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Any help would be appreciated. Thanks!
That's the ever popular Eclat Click on "the," "ever" and "popular" to see other threads on the topic.
Yep, thanks! Sorry for the redundancy. It's not that amazing a font, but I think it has just enough quirk for my project.
fyi, creampuff looks like Eclat in sheep's clothing. http://www.fonts.com/findfonts/detail.asp?pid=405832
There's also Siena. Maybe too quirky.
Also, see Einhorn. Which will always remain mentally grouped with Eclat. http://www.myfonts.com/fonts/linotype/einhorn/
Yeah, a stolen sheep's clothing.
I have some familiarity with the work of the Eclat-lookalike font designer (one more edit is needed to get rid of all the places it showed up, by the way). I'd be a bit reluctant to accuse him of stealing Doyald's design, because I think they may both have used some old Art Deco -era books from the 20's and 30's as their inspiration. Many of the other fonts that Mr. N. C. has done have been digitizations of other authentic typefaces from that era. In fact that time period, as we know, seems to be in vogue again, and many foundries have revivals of old typefaces. Stephen, does Doyald say that the Eclat design is his original creation?
Stephen, the showing of Eclat at Identifont says the design was 'Inspired by "fat face" designs of the early 19th century' (I wonder if they meant 20th?). In any case that implies to me that it is not completely original, and it's possible that the other designer may have used the same sources.
When going to purchase Eclat yesterday, I also came across the unmentionable font above suggested. As evidenced by this quote I came across, it was indeed based on Eclat :"Another phine phont phorwarded by Phil --- Letraset Eclat --- provided the inspiration for this addition to the collection. A mover, a shaker and a money-maker, ideal for when when you want to make a strong but elegant statement. The name? Eclat
actually, bearing a striking resemblance to your picture is the fantastic free font [edited by TM]. enjoy.
No linky to [edited by TM], Ryan. We have zero tolerance for rip-offs at Typophile. Both your link and the name will disappear shortly. Sorry'boutthat.
BTW Brilliant post, James, love how you handled that! Kewl.
isn't [edited by TM] the wolf in the sheep's clothing? and the sheep is eclat? (can't be held responsible for anything i say until i have recovered necessary sleep)
Interesting to see Eclat mentioned. I had dinner with its designer, Doyald Young, at TypeCon a few days ago, during which I asked why more of his beautiful letters and scripts aren't digitized. His main frustration (and this shouldn't come as a surprise to anyone here) is that he sees his fonts used all the time but he rarely sees any royalties. Perhaps [edited by TM] is one reason why.
I'm with you Mike. I do know that the unnamed designer does draw most of his sources from older books. Eclat, though, is an exception as Doyald alluded that he drew it from scratch for photo type machines in the early '80s. But I should go right to the source before I make any more assumptions. I'll ask him tonight.
Doyald Young asked me to post the following: Eclat references sports scripts, the kind commonly seen for baseball teams. I did not draw from a model, remember I've taught scripts to students at Art Center for 27 years. The style has been around for a hundred years or more though not in the same exact shapes - look in the Encyclopaedia of Types for a review of metal scripts. I saw the style with commercial possibilities, not a free style as in many casual or brush scripts, but formal, simple, and robust shapes - as bold as I could draw the forms while still holding legibility. Many of the sports scripts were drawn with scant finesse, and for commercial use, I thought that more attention to detail was needed. Bold scripts can't lean much and heavy connecting strokes pose a problem, because the bolder their shape, the lower the join must be near the baseline, and this lessens readability. In my book Logotypes and Letterforms I devote a double spread to its history of Eclat in the Scripts chapter. I show a logo, Shu Uemura that borrows some of these features whose thins are what I strived for. Eclat's joins were modified slightly from my art when Letraset cut the Rubyliths in 1985, ITC digitized it in 1992. Fonts with tight fit always pose problems. More alternate letters are needed, though when Letraset agreed to include the font in their library, their finished art cut-off date was tight and I didn't have time to add them. Also, in my book Fonts & Logos I show a bold, narrow script that I called 'Bold Condensed Script' and now have renamed it 'Home Run Script.' Plagiarism is a threat in all fields of design. It takes time and money to combat it. A Chicago foundry ripped off my ITC Young Baroque font, calling it Yves. Plagiarism lessens our design impulse, since the courts wont license a design, only the code, a bizarre ruling. And so it goes. Plagiarism and 'designed in the manner of' are two different issues and type foundries have a history of doing the later. A cursory look at Frank Merriman's wonderful A Type Comparison Book illustrates the point. I'm not fond of the name Eclat, which means a dazzling effect, brilliance. It also is synonymous with fame. I preferred Elan, but that name was taken and Letraset offered Eclat, I couldn't think of a better name so I said yes. I see Eclat used for food products; French's mustard uses it for the word 'Classic' on the label, though they've modified the cap C. A local Latino TV station here in Los Angeles boldly uses the font on the Metro Bus signs, Adobe has used it for their print ad headlines, and an Israeli airline has chosen it for their logo.
sorry bout the knockoff bit... my mistake, i'm new here... i first looked for Eclat when i saw it in the menus of Triple Play 97, i guess they wanted to go for that baseball-jersey-style feel. again, sorry about before!
Chill, Ryan, you didn't know. I'm just sorry I had to somewhat hastily take down your link before being able to do some research or receive confirmation from someone in the know. > A Chicago foundry ripped off my ITC Young Baroque font, calling it Yves. This is so shocking, I'm speechless!