The resulting typeface was called Cooper Fullface, a jaunty and swollen caricature of a Didone with great potential for display advertising work. 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. 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. 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. The Barnhart Brothers & Spindler foundry, for whom Cooper had designed a number of typefaces, saw the potential of the typeface as a big seller. This typeface is the definitive version of Oswald Bruce Cooper’s lost typeface Cooper Fullface Italic.Īt 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.
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