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Happy New Year Typophiles! I have a font request—please see the attached graphic and tell me what font is being used for this quote. I would appreciate it. Thanks!
The free font La Tribune CP (Medium) by Claude Pelletier is a perfect match, but if you are going to use it on a commercial project, please be careful as I don't know if this is an original design (Claude Pelletier is known for sweep 'n hack copies of other commercial fonts)
Awesome! Thank you. And no, it's nothing commercial.
Don't know about Claude's "sweep 'n hack copies of other commercial fonts" but as far as I can tell this is an original digitization of a circa 1900 font, designed for headline use where space is limited. I recall monitoring some discussion of creation of the font on alt.binaries.fonts during November-December of 2011, but I can't remember the details other than that Claude posted some newspaper jpegs and revisions of the font.
I don't know much about Claude Pelletier and the only reason I mentioned "sweep 'n hack copies" is that the Chopin Script offered as a free font by Claude in Dafont:
it actually looks like an exact copy of Phil Martin's Polonaise (1923?) which is a commercial font available from URW++
With some further investigation though, I see that Dieter Steffmann have also done some digital versions of the font under both(!) names Polonaise and Chopin Script, therefore I'm now really confused about what was the original font name and if URW++ has actually any (exclusive) rights on this font.
I'm glad that La Tribune CP seems like an original digitization.
PS: See also here for a previous discussion on Chopin Script (probably not a rip-off):
This is the graphic I was making with that font, but I was also using another font which seemed quite similar. This first image I used LaTribune CP...
And for this second one I used Niagara Solid.
Hi Doug. Yes pretty similar, which I suspect shows the similar or identical sources. A search of Keystone, ATF, BB&S around 1900 would probably clarify the source issue. From a technical point of view, there is not a lot of wiggle room in designing a very narrow, thick & thin, serif font.
Might not be a lot of room to move around, but as a illustrator there's something about this style of font that really appeals to me.
Hi Fivos. No disputing that Dieter Steffmann is a prolific pirate. As for Chopin Script it seems to me that the previous discussion cited by you is balanced and useful. As far as I can see both the versions by URW and Claude meet the same standards of originality, as they are independently created from a non digital work, and both are derivative in that they rely on a previous design. But the previous design was not covered by a design patent and so, in the US at least, was in the public domain. Also, in the US at least, the case brought by Summer Stone to prevent use of r terminals that resembled his r -- which he lost -- provides some guidance as to what can be copied by others. There is clear protection for digital outlines generated by a computer program. Otherwise.... Perhaps the only people who get rich from font design are the lawyers.
Caveat: Non of my comments should be taken as legal guidance, as I am not a lawyer. Nor do they automatically apply to countries other than the US.
"Phil Martin's Polonaise (1923?)" is incorrect insofar as Phil did very little original work and all of it was done from the early 1970s through the mid-80s. Even though he claimed to have designed over 400 fonts in his lifetime, the vast majority of the fonts he personally "created" were derived from the work of others. The majority of the truly original fonts were licensed from other designers although he ultimately bought up the rights.
Originally Martin licensed many of his fonts to The Font Company, which is long gone. Since URW++ has the fonts I have to assume they are the ultimate licensee, at least. Phil sold his company to a close business friend when he retired. That man presumably still owns the rights.
Thanks for the info you guys. Education with your font ID—that's why I love this place :)
Thanks George for the Phil Martin info.
The discussion of what is original work, what is legitimate use of existing designs, what is piracy etc. has been done many times before.
Perhaps it started with the the 19th century technology of electrotyping which enabled font makers to physically lift the imprints of competitor's typefaces to cast their own versions. whithout having to punch cut a copy. Font forgery has been with us ever since. Only the technology changes.