Médiathéque by Intégral Ruedi Baur - Monospace Typeface

julicaro's picture

Hey there,

could someone help me with this typeface:
Médiathéque André Malraux
by Intégral Ruedi Baur Paris.

I don't speak proper french, so it would be much appreciated if someone could help me with further information about this typeface.

http://www.irb-paris.eu/projet/index/id/85

Thanks experts!

julicaro's picture

Tried to edit my first post, I am no forum geek, but cannot find the edit link ...

What I certainly meant was which typeface WAS USED in this project :) thanks

fvilanakis's picture

This is probably Thaitillium improved in 2 weights 250 (Light) / 999 (ExtraBlack), although I can't see any support for french accents (maybe they have been constructed/added by the designer)

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I found it using Find my Font - http://www.findmyfont.com

julicaro's picture

Thanks for the answer!
What I meant was, which typeface was used during the Médiathéque André Malraux Project, not the corporate typeface of Ruedi Baur, which you propably meant :)

Here is a picture of the project:

fvilanakis's picture

Oh I see.
I assume this is a regular typeface customized by removing a horizontal strip,
so an image restoration might help others to detect it:

Ryuk's picture

Agree with Fivos. Looks like they've started from some sort of DIN Mono and manually "stencilized" it.
Suggestions for similars: DIN Mono, Typiqal Mono

julicaro's picture

Thanks guys for answering. I think so too, 'cause there are also versions in this work without these stencils.

I had the DIN Mono in mind as well, but the spurs tapper in the type face of the mediathque. The spurs in the DIN Mono Typeface end straight.

Typiqal Mono has totally different majuscules.

I add another picture, hope this helps.

Ryuk's picture

Agree with you. All spurs look off and /Y tail finial too. For the rest, that looks pretty close to PF DIN Mono.

julicaro's picture

Pretty hard to find any information on that project, especially in english. Do you think they modified the spurs of the DIN? The only reason would be that this modifitcation of the spurs would make it easier to differ letters that have this stencil effect.

Ryuk's picture

That's a possibility and no so hard to do. Have you try to simply contact them and ask? They may answer.

julicaro's picture

Don't have an answer yet. I didn't imagine this to be so hard to ID. ;)

After a while I think that the font is kind of more edged than DIN. (hope you know what I mean; in the way of Eurostile ).

hrant's picture

Thaitillium smells plagiarized, so please don't recommend or use it unless you're confident it's original.

Also, if that stencil design is an actual font derived from a commercial typeface (which seems likely) it should not be available for use except by the people who made it.

hhp

julicaro's picture

I didn't say that I wanted to use it, but thanks for the kind warning.

I am interessted in monospace typefaces and as I never saw this one before.

Ryuk's picture

Thaitillium is Titillium Text extended to Thai language. They share the same Latin part.
http://luc.devroye.org/fonts-55663.html

hrant's picture

Thanks for the elaboration.

Who were the teacher(s) and students at the Accademia di Belle Arti Urbino that made Titillium?

Also, is Chantabut allowed to claim copyright on Thaitillium?

hhp

Ryuk's picture

Titillium Text is very well known free typeface.
http://www.google.com/webfonts/specimen/Titillium+Web
You could also do your own detective work and try to teach us (me at least) what is legal and what is not. I don't have your knowledge or skills (that's why I only participate here, posting elsewhere would be irrelevant, senseless and probably stupid) but I'm a font lover. My quest (my obsession I should say) is to know them all :) And I try, as much I can (know) not to recommend what I suspect to be illegal or outline theft. But you'll have to admit that the font world is quite nebulous, dark and blurry where the big ones are probably the biggest thieves (cf previous discussion on Triplett). Reliable information is also very hard to find.

Titillium is born inside the Accademia di Belle Arti di Urbino as a didactic project Course Type design of the Master of Visual Design Campi Visivi.
The aim of the project is the creation of a collective fonts released under OFL. Each academic year, a dozen students work on the project, developing it further and solving problems. Any type designer interested in the amendment or revision of Titillium is invited to co-operate with us, or develop their own variants of the typeface according to the terms specified in the Open Font license. We also ask all graphic designers who use Titillium in their projects to email us some examples of the typeface family in use, in order to prepare a case histories database.
Three years after the birth of Titillium, the project is still evolving, and even we don’t know what it will become in the future.
Special thanks go to:
Prof. Luciano Perondi, design and curation
Prof. Marcello Signorile, coordination
Prof. Manuel Zanettin, web project supervision
Diego Giusti, design of the first prototype

hrant's picture

I see Perondi's name - I'm no longer worried.

Full reply soon.

hhp

hrant's picture

Mostly I'm trying to raise red flags, for people who really care about type (very rarely the person asking for the ID, I'm sad to say) to think twice. Specifically I'm hoping that the handful of people who spend so much time IDing fonts do care about type, and Typophile, more than they care about merely getting their kicks. This is a community, and every action helps or hinders its long-term health. I've been warning about the dangers of IDing for its own sake for many years, and I believe it's one reason Typophile isn't as vital as it used to be. Type designers give this place its reason to exist, but type designers are being increasingly disrespected. You can't sustain such an environment - all you'll end up with is a vapid ID swamp. We have to be more mindful, more like parents and less like children.

Look at Fivos's first post. What would somebody like Julia do except click on that link, then click on the Dafont link, and download the font, with no idea whether it's ethical or not? And what could somebody like me do except follow that same path, get suspicious (who's "piqtogram", and how come his one font on Dafont has a very nice Latin and a horrible Thai?), then try putting "Thaitillium" into Google, getting a full page of links to a free font, and say "this smells plagiarized"? Neither the person asking for an ID, nor a person like me who can detect potential copying but isn't an ID expert, can be expected to know that Thaitillium is a derivation of Titillium, which just happens to be a legitimate libre design. (BTW, my question concerning Chantabut's copyright claim still stands...)

Your description of the font world as "nebulous, dark and blurry" is apt, and everybody falls into a trap sometimes. I myself prefer raising too many red flags than too few, because I'm willing to be wrong sometimes in order to reduce harm to things I value. But together we can greatly reduce the rampant disrespect for designers: we cover each other's blind spots, reducing the cases where we recommend an unethical (BTW not illegal - I personally don't care much for the letter of the law) font, changing our recommendations when a fellow Typophile reveals something we didn't know.

You have impressive knowledge when it comes to IDing type. But such knowledge is just a tool - it remains up to the individual to use his tools well or poorly, to use his tools to really help the people who deserve it most (the people truly dedicated to making the fonts you so enjoy IDing), versus merely reveling in his skills. I actually think that you, Dick, Jan and the rest usually do a great job; I would simply ask that when somebody with a good "nose" raises a red flag, don't get upset - just re-evaluate your font recommendations. And sometimes you'll find yourself able to hold your ground, effectively lowering that red flag.

the big ones are probably the biggest thieves

I don't believe so, even though I'm no fan of Capitalism. And I think many people often invent or exaggerate corporate greed in order to feel better about themselves, in order to keep pretending that they're not causing harm themselves.

The Triplett thread is a very good example: just because a large company is taking advantage of a designer does not make it OK for a hobbyist to also take advantage of the designer. Is paying one shady character worse than not paying another shady character? Consider that the former also happens to be nurturing the type scene overall (by promoting many more ethical designs than unethical ones) while the latter is only harming it (by making it seem like fonts are supposed to be free). I would rather pay the party that's doing more good than harm. But maybe the best advice in cases like that is: simply don't recommend or use Triplett.

hhp

Renaissance Man's picture

hpp said "Thaitillium smells plagiarized, so please don't recommend or use it unless you're confident it's original."

Maybe it should be the other way around: "Don't recommend against its use it unless you're confident it's not original."

hrant's picture

Personally I think it's better to err on the side of caution, lest people who make type (you know, the people making the things being IDed...) think this place is disreputable (I mean even more than it's become...) and we keep losing actual content generation.

It's not like there aren't enough legitimate alternatives out there.

--

And allow me to clarify something: when I point out that a given font recommendation is potentially tainted, don't take it personally; it's not an attack more than it is a defense. However I am indeed critical of one thing: not caring.

hhp

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