In 16th century Europe, roman typefaces were the first to surpass blackletter as the preferred choice for expressing emphasis in print. True bold weight roman letters didn’t appear until the 19th century, which critics quickly coined “Fat Faces” due to their beefed-up strokes and small counters. Along with Egyptians and grotesques—also commonly known as Gothics—Fat Faces would become the standard display face of advertising for nearly a century.

在16世紀(jì)的歐洲，羅馬字體是第一個(gè)超越Blackletter(黑體字)的字體，成為表達(dá)印刷重點(diǎn)的首選。 真正粗體的羅馬字母直到19世紀(jì)才出現(xiàn)，評(píng)論家們因其筆挺的筆觸和小柜臺(tái)而Swift創(chuàng)造了“胖子面Kong”。 與埃及人和怪誕派(通常也稱(chēng)為哥特派)一起，胖臉將成為近一個(gè)世紀(jì)以來(lái)廣告的標(biāo)準(zhǔn)展示面。

Until an old-style typeface proved it could be just as fat.

直到一種老式字體證明它可能同樣胖。

The Newberry.紐伯利(Newberry) 。

Type designer Oswald Bruce Cooper released Cooper Old Style (later just Cooper) in 1919. A former Chicago advertising man, Cooper was soon commissioned by the Barnhart Brothers & Spindler type foundry to create something they could sell to advertisers. Thus, Cooper Black was born (and released) in 1922. Drawn as an extra bold weight of Cooper Old Style, it was advertised with the slogan: “For far-sighted printers with near-sighted customers.” To type critics it would become known as The Black Menace.

字體設(shè)計(jì)師奧斯瓦爾德·布魯斯·庫(kù)珀( Oswald Bruce Cooper )于1919年發(fā)布了庫(kù)珀舊樣式(后來(lái)稱(chēng)為庫(kù)珀)。庫(kù)珀是前芝加哥的廣告人，不久后受Barnhart Brothers＆Spindler字體代工廠的委托創(chuàng)作了可以出售給廣告商的東西。 因此，庫(kù)珀·布萊克(Cooper Black)于1922年出生(并被釋放)。作為庫(kù)珀舊樣式的額外大膽字體，它的廣告標(biāo)語(yǔ)是：“面向有遠(yuǎn)見(jiàn)的客戶(hù)的有遠(yuǎn)見(jiàn)的打印機(jī)。” 批評(píng)家們將其稱(chēng)為“黑威脅”。

The Newberry.紐伯利(Newberry) 。

It took Cooper a year to flesh out the final weight of the characters and complete the full set, redrawing the lowercase characters multiple times—specifically the m and n—while Barnhart Brothers & Spindler’s General Manager Richard McArthur continually asked for the forms to be drawn heavier, and heavier.

庫(kù)珀花了一年的時(shí)間來(lái)充實(shí)角色的最終重量并完成整套任務(wù)，多次重畫(huà)小寫(xiě)字符(特別是m和n)，而B(niǎo)arnhart Brothers＆Spindler的總經(jīng)理Richard McArthur不斷要求繪制表格越來(lái)越重。

Sales became voluminous as the font itself well into the 1930s—considered to be one of the most successfully selling typefaces of the time—and the type foundry initially had difficulty keeping up with demand. Cooper Black’s early success would spawn many imitators, such as Goudy Heavyface and Ludlow Black. Coincidentally, many consider Cooper Black to be a knock-off of Pabst Extra Bold, a child of Pabst Old Style designed by Frederic Goudy for the Pabst Brewing Company in 1902. In fact, Pabst Extra Bold was cast by Linotype, has no relation to Goudy’s face, and was designed to capitalize on the success of Cooper Black.

隨著字體本身進(jìn)入1930年代(被認(rèn)為是當(dāng)時(shí)最成功的銷(xiāo)售字體之一)，銷(xiāo)售變得異常火爆，而字體鑄造廠最初很難滿足需求。 庫(kù)珀·布萊克(Cooper Black)的早期成功將催生許多模仿者，例如古迪·哈德菲斯(Goudy Heavyface)和拉德洛·布萊克(Ludlow Black)。 巧合的是，許多人都認(rèn)為庫(kù)珀·布萊克(Cooper Black)是Pabst Extra Bold的仿制品，Pabst Extra Bold是Frederic Goudy在1902年為Pabst Brewing Company設(shè)計(jì)的Pabst Old Style的孩子。實(shí)際上，Pabst Extra Bold由Linotype鑄造而成，與古迪的臉，并旨在利用庫(kù)珀·布萊克的成功。

Cooper, in response to fear of only achieving “a tiresome effect from the too frequent repetition of the same quirk and curve,” followed Cooper Black with the unexpected: More Cooper variants.

庫(kù)珀對(duì)擔(dān)心只能實(shí)現(xiàn)“過(guò)于頻繁地重復(fù)相同的怪癖和曲線而產(chǎn)生的令人討厭的效果”的回應(yīng)，緊隨其后的是庫(kù)珀·布萊克(Cooper Black)：更多的庫(kù)珀變體。

Cooper Black Italic with alternate swash characters came next, along with Cooper Fullface and Cooper Black Condensed, described by Cooper as “condensed but not squeezed.” Cooper Black Condensed is about 20% lighter than Cooper Black, but due to the nature of the thick, rounded shapes the argument of condensed vs. squeezed is difficult to confirm.

接下來(lái)是帶有備用斜體字符的Cooper Black Italic，以及Cooper Fullface和Cooper Black Condensed(被Cooper描述為“壓縮但不壓縮”)。 Cooper Black Condensed比Cooper Black輕20％左右，但是由于厚而圓的形狀的性質(zhì)，關(guān)于壓縮與壓縮的論點(diǎn)難以確定。

During the height of metal type Cooper Black became one of the best-selling typefaces in America. In fact, Cooper achieved something highly unique in typeface design: A serif face that has the feel of a sans serif. The curved notches in the serifs give the letterforms a solid weight, almost as if they were cut as an afterthought; a way to keep the fat, rounded letters from rolling off the page. Cooper has particularly short descenders, adding to the support of its heft, and lower case letters with a comparatively tall x-height in relation to cap height. Cooper Black’s most memorable feature, however, is the presence of minute counters in its lower case letters, particularly the a and e.

在金屬字體流行期間，庫(kù)珀·布萊克(Cooper Black)成為美國(guó)最暢銷(xiāo)的字體之一。 實(shí)際上，庫(kù)珀在字體設(shè)計(jì)上實(shí)現(xiàn)了一些非常獨(dú)特的東西：一種襯線字體，具有無(wú)襯線字體的感覺(jué)。 襯線體上的彎曲凹口使字形具有堅(jiān)固的重量，幾乎像是事后才切開(kāi)的那樣。 一種避免胖而圓的字母滾離頁(yè)面的方法。 庫(kù)珀的后腿特別短，增加了它的重量，小寫(xiě)字母的x高度相對(duì)于帽高也較高。 庫(kù)珀·布萊克最令人難忘的功能是小寫(xiě)字母中的分鐘計(jì)數(shù)器，特別是a和e 。

These tiny counters, along with its rounded forms, give Cooper Black its warm and friendly appearance. Other distinctive features include the backward tilt of the counters on the O and Q, as well as the elliptical dots in the i and j. However, as the font’s title suggests, it’s the blackness of Cooper Black—the lack of contrast in the design of the letterforms—that primarily draws our attention and makes the typeface stand out.

這些小巧的柜臺(tái)以及圓形的外觀使庫(kù)珀·布萊克(Cooper Black)顯得溫暖而友善。 其他特色還包括O和Q上的計(jì)數(shù)器向后傾斜，以及i和j上的橢圓點(diǎn)。 但是，正如字體標(biāo)題所暗示的那樣，正是庫(kù)珀·布萊克(Cooper Black)的黑色-字母形設(shè)計(jì)中缺乏反差-首先吸引了我們的注意力，并使字體醒目。

Cooper Black’s popularity died in the early 1940s, along with its creator, but gained a resurgence two decades later due to the aesthetic of the Pop Art movement. Its contours are warm and friendly—both strong and soft—making it an extremely flexible font. Simon Garfield made the ultimate observation of Cooper Black’s bulbous curves as “the sort of font the oils in a lava lamp would form if smashed to the floor.”

庫(kù)珀·布萊克(Cooper Black)的知名度及其創(chuàng)造者在1940年代初逝世，但由于波普藝術(shù)運(yùn)動(dòng)的美感，二十年后又重新流行。 它的輪廓既溫暖又友好，既強(qiáng)壯又柔軟，使其成為一種非常靈活的字體。 西蒙·加菲爾德(Simon Garfield)對(duì)庫(kù)珀·布萊克(Cooper Black)的球根形曲線進(jìn)行了最終觀察，發(fā)現(xiàn)“熔巖燈中的油被砸碎會(huì)形成一種字體。”

In 1966 The Beach Boys released Pet Sounds featuring Cooper Black on the dust jacket, and launched the typeface into the cultural spotlight. Other notable artists followed suit: The Doors’ L.A. Woman, Bowie’s Ziggy Stardust, and The Mothers of Invention’s Freak Out!

1966年，海灘男孩樂(lè)隊(duì)發(fā)行了《 Pet Sounds》，在防塵套上印有庫(kù)珀·布萊克(Cooper Black)的字樣，并成為文化焦點(diǎn)。 其他著名的藝術(shù)家也效仿了《門(mén)》的《 洛杉磯女人》，鮑伊的《 齊格·星塵》和發(fā)明之母的《 怪胎》！

Most notably, Cooper Black experienced a lasting tradition in television logos and title sequences—beginning in the 70s with The Odd Couple and M*A*S*H*; followed by Diff’rent Strokes and Cheers in the 80s; and continuing into the 21st century with Everybody Hates Chris, Louie, and Dear White People (just to name a very few)—and has continued to be the go-to font of popular culture (Garfield, National Lampoon magazine) and novelty items.

最著名的是，庫(kù)珀·布萊克(Cooper Black)在電視徽標(biāo)和標(biāo)題順序方面經(jīng)歷了悠久的傳統(tǒng)-始于70年代的《古怪夫婦》和M * A * S * H *； 其次是80年代的Diff'rent Strokes和干杯 ； 并持續(xù)到21世紀(jì)， 每個(gè)人都恨克里斯，路易和親愛(ài)的白人 (僅舉幾例)，并且一直是流行文化(加菲貓， 國(guó)家Lampoon雜志)和新穎商品的首選字體。

Zachary Wieland for Zachary Wieland為Helms WorkshopHelms Workshop回收

Today, Cooper Black is still most closely associated with 1960s–1980s nostalgia, serving as a visual shorthand that captures the essence of the “bubblegum” eras. While least often thought of as a branding-eligible face, the UK budget airline easyJet shocked advertisers in 1995 when they chose Cooper Black for their company branding.

如今，庫(kù)珀·布萊克仍然與1960年代至1980年代的懷舊息息相關(guān)，作為視覺(jué)速記，捕捉了“泡泡糖”時(shí)代的本質(zhì)。 雖然最不常被認(rèn)為是符合品牌資格的面Kong，但英國(guó)廉價(jià)航空公司easyJet于1995年震驚廣告商，當(dāng)時(shí)他們選擇了Cooper Black進(jìn)行公司品牌推廣。

Pickle Day — 20th Anniversary Logo by Nick Barbaria泡菜節(jié)— 尼克·巴爾巴里亞 ( Nick Barbaria) 20周年紀(jì)念徽標(biāo)

The typeface never really left the screen printing scene, continuing as a go-to choice for T-shirt lettering to this day (and made ever more popular by Napoleon Dynamite Vote for Pedro memorabilia). Cooper Black eventually reemerged on the music scene, first for the cover of The Black Key’s 2010 album Brothers, followed in 2011 for Tyler the Creator’s Goblin LP, which marked a return to the typeface’s association with hip-hop culture.

字體從來(lái)沒(méi)有真正離開(kāi)過(guò)絲網(wǎng)印刷界，直到今天一直是T恤刻字的首選(并且Napoleon Dynamite Vote在Pedro紀(jì)念品方面越來(lái)越受歡迎)。 庫(kù)珀·布萊克(Cooper Black)最終重新出現(xiàn)在音樂(lè)界，首先是The Black Key的2010年專(zhuān)輯《 Brothers》的翻唱，其后是2011年為T(mén)yler the Creator的Goblin LP發(fā)行的專(zhuān)輯，標(biāo)志著字體的回歸與嘻哈文化的聯(lián)系。

2012 saw the release of Big, Black & Beautiful from BIS Publishers, a tribute to the Cooper typeface. For additional, unique perspectives on Cooper Black, check out Behind the Typeface: Cooper Black by David Cheshire and Cooper Black Never Went Out of Style — So Why Does It Need a Redesign? by Emily Gosling for AIGA Eye on Design.

BIS Publishers在2012年發(fā)行了Big，Black和Beautiful ，這是對(duì)Cooper字體的致敬。 有關(guān)Cooper Black的其他獨(dú)特觀點(diǎn)，請(qǐng)查看字體背后： David Cheshire 撰寫(xiě)的Cooper Black和Cooper Black永遠(yuǎn)不會(huì)過(guò)時(shí)—那么，為什么需要重新設(shè)計(jì)？ Emily Gosling撰寫(xiě)的AIGA著眼設(shè)計(jì) 。

And Vox just released a fun retrospective on Cooper Black earlier this week:

Vox本周早些時(shí)候剛剛發(fā)布了關(guān)于Cooper Black的有趣回顧展：

翻譯自: https://medium.com/swlh/fat-face-100-years-of-cooper-black-cf7735f68699

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