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Category | Sans-serif |
---|---|
Classification | Geometric |
Designer(s) | Jakob Erbar |
Foundry | Ludwig & Mayer |
Date released | 1922-30 |
Re-issuing foundries | Linotype, Continental Type Founders Association |
Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type. [1] Designer Jakob Erbar's aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. He concluded that this could only work if the type form was developed from a fundamental element, the circle. [2] Erbar-Grotesk was developed in stages; Erbar wrote that he had originally sketched out the design in 1914 but had been prevented from working on it due to the war. The original version of Erbar was released in 1926, following Erbar's "Phosphor" titling capitals of 1922 which are very similar in design. [3] [4]
The typeface first explored Bauhaus geometric letterforms with centered text and compact layouts [5] . Under Jakob Erbar's influence, it then evolved to look similar to Bauhaus principles and asymmetrical design of New Typography [5] .
Erbar was originally cast by the Ludwig & Mayer foundry of Frankfurt, Germany, with machine composition matrices later being offered by German and then American Linotype. [6] [7] Erbar was later exported to the United States and sold by the Continental Type Founders Association. [8] A digital version is sold today by Linotype.
Erbar was cast in four weights with italic and condensed faces. Other variants were offered:
The success of Erbar inspired the creation of many new geometric sans-serif faces by competing foundries, including Futura, Metro, Vogue, Spartan and Twentieth Century among others. Of those, Futura proved to be the most successful. That, Jakob Erbar's early death, the small size of Erbar's Ludwig & Mayer Foundry and the international reach of Futura's Bauer Type Foundry led to Erbar becoming less well known than Futura.
Phosphor, an ultra-bold and inline display that was design similar to Erbar but was released first, was particularly popular, and several imitations and revivals were created.
Zhurnalnaya roublennaya (Журнальная рубленая), or Journal Grotesque, was a Russian sans-serif that was created in the Soviet Union by Anatoly Schukin and others and released from 1947 onwards, was quite loosely inspired by Erbar and with Cyrillic and later Latin characters. [9] [10] [11]
A leading unofficial Erbar digitisation is Dunbar, released by CJ Dunn in late 2016 as an unofficial digitisation in a choice of x-heights named Dunbar Low, Dunbar Text and Dunbar Tall. [12] It is also offered as a variable font, in which the x-height and the weight can be varied smoothly, and as such is the first variable font on sale.
As of 2016, several Erbar digitisations exist under this name. URW++ has released a revival of seven weights (of the normal width only), and a "Neo Mini" digitisation optimised for small sizes, with an enlarged x-height and solid weight. [13] [14] Linotype has digitised light and bold weights of the condensed style. [15]
Stephen Coles, an expert on digital fonts, has been critical of the Erbar digitisations on the market, writing that "there is no recommendable digital version...existing revivals neither capture the spirit or breadth of the original family. Still, if you really have a Erbar hankering, URW’s version is the most complete." [16]
Because of Phosphor's popularity, several revivals exist independently of the latter Erbar rereleases (none of which include it), by Monotype and others. [17] Phosphate, an unofficial revival created by Red Rooster Fonts, is bundled with OS X. [18] Zamenhof, by CastleType, is a large revival inspired by Russian adaptations of the style. [19]
Zhurnalnaya roublennaya has itself been digitised by Grilli Type as GT Eesti and (much more loosely) for ParaType as Journal Sans by Olexa Volochay, Maria Selezeneva and Alexandra Korolkova. [9] [10] [11]
Palatino is an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company. Palatino is optimised for legitibility with open counters, balanced proportions, moderate stroke contrast and flared serifs.
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
Univers is a sans-serif typeface family designed by Adrian Frutiger and released by his employer Deberny & Peignot in 1957. Classified as a neo-grotesque sans-serif, one based on the model of nineteenth-century German typefaces such as Akzidenz-Grotesk, it was notable for its availability from the moment of its launch in a comprehensive range of weights and widths. The original marketing for Univers deliberately referenced the periodic table to emphasise its scope.
Gill Sans is a humanist sans-serif typeface designed by Eric Gill and released by the British branch of Monotype from 1928 onwards.
Franklin Gothic and its related faces are a large family of sans-serif typefaces in the industrial or grotesque style developed in the early years of the 20th century by the type foundry American Type Founders (ATF) and credited to its head designer Morris Fuller Benton. "Gothic" was a contemporary term meaning sans-serif.
Century Gothic is a digital sans-serif typeface in the geometric style, released by Monotype Imaging in 1990. It is a redrawn version of Monotype's own Twentieth Century, a copy of Bauer's Futura, to match the widths of ITC Avant Garde Gothic. It is an exclusively digital typeface that has never been manufactured as metal type.
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. "Akzidenz" indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time.
Clarendon is a slab serif typeface that was released in 1845 by Thorowgood and Co. of London, a letter foundry often known as the Fann Street Foundry. The original Clarendon design is credited to Robert Besley, a partner in the foundry, and was originally engraved by punchcutter Benjamin Fox, who may also have contributed to its design. Many copies, adaptations and revivals have been released, becoming almost an entire genre of type design.
Kabel is a geometric sans-serif typeface that was designed by the German designer Rudolf Koch and released by the Klingspor foundry from 1927 onward.
News Gothic is a sans-serif typeface designed by Morris Fuller Benton, and was released in 1908 by his employer American Type Founders (ATF). The typeface is similar in proportion and structure to Franklin Gothic, also designed by Benton, but lighter.
Twentieth Century is a geometric sans-serif typeface designed by Sol Hess for Lanston Monotype in 1937. It was created as a competitor to the successful Futura typeface for Monotype's hot metal typesetting system. Like Futura it has a single-story 'a' and a straight 'j' with no bend.
Monotype Grotesque is a family of sans-serif typefaces released by the Monotype Corporation for its hot metal typesetting system. It belongs to the grotesque or industrial genre of early sans-serif designs. Like many early sans-serifs, it forms a sprawling family designed at different times.
The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental Universal typeface and the Bauhaus aesthetic overall.
Jakob Erbar was a German professor of graphic design and a type designer. Erbar trained as a typesetter for the Dumont-Schauberg Printing Works before studying under Fritz Helmut Ehmcke and Anna Simons. Erbar went on to teach in 1908 at the Städtischen Berufsschule and from 1919 to his death at the Kölner Werkschule. His seminal Erbar series was one of the first geometric sans-serif typefaces, predating both Paul Renner's Futura and Rudolf Koch's Kabel by some five years.
Memphis is a slab-serif typeface designed by Rudolf Wolf and released in 1929 by the Stempel Type Foundry.
Britannic is a sans-serif typeface family that was sold in metal type by Stephenson Blake. It is a "modulated" or stressed sans-serif design, in which the vertical lines are clearly thicker than the horizontals. The Klingspor Museum reports that it was originally created by the Wagner & Schmidt foundry of Leipzig, Germany. In design it is intended for headings, advertisements and signs rather than continuous body text. Stephenson Blake advertised it as "just the right note for an advertising or display panel".
Beton is a slab-serif typeface designed by Heinrich Jost and released originally by the Bauer Type Foundry from 1929 onwards, with most major styles released by 1931. "Beton" is German for concrete, a choice of name suggesting its industrial aesthetic.
Metro is a sans-serif typeface family created by William Addison Dwiggins and released by the American Mergenthaler Linotype Company from 1929 onwards.
URW Grotesk is a large sans-serif typeface family designed by Hermann Zapf for URW in the mid-1980s.
Semplicità is a sans-serif typeface of the geometric style. It was published by the Nebiolo type foundry of Turin, Italy from around 1928.
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