库珀的旧字体工作封面-设计欣赏-中国设计之窗

在封底，用Peter Marin的话来说:he Free People是一篇关于新一代年轻人和渗透他们生活的开放和分享的质量的照片散文。这是一本关于他们的音乐，他们的工作，他们的流动性，他们读什么，买什么，他们的风格，关于为什么他们是自由人以及他们如何生活的书。伍德斯托克音乐节(Woodstock Music Festival)已经有了很多成就。这不是一本关于那个节日的书;这是一本关于去过那里的人的书。这本书包含了瑞典摄影师安德斯·霍尔姆奎斯特(1933–2008)的照片，由彼得·马林介绍。这本书最初由Outerbridge &1969年在美国的Dienstfrey。这本书，由Samuel N. Antupit设计，已由胶版平版印刷在70磅料斗胶版白牛皮纸。书名设置在库柏高光，一个变种的库柏黑发行的美国打字机在1921年和命名为奥斯瓦尔德库柏。这种字体源自库珀的旧字体(1919年为巴恩哈特兄弟公司设计)。它与弗雷德里克·w·高迪在同一年设计的古迪古董极其相似。较小的显示物质是设置在利诺types Pabst额外粗体浓缩，源自另一个设计由多产的Goudy, Pabst旧风格。正文以10点Garamond轻斜体排版，这是1620年由Jean Jannon剪下的法语字母的中间版。jannon的字体被法国国家印刷局收购，在19世纪，它们被重新发现，重新发行，并错误地认为是克劳德·加拉蒙德，世界上第一个独立的印刷厂的所有者。

">From the back cover, in the words of Peter Marin:

The Free People is a photo essay about a new generation of young people and the quality of openness and sharing that permeates their life. It is a book about their music, their work, their mobility, what they read and what they buy, their styles, about why they are free people and how they live.Much has been made of the Woodstock Music Festival. This is not a book about that festival; it is a book about the people who went there.

The book contains photographs by Swedish photographer Anders Holmquist (1933–2008), with an introduction by Peter Marin. The book was first published by Outerbridge & Dienstfrey in the United States of America in 1969.The colophon includes notes on the fonts in use:

This book, designed by Samuel N. Antupit, has been produced by offset lithography on seventy pound Hopper offset white vellum paper. The title is set in Cooper Highlight, a variation of the Cooper Black issued by American Typefounders in 1921 and named for Oswald Cooper. This typeface is derived from Cooper’s Old Style (designed in 1919 for Barnhart Brothers & Spindler) which bears more than considerable resemblance to Goudy Antique designed by Frederick W. Goudy in the same year. The smaller display matter is set in Linotype’s Pabst Extra Bold Condensed, derived from another design by the prolific Goudy, Pabst Old Style. The text matter is set in ten point Garamond Light Italic, an Intertype version of the French letter cut in 1620 by Jean Jannon. Jannon’s types were acquired by the French National Printing Office where, in the nineteenth century, they were rediscovered, reissued and mistakenly attributed to Claude Garamond, proprietor of the world’s first independent typefoundry.