For Vox, Estelle Caswell talks to Steven Heller and Bethany Heck about the history of Cooper Black and why it’s been pop culture’s favorite font for so long.
(via Kottke)
1 CommentBooks, Design and Culture
For Vox, Estelle Caswell talks to Steven Heller and Bethany Heck about the history of Cooper Black and why it’s been pop culture’s favorite font for so long.
(via Kottke)
1 CommentYou know when Tobias Frere-Jones starts discussing the mechanics of typefaces you should pay attention. In the first post of a new series, he looks at the “overshoot”:
Square shapes like H have a simple and stable relationship to the baseline and cap height. Their upper and lower edges coincide with these boundaries and stay put. But only a narrow sliver of an O is the full height, and the rest of the shape falls away. The parts that are too short greatly outnumber the parts that are big enough, so we conclude — wrongly, but very reliably — that the round shape is too small.
If the “correct” height appears inadequate, “too much” will look right. So the O is made taller and deeper than the H, even if the most stringent mathematical reasoning would declare it incorrect. But we read with our eyes, not with rulers, so the eye should win every time. Typefaces from any period will demonstrate this compensation, often called “overshoot”.
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