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Jugendstil was an artistic movement, particularly in the decorative arts, that was influential primarily in Germany and elsewhere in Europe to a lesser extent from about 1895 until about 1910. It was the German counterpart of Art Nouveau. The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend, founded by the German artist Georg Hirth. It was especially active in the graphic arts and interior decoration.
Antiqua is a style of typeface used to mimic styles of handwriting or calligraphy common during the 15th and 16th centuries. Letters are designed to flow, and strokes connect together in a continuous fashion; in this way it is often contrasted with Fraktur-style typefaces where the individual strokes are broken apart. The two typefaces were used alongside each other in the germanophone world, with the Antiqua–Fraktur dispute often dividing along ideological or political lines. After the mid-20th century, Fraktur fell out of favor and Antiqua-based typefaces became the official standard in Germany.
Warren Chappell was an American illustrator, book and type designer, and author.
The Klingspor-Museum is a museum in Offenbach, Germany, specializing in the art of modern book production, typography and type. It includes a collection of fine art books from Karl Klingspor, one of the owners of Klingspor Type Foundry in Offenbach am Main, which inspired the museum's creation.
Kabel is a geometric sans-serif typeface that was designed by the German designer Rudolf Koch and released by the Klingspor foundry from 1927 onwards.
Rudolf Koch was a German type designer, professor, and a master of lettering, calligraphy, typography and illustration. Commonly known for his typefaces created for the Klingspor Type Foundry, his most widely used typefaces include Neuland and Kabel.
Neuland is a German typeface that was designed in 1923 by Rudolf Koch for the Klingspor Type Foundry.
Gudrun Zapf-von Hesse was a German book-binder, calligrapher and typographer.
Bauersche Gießerei was a German type foundry founded in 1837 by Johann Christian Bauer in Frankfurt am Main. Noted typeface designers, among them Lucian Bernhard, Konrad Friedrich Bauer, Walter Baum, Heinrich Jost, Imre Reiner, Friedrich Hermann Ernst Schneidler, Emil Rudolf Weiß, and Heinrich Wienyck, designed typefaces for the company.
Continental Type Founders Association was founded by Melbert Brinckerhoff Cary Jr. in 1925 to distribute foundry type imported from European foundries. The influence of more modern European type design was thus felt in the United States for the first time, and American foundries responded by imitating many of the more popular faces. A.T.F.'s Paramount and Monotype's Sans Serif series are two examples of this.
D. Stempel AG was a German typographic foundry founded by David Stempel (1869–1927), in Frankfurt am Main, Germany. Many important font designers worked for the Stempel foundry, including Hans Bohn, Warren Chappell, F. H. Ehmcke, Friedrich Heinrichsen, Hanns Th. Hoyer, F. W. Kleukens, Erich Meyer, Hans Möhring, Hiero Rhode, Wilhelm Schwerdtner, Herbert Thannhaeuser, Martin Wilke, Rudolf Wolf, Victor Hammer, Hermann Zapf, and Gudrun Zapf von Hesse. With the introduction of Memphis in 1929, the foundry was the first to cast modern slab serif typefaces.
Wallau is a grotesque blackletter typeface family by the German designer Rudolf Koch.
Koch-Antiqua is a serif typeface intended for decorative and display use, designed by Rudolf Koch and published by the Klingspor Type Foundry from 1922 onwards. It is a delicate face with a low x-height, intended for decorative printing rather than for extended body text.
Haas Type Foundry was a Swiss manufacturer of foundry type. First the factory was located in Basel, in the 1920s they relocated to Münchenstein.
Schriftguss AG was a type foundry in Germany founded in 1892 under the name Brüder Butter by purchasing the type casting firm of Otto Ludwig Bechert that had been founded in 1889. It was later incorporated in 1922 as Schriftguss A.-G. vorm. [prev.] Brüder Butter. Their types were known for “vigour, liveliness and freshness.” Though some faces were done in house, the foundry mainly worked with outside “Schriftkünstler”, more than was typical at the time. A unique product of the foundry were modular systems of “Plakattype” to compose shapes and letterforms for display and jobbing applications, for instance Dekora, or Albert Auspurg’s 1931 Ne-Po (negative–positive), and finally Super-Plakattype in 1949. After the Nazi seizure of power in 1933 the last of the Butter brothers resigned from the corporation and it was changed to a limited partnership. In 1948 the company was expropriated by the post-war communist government and became public property, under the name VEB Schriftguss Dresden, eventually becoming merged into VEB Typoart – Drucktypen, Matrizen, Messinglinien in 1951. As a state run enterprise, the foundry lost its verve and panache and settled into producing serviceable type without distinction.
Albert Windisch was a German painter, Academy Professor and typographer. Windisch was successful as a painter and as a typographer as well. As a painter, he preferred urban scenes and portraits and after 1945 mainly floral motifs. For Klingspor he designed in 1917 the Windisch cursive font, later he worked for the Stempel foundry.
Heinrich Jost was a German typographer and graphic designer. He was the art director of the Bauer Type Foundry from 1923 until 1948.
Fritz Helmuth Ehmcke (1878–1965) was a German graphical designer, typographer and illustrator.
Tannenberg is a Fraktur-family blackletter typeface, developed between 1933 and 1935 by Erich Meyer at the type foundry D. Stempel AG in Frankfurt am Main. The design followed the "New Typography" principles of Jan Tschichold that promoted "constructed" sans serif typefaces. It is named after the Battle of Tannenberg in 1914, in which German troops under Paul von Hindenburg and Erich Ludendorff stopped the advance of Russian troops. Meyer's design for the typeface was inspired by Nazi ideology.
References
- ↑ Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983, ISBN 0-7137-1347-X, p. 2408-249
