sign in sign up
<<
Home , All caps, Antiqua (typeface class), Berthold Wolpe, Blackletter, Calligraphy, Edward Johnston

A Æ IJ Ø Œ Þ

Ethan Cohen Type & Media 2018–19 SigY А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of ’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡

Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION

“I‌ feel such a closeness to William Project Overview

Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor in that featured different Klingspor every year. This edition has a daily cal- RUDOLF KOCH endar set in Magere Wallau (Wallau Light) and an 18- collection of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.

Source Material

In addition to being one of the preeminent type foundries of the early 20th century, Klingspor had a high caliber in-house opera- tion. I supplemented the Klingspor Kalender with several specimens of Wallau printed by Klingspor, including a robust 55-page Wallau cat- alog from 1939, a small Wallau catalog from 1935, a catalog of black- types from sometime before World War II, and Karl Klingspor’s 1949 compendium of the of the Klingspor Type Foundry, Über Schönheit von Schrift und Druck. I visited the Klingspor-Museum in Offenbach and found sketches, Koch’s calligraphic studies for Wal- lau, and printed ephemera. Lastly, I received high resolution scans of Wallau templates and matrices from the Hessisches Landesmuseum Darmstadt, which has a large collection of Klingspor and Stempel - trices, templates, punches, and type.

5 HISTORY & CONTEXT

“The‌ Germans are the only nation Rudolf Koch

who retains with a Rudolf Koch (1876–1934) was one of the most influential figures in tenacious energy, not always German design, , and during the first half of the 20th century. A faithful devotee of and his understood by other countries... Arts & Crafts movement, Koch emphasized craftsmanship and manu- al labor in his work and wished to experience and be involved in ev- from an artistic of view ery step of the production process. Through his long association with it would be a matter of regret if the Klingspor Type Foundry and in his own workshop, the Offenbach- er Werkstatt, Koch produced a tremendous quantity of designs and blackletter was sacrificed to the objects ranging from typefaces, handwritten , and to and church bells. The common thread through all of his craze for uniformity and a output was that he focused on and various kinds of hand- beautiful individual trait thus crafted . In addition to his work as a maker, Koch was a prolific teacher. Warren Chappell, Fritz Kredel, , and lost to the world.” Herbert Post were all students of Koch and worked in his Offenbacher Werkstatt. Koch’s 1924 instructional book, Das Schreiben als Kunstfer- tegeit (Lettering as Artistry), was highly influential in , much JULIUS RODENBERGER like its British equivalent, Edward ’s , Illuminating, and Lettering, was in .

Rundgotische & Other Blackletter Styles

Rotunda (or rundgotisch) is a genre of blackletter that evolved from the carolingian hand. It is characterized by rounder, more open forms than the other blackletter hands. continued to be one of the main bookhands of Southern Europe until humanist minuscules and italic rose to prominence as printing types during the .

7 HISTORY & CONTEXT HISTORY & CONTEXT

Though the prevalence of blackletter declined throughout the rest of About Wallau Europe, it continued to be used widely in German printing, lettering, and design until it was banned by the Third Reich in 1941. During the Rudolf Koch began working on Wallau in 1925. Wallau Halbfette was interim blackletter became closely associated with German national initially released by the Klingspor Type Foundry in 1931. By 1935, had identity. For Rudolf Koch, blackletter was intrinsically German; it was been expanded to a light (in 6–16 pt), a semibold (in 6–72 pt), a bold a of his identity as a nationalist (but neither antisemitic nor (in 6–72 pt), and a condensed (in 8–84 pt in metal and larger sizes in fascist) German. wood). Each style came with both ‘German’ capitals (i.e., blackletter capitals) and ‘uncial’ capitals (i.e., capitals).

8–12th century Carolingian

12th century Protogothic

13th–15th century Textura

14th century Gothic

14–15th century Rotunda

15th century Bâtarde

16th century

17th century Civilité

Timeline of the major blackletter hands (adapted from a chart by Claude Mediavilla, with a couple of additions and replacements)

The range of Wallau styles from a 1939 specimen catalog.

8 9 HISTORY & CONTEXT HISTORY & CONTEXT

Wallau was named after Wilhelm Heinrich Wallau (1852–1925), a Context for Wallau’s Design printer from Mainz who once proposed the idea of designing a con- temporary typeface based on 14th century Italian rotunda. According During the 19th and early 20th centuries there were many attempts to Georg Haupt, who wrote the definitive German biography to create a hybrid blackletter typeface that borrowed from antiqua. of Rudolf Koch, Rudolf Koch der Schreiber, the design of some of the Due to its juxtaposition of round, humanistic shapes (like o) and an- letterforms in Wallau was inspired by a page from a 14th century Ital- gular blackletter shapes (like n), rundgotische served as an effective ian missal that Koch owned and kept hung on a wall at the Offenbach- means of achieving this hybridity. Wallau and various other rundgo- er Werkstatt. The rotunda types of William Morris’s Kelmscott Press tische such as The Bauer Type Foundry’s Weiß-Rundgotisch (1938, de- (i.e., the Troy Type and the Chaucer Type) were also an inspiration. signed by Emil Rudolf Weiß) and J.G. Schelter & Giesecke’s Rundgo- tisch (1903, designed in-house) were hybrids between blackletter and antiqua. Like Wallau, Weiß-Rundgotisch came with both blackletter and antiqua capitals.

William Morris’s Troy Type in The Floure and the Leafe, Kelmscott Press (1898)

Weiß-Rundgotisch with gothic capitals (above) and antiqua capitals (below)

J.G. Schelter & Giesecke’s Rundgotisch

Italian rotunda

10 11 PROCESS

“Suddenly‌ everything changed First Digitization steps

when, in 1935, I visited Rudolf My first step in the process of digitizing Sig was to scan the 19-page Koch’s memorial exhibition in portion of the Klingspor Kalender set in Wallau Halbfette in high res- olution and convert the scans into bitmaps. In order to achieve bit- my hometown Nuremberg. renderings with a color consistent to that of Wallau I created bitmaps at a range of 8 thresholds, recreated a spread from the Kling- I was so impressed by his work spor Kalender, and printed each bitmap on aged-looking that that I decided on my future resembled the paper in the Klingspor Kalender. I selected one with a slightly darker color than the original so that Sig would not become career to become a calligrapher.” too much lighter than Wallau when I started cleaning the outlines.

HERMANN ZAPF

Character set from Klingspor Kalender

13 PROCESS PROCESS

Source Material Source Material

mahl ein. Die Speiſen trug er in flachen Schüſ- Rough Autotrace Rough Autotrace ſeln auf. Reinecke erlabte ſich an den ſchmack- haften Dingen und beobachtete voll Liſt ſeinen Feigenbaum

mahl ein. Die Speiſen trug er in flachen Schüſ- Refined Autotrace Refined Autotrace ſeln auf. Reinecke erlabte ſich an den ſchmack- Feigenbaum haften Dingen und beobachtete voll Liſt ſeinen

Early Bézier Drawing Source material at actual size (9 pt) and stages of autotracing Feigenbaum

Next I used the GlyphCollector application by Gábor Kerekes to col- Source material enlarged 400% (36 pt) and stages of autotracing lect every instance of each , sorted them into contact sheets, reviewed the contact sheets, and narrowed them down to no more than 10 options ranging from light impressions to deep impressions. through the character set again and draw the outlines of the letters From these I selected one of each character that seemed to be a mid- very roughly with tiny straight segments instead of curves while mak- range impression, autotraced them, and copied the outlines into my ing as few decisions as possible about how curves should be rendered editor. and without focusing on weight or shape inconsistencies between let- I used scans of a few words containing consecutive control char- ters. This was followed by another round of proofing the recreated acters (such as the combination ‘enne’) to recreate the sidebearings spread on aged-looking paper to make sure I had not altered the color of the control characters. Once I had established the sidebearings of of the text. Finally I started replacing the tiny straight segments with n and o, I used that to recreate the sidebearings of all letters that curves, still trying to avoid making substantive design decisions. appeared next to them by placing scans of letter combinations in the background and positioning my outlines on top of the scans. Finally I used those spaced letters to recreate the sidebearings of the letters Working with Bézier Curves that did not appear next to control characters. When I had the spacing as close to the original as possible I started For the first stage of working with bézier curves, I tried not to make to focus on the shapes. The first stage was to go through the charac- changes to Wallau other than minor spacing adjustments. My focus ter set and remove artifacts and obvious misprints without making was on translating the shapes as literally as possible from metal for- any substantive changes to the outlines. The second stage was to go mat to digital format while retaining some of the inconsistency of

14 15 PROCESS PROCESS

letterpress. I avoided measuring and did not recycle pieces of letters phy, such as accentuating the flaring of terminals. After I re- to create other letters. This was an interesting way to work because turned from Offenbach I received scans of templates for a few letters it forced me to rely entirely on my eyes, but it was rather slow and from Karl Zimmermann at the Hessisches Landesmuseum Darmstadt. in hindsight I was avoiding some significant design decisions that I I requested o, g, and O so I could examine the inconsistencies in the would inevitably need to make. I also struggled with some of the pe- treatment of the interior contours of round shapes. culiar inconsistencies in Koch’s design. For example, while the interi- or contours of round shapes in Wallau’s upper case are always round- ed, in the lower case some (though not all) of them have corners.

Templates from the Hessisches Landesmuseum Darmstadt. The interior counters of O and g are rounded, while the interior of o has corners.

Additional Source Material One of Koch’s calligraphic studies for Wallau In October I spent four days at the Klingspor-Museum collecting ma- terial related to Wallau, Koch’s other work, some contemporaneous German designs, and the Kelmscott Press. The Klingspor-Museum had Since the Klingspor Kalender had a limited character set I needed to a plethora of specimens and miscellaneous ephemera printed in Wal- use other source material. In order to use source material from other lau, spacing proofs, and some of Koch’s sketches for alternate forms point sizes I conducted some studies of optical corrections and design that did not make it into the final typeface. Among the most inter- changes in the different sizes of Wallau. My main conclusions were esting sources I found were two pages of Koch’s calligraphic studies that in larger sizes the contrast increases, characters get narrower, for Wallau. I was able to gain a lot of insight into Koch’s intentions spacing gets tighter, small details are more subtle, x-height does not by examining the white corrections Koch made to the calligra- change, and letters do not change stylistically.

16 17 PROCESS PROCESS

The figures used for page numbers in the Klingspor Kalender are Character Widths Spacing Stems from Magere Wallau and none of my specimens had figures in 9 pt, so I had to look at other other sizes in order to design mine. Sig’s figures are based on a set of quasi-oldstyle figures from a 28 pt spacing proof 9 pt I found at the Klingspor-Museum. I preferred these figures to the nar- row lining figures that are in the final version of Koch’s design.

24 pt

48 pt

72 pt

The quasi-oldstyle figures on which Sig’s figures are based, Comparison of horizontal proportions across a range of sizes from a 28 pt spacing proof at the Klingspor-Museum

9 pt 12 pt 16 pt 1234567890

24 pt 48 pt 72 pt Wallau’s lining figures (above) and Sig’s quasi-oldstyle figures (below)

Comparison of vertical proportions across a range of sizes

18 19 PROCESS PROCESS

Departing from Koch’s Design a d e h i k r s v w x Though Wallau’s lower case and certainly its set of blackletter capitals a d e h i k r s v w x err on the side of blackletter, its ‘uncial’ capitals (this is a misnomer— they are roman forms, not uncial) are more reminiscent of sans of some of Wallau’s blackletter forms antiqua typefaces like Warren Chappell’s Lydian and Hans Kühne’s Stahl (known as Steel in the United States). I used these roman cap- itals as inspiration for some significant departures from Koch’s de- sign, such as removing entry and exit strokes and romanizing some of the antiquated blackletter forms. When it was designed, Wallau was a hybrid between blackletter and antiqua. However for the modern era it is squarely on the blackletter side. Reinterpreting it with more antiqua elements so that it is closer to a German sans serif antiqua seemed like an appropriate way to add something useful and original to Koch’s design while honoring his intentions. Feigenbaum

Wallau (above) vs. Sig (below)

The decision to move Sig’s design closer to that of a sans serif antiqua came with a host of design problems. Koch’s design, which was delib- erately irregular in the first place, became even more irregular when rendered with the random inconsistencies of . Though capturing this in a digital format where randomness does not exist is difficult, it was actually liberating when I was modernizing Sig in that I justified in eschewing some conventions of typeface Lydian & Lydian Bold (1938, ATF) by Warren Chappell, a former student of Koch design; particularly the dichotomy between serif and sans serif. In Wallau, Koch successfully juxtaposed a lower case with serifs and heavy blackletter entry and exit strokes against an upper case that is primarily sans serif. Similarly, my new challenge was to design a cohesive lower case that was, in and of itself, somewhere between a serif and a sans serif. In order for this to work, individual characters needed to simultaneously exhibit sans serif characteristics and either Stahl (1939, Klingspor) by Hans Kühne, based on capitals drawn by Koch serif or at least highly calligraphic characteristics.

20 21 PROCESS PROCESS

For example, Sig’s s has a serif on its top flag but none on its bottom and n is essentially a sans serif form with a calligraphic exit ‘flick’. Removing the entry and exit strokes from the main vertical stroke of a n A N i caused it to seem unrelated to letters that were clearly calligraphic (like g, r, and c) or retained some entry or exit stroke (like n). This b o B O was exacerbated by the rectangular . Sig’s i looked like it would fit in a grotesque, not in Sig. My solution was to give the dot an obvious- c p – C P ly calligraphic diamond shape. d – q D Q e r E R With entry/exit strokes Trials with rotation of the dot f s F S i i i i i i iiiiiii g t G T Autotrace Sans Final h u H U i v I V Evolution of i – j w J W k x K – X Blackletter solutions Final l – L – Y sS sS sS sS sS m z M Z

Autotrace Intermediate solution

Comparison of Wallau from the Klingspor Kalender (left) and Sig (right) Evolution of s

22 23 PROCESS PROCESS

Cyrillic & Greek

I designed Sig’s Cyrillic during Ilya Ruderman’s class. Creating Cyril- lic shapes with a contrast model that is so directly based on the Lat- in broad-edged writing tradition was a tremendously fun and rewarding challenge. Ustav calligraphy and some of Koch’s alternate ЂҐДУЩ designs that did not end up in the final version of Wallau were useful as references. Coincidentally, there were similarities between some of Shapes that were informed by Koch’s alternate designs Koch’s alternate designs and some Ustav shapes.

I designed Sig’s Greek during Peter Biľak’s class. The verticality of the could not be translated to Greek as readily as it could to Cyrillic. Unlike Sig Cyrillic, almost none of Sig Greek’s characters are identical to Latin characters. For example, Sig Greek’s η is based on n but it has a new entry stroke that is very different from the entry strokes in Wallau because neither the entry strokes from Wallau nor the sans serif terminals from Sig’s Latin looked appropriate for a calligraphic Greek design. In order to accommodate the frequency of round and Ustav calligraphy. Ustav is a Cyrillic calligraphy hand that developed open shapes in Greek I loosened the spacing. Under advice from - during roughly the same time period as blackletter. nagiotis Haratzopoulos (via Peter Biľak), I removed the crossbar from the top of Α because applying it on Λ and Δ as well would have been too repetitive and idiosyncratic in text. αηκπμνιψ αηκπμνιψ Abandoned alternate designs from a Wallau proof at the Klingspor-Museum. These helped inform some Cyrillic shapes, like the tails on Ђ, Ґ, Д, and Щ. Evolution of the entry and exit strokes in Sig Greek

24 25 PROCESS PROCESS

Extended Latin Character Set

Even with all of the Wallau specimens and ephemera I collected I only had a limited variety of , symbols, special characters, and letters with . As with the Greek and Cyrillic designs, I often did not have examples of similar typefaces that I could use as a model Алфавит and I had to invent new solutions. Αλφάβητο ğęæðþøģůčţ

Comparison of Sig’s Latin, Cyrillic, and Greek. The p-based ф shape in the Cyrillic is more stylistically appropriate for the design but is only valid for Cyrillic, so I used φ ĂĘÆÞĢŮČŢ� an o-based shape in Greek, skipping the opportunity to use the same shape for the two scripts.

It was particularly interesting trying to balance the color of the three scripts next to each other. Cyrillic is more rectilinear than Latin and †&@©℗¶‡ the x-height is more palpable because of the frequency of straight horizontal strokes. Meanwhile the entry strokes and open shapes of Some extended Latin letters and symbols Greek preclude it from achieving the level of density and regularity of Sig’s Latin. However the biggest challenge in designing Sig as a type system for Latin, Cyrillic, and Greek was the balance between try- ing to translate its calligraphic construction and its texture to scripts with their own rich calligraphic traditions on the one hand and main- I began the kerning process with Latin and Cyrillic shapes mixed to- taining its gothic vibe on the other hand. Regardless of how successful gether in the same classes. Since the spacing of the Greek is looser Sig’s design might be on an aesthetic level, blackletter does not exist than the Latin and Cyrillic I organized it into its own separate classes. in Greek and Cyrillic. Translating a blackletter design simply does not I conducted one round of kerning the three scripts with Latin and have the same connotations as it does for Latin. Cyrillic sharing classes and then separated them for the second round.

26 27 PROCESS AĄÁĂÂÄÀĀÅÃÆBCĆČÇĊD ÐĎĐEÉĚÊËĖÈĒĘFGĞĠĢHĦIÍÎÏ Result İÌĪĮIJ�J�KĶLĹĿĽŁĻMNŅŃŇŊ Removing the entry and exit strokes from the lower case made Sig fit more text per line than Wallau. Sig’s texture is also lighter. This is ÑOÓÖÒŌØÔŐÕŒPÞQRŔŘŞȘ largely caused by the wider and more open antiqua forms of a, e, and ŚŠSTŤŦŢȚUÚÛÜÙŰŪŮŲVW s. Sig has relatively high contrast and its texture is darker than most contemporary romans. It works best in text above 14 pt. Like Wallau, ẂŴẄẀXYÝŶŸỲZŹŽŻaáăâäà Sig lends itself to display settings. āåãąæbcćčçċdďđdðeęéěêëėèēffi Sources fl�gğģġhħhıìīíîiïijįj�kķlļŀĺľłmnńň

Cinamon, G. (2000). Rudolf Koch: , Type designer, Teacher. ņŋño óôöòőōø õœpþqrŗŕřs śșš New Castle, Del: Oak Knoll Press. şßᷥi ᷥ tţțťŧuúûüùűūųůvwẃŵẅẁx Gebrauchsgraphik: International Advertising Art, December 1, 1938, page 7. (n.d.). Retrieved January 19, 2019, from https://magazines. y ýŷÿỳzźžżАБВГЃҐДЕЀЁЖЗИЍЙ iaddb.org/issue/GG/1938-12-01/edition/null/page/7 Gebr. Klingspor. (1939). Wallau-Schriften [Brochure]. Offenbach am К Ќ ЛМНОПРСТУФХЧЦШЩЏ Main: Author. Haupt, G. (1936). Rudolf Koch der Schreiber. Weimar: Gesellschaft der ЬЪЫЉЊЅЄЭІЇ ЈЋЮЯЂаб в гѓґ Bibliophilen. деѐёжзи йкќл мнопрст уфхчцш Jaspert, W. P., Berry, W. T., & Johnson, A. F. (1983). Encyclopaedia of typefaces. : Cassell. щџьъыљњѕєэіїјћюяђΑΒΓΔΕΖ Klingspor, K. (1949). Über Schönheit von Schrift und Druck, Erfahrungen aus fünfzigjähriger Arbeit. Frankfurt am Main: ΗΘΙΚΛ ΜΝΞΟΠΡΣΤΥΦΧΨΩΆ GK Schauer. Mediavilla, C. (1993). Calligraphie: Du signe calligraphié à peinture ΈΉΊΌΎΏΪΫαβγδεζη θ ικλμνξ ο abstraite. Paris: Imprimerie Nationale. π ρςστ υ φ χ ψ ωίϊΐύϋΰόώά έή012 Rundgotisch 36p. (2018, June 14). Retrieved January 27, 2019, from https://pavillon-presse.de/archiv/font/buchdruck/rundgotisch- 3456789¢$€£¥+−×÷=.,:;·¡!¿?‚„“”‘ ’ 36p-r150/ Rundgotisch (Schelter & Giesecke) in use. (n.d.). Retrieved January 16, & &¶†‡@©℗/\(){}[ ]*«»‹›-–—_ 2019, from https://fontsinuse.com/typefaces/27201/rundgotisch- schelter-and-giesecke Sig character set, 18 pt

28 EINIGE FABELN NACH AESOP UND ANDEREN

Der Löwe und die Maus. Ein klein wenig Güte bringt gar oft großen Dank.

In einem Walde lag ᷥchlafend ein Löwe. Mäuse gerieten in seiner Nähe aneinander, und eine da- von ᷥprang im Spiel von ungefähr auf den Löwen. Der erwachte und ergriff die Maus mit ᷥeiner Pranke. Die Maus bat ihn höfich ihre Missetat zu vergeben, da ᷥie, ᷥcherzend mit ihren Geᷥpielen, auf ihn geᷥprungen ᷥei. Seine Majeᷥtät möge ihre Pranken nicht mit dem Blut eines ᷥo unbedeu- tenden Tieres befecken. Der Löwe dachte bei ᷥich, daß die Rache gegen eine Maus gar klein wäre und mehr Schande denn Ehre einbrächte. Er entließ die Maus und vergab ihr ihre Übeltat. Die Maus aber schied in Dankbarkeit. Wenige Zeit ᷥpäter fiel der öL we in ein Netz und ᷥo er empfand, daß er gefangen war, brüllte er voll Entᷥetzen und beklagte ᷥein Mißgeᷥchick. Als die kleine Maus das vernahm, lief ᷥie herbei. Des Löwen Ungemach erkennend, ᷥprach ᷥie zu ihm: Ich will dir deine Güte vergelten, die du mich haᷥt fühlen la闥en. Sie beᷥchaute das Garn, prüfte

14

9 pt Wallau Halbfette (Source Material) 8.5 pt Sig Latin (Revival) AÆBCDEFGHIJKL aæbcdefghijkl MNOØŒPÞQRST mnoøœpþqr UVWXYZ sßtuvwxyz АБВГҐДЕЖЗИКЛ абвгґдежзикл МНОПРСТУФХ мнопрстуфх ЧЦШЩЏЬЪЫЉ чцшщџьъыљ ЊЅЄЭІЈЋЮЯЂ њѕєэіјћюяђ ΑΒΓΔΕΖΗΘΙΚΛΜ αβγδεζηθικλμ ΝΞΟΠΡΣΤΥΦΧΨΩ νξοπρστυφχψω

36 pt 36 pt 01234 56789 12 ¥$¢£€₡ +=×÷− 34 « “@©℗”» ¡¿†¶‡?! & & 56

36 pt U+2680, U+2681, U+2682, U+2683, U+2684, U+2685 РУССКИЙ: Особенностью приготовления борща является предварительная обра- бефстроганов ботка овощей, и опять же, это в первую очередь относится к свёкле. Свёкла до закладки её в борщ может быть приготов- Quesadillas лена несколькими способами: тушение в измельчённом виде, печение или варка Бородинский хлеб в кожуре. Как правило, при предвари- POLSKI: W czasach saskich dobry szlachecki kucharz powinien był umieć przyrządzać Gefilte Fish kiełbasę na 12 sposobów, a pański na 24. Na dworze Augusta III był sławny kuchmistrz χωριάτικη σαλάτα Wereszczak, od którego nazwany został jego sposób podawania kiełbasy. ¶ Kiełbasa „na wereszczaku” dawana, była pokrajana w Bagels & Lox talarki i podlana ostrym sosem, a jadano ją ÍSLENSKA: Ísland er um 103.000 km að Окрошка на кефире stærð; það er önnur stærsta eyja í Evrópu á eftir Bretlandi og sú átjánda stærsta í heimi. Á Íslandi búa um það bil 330.000 manns. Höfuðborg landsins er Reykjavík. Land- Anchovies námabók segir frá hvernig landnám Íslands hófst kringum árið 8 þegar Ingólfur Arnarson γίγαντες πλακί nam hér land, þó aðrir hefðu áður dvalið Halbfette Sig mit Unziale-Großbuchstaben ΕΛΛΗΝΙΚΉ: Αν και η ιστορία του μπακλαβά δεν είναι καλά καταγεγραμμένη, πολλές χώρες διεκδικούν τη δημιουργία του. Παρ’ όλα αυτά, η επικρατέστερη θεωρία είναι πως το γλύκισμα δημιουργήθηκε από Τουρκικά 72 pt φύλα της Κεντρικής Ασίας, ενώ τελειοποι- ÆSOP’S ήθηκε στις κουζίνες των ανακτόρων του σουλτάνου, στο παλάτι Τοπκαπί.

ČESKY: Oldřich Menhart byl český typograf, 60 pt VAN DIJK tvůrce písma, kaligraf, knižní grafik a odborný publicista. V letech 1923–1925 vyučoval na typografické škole v Praze, vedl kurzy psaní

48 pt a kreslení písma. Do roku 1929 pracoval jako HÖGT LÅGT faktor ve velkých pražských grafických závo- dech. Ve svobodném povolání pak působil jako kaligraf a typograf. 36 pt DRUCKEREIEN NEDERLANDS: De is een digraaf van de letters i j. Vaak wordt de IJ als een ligatuur 24 pt RUDO VON LARISCH omschreven, hoewel in de meeste lettertypes de i en de j niet met elkaar verbonden zijn, maar soms wel dichter bij elkaar gezet. In de 16 pt GEBR KLINGSPOR, OFFENBACH AM Nederlandse taal wordt de IJ soms als één letter beschouwd en vormt zij dan samen met 12 pt GARNICHT AN GLÜCK ODER UNGLÜCK DENKT de y de 25e letter van het Nederlandse alfabet. Gregor Samsa eines Morgens aus unruhigen ATräumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt. Er Die Verwandlung lag auf seinem panzerartig harten Rücken und sah, wenn er den Kopf ein wenig hob, seinen gewölbten, braunen, von bogenförmigen Versteifungen geteil- Franz �ka ten Bauch, auf dessen Höhe sich die Bettdecke, zum gänzlichen Niedergleiten bereit, kaum noch erhalten Sig Latin konnte. Seine vielen, im Vergleich zu seinem sonsti-

роснувшись однажды утром после беспокой- Пного сна, Грегор Замза обнаружил, что он у себя в постели превратился в страшное насеко- Превращение мое. Лежа на панцирнотвердой спине, он видел, стоило ему приподнять голову, свой коричневый, выпуклый, разделенный дугообразными чешуй- Франц Кафка ками живот, на верхушке которого еле держалось готовое вот-вот окончательно сползти одеяло.

Sig Cyrillic Его многочисленные, убого тонкие по сравне-

ταν ο Γκρέγκορ Σάμσα ξύπνησε ένα πρωινό Όαπό κακό όνειρο, βρέθηκε στο κρεβάτι του μεταμορφωμένος σε γιγάντια κατσαρίδα. Ήτανε ξαπλωμένος ανάσκελα, πάνω στη σκληρή ράχη Η μεταμόρφωση του που ‘μοιζε με πανοπλία κι όταν σήκωνε λιγάκι το κεφάλι του μπορούσε να δει την τουρλωτή κα- Φραντς Κάφκα φετιά κοιλιά του που ‘τανε χωρισμένη σε σκληρές καμπυλωτές δίπλες και που μόλις συγκρατούσε

Sig Greek τα σκεπάσματά του για να ξεγλιστρήσουν τελείως Part One Часть Первая

It was a bright cold day in April, and the clocks Был холодный ясный апрельский день, и часы were striking thirteen. Winston , his chin пробили тринадцать. Уткнув подбородок в nuzzled into his breast in an effort to escape грудь, чтобы спастись от злого ветра, Уинстон the vile wind, slipped quickly through the glass Смит торопливо шмыгнул за стеклянную doors of Victory Mansions, though not quickly дверь жилого дома «Победа», но всё-таки enough to prevent a swirl of gritty dust from впустил за собой вихрь зернистой пыли. entering along with him. В вестибюле пахло варёной капустой и стары- The hallway smelt of boiled cabbage and old rag ми половиками. Наротив входа на стене ви- mats. At one end of it a coloured poster, too сел цветной плакат, слишком большой для large for indoor display, had been tacked to the помещения. На плакате было изображено wall. It depicted simply an enormous face, more громадное, больше метра в ширину, лицо, than a metre wide: the face of a man of about лицо человека лет сорока пяти, с густыми forty-five, with a heavy black moustache and черными усами, грубое, но по-мужски привле- ruggedly handsome features. Winston made кательное. Уинстон направился к лестнице. for the stairs. It was no use trying the lift. Even К лифту не стоило и подходить. Он даже в at the best of times it was seldom working, and лучшие времена редко работал, а теперь, в at present the electric current was cut off during дневное время, электричество вообще от- daylight hours. It was part of the economy drive ключали. Действовал режим экономии: in preparation for Hate Week. The fat was seven готовились к Неделе ненависти. Уинстону fights up, and Winston, who was thirty-nine предстояло одолеть семь маршей; ему шел and had a varicose ulcer above his right ankle, сороковой год, над щиколоткой у него была went slowly, resting several times on the way. On варикозная язва: он поднимался медленно и each landing, opposite the lift-shaft, the poster несколько раз останавливался передохнуть. ΤΟ ΡΙΤΆΚΙ ΣΤΟ ΡΟΔΆΝΙ MEINE RUH’ IST HIN Γιόχαν Βόλφγκανγκ Γκαίτε Johann Wolfgang Goethe

Ηρεμία μου, Meine Ruh’ ist hin, Πού να σε βρω, Mein Herz ist schwer; Καρδιά μου βαραίνεις Ich finde sie nimmer Από καιρό. Und nimmermehr. Σαν μού λείπει αυτός Wo ich ihn nicht hab’ Σε τάφο ζω, Ist mir das Grab, Και όλη η γη Die ganze Welt Πικρή χολή. Ist mir vergällt. Το λογικό Mein armer Kopf Μου τάραξε, Ist mir verrückt, Φτωχό μυαλό Mein armer Sinn Κομμάτιασε. Ist mir zerstückt. Ηρεμία μου, Nach ihm nur schau’ ich Πού να σε βρω, Zum Fenster hinaus, Καρδιά μου βαραίνεις Nach ihm nur geh’ ich Από καιρό. Aus dem Haus. ЯТСИ (YATZY) Kreuzworträtsel 1 2 3 4 Игрок (Spieler): Единицы (Einer) 1 5 6 7

Двойки (Zweier) 2 8 9 Тройки (Dreier) 3 10 11 Четвёрки (Vierer) 4 Пятёрки (Fünfer) 5

Шестёрки (Sechser) 6 12 13 14 15 16 Итого (Summe): 17 Бонус (Bonus): 18 19 Пара (1 Paar)

Две пары (2 Paar) 20 Сет (Drei Gleiche) Каре (Vier Gleiche) WAGERECHT: 1 Kaufhalle, 5 Bodensenkung, 6 Nebenfuß Малый стрит (Kleine Straße) der Donau in Bayern, 8 Europäer, auch Kinderspielzeug, Большой стрит (Große Straße) 10 Haus- und Wildvogel, 11 Gesangsstück, 12 Stadt in Hol- Фулл-хаус (Volles Haus) land, 15 nordischer Männername, 17 Don Quichottes Pferd, 18 englische Insel, 19 Getränk, 20 Naturerscheinung. Шанс (Chance) SENKRECHT: 1 einer der heiligen Drei Könige, 2 Fluß in Ost- ЯТСИ! (YATZY!) preußen, 3 weiblicher Vorname, 4 sportliche Veranstaltung, 5 Erdart, 7 türkischer Ehrentitel, 8 Küferwerkzeug, 9 Gelder- Общий pезультат (Endsumme): trag, 13 Gotteshaus, 14 Bergwerk, unterdischer Gang, 15 Häus- lerwohnung, 16 Fürstin der deutschen Sage. CRIMЄ Карл Маркс: ‡ AND дизайнер PUNISH Подробная история шрифта и коммерческого искусства от MЄNT‡ Карла Маркса Fyodor Dostoyevsky ЭДВАРД

Translated by СНОУДЕН CONSTANCE GARNETT Illustrated by ‡ BENJAMIN KOPMAN ‡ FIRMEN BESCHRIFTGUNG UND LICHTREKLAME ORMANDE BERLIN-NEUKÖLN BACHSTRASSE FERNRUF 82411

Thank You!

Paul van der Laan, Peter Biľak, Ilya Ruderman, Helga Horschig, Stephanie Ehret-Pohl, Martina Weiß, the Klingspor-Museum, Marc Schütz, Laura Brunner, Leonie Martin, the Klingspor Institut, Karl Zimmermann, the Hessisches Landesmuseum Darmstadt, Ewan Clayton, Sanne Beeren, Céline Odermatt, and Anya Danilova.

Colophon

Titles and page numbers are set in Sig. Body text is set in Lapture. Captions are set in Zeitung with Cyrillic and Greek characters from IBM Plex Sans. å æ b ç d ð ę f fi ğ h ï � ķ ł m ñ ô ø œ p þ q ř s ᷥ ť ű v ẅ x y ż а б в ѓ ґ д ѐ ж з й к л м н о п р с т у ф х ч ц ш щ џ ь ъ ы љ њ ѕ є э і ћ ю я ђ ά β γ δ ε ζ η θ ΐ κ λ μ ν ξ ο π ρ ς σ τ ϋ φ χ ψ ω 0 1 2 3 4 5 6 7 8 9 € $ £ ¥ ¢