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Research Display 90 850 Pt Display 90 Research 850 pt 2 Text 90 Neue Kramer 18 pt Grotesk Uppercase ABCDEFGHIJKLM NOPQRSTUVWXYZ Diacritics Uppercase ÁĂǍÂÄÀĀĄÅÃÆ ǼĆČÇĈĊĐĎĐÉĔĚ ÊËĖÈĒĘĞĜĢĠĦĤ ĺĬǏÎÏİÌĪĮĨĴĶĹĽĻĿŁŃ ŇŅŊÑÓŎǑÔÖÒ ŐŌØǾÕŒÞŔŘŖŚŠ ŞŜȘŦŤŢȚÚŬǓÛÜÙ ŰŪŲŮŨẂŴẄẀẊÝ ŶŸỲŹŽŻ Lowercase abcdefghijklmno pqrsßtuvwxyz Figures 00123456789 NKG Text 90 Uppercase Adierisis 380 pt Alternate 1 Historical Short 2 Background Intro 1 1 2 Short Historical Intro Background 3 I am your Father... Designed in Frankfurt in the 1920s the well-known typeface » Futura« nowadays remains a classic. The self- proclaimed »typeface of our times« is still one of the most popular ones all over the world today. Heck, it even travelled to the moon. Commonly, the type designer Paul Renner is regarded as its creator. But thanks to one mysterious sketch that was found in the archive of Frankfurt based architect Ferdinand Kramer there are voices that question Renner's (sole) authorship. Some even credit the whole idea to Kramer and make him the secret but true father of »Futura«. In literature you often find pictures of this very sketch titled as »Kramer Grotesk« to which specu- lations around the question »who inspired whom?« are tied. From today's point of view it is hard to judge which story is »true« in the end. As a young architect Ferdinand Kramer worked together with Ernst May to rebuild Frankfurt after WWI while Paul Renner was asked to design an »architectural typeface« to label the new buildings. So it can be said with relative certaincy that they knew each other, talked about their work and exchanged ideas. 1 Paul Renner 2 Ferdinand Kramer Historical Short 4 Background Intro Often their approaches were similar and they both had in common a strong belief in modernity that led to a radical break with the past. Tech nical simplicity, the rejection of ornamental elements or handwriting and a modular and reproduceable way of designing characterized their philosophies. Kramer was very much into the idea of working in an integral way, every single part having the same origin. Thus, as an architect, he did not only plan buildings on a large scale. He also continued designing smaller details like furniture or even door-handles and lettering. The »micro archi- tecture« so to say. The fact that he also experimented with type just keeps on nourishing the myth of 3 »Kramer Grotesk«. We were not the only ones being interested in the story and eager to disclose the secret — just shortly after we started our work Joep Pohlen published an interesting article on typophile.com which reads at follows. 3 Door-handles by Ferdinand Kramer 4 Main entrance at Frankfurt University Short Historical Intro Background 5 4 The Myth of Joep 6 Kramer Grotesk Pohlen The Myth of Kramer-Grotesk You often read a book and register Futura is even today one of the most the information as being true, espe- used typefaces. cially when it is less or more the same Of course the biography by Chris- you have read before about the topher Burke about Paul Renner sub ject. It gets a bit odd when you (Hyphen Press, 1998) was the first to find out that in different publications read. The second was an article by things are mixed up and each publi- Burke about the authorship of Futura cation seems to add more and more in Baseline 23 (1997). In this article fuzz around the subject. I recently Burke widens the authorship to the bought a used book about Paul design staff of Bauer Type Foundry. Renner, published in 1978 by Philipp Not strange when you look at the Luidl for the Typographical Society in Munich, Germany. In that book the well-known typedesigner Günter Gerhard Lange wrote an article about Renner. Lange was at that time the art director of H. Berthold type foundry and was seen as one of the most influential people in the type design community in Germany. In his article he writes that the architect Ferdinand Kramer in 1925 made a drawing of a geometrical sans serif for the building department of the city of Frankfurt on which Renner based his Futura. On the next page in the same article Lange writes that Renner in 1924 began working on the design of Futura. This strange discrepancy in time was the reason that I wanted to know more about the widely known Kramer- Grotesk. I began reading books about Renner and Kramer to straigthen my mind about who really made the first design of Futura. Especially because 5 Joep The Myth of Pohlen Kramer Grotesk 7 complex technical production pro- But Kramer was in 1925 already a cess of a typeface in that period of well-known architect and product time but sadly it makes the discussion designer and he was working at the about the authorship not easier. But building department of the city of he also introduces some publications Frankfurt. He never attended the he also researched. One is an article Städel-Schule. Renner began with his (Tiessen, 1969) from the well-known first drawings for Futura in 1924 and at author Hans Peter Willberg. Willberg the beginning of 1925 first cuts of the writes that Kramer was a student at typeface were already done by Bauer the Städel-Schule in Frankfurt in 1925 Type Foundry. So both assertions of and that it was Kramer who made Willberg are wrong. at that school the first drawings that But the most used piece of evidence later became Futura. in several publications about Kramer- Grotesk is a sheet of paper that shows capitals of Futura with some of the cha racters only as outline sket- ches that are crossed out. Elsewhere on the sheet alternative characters are enclosed [picture 5]. So I had to figure out when this sheet of paper with sketches was first pu- blished and why it was attributed to Kramer. Since most of the material of Bauer Type Foundry is supposed to be destroyed during World War II I first had to research publications from be- fore this war. One important publi- cation is an article by Denis Megaw in Typography 7, published in 1938. On page 34 a couple of drawings are shown that are presented as the first designs of Futura by Renner (1924). These are the lower case characters and capitals that are placed on the top of the page [picture 6]. Below this two character sets a complete set is shown from Futura as published by Bauer in its final form (without The Myth of Joep 8 Kramer Grotesk Pohlen 5 Early sketch of »Futura« uppercase 6 Renner's first and final designs of »Futura« 6 Joep The Myth of Pohlen Kramer Grotesk 9 the extra alternative characters). But teach at Fritz Wicherts Frankfurt Art the set below was not published by School. At that time he also meets Bauer earlier than 1927 (the publi- Wicherts friend Ernst May who is the cation year according to Paul Renner head of the building department of in the Georg-Müller-Book article). the city of Frankfurt. The architect The sheet of paper with sketches Ferdinand Kramer was also working at [picture 5] show in black more or less this department and met Paul Ren- the definitive forms of the capitals ner around that time. Together with of Futura while the outline forms are Ernst May Renner and Kramer be- showing his first designs from 1924 came part of the group that worked for the A and K. There is also an invi- on the ambitious plans for rebuilding tation card for a lecture dated 3. July parts of the city of Frankfurt. A lot of (1925) made with trial cuts of Futura inspiration for the plans came from by Bauer [picture 10]. These charac- the Bauhaus and buildings of the Stijl ters and mainly the capitals are in in Holland. One of the examples that a state between the first designs in was also published in the magazine the article from Megaw and the final Das Neue Frankfurt was De Unie in ones beneath that. Look for example Rotterdam by Architect Oud. On that at the M, N and R. The same story is building typography is clearly part told by a trial setting that was made of the architecture. One of the first for the publication Schrift by F.H. things May asked from Renner was to Ehmke that was published on July deliver an architectural typeface that 9th 1925. You have to keep in mind could be used in architecture and for that at that time the publication signing on shops and small structures of a book would have taken several like bus stops. I think that the sheet months from concept to pro ducing, that was delivered by Renner to the ga the ring illustrations, setting, building department is also the sheet proofing and printing. As described that can be found in the Werkkata- by Paul Renner in the interview 'From log Ferdinand Kramer 1923-1974 by Georg- Müller book to Futura and the Jochem Jourdan that was published in Meisterschule; recollections by Paul the 'Schriftenreihe 3 der Architekten- Renner' (translated) he mentioned kammer Hessen' in 1974. In this even that he showed trials of Futura Werkkatalog the design sheet of by Bauer already in february 1925 letterforms is dated 1925 according during lectures at large printing firms to Jourdan. I think that on this sheet in Cologne and Mönchengladbach. the myth of the Kramer-Grotesk In May 1925 (around Easter) Renner is based and not on the sheet that moves from München to Frankfurt to was published later in Baseline (The The Myth of Joep 10 Kramer Grotesk Pohlen Joep The Myth of Pohlen Kramer Grotesk 11 7 Sketch of »Kramer-Grotesk« 8 Fassade of Kramer's parents' shop 9 Page from the Bauhaus-Archive publication 10 Invitation card set in »Futura« 7 The Myth of Joep 12 Kramer Grotesk Pohlen authorship of Futura by Chistopher of this set of capitals.
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