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Of course artistic interpretation is necessary and unavoidable in a project like this. Letterforms in American Type Founders Catalogue vs. This version feels closer to using a historical typeface then a historical-inspired typeface, and I will certainly feel a snickering pride knowing my Copperplate Gothic is more inline with what Mr. I want to be as faithful to the source as possible, so I kept these differences, even if some of them feel unusual. The вЂњheavyвЂќ version doesnвЂ™t look at all heavy to me, and the вЂњlightвЂќ is so thin it almost appears fragile. Instead what we are given is a вЂњheavyвЂќ and вЂњlightвЂќ version of the typeface. I am used to seeing Copperplate Gothic in bold, but the bold version appears to be more of an after-thought in the original release. This looks sloppy to my modern-day sensibilities, but it does offer more creative freedom for the type setter as they can make their lowercase letters as large or small as they want. I was also curious to learn that the original cut did not include matching small caps (smaller capitals for the lowercase letters), rather, the small caps effect is created by using a different point size.

It is a distinguishing characteristic, but some of the elegance is lost. These have been exaggerated over the years. The serifs really are quite small, and subtle. What I discovered is that the Copperplate Gothic of yesteryear is different from modern day interpretations in some surprising ways. To stay well within our legal rights, and because this is a partially archival exercise, I looked to the original source materials for reference, instead of contemporary digital fonts. What an attractive combo of characteristics!Д¬opperplate Gothic page in 1923 American Type Founders Specimen Book & Catalogue It also features the tiniest of serifs, and is recognizably older in its design, which makes it refined and dignified. The font is in all caps and features simple letter forms, which, in my opinion, gives it a sturdiness and a no-nonsense appeal. They might be familiar to you, as they have made their way onto fancy business cards, bank windows, and even the Universal Studios logo.

To kick this project off, I made a version of the classic font Copperplate Gothic. These are not original designs, but recreations from the predigital era.

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These will be typefaces that were designed a hundred years or so ago and are therefore public domain, but for which no free digital version exists.

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My goal is to make a series of digitizations of historical typefaces that feel within the cowboy genre, and release them for free to the collective. Thus, I am starting the Cowboy Font Revival project. It is only natural, then, to combine these two passions of mine and produce a series of cowboy fonts for the collective. When IвЂ™m not contributing to the Cowboy Collective, IвЂ™m making fonts over at my foundry, indestructible type*. Truth be told, I have a bit of an obsession with typography. ABOUT ARCHIVES COWBOYS CONTRIBUTE Copperplate CC Font OWEN EARL 22В JuneВ 2020ДЄ Historical revival of Copperplate Gothic by indestructible type*

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