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The-Typeface-of-Our-Time_en_images.md

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Images

Production of phototypesetting typefaces in the state type foundry Typoart in the GDR.

Futura type specimen commissioned by the New York sales office of Bauersche Gießerei.

„Die zeitgemäße Schrift – Studienhefte für Schrift und Formgestaltung“, july 1929, issue 9. This design magazine was published quarterly by Heintze & Blanckertz in Berlin and Leipzig. The publishers were Franz Leberecht and Paul Heinrich Richter. After the Schriftmuseum Rudolf Blanckertz was founded in 1926, Blanckertz decided to create a podium for contemporary design and founded the magazine in 1928 as one of the first design magazines ever. It was mainly devoted to a traditional style with publication of works by Rudolf Koch or Friedrich Heinrichsen. But occasionally modernists such as Paul Renner, Edward Johnston and Hermann Zapf wrote for the magazine as well. The magazine was ceased with the number 64, 1943 due to the war and not continued after 1945.

Advertisement for Futura by Paul Renner, 1927 (src: werbemonitor.at/en/werbemonitor/market-and-branch/futura-synonym-for-the-classic-modern)

Poster for the lecture by Jeff Keedy at the US-American university CalArts, designed by Edward Fella, 1996 (src: collections.si.edu/search/detail/edanmdm:chndm_2002-8-11?q=record_ID%3Achndm_2002-8-11&record=1&hlterm=record_ID%3Achndm_2002-8-11&inline=true)

Wilhelm Klingspor Gothic by Rudolf Koch, 1925 (src: typografie.info/3/Schriften/fonts.html/wilhelm-klingspor-gothic-r241)

Heimat-style architecture: The Waldhaus and Grand Hotel Dolder in Zurich, the main work of the architect and "Heimat-style expert" Jacques Gros, 1895

Inscription on the Roman Trajan column. Trajan's Column is an honorary column, which was erected in 112 AD for the Roman Emperor Trajan (98 - 117 AD) on the Forum of Rome. (src: en.wikipedia.org/wiki/Trajanss%C3%A4ule#/media/File:Inscription_of_Trajanss%C3%A4ule.jpg)

Painting of a Gothic Cathedral by Pieter Neefs I and David Teniers II, 1599 – 1656 (src: commons.wikimedia.org/wiki/File:Pieter_Neefs_I_and_David_Teniers_II_(Attr.)_-_Interior_of_a_Gothic_cathedral_with_figures.jpg)

Sketch of the Panteon (built 114 AD - 128 AD) by the Italian architect Francesco Piranesi, 1790 (src: fr.m.wikipedia.org/wiki/Fichier:Piranesi-6033.jpg)

Page of the Gutenberg Bible, 1450 – 1455(src: rarebooksnews.wordpress.com/2012/12/31/book-of-the-week-a-leaf-from-the-gutenberg-bible)

William Caxton shows King Edward IV. Printing proofs, 1877. This picture "The Caxton Celebration" was created on the occasion of the 400th anniversary of the first printed book in England. Also shown is the printing press. Johannes Gensfleisch, known as Gutenberg, is considered the inventor of this press and thus of modern letterpress printing in Europe. His use of movable letters from 1450 onwards revolutionised the traditional method of book production and triggered a media revolution in Europe. (src: commons.wikimedia.org)

"Judgement of Paris", ca. 1510-20 In Classicism, ancient Roman and Greek culture and mythology once again acquired artistic interest and social significance. (src: metmuseum.org/toah/images/hb/hb_19.74.1.jpg)

Portrait of King Francis I by Jean Clouet, 1527

Page of the book Champfleury by Geoffroy Tory, 1529 The work Champfleury was published in French in Paris in 1529 and is a treatise on questions of printing and the French language. Tory's work is a testament to the early Renaissance in France. The predominant humanism of the time had the ambition to introduce the Latin letters and to see in man the measure of all things. This approach is also reflected in the letters of Tory. In addition, both ancient and Italian influences can be found in his work. (src: commons.wikimedia.org/wiki/File:Champ_fleury_f46v_cropped.jpg#/media/File:Champ_fleury_f46v.jpg)

Garamond by Claude Garamond, 1540. shown here is a Garamond interpretation of Linotype from 1926 (src: paulshawletterdesign.com/2014/06/the-mystery-of-garamond-no-3)

A Renaissance palace in Venice: Palazzo Grimani di San Luca, 1556 (src: upload.wikimedia.org/wikipedia/commons/9/9f/Palazzo_Grimani_di_San_Luca_%28Venice%29.jpg)

Construction plan of the Romain du Roi, 1692, copperplate engraving (src: typography.com/fonts/didot/history)

A strictly structured French garden: "The Garden of Wilton House" by Isaac de Caus, ca. 1640 (src: upload.wikimedia.org/wikipedia/commons/9/9f/Palazzo_Grimani_di_San_Luca_%28Venice%29.jpg)

Staging of the absolute ruler in the state portrait of Louis XIV by Hyacinthe Rigaud around 1700 The self-confident pose of the French king, depicted with all the insignia of his power, symbolizes his claim to power legitimized by divine mandate. The oil painting became the model for the portraits of absolutist rulers throughout Europe.

Sample Baskerville typeface by John Baskerville, 1754

Giambattista Bodoni published his masterpiece Manuale Tipografico in 1788. A book containing 291 writings and various ornaments and frames. In 1818, five years after his death, his wife Margherita Dall'Aglio published a second edition containing 373 fonts. Bodoni was strongly influenced by his predecessors Fournier and Firmin Didot. (src: luc.devroye.org/fonts-71993.html)

The Didot typeface family is a typographic-historical source that documents how the concept of typefaces changed through the Age of Enlightenment. The famous Didot family served the French crown as type cutter and printer for almost two centuries.

The Capitol (United States Capitol) in Washington D.C. was built between 1793 and 1823 and is a classicist building. It serves as the seat of Congress and is the venue for sessions of the Senate and the House of Representatives. (src: neoclassicism.us/Content/What_Is_Neoclassicism)

"The Great Exhibition" of 1851. In the 19th century, a huge social change took place. In many places slavery was abolished and the first and second industrial revolutions led to massive urbanisation and an increase in economic production, profit and wealth. In addition, European imperialism brought much of Asia and Africa under colonial rule during this period. (src: imgur.com/gallery/IwdPl)

Page from a type specimen book from 1844 (src: https://www.typeroom.eu/want-maximum-inspiration-with-minimal-effort-letterform%E2%80%99s-online-archive-is-now-open-to-all!)

Assembly hall of the machine factory Escher Wyss in Zurich in the Neumühle, 1875 (src: commons.wikimedia.org/wiki/File:Bild_Maschinenhalle_Escher_Wyss_1875.jpg)

Font sample of the Liberty Gothic Extra Condensed from the US-American wooden font manufacturer Hamilton, 1901 (src: digicoll.library.wisc.edu/cgi-bin/SilverBuckle/SilverBuckle-idx?type=article&did=SilverBuckle.HamiltonWood.i0004&id=SilverBuckle.HamiltonWood&isize=M&pview=hide)

"Note by William Morris", 1898, in which Morris noted his objectives for the establishment of the Kelmscott Press. It contains a description of the printing house and a list of the books printed there. Hermann Zapf later wrote about Morris: "The well-balanced harmony of writing, paper and illustration resulted in the perfect beauty that distinguishes the Kelmscott books from the most important printed products since Johann Gutenberg's Bible. (src: kettererkunst.en/art/kd/details.php?obnr=411700977&number=456&detail=1)

Golden Type by William Morris, 1890 (src: Scan by Jürgen Huber, Supertype)

Wandervogel-Movement, 1896: A movement that originated in Steglitz (today Berlin) is called Wandervogel, mainly by pupils and students of middle-class origin who, in a phase of progressive industrialisation of the cities and inspired by the ideals of the Romantic period, freed themselves from the narrow guidelines of the school and social environment in order to develop their own way of life in the open countryside. Thus, the wandering bird marked the beginning of the youth movement, which also provided important impulses for reform education, nudism and the life reform movement in the first third of the 20th century. This early youth movement sought and found its freedom in nature: playing in the forest, dancing in the meadows and hiking in the mountains.

The life reformist dancers Totimo, Suzanne Perrottet, Katja Wulff, Maja Lederer, Betty Baaron Samoa and Rudolf von Laban, at Monte Verità in Ascona, Switzerland, 1914.

"New forms: Decorative designs for practical use" by Otto Eckmann, 1897

Sample of the Eckmann typeface by Otto Eckmann, 1899. 1900 saw the publication of the Eckmann typeface in 16 degrees at Rudhard's foundry, which was a novelty in the history of typefaces and uniquely represented the young ideas of the time. This font, designed with a brush, contains formal elements of Antiqua and also Fraktur. Despite its decorative and ornamental character, it was initially used in the design of many books. Eckmann was familiar with the floral forms from his painterly work and he incorporated them into his typeface design. (src: pinterest.com.au/pin/529102656208408721)

The AEG typeface by Peter Behrens was the first "corporate typeface" at the beginning of the 20th century. (src: get.google.com/albumarchive/114630083066969872545/album/AF1QipNDzvgEhmf3qmGD-H5dsdzK33LPGf77MEjk5GJY)

AEG turbine factory by Peter Behrens, 1909 – 1910 (src: khanacademy.org/humanities/art-1010/architecture-20c/modal/a/peter-behrens-turbine-factory)

Johnston Sans by Edward Johnston, 1913, commissioned by the Underground Electric Railways Company of London. (src: cdn.londonreconnections.com/2013/johnstonearly.jpg)

World War I. Two American soldiers storm a bunker, past two fallen German soldiers. The First World War was fought from 1914 to 1918 in Europe, the Middle East, Africa, East Asia and on the oceans. About 17 million people lost their lives in it. (src: en.wikipedia.org/wiki/United_States_campaigns_in_World_War_I#/media/File:At_close_grips2.jpg)

Begging war invalid, Berlin, 1923

Erbar by Jakob Erbar, 1922 (src: twitter.com/Letter_Library/status/1043188971277365250)

Design for the cover of the book "State Bauhaus in Weimar 1919 – 1923" by László Moholy-Nagy, 1923

![Model of Le Corbusier's Plan Voisin for Paris, 1925: Plan Voisin was a utopian urban design by Le Corbusier, which he exhibited in the pavilion of the magazine L'Esprit Nouveau at the "Exposition internationale des Arts Décoratifs et industriels modernes" in Paris in 1925. The project, financed by the automobile and aircraft manufacturer Gabriel Voisin, envisaged the demolition of large parts of the old Parisian centre on the right bank of the Seine and was therefore the subject of controversial discussion.](/The-Typeface-of-Our-Time/assets/img/1925 Le Corbusier Plan Voisin pour Paris.jpg)

The beginning of an international career: In October 1925, "ivan tschichold", as co-author, first published his views on "die neue gestaltung" and "elementare typografie" in two short essays in the special issue of "elementare typografie", a supplement of the magazine "typografische mitteilungen". (src: typolexikon.de/tschichold-jan/typografische-mitteilungen-elementare-typografie)

Poster "Nord Express" by A.M. Cassandre, 1927 (src: christies.com/lotfinder/Lot/am-cassandre-1901-1968-nord-express-5720299-details.aspx)

During his teaching position as head of the advertising workshop at the Bauhaus Dessau between 1925 and 1930, Herbert Bayer developed a monocameral alphabet, a typeface that is not separated into upper and lower case sets, but instead uses a mixed letter set. (src: bloomsburydesignlibrary.com/encyclopedia-chapter?docid=b-9781474246217&pdfid=9781474246217.ch-002.pdf&tocid=b-9781474246217-chapter21)

Futura by Paul Renner, 1927 The Futura is a design milestone of the 20th century and influenced many of the following typeface designs. Futura was promoted as "the typeface of our time" and can be seen as a design-historical bridge between the early sans serif typefaces of the 19th century and the modern typefaces of the second half of the 20th century. (src: leanderriedl.com/journal/2018/8/6/the-typeface-for-our-time-paul-renner)

Beatrice Warde wrote her famous text "This is a Printing Office" to demonstrate the Perpetua script by Eric Gill, 1929: "This is a printing office. Crossroads of civilization. Refuge of all the arts against the ravages of time. Armoury of fearless truth against whispering rumour. Incessant trumpset of trade. From this place words may fly abroad, not to perish on waves of sound, not to vary with the writer's hand but fixed in time having been verified in proof. Friend, you stand on sacred ground. This is a printing office." Since then her text has been found on the walls of many printing houses and also hangs in bronze at the entrance to the US Government Printing Office in Washington D.C. (src: en.wikipedia.org/wiki/File:This_is_a_Printing_Office.jpg)

Gill Sans by Eric Gill, 1928 Gill Sans became ubiquitous in England as the typeface of L.N.E.R., one of the national railway companies, and is now considered a typical British typeface. (src: designweek.co.uk/issues/19-25-october-2015/eric-gill-the-past-present-and-future-of-type-design)

Tannenberg by Erich Meyer, 1935 The Tannenberg is a broken script (broken grotesque). It was developed between 1933 and 1935 by Erich Meyer for D. Stempel AG in Frankfurt am Main. (src: typografie.info/3/topic/34408-schriftmuster-tannenberg)

Reichsparteitag, 1935. overview of the great appeal of the SA, SS and NSKK. (src: en.wikipedia.org/wiki/file:Reichsparteitag_1935_Gro%C3%9Fer_Appell_28-1121M_original.jpg)

Poster "Form & Colour" by Swiss designer Armin Hofmannfor the Gewerbemuseum Winterthur, 1951 (src: moma.org/collection/works/6775?artist_id=2697&locale=en&page=1&sov_referrer=artist)

Helvetica by Max Miedinger, 1956

Helvetica, in order to search again for an architectural counterpart, reminds us of the model of garden cities or US-American suburbs. Both are symbols of the inherent modernist contradiction, in which dream - egalitarian social-reformist vision - and nightmare - fascist conformity - lie close together.

Display of the form of Aldo Novarese, 1966 (src: indexgrafik.fr/aldo-novarese/aldo-novarese-forma-nebiolo-1968)

Wim Crouwels New Alphabet, 1967

May 1, 1968: Students and lecturers of the HfG demonstrate in front of the Stuttgart parliament for the preservation of the HfG.

Protests gather on the Women's Right March in August 1970. The 60s and 70s saw political movements worldwide, such as the anti-racist Civil Rights Movement, the feminist movement, the lesbian and gay movement, and anti-war movements. (src: thenation.com/article/shes-beautiful-when-shes-angry-reveals-radical-ordinary-women-1960s-feminism)

The magazine and the Avant Garde font of the same name by Herb Lubalin, Volume 13, Spring 1971, an example of particularly close letter spacing, made possible by the new type of phototypesetting. (src: fontsinuse.com/uses/21625/avant-garde-magazine-13)

Cover for the Swiss magazine "Typographische Monatsblätter" by Dan Friedman, 1971 (src: artsy.net/artwork/dan-friedman-typografie)

Poster "P. Struycken" by Jan van Toorn, 1974 (src: indexgrafik.fr/wp-content/uploads/Jan-Van-Toorn-P.-Struycken-affiche-1974.jpg)

Zine cover "Anarchy in the UK № 1" by Jamie Reid, Sophie Richmond, Vivienne Westwood, 1977 (src: moma.org/collection/works/156127)

Punk tour flyer "Anarchy group travelling UK" by Jamie Reid, 1977

Cover for WET Magazine, designed by April Greiman, 1979 (src: britannica.com/biography/April-Greiman/media/1080159/67511)

Poster "Sci-Arc" by April Greiman, 1985 (src: indexgrafik.fr/april-greiman)

Susan Kare (1954) is a US-American graphic designer. She designed most of the icons and fonts of the original Mac OS for Apple in the 1980s, and later many icons for Microsoft Windows and IBM OS/2.

Emigre 11 by Zuzana Ličko and Rudy Vanderlans. The Emigre magazine appeared with a total of 69 issues between 1984 and 2005. (src: members-only-beta-v0042.lettarc.org/extensions/LFA_beta/item.html?workID=lfa_emigre_0011)

Template Gothic by Barry Deck, 1989 (src: Own archive)

Keedy Sans by Jeffery Keedy, 1989, in Emigre Magazine

"Beach Culture" designed by David Carson, 1990 (src: vijaybhudia.wordpress.com/2016/02/10/david-carson-interview)

"Raygun No. 10" designed by David Carson, 1993 (src: twitter.com/lett_arc/status/1005843596237594624)

Deconstructive Architecture: Seattle Public Library by the architect Rem Koolhaas, 2004 The architectural style of deconstructivism is based on the deconstruction concept of the philosopher Jacques Derrida. (src: another29.exblog.jp/5692225)

Poster "FUSE 1" by Neville Brody, 1991, advertising the first issue of Fuse magazine, which presented experimental typeface designs. (src: emuseum.ch/en/objects/15235/fuse-1--fuse-is-a-new-venture-in-type-design-containing-fo?ctx=455886ac-86c7-40af-8e52-b86b1254838a&idx=2Magazine)

FF Beowulf by Erik van Blokland and Just van Rossum, 1990 (src: moma.org/collection/works/139326)

Remedy by Frank Heine, 1991 (src: documents.sessions.edu/eforms/courseware/coursedocuments/typography_i/lesson3.html)

Autotrace by Neville Brody, 1994 (src: Own archive)

Base 9 & Base 12 by Zuzana Ličko, 1995 (src: typografie.info/3/fonts/fonts.html/base-9-amp-12-r563)

Sketches of the Meta by Erik Spiekermann, 1985 Due to its popularity, the Meta was also called "Helvetica of the 1990s". (src: typografie.info/3/fonts/fonts.html/ff-meta-r1)

Rotis Sans Serif by Otl Aicher, 1988 (src: Own archive)

The Sans by Luc de Groot, 1994 (src: Own archive)

Poster for the Dysphasia font by Elliott Earls, 1995 (src: elliottearls.com/slide/throwing-apples-posters)

Spice Girls perform "Say You'll Be There" live, 1997 The Spice Girls were active as a five-piece British pop girl group from 1994 to 2012. They are also a symbol of a commercial, pop-cultural, and depoliticized appropriation of the aesthetics of previous countercultures - such as punk - throughout the mainstream of postmodernism. (src: irishexaminer.com/breakingnews/discover/the-spice-girls-burst-on-to-the-music-scene-more-than-20-years-ago-826116.html)

![Cover for "Typography Now Two" by Jonathan Barnbrook, uses his font Elephant Black Italic. Typography Now Two presented contemporary 90s graphic design. (src: amazon.com/ Typography-Now-Two-Rick-Poynor/dp/1873968612)](/The-Typeface-of-Our-Time/assets/img/typography now two.jpg)

Druk by Berton Hasebe, 2011. »hard to believe @bertonhasebe’s druk was first released back in 2011. its uncompromising assertiveness & urgency has felt increasingly relevant over the past few years. yes, there are some arguable misuses but it’s rare to find a typeface so prophetic and well-­suited for its age.« the graphic design account "otherwork" twittered in march 2019. (src: twitter.com/other_work/status/1105514000312385538)

Poster "Yale School Of Architecture" by Michael Bierut and Jessica Svendsen, 2014. typeface: Maelstrom by Klim Type Foundry/Kris Sowersby, 2014 (src: pinterest.de/pin/220465344237537668/?lp=true)

Poster for the Yale School of Architecture by Michael Bierut and Laitsz Ho, 2016

Stanley by Ludovic Balland, 2012

Poster "How to Find True Love and Happiness in the Present Day" by Lamm & Kirch, 2016 (src: lamm-kirch.com/wordpress/wp-content/uploads/2017/02/Lamm-Kirch_HowToFindTrueLove-Poster-840x1200.jpg)

Poster for the "Soirée graphique № 10" designed by Studio Balmer Hählen, 2017 (src: balmerhahlen.ch/projects/soiree-graphique-n-10)