than a company of 500 people that wants to install a font for their new corporate look on every employee’s PC.
There is also the possibility of exclusivity. Some professional-grade fonts start life as a commissioned work for the exclusive use of a specific client, again usually as part of a branding exercise. Of course those clients will pay a premium for that work, which is far beyond the budget of most of us. In many cases they will only pay for exclusivity for a limited time, and the font’s creators can then add that font to their public catalogue for others to buy.
As a final example, with the rise of fonts-as-a-service on the Web, we now commonly see licensing based on page views, so large sites with many visitors are paying significantly more to the hosting service (though almost certainly at a lower cost per individual page view). Given that a major web site will receive orders of magnitude more hits than a typical personal blog or small company, that can make a big difference in how much a font service brings in if their fonts are chosen for major sites. As far as I’ve seen, the fonts themselves tend to be identical in these cases, though.
Sometimes you do see that quite directly. A font might be available as a basic version, probably with enough characters to set text in a few common Western languages but few frills, and a “professional” version, which might have a much larger character set, more support for OpenType features, or other enhancements.
There are other ways that pricing scales as well. For example, professional-grade fonts are almost always presented as part of a family, with different variations of weight (often far more than just regular vs. bold), style (roman/italic/slanted) and perhaps other characteristics. Buying a single font (just one style/weight variant) is usually disproportionately expensive, so most people would buy a bundle. An entry-level bundle might contain just a couple of weights and plain vs. italic versions of them, and those four variations might be more than enough for a lot of users. On the other hand, professionals typesetting a book or magazine would almost certainly want a wider typographical palette, and would therefore buy a more comprehensive bundle with perhaps dozens of different variations within just one font family. The price-per-font for both bundles might be about the same, but that means the comprehensive set is many times more expensive in absolute terms.
Another common means of scaling is that, like software, computer fonts tend to be licensed per device. That means someone buying one copy to use for a personal project will pay far less than a company of 500 people that wants to install a font for their new corporate look on every employee’s PC.
There is also the possibility of exclusivity. Some professional-grade fonts start life as a commissioned work for the exclusive use of a specific client, again usually as part of a branding exercise. Of course those clients will pay a premium for that work, which is far beyond the budget of most of us. In many cases they will only pay for exclusivity for a limited time, and the font’s creators can then add that font to their public catalogue for others to buy.
As a final example, with the rise of fonts-as-a-service on the Web, we now commonly see licensing based on page views, so large sites with many visitors are paying significantly more to the hosting service (though almost certainly at a lower cost per individual page view). Given that a major web site will receive orders of magnitude more hits than a typical personal blog or small company, that can make a big difference in how much a font service brings in if their fonts are chosen for major sites. As far as I’ve seen, the fonts themselves tend to be identical in these cases, though.