#Milkshake font type free
In the spirit of collaboration feel free to submit an issue report if you’d like to see some new features or character support. With interest I would like to expand this family to include the “light” version as well as possibly a condensed and extended cut.
Sometimes the graphic designers know better then the font designers. Although I don’t think bold was a high consideration in the original release, it does make an appearance in the original catalogues and it is so widely popular that I felt any revival would be incomplete without it. At this time I am releasing a “Heavy” and “Bold” version. I want this font to be historically accurate, but also useful and for that reason I have included all the necessary glyphs one would need in daily use as well as contextual kerning and things of that matter. There are some advantages digital technologies afford us as well, such as better contextual kerning. There was no at or euro (€) symbol in the 1902 version, for instance, and perfectly sharp edges are impossible on analogue printing equipment so whether or not a corner is rounded or sharp is a matter of guesswork. 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 “heavy” version doesn’t look at all heavy to me, and the “light” is so thin it almost appears fragile. Instead what we are given is a “heavy” and “light” 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!Ĭopperplate 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. Designed by Frederic Goudy in 1902, these letters are an American classic. 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. 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.
#Milkshake font type for free
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 I’m not contributing to the Cowboy Collective, I’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 22 June 2020Ī Historical revival of Copperplate Gothic by indestructible type*
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