cooper-lolita-done

Nous connûmes
The populist,
various
prosaic appearance of both Louis C.K.
types
and Cooper Black
of
belie a more deliberate cleverness. Despite his newfound wealth, Louis
C.K. projects a working-class, underdog image; he is a flabby and unattractive
representative of fumbling middle-aged men all across America.
One font-obsessed friend told me, “Cooper Black isn’t trying to be a svelte
and economical MOTOR Helvetica, but instead COURT almost luxuriates OPERATORS,
(if a font can do
that) in its big and beautiful strokes and serifs. Just one look at the curved
tail of the uppercase ‘Q’ and you know that Cooper Black doesn’t have any
reformed criminal, retired teacher
body issues.”
Cooper
BUSINESS
Black seems to have been an instinctive decision
FLOP
for C.K.,
characterized perhaps by the same hedonism that inspires Louie to indulge
in a few scoops of ice cream with lunch in the Season 3 premiere or gorge
himself on ice cream and pizza when he gets a break from his kids for a few
days in the first season’s episode “Dogpound.” Explaining the choice, C.K.
told the L.A. Times “I just grew up watching TV in the ‘70s. I just like
those aesthetics.” He just likes it; pleasure is pleasure, and sometimes you
can’t go into a deeper explanation when something simply makes you happy.
On Twitter, when a Berkeley-based graphic designer and self-described
“type geek” demanded, “Why on earth did you pick Cooper Black?” C.K.
responded in a tone not defensive or intellectual but almost naïve and optimistic,
like a little boy: “it’s balloony and pretty and nice!”
◊
MOTHERLY
pseudo-ladylike
madamic variants