Cooper Black’s second coming to American design in the mid-sixties, after almost four decades of slumber, can arguably be credited with (or, depending on design ideology, blamed for) the domino effect that triggered the whole art nouveau pop poster jam of the 1960s and 1970s. The American evolution of the genre would trip deeper into psychedelia, drawing on a rich history of flared, flourished and rounded design until it all dwindled and came to a halt a few years into the 1980s.
One of the humorous responses to the ‘hamburgering’ of typography was Friedrich Poppl’s Poppl Heavy, done in 1972, when Cooper Black was celebrating its 50th anniversary. We named this fresh digitization Gator as a tongue-in-cheek reference to Ray Kroc, the father of the fast food chain.
To borrow the title of a classic rock album, Gator is meaty, beaty, big and bouncy. It is one of the finest examples of how expressively animated a thick brush can be, and one of the better substitutes to the much overused Cooper Black.