Goods
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  • Beautiful Losers
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    by Aaron Rose, Christian Strike, Alex Baker, Arty Nelson, Jocko Weyland
  • Emigre No. 70 the Look Back Issue: Selections from Emigre Magazine 1-69. Celebrating 25 Years of Graphic Design
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    by Rudy Vanderlans
  • Learning to Love You More
    Learning to Love You More
    by Harrell Fletcher, Miranda July
  • Flashback: A Tribute to Classic Art in Contemporary Graphics
    Flashback: A Tribute to Classic Art in Contemporary Graphics
    Victionary
  • Hand Job: A Catalog of Type
    Hand Job: A Catalog of Type
    by Michael Perry
  • Idea : International Advertising Art
    Idea : International Advertising Art
    Japan Publications Trading Co
  • Tactile: High Touch Visuals
    Tactile: High Touch Visuals
    Dgv
  • Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
    Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs)
    by Ellen Lupton
  • The Elements of Typographic Style
    The Elements of Typographic Style
    by Robert Bringhurst
  • Meggs' History of Graphic Design
    Meggs' History of Graphic Design
    by Alston W. Purvis
  • Bohemian Modern: Living in Silver Lake
    Bohemian Modern: Living in Silver Lake
    by Barbara Bestor
  • Yuichi Yokoyama: Travel
    Yuichi Yokoyama: Travel
    by Yuichi Yokoyama
  • Yuichi Yokoyama: Garden
    Yuichi Yokoyama: Garden
    by Yuichi Yokoyama
  • Yuichi Yokoyama: New Engineering
    Yuichi Yokoyama: New Engineering
    by Yuichi Yokoyama
  • Type: A Visual History of Typefaces and Graphic Styles, Vol. 1
    Type: A Visual History of Typefaces and Graphic Styles, Vol. 1
    by Jan Tholenaar, Alston W. Purvis
  • ROMAN COPPOLA: A CQ BOOK
    ROMAN COPPOLA: A CQ BOOK
    by ROMAN). Coppola, Roman, Todd Cole, Dennis O' Connor, Laurent Fetis, et al (COPPOLA
  • ABC+
    ABC+
    by Laurent Fétis
  • Looking Closer 3, Vol. 3: Classic Writings on Graphic Design (Bk. 3)
    Looking Closer 3, Vol. 3: Classic Writings on Graphic Design (Bk. 3)
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  • Looking Closer 5: Critical Writings on Graphic Design (Bk. 5)
    Looking Closer 5: Critical Writings on Graphic Design (Bk. 5)
    Allworth Press
  • Looking Closer 4: Critical Writings on Graphic Design, Vol. 4 (Bk. 4)
    Looking Closer 4: Critical Writings on Graphic Design, Vol. 4 (Bk. 4)
    Allworth Press
  • Looking Closer 2, No. 2: Critical Writings on Graphic Design (Bk. 2)
    Looking Closer 2, No. 2: Critical Writings on Graphic Design (Bk. 2)
    Allworth Press
  • Arcology: Portmanteau, Architecture, Ecology, Autarky, Paolo Soleri, Science fiction, Arcosanti, Autonomous building, Bionic architecture, Vertical farming, Shimizu Mega-City Pyramid
    Arcology: Portmanteau, Architecture, Ecology, Autarky, Paolo Soleri, Science fiction, Arcosanti, Autonomous building, Bionic architecture, Vertical farming, Shimizu Mega-City Pyramid
    Alphascript Publishing
  • The Elements of Typographic Style
    The Elements of Typographic Style
    by Robert Bringhurst
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Wednesday
Apr282010

Pompeian Cursive

Pompeian Cursive Oz Cooper

New font release: Pompeian Cursive is a calligraphically-inspired display typeface featuring a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanies, as well as a few calligraphically-inspired flourishes for ornament.

Pompeian Cursive Oz Cooper

The history of this typeface:
Oswald Cooper’s relationship with the Barnhart Brothers & Spindler foundry was one instigated under the auspices of creating new styles of type in lieu of following stylistic trends. In 1927, BB&S requested that Cooper create a script-like cursive typeface design in step with Lucien Bernhard’s Schoenschrift and ATF’s similarly-styled Liberty typeface.

In response to BB&S’s desire to emulate instead of innovate, Cooper wrote to Mcarthur, “I am desolated to see Barnhart’s hoist the black flag. Your own efforts through the years to boost the foundry into a place in the sun as an originator seem wasted.” Still, Cooper took up the task at hand, creating a delicate, sophisticated type design which he named Pompeian Cursive. The typeface featured a limited number of alternate characters and a handful of graceful ligatures. A lively set of non-lining numerals accompanied, as well as a few calligraphically-inspired flourishes for ornamenting the end of lines of type accompanied the typeface, as well.

Pompeian Cursive Oz Cooper Ian Lynam

By reviewing the few remaining original drawings for the type, as well as copious samples of Pompeian Cursive from both Cooper & BB&S' proofing process and period-specific type specimens, Wordshape presents the first digital version of this classic hybrid script/sans typeface, complete with all original alternate characters and ornaments. Pompeian Cursive has been intensively spaced and kerned for the finest setting for weddings, announcements, and general display work.

Available from MyFonts.

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