Gotico-Antiqua, proto-roman, hybrid, 15th-century types between gothic and roman, 2021
In 1927 the H. Berthold type foundry released Fanfare, the second typeface of Berlin-based Jewish... more In 1927 the H. Berthold type foundry released Fanfare, the second typeface of Berlin-based Jewish graphic designer Louis Oppenheim. Not announced by drumroll and trumpets, but by the beat of kettledrum and transverse flutes alike, it appears at brute force and delicately at the same time. Fanfare is a hermaphrodite of blackletter grotesque, indecisive and peculiar in single letters, yet determined and coherent in unity—a divergence that also serves as a description of Oppenheim’s turbulent lifetime and controversial work before, during and after World War I.
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This talk aims to review the 1983 ATypI seminar and seeks to raise the issues and controversies discussed in heated debates.
Ferdinand Ulrich was a visiting student in Pittsburgh, when he discovered the legendary font in the hot-metal setting workshop of the university three years ago. His intensive research in archives and collections, and his stay with Jack W. Stauffacher in San Francisco, a correspondence with Hermann Zapf and – of course – his focus on the font in a setting and printing context have led to a comprehensive study, which reveals the branched and maze-like genealogy of this extraordinary typefont.
This talk aims to review the 1983 ATypI seminar and seeks to raise the issues and controversies discussed in heated debates.
Ferdinand Ulrich was a visiting student in Pittsburgh, when he discovered the legendary font in the hot-metal setting workshop of the university three years ago. His intensive research in archives and collections, and his stay with Jack W. Stauffacher in San Francisco, a correspondence with Hermann Zapf and – of course – his focus on the font in a setting and printing context have led to a comprehensive study, which reveals the branched and maze-like genealogy of this extraordinary typefont.