While I hope you won’t notice, I know that you will – details are important. At least one sentence is missing a period, and I think the first “Wilhelm” is misspelled on all but one or two occasions. I kept rephrasing certain passages and making new additions, even a half a year or more after the text had already been laid out in the magazine. The article isn’t perfect, which is entirely my fault. I might have compiled a slightly longer than average bibliography for a text of this article’s length, but what else should you expect in a publication called Footnotes?! The rarer type specimen entries include call numbers for their copies I consulted in Berlin libraries and museums. Most of the magenta-colored text lists bibliographic entries. A photo of the article’s final spread, which also has my bibliography, is pictured above ( click to enlarge). Should every foundry have its own sans serif?Īlthough I’m not the biggest fan of timelines, I like how this one came out.German sans serif typefaces from the 19th century.Ante desinatores: Die Verbreitung einzelner serifenlosen Schriften durch das deutschsprachige Schriftgießereigewerbe im 19.If you can’t get enough of the subject, have a look at the videos of these presentations: Another word on Accidenz-Grotesk and Royal-Grotesk’s appearances in Theinhardt specimens.The Academy of Sciences of the USSR’s hieroglyphs font (1928).Bachmann’s three favorite punchcutters (1869) German, Swiss, and Austrian typefaces named Royal or Akzidenz.Here are direct links to those Theinhardt-tagged blog posts: But if it will encourage other websites to change their attribution information – there was no Royal-Grotesk cut by Ferdinand Theinhardt for the Royal Prussian Academy of Sciences in 1880 – it is the least I can do. Theinhardt the type foundry had anything to do with either of those typefaces.
AKZIDENZ GROTESK TYPEFACE WIKI SERIES
I know, I know … it is a bit backward to tag a series of articles circling around the history of the iconic Akzidenz-Grotesk and Royal-Grotesk typefaces with the keyword “Theinhardt” when neither Ferdinand Theinhardt the punchcutter nor Ferd. Over the keyword Theinhardt, you can directly pull up a page with links to all of my articles on these subjects. In 1907, he purchased the Heinrich Hoffmeister type foundry at Leipzig in 1907. Rupprecht was then one of Berthold’s company directors for a few years, before leaving type founding for a time in 1901. By the time of the foundry’s acquisition by Berthold, Rupprecht was likely the sole owner of Bauer & Co., and he may have helped engineer the sale. On the spread, you can see a portrait of Karl Rupprecht – one of two cofounders of the Bauer & Co. Like the other two photos in the post, this photograph is from Nadya Kuzmina. Photo of one of the spreads from my Footnotes C article on the origins of Akzidenz-Grotesk, click to enlarge. In retrospect, you could call my hobby blogging something of a Theinhardtpalooza. I wrote each of these posts as something like a “warm up” before Footnotes published my article. Theinhardt type foundries, as well as on the histories of the Akzidenz-Grotesk and Royal-Grotesk typefaces here on this blog. If you’ve been following my blog posts this year, you’ll have noticed that I have posted a flurry of articles that touch on the history of the H. Last year, I retooled a few pages of my dissertation to deliver an article on the origins of the Akzidenz-Grotesk typeface to Footnotes. The Royal-Grotesk typeface was then derived from Akzidenz-Grotesk, not the other way around. Schattierte Grotesk is the parent design from which Akzidenz-Grotesk was derived. type foundry at Stuttgart published the year before. Its most recent issue includes my article “The godfather: retracing the origins of Akzidenz-Grotesk.” In the photograph above, you can see an 1896 specimen of Schattierte Grotesk typeface, which the Bauer & Co. Footnotesis a typographic journal published in Geneva. Footnotes C: Retracing the origins of Akzidenz-Groteskīerthold, Nineteenth-century sans serifs, Research, TheinhardtĪbove.