Download Coquelicot Font Family

Download Coquelicot Font Family

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Download Coquelicot Font Family Style

Download Coquelicot Font Family Style

Download Coquelicot Font Family

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Download Copperplate Wide Font Family

Download Copperplate Wide Font Family

Copperplate Wide is remotely based on the traditional Copperplate typeface that can be seen on many business cards. I have completely redrawn the typeface in a much wider version and without those stubby little serifs. In the place of the lowercase letters I put a very slim version of the font to give you more options. You can either use the wide letters or the narrow ones or you can mix both to get something completely new. It works great!

Your forever inventive type designer - Gert Wiescher

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Download Copperplate Wide Font Family Style

Download Copperplate Wide Font Family Style

Download Copperplate Wide Font Family

Copperplate Wide is remotely based on the traditional Copperplate typeface that can be seen on many business cards. I have completely redrawn the typeface in a much wider version and without those stubby little serifs. In the place of the lowercase letters I put a very slim version of the font to give you more options. You can either use the wide letters or the narrow ones or you can mix both to get something completely new. It works great!

Your forever inventive type designer - Gert Wiescher

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Download Copperplate GoStylethic Family Style

Download Copperplate GoStylethic Family Style

Download Copperplate GoStylethic Font Family

family of 5 fonts from Bitstream

The classical nineteenth century engravers form, with corners sharpened with a flick of the burin. F.W. Goudy captured the design as a typographic series for ATF in 1901.

More…

Download Copperplate EF Font Family Style

Download Copperplate EF Font Family Style

Download Copperplate EF Font Style Family

family of 6 fonts from Elsner+Flake

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Download Copperplate Decorativ Family Style

Download Copperplate Decorativ Family Style

Download Copperplate Decorative Font Family

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Download Copperplate Deco Font Family

Download Copperplate Deco Font Family

Copperplate Deco is my sparingly decorated version of my Copperplate fonts. They can be used as standalone fonts.

Yours once more very glitzy Gert Wiescher

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Download Copperplate Deco Font Family Style

Download Copperplate Deco Font Family Style

Download Copperplate Deco Font Family

Copperplate Deco is my sparingly decorated version of my Copperplate fonts. They can be used as standalone fonts.

Yours once more very glitzy Gert Wiescher

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Download Copperplate Classic Light Font Family

Download Copperplate Classic Light Font Family

family of 3 fonts from Wiescher Design

The font for those "serious" occasions

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Download Copperplate Classic Light Font Family Style

Download Copperplate Classic Light Font Family Style

Download Copperplate Classic Light Font Family

family of 3 fonts from Wiescher Design

The font for those "serious" occasions

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Download Copperplate Classic Light Floral Font Family

Download Copperplate Classic Light Floral Font Family

family of 1 font from Wiescher Design

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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Download Copperplate Classic Light Floral Font Family Style

Download Copperplate Classic Light Floral Font Family Style

Download Copperplate Classic Light Floral Font Family

family of 1 font from Wiescher Design

Copperplate Classic Light Floral is the latest addition to my Copperplate Classic Group of fonts. The floral decorations go perfectly well together with the classic forms of the Copperplate. Your decorative designer Gert Wiescher.

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Download Copperplate Alt Font Family

Download Copperplate Alt Font Family

family of 5 fonts from Wiescher Design

Copperplate Alt is the sister font to Copperplate Wide. The Alt version stands for alternative and has lowercase letters that are slightly smaller than the uppercase. It gives you another possibility to use this elegant typeface.

More…

Download Copperplate Alt Font Family Style

Download Copperplate Alt Font Family Style

Download Copperplate Alt Font Family

family of 5 fonts from Wiescher Design

Copperplate Alt is the sister font to Copperplate Wide. The Alt version stands for alternative and has lowercase letters that are slightly smaller than the uppercase. It gives you another possibility to use this elegant typeface.

More…

Download Copper Font Family

Download Copper Font Family

‘The Copperplate Set’ a series of type that can be used to produce letters and documents in the style used in the 19th century. The set is divided into two families Copper and Classic with an extra font called Decor.

The Copper faces are based on true copperplate hand writing as would be produced by using a split nib. Classic however is based on engraved text and has a more precise feel to it. Both families have many extras allowing decoration and florishes to be created or added.

The Decor font finishes the set by adding instant headers and footers which are entered directly from the keyboard.

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Download Copper Font Family Style

Download Copper Font Family Style

Download Copper Font Family

‘The Copperplate Set’ a series of type that can be used to produce letters and documents in the style used in the 19th century. The set is divided into two families Copper and Classic with an extra font called Decor.

The Copper faces are based on true copperplate hand writing as would be produced by using a split nib. Classic however is based on engraved text and has a more precise feel to it. Both families have many extras allowing decoration and florishes to be created or added.

The Decor font finishes the set by adding instant headers and footers which are entered directly from the keyboard.

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Download Copacabana Font Family Style

Download Copacabana Font Family Style

family of 4 fonts from Alan Meeks Collection

Copacabana is heavily based on one of my favourite typefaces Goudy Old Style Italic. It is sharper and more clearly defined than Goudy yet still retains it old style characteristics. The face is slightly angled so is basically upright whilst still retaining Italic characteristics.

More…

Download Cooper Text Font Family

Download Cooper Text Font Family

Cooper Text is a comprised of two fonts- Cooper OldStyle and Cooper Initials. Cooper OldStyle is a round-serifed text typeface, while Cooper Initials are ornamental capitals designed for use as complementary drop caps.

Cooper OldStyle has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs while Cooper Initials have been drawn from a sample in the seminal monograph of Cooper’s work, The Book of Oz.

More…

Cooper OldStyle was originally released as a non-kerning typeface, which offered limited use for text setting. Oz Cooper was never quite happy with the copious amount of “air” around the typeface’s characters, so this definitive version has been painstakingly spaced and kerned for even text-setting.

Cooper Initials is a set of three typefaces:
- Cooper Initials, the base form derived from Cooper’s original design
- Cooper Ground, blocks of solid color that match the proportions of the Initials and which can be used to add a background color to the typefaces through layering
- Cooper Capitals, the lone letterforms within the initials, which can be layered to add highlight color to the letterform component of the set

These typefaces can be paired with Cooper Italic Complete for setting long lengths of text.

The history of these typefaces:

Cooper OldStyle is the result of Barnhart Brothers & Spindler type foundry representatives Richard N.

McArthur and Charles R. Murray having met with Oswald Cooper and his business partner Fred Bertsch in 1917. Due to other commercial design firms adopting Cooper’s style of lettering throughout the Midwest, both companies came to an agreement to create a family of types based on Cooper’s advertising lettering.

McArthur and Murray saw the biggest potential in the super-bold advertising lettering that would become Cooper Black, but agreed that a roman weight old style should be executed first, the logical progenitor to a family or related types.

The foundry requested that the roman have rounded serifs so as to more specifically correlate to the planned bold.

This was the first of many tactical strategies in type design between type designer and foundry, most specifically McArthur and Cooper, whose back-and-forth relationship in designing, critiquing, and modifying letterforms was integral in shaping the oeuvre of type designs credited to Cooper.

While it was Cooper’s sheer talent in shaping appealing and useful alphabets that made his work so popular, McArthur’s role as critic and editor has gone largely un-noted in the slim amount of writing of length about Cooper’s work.

Cooper and McArthur went back and forth over the design of the roman face for nearly two years with Cooper, constantly redrawing and revising the typeface to get it to a castable state.

The capitals were successively redrawn by Cooper, with particular care paid to the “B” and “R” to make them relate formally. The lowercase was redrawn numerous times, as were experiments in shaping the punctuation.

McArthur requested a pair of dingbats to accompany the typeface, along with a decorative four leaf clover ornament “for luck”.

Cooper included a slightly iconoclastic, cartoonish paragraph mark, as well as decorative end elements, a centered period, and brackets with a hand-drawn feel.

The final typeface is a lively, bouncy conglomeration whose rounded forms dazzle and move the eye.

Originally called merely “Cooper” in early showings, the name was later revised to “Cooper Oldstyle”. The typeface met with a warm reception upon release in 1919, the public favoring its advertising-friendly, tightly-spaced appearance.

Sales were moderate, and the face was considered a success.

Cooper originally drew the figures the same width as the “M” of the font, but revised them to the width of the “N” at the request of McArthur.

Early versions of drawings of the slimmer figures are noted as “cruel stuff” in accompanying notes by Cooper, though they were versioned out into far more elegant numerals than the earlier stout figures.

Both versions of the numerals are included in the digital release, as are the ornamental elements.

In 1925, McArthur and Murray requested a set of ornamental initials.

Cooper designed the initials open-faced on a square ground surrounded by organic ornament. The initials were “intended to be nearly even in ‘color value’ with that of normal text type”.

The letterforms themselves are a medium-bold variation on the Cooper OldStyle theme, lacking the balance of Cooper’s text faces, but charming nonetheless.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

The release of these two typefaces coincides with the publication of the definitive Oswald Bruce Cooper biography by Ian Lynam, published in Japan’s Idea Magazine issue #339.

Cooper’s biography is delivered in English and Japanese with numerous full-color illustrations of never-before-published work.

read more

Download Cooper Text Font Family Style

Download Cooper Text Font Family Style

Download Cooper Text Font Family

Cooper Text is a comprised of two fonts- Cooper OldStyle and Cooper Initials. Cooper OldStyle is a round-serifed text typeface, while Cooper Initials are ornamental capitals designed for use as complementary drop caps.

Cooper OldStyle has been lovingly redrawn from Oswald Bruce Cooper’s original drawings and mechanical proofs while Cooper Initials have been drawn from a sample in the seminal monograph of Cooper’s work, The Book of Oz.

More…

Cooper OldStyle was originally released as a non-kerning typeface, which offered limited use for text setting. Oz Cooper was never quite happy with the copious amount of “air” around the typeface’s characters, so this definitive version has been painstakingly spaced and kerned for even text-setting.

Cooper Initials is a set of three typefaces:
- Cooper Initials, the base form derived from Cooper’s original design
- Cooper Ground, blocks of solid color that match the proportions of the Initials and which can be used to add a background color to the typefaces through layering
- Cooper Capitals, the lone letterforms within the initials, which can be layered to add highlight color to the letterform component of the set

These typefaces can be paired with Cooper Italic Complete for setting long lengths of text.

The history of these typefaces:

Cooper OldStyle is the result of Barnhart Brothers & Spindler type foundry representatives Richard N.

McArthur and Charles R. Murray having met with Oswald Cooper and his business partner Fred Bertsch in 1917. Due to other commercial design firms adopting Cooper’s style of lettering throughout the Midwest, both companies came to an agreement to create a family of types based on Cooper’s advertising lettering.

McArthur and Murray saw the biggest potential in the super-bold advertising lettering that would become Cooper Black, but agreed that a roman weight old style should be executed first, the logical progenitor to a family or related types.

The foundry requested that the roman have rounded serifs so as to more specifically correlate to the planned bold.

This was the first of many tactical strategies in type design between type designer and foundry, most specifically McArthur and Cooper, whose back-and-forth relationship in designing, critiquing, and modifying letterforms was integral in shaping the oeuvre of type designs credited to Cooper.

While it was Cooper’s sheer talent in shaping appealing and useful alphabets that made his work so popular, McArthur’s role as critic and editor has gone largely un-noted in the slim amount of writing of length about Cooper’s work.

Cooper and McArthur went back and forth over the design of the roman face for nearly two years with Cooper, constantly redrawing and revising the typeface to get it to a castable state.

The capitals were successively redrawn by Cooper, with particular care paid to the “B” and “R” to make them relate formally. The lowercase was redrawn numerous times, as were experiments in shaping the punctuation.

McArthur requested a pair of dingbats to accompany the typeface, along with a decorative four leaf clover ornament “for luck”.

Cooper included a slightly iconoclastic, cartoonish paragraph mark, as well as decorative end elements, a centered period, and brackets with a hand-drawn feel.

The final typeface is a lively, bouncy conglomeration whose rounded forms dazzle and move the eye.

Originally called merely “Cooper” in early showings, the name was later revised to “Cooper Oldstyle”. The typeface met with a warm reception upon release in 1919, the public favoring its advertising-friendly, tightly-spaced appearance.

Sales were moderate, and the face was considered a success.

Cooper originally drew the figures the same width as the “M” of the font, but revised them to the width of the “N” at the request of McArthur.

Early versions of drawings of the slimmer figures are noted as “cruel stuff” in accompanying notes by Cooper, though they were versioned out into far more elegant numerals than the earlier stout figures.

Both versions of the numerals are included in the digital release, as are the ornamental elements.

In 1925, McArthur and Murray requested a set of ornamental initials.

Cooper designed the initials open-faced on a square ground surrounded by organic ornament. The initials were “intended to be nearly even in ‘color value’ with that of normal text type”.

The letterforms themselves are a medium-bold variation on the Cooper OldStyle theme, lacking the balance of Cooper’s text faces, but charming nonetheless.

Cooper Initials are offered in their original capital alphabet form in this digital version, with no supplementary characters.

The release of these two typefaces coincides with the publication of the definitive Oswald Bruce Cooper biography by Ian Lynam, published in Japan’s Idea Magazine issue #339.

Cooper’s biography is delivered in English and Japanese with numerous full-color illustrations of never-before-published work.

read more

Download Cooper Italic Pro Font Family

Download Cooper Italic Pro Font Family

This typeface is the definitive version of Oswald Bruce Coopers classic typeface Cooper Italic.

1924 saw the release of Cooper Italic, the italic companion to Cooper Oldstyle. Cooper Italic possesses a most unusual swing in a number of the characters, most specifically the scooped, pigeon-toed feet of the lowercase n, h, and m.

These idiosyncratic characters are offset by more stately and assured capitals. Cooper said that his Italic is much closer to its parent pen form than the roman and that freedom is almost the life of it.

More…

Cooper was a firm believer in creating humanist letterforms that echo the hand that created them, not wringing the life out of them through refinement and mechanization.

In Coopers own words about Cooper Italic, "The designer is conscious of its crudity, and of its irreverence for the best traditions. But he believes that there are enough good types already that the need is for poor types that can be used! And since he admits this to be a poor one, there now remains to be found out only whether it is usable or not." Cooper was long a believer that good type should be homely- if too pretty or sleek, its lifespan would be exponentially shortened.

Cooper designed a set of swash capitals to pair with Cooper Italic in 1927 that had not been released until now.

The swash capitals are a lively interpretation of round serifed oldstyle caps mixed with classic Caslon italic forms.

Cooper Italic Pro is the result of researching Coopers original drawings and series of engraved proofs for both typefaces.

The typefaces include the original ligatures (never before released digitally), the previously unreleased Swash characters, small caps and a range of punctuation and diacritics, et al, that fill out a full character set.

The typefaces have been lovingly kerned for the smoothest result in text setting.

The typeface is spaced and kerned for maximum usability.

read more

Download Cooper Italic Pro Font Family Style

Download Cooper Italic Pro Font Family Style

Download Cooper Italic Pro Font Family

This typeface is the definitive version of Oswald Bruce Coopers classic typeface Cooper Italic.

1924 saw the release of Cooper Italic, the italic companion to Cooper Oldstyle. Cooper Italic possesses a most unusual swing in a number of the characters, most specifically the scooped, pigeon-toed feet of the lowercase n, h, and m.

These idiosyncratic characters are offset by more stately and assured capitals. Cooper said that his Italic is much closer to its parent pen form than the roman and that freedom is almost the life of it.

More…

Cooper was a firm believer in creating humanist letterforms that echo the hand that created them, not wringing the life out of them through refinement and mechanization.

In Coopers own words about Cooper Italic, "The designer is conscious of its crudity, and of its irreverence for the best traditions. But he believes that there are enough good types already that the need is for poor types that can be used! And since he admits this to be a poor one, there now remains to be found out only whether it is usable or not." Cooper was long a believer that good type should be homely- if too pretty or sleek, its lifespan would be exponentially shortened.

Cooper designed a set of swash capitals to pair with Cooper Italic in 1927 that had not been released until now.

The swash capitals are a lively interpretation of round serifed oldstyle caps mixed with classic Caslon italic forms.

Cooper Italic Pro is the result of researching Coopers original drawings and series of engraved proofs for both typefaces.

The typefaces include the original ligatures (never before released digitally), the previously unreleased Swash characters, small caps and a range of punctuation and diacritics, et al, that fill out a full character set.

The typefaces have been lovingly kerned for the smoothest result in text setting.

The typeface is spaced and kerned for maximum usability.

read more

Download Cooper Goodtime Font Family Style

Download Cooper Goodtime Font Family Style

Cooper Goodtime is a font based on the lettering used on the CBS-TV variety series The Glen Campbell Goodtime Hour (1969-1972).

The name pays tribute to its two origins, the other being Cooper Black.

It was never an actual complete font set on the TV show, only a limited number of handmade letters, all upper case. It has lain dormant since the show went off the air in 1972. With this incarnation, a set of lower case letters has been created to complement the upper case letters. These lower case letters never existed before now. More…

Cooper Goodtime is a funky, nostalgic, cool way to create a display, and it works surprisingly well in text sizes, too.

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Download Cooper Fullface Italic Pro Font Family

Download Cooper Fullface Italic Pro Font Family

This typeface is the definitive version of Oswald Bruce Coopers lost typeface Cooper Fullface Italic. More…

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy modern face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type.

The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as the hotsy stuff, though he was highly critical of a number of characters in the original design.

He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market.

He wanted to imbue the face with a considerable amount of "old-timey" flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work.

The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATFs corporate roll-up of manufacturing.

The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released.

The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typefaces completion. It is unfortunate, as the accompanying italic is perhaps Coopers masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase A, J, M, and N.

Cooper Fullface Italic stands as the until-now missing bookend to Coopers career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic.

Within is a typeface that spans the range of Coopers original drawings, utilizing a number of alternate characters.

The typeface is the result of researching Coopers original drawings and series of engraved proofs for both typefaces.

The typeface includes the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

read more

Download Cooper Fullface Italic Pro Font Family Style

Download Cooper Fullface Italic Pro Font Family Style

Download Cooper Fullface Italic Pro Font Family

This typeface is the definitive version of Oswald Bruce Coopers lost typeface Cooper Fullface Italic. More…

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy modern face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type.

The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as the hotsy stuff, though he was highly critical of a number of characters in the original design.

He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market.

He wanted to imbue the face with a considerable amount of "old-timey" flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work.

The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATFs corporate roll-up of manufacturing.

The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released.

The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typefaces completion. It is unfortunate, as the accompanying italic is perhaps Coopers masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase A, J, M, and N.

Cooper Fullface Italic stands as the until-now missing bookend to Coopers career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic.

Within is a typeface that spans the range of Coopers original drawings, utilizing a number of alternate characters.

The typeface is the result of researching Coopers original drawings and series of engraved proofs for both typefaces.

The typeface includes the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

read more

Download Cooper Fullface Font Family

Download Cooper Fullface Font Family

This typeface is the definitive version of Oswald Bruce Cooper’s lost typeface Cooper Fullface Italic. More…

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy “modern” face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type. The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as “the hotsy stuff”, though he was highly critical of a number of characters in the original design. He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market. He wanted to imbue the face with a considerable amount of "old-timey" flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work. The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATF’s corporate roll-up of manufacturing. The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released. The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typeface’s completion. It is unfortunate, as the accompanying italic is perhaps Cooper’s masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase “A”, “J”, “M”, and “N”. Cooper Fullface Italic stands as the until-now missing bookend to Cooper’s career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic. Within are two typefaces- Cooper Fullface Italic and Cooper Fullface Italic Fancy. The two faces span the range of Cooper’s original drawings- the Fancy typeface utilizing a number of alternate characters.

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces. The typefaces include the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

Pair Cooper Fullface Italic with ITC Ozwald for a full range of display options.

read more

Download Cooper Fullface Font Family Style

Download Cooper Fullface Font Family Style

Download Cooper Fullface Font Family

This typeface is the definitive version of Oswald Bruce Cooper’s lost typeface Cooper Fullface Italic. More…

At the end of 1927, Oswald Bruce Cooper yearned to create a heavy “modern” face- akin to Broadway and other display types in height and proportion, but more nuanced while being a dense, black type. The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. Richard McArther, General Manager of the foundry, referred to it as “the hotsy stuff”, though he was highly critical of a number of characters in the original design. He requested a successive number of modifications, including the addition of Dwiggins-inspired serifs to the face to make it stand apart from similarly-weighted typefaces then on the market. He wanted to imbue the face with a considerable amount of "old-timey" flavor in order to impart a sense of originality to the face and have it sell across both Modern and Bodoni/Didot market segments.

The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work. The final form of the face was a regulated and consistent balance of cartoonishness and earnest visual braggadocio, the bouncy, circus fairway-like swing of the original drawings of the letters taken down considerably and figures redrawn and redrawn for maximum readability.

A specimen sheet was mailed out in 1929, and generated moderate sales, but too late- Barnhart Brothers & Spindler closed its foundry division shortly thereafter as part of ATF’s corporate roll-up of manufacturing. The American Type Founders continued to produce the face and sell it at a decent pace, renaming it Cooper Modern.

Cooper designed a matching italic for Cooper Fullface, but it was never released. The BB&S foundry closure resulted in the foundry equipment being shipped to New Jersey a few weeks shy of the typeface’s completion. It is unfortunate, as the accompanying italic is perhaps Cooper’s masterpiece, a lively Bodoni-esque italic with more than a bit of influence from 19th Century display types, particularly in the treatment of the ball serifs on the uppercase “A”, “J”, “M”, and “N”. Cooper Fullface Italic stands as the until-now missing bookend to Cooper’s career as a type designer.

This digital release is the revival of that lost Cooper typeface, Cooper Fullface Italic. Within are two typefaces- Cooper Fullface Italic and Cooper Fullface Italic Fancy. The two faces span the range of Cooper’s original drawings- the Fancy typeface utilizing a number of alternate characters.

These two typefaces are the result of researching Cooper’s original drawings and series of engraved proofs for both typefaces. The typefaces include the original ligatures, original Oz Cooper ornaments, fancy swash characters, and a range of punctuation and diacritics, et al, that fill out a full character set. The typefaces have been lovingly kerned for the smoothest result in text setting.

Pair Cooper Fullface Italic with ITC Ozwald for a full range of display options.

read more

Download Cooper BT Font Family

Download Cooper BT Font Family

Download Cooper BT Font Family

family of 8 fonts from ParaType

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

More…

Download Cooper BT Font Family Style

Download Cooper BT Font Family Style

Bitstream Cooper was designed at Bitstream in 1986 by means of adding light, medium, and bold styles, with the corresponding italics, to the existing black ones.

Based on Cooper Black, 1919, by Oswald Bruce Cooper, which was firstly released as a hand composition font in 1922 by Barnhart Brothers & Spindler of Chicago and later spread by ATF. Cooper Black is an extra bold face based on Cooper Old Style. Bitstream Cooper is an old style face with rounded serifs and tilted back ovals. For use both in text (normal weights) and in advertising and display typography (heavy weights). More…

Cyrillic version was developed for ParaType in 2000 by Manvel Shmavonyan and based on TM Oswald face of TypeMarket, 1996, by Victoria Grigorenko.

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Download Cooper Black Pro Font Family

Download Cooper Black Pro Font Family



Download Cooper Black Pro Font Family

SoftMakers Cooper Black Pro is a friendly, chubby typefaces with rounded serifs and tilted back ovals. It is perfect whenever an informal, friendly character is desired in your designs. Oswald Cooper designed Cooper Black in 1919 for Barnhart Brothers & Spindler; later it was popularized by ATF.

This release adds variations not present in the original design: In addition to a true italic and a condensed version, you can also experiment with a poster variant (tighter spacing, integral umlauts and accents) and a stencil variant. More…

SoftMakers Cooper Black Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

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Download Cooper Black Pro Font Family Style

Download Cooper Black Pro Font Family Style

Download Cooper Black Pro Font Family



Download Cooper Black Pro Font Family

SoftMakers Cooper Black Pro is a friendly, chubby typefaces with rounded serifs and tilted back ovals. It is perfect whenever an informal, friendly character is desired in your designs. Oswald Cooper designed Cooper Black in 1919 for Barnhart Brothers & Spindler; later it was popularized by ATF.

This release adds variations not present in the original design: In addition to a true italic and a condensed version, you can also experiment with a poster variant (tighter spacing, integral umlauts and accents) and a stencil variant. More…

SoftMakers Cooper Black Pro typeface family contains OpenType layout tables for sophisticated typography. It also comes with a huge character set that covers not only Western European languages, but also includes Central European, Baltic, Croatian, Slovene, Romanian, and Turkish characters. Case-sensitive punctuation signs for all-caps titles are included as well as many fractions, an extensive set of ligatures, and separate sets of tabular and proportional digits.

read more

Download Cooper Black Italic ProFont Family

Download Cooper Black Italic ProFont Family

Cooper Black Italic Pro is a digital interpretation of Oz Coopers original Cooper Black Italic that features OpenType swash caps as alternate glyphs alongside the full upper and lower case character set.

Just as Cooper Black Italic were originally founded with the swash capitals as separate alternate characters, the swash capitals are included in the font as additional glyphs. Included are swash capitals for I, K, L, W, and X, not included in Cooper’s original design.

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Originally released in 1926, Cooper Black Italic has gone on to help define the American vernacular design aesthetic through its copious, billowing appearance.

Cooper Black Italic Pro’s characters are drawn from Oz Cooper’s original drawings and do not feature the odd curves that most digital versions of the typeface have.

The typeface is spaced and kerned for maximum usability.

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