The original and 'Nicolas-Cochin' designs were also digitised by LTC and Linotype, and other versions are available from others including URW++, which adds an additional black weight not available from Linotype. Other companies issued versions of the design in the metal type era. In 1977 Cochin was adapted and expanded by Matthew Carter for Linotype, and this four-weight version is well-known today as a system font on macOS. This makes Series-165 more usable for long texts. The Monotype font has fewer high ascenders compared with other Cochin-fonts. In 1927 Monotype UK produced a typeface Cochin Series 165, Roman and Italic, based on an 1812-face Cochin 18c of the Peignot-foundry. It had considerable success, for example becoming available on Monotype's hot metal typesetting system in the United States (Tracy describes this version as disappointing due to changes to the italic) and was also sold by American Type Founders. Similar designs are Astrée and later Bernhard Modern and Koch-Antiqua, as well as several designs by Frederic Goudy such as Pabst and Goudy Modern. With a very low x-height and delicate design, Cochin is described by Walter Tracy an example of a style of lettering and graphic design popular in the early twentieth century in several countries. Georges Peignot also created the design 'Nicolas-Cochin' as a looser variation in the same style. The font has a small x-height with long ascenders. Peignot et Fils (future Deberny & Peignot) and was based on the copperplate engravings of 18th century French artist Charles-Nicolas Cochin, from which the typeface also takes its name. It was originally produced in 1912 by Georges Peignot for the Paris foundry G.
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