Started life as an untitled (?) Zierschrift at
Berger in Leipzig. After
Gustav Reinhold bought
Berger [in 1890], he had the design expanded and named it
Favorit-Grotesk. Continued by Berthold under that name [Reynolds].
Other sources credit Wagner & Schmidt in 1900 with the design
[Wetzig 1926–40].
Also sold by Berling, Roos &
Junge (as Carola-Grotesk), Krebs (as
Excentric), Augusta (as Hermes), FTF
(as Pittoresques droites), and Stempel (as Reklame
modern mager, or Magere moderne Reklame)
[Reichardt 2011]. Artist’s
Grotesque (Caslon, wood type) [c.1900
specimen] might be related, too.
For an inclined version, see Hansa-Kursiv.
See also the similar Japonia (Woellmer).
Digital interpretations include Harold Lohner’s
Boomerang (1998), Dieter Steffmann’s
Hansa More…
Started life as an untitled (?) Zierschrift at Berger in Leipzig. After Gustav Reinhold bought Berger [in 1890], he had the design expanded and named it Favorit-Grotesk. Continued by Berthold under that name [Reynolds]. Other sources credit Wagner & Schmidt in 1900 with the design [Wetzig 1926–40].
Also sold by Berling, Roos & Junge (as Carola-Grotesk), Krebs (as Excentric), Augusta (as Hermes), FTF (as Pittoresques droites), and Stempel (as Reklame modern mager, or Magere moderne Reklame) [Reichardt 2011]. Artist’s Grotesque (Caslon, wood type) [c.1900 specimen] might be related, too.
For an inclined version, see Hansa-Kursiv.
See also the similar Japonia (Woellmer).
Digital interpretations include Harold Lohner’s Boomerang (1998), Dieter Steffmann’s Hansa (1999), and George Thomas’s Pendula (2014).
