For Hinge’s No Ordinary Love campaign in 2025, Forevs by OH no Type Co. was chosen to support the campaign’s focus on authentic, imperfect love stories. Forevs works well for headlines in this literary-driven project, which shares real stories from Hinge couples. Alongside the digital Substack edition, the anthology will be published as a limited-edition hardcover designed by Dazed Studio. These books will be distributed to select book clubs in New York and London, creating opportunities for people to come together and connect through the shared stories.

On the website, supporting text is rendered in the user’s default sans serif type and Lora by Olga Karpushina; the latter is also used throughout the campaign.

With the “Hagen Impulse,” patron Karl Ernst Osthaus initiated groundbreaking contributions to the reform movements of the early 20th century. The manifold activities, especially the experiments and models of socially effective architecture also influenced the young Walter Gropius, who had a close friendship with Osthaus. Not all aspects of the impulse were continued in the later Bauhaus.

Before the Bauhaus: Osthaus deals with the cultural implementation of modern architecture by Karl Ernst Osthaus, especially his programmatic use of photographs. Osthaus used them to make his projects internationally known and at the same time aimed at a new perception of architecture.

The design quotes in format, layout and material various publications from the time of Karl Ernst Osthaus. It combines features from the first catalogues of the Folkwang Collection and the monograph by architect Henry van de Velde. The result is a contemporary design with clear historical references.

The typefaces used are as much a historical quotation as they are a contemporary interpretation. Behrens-Antiqua is a design by Peter Behrens, published in 1907 by the Gebrüder Klingspor type foundry, which was already used in the publications of Karl Ernst Osthaus. It is used in Dan X. Solo’s digital version, alongside FF Bau by Christian Schwartz, whose design follows a grotesk by Schelter & Giesecke, which was used significantly in the visual communication of the Bauhaus in the 1920s. Ludovic Balland’s Stanley is used for running text.

Gilbert Guilleminault’s book about the “crazy years” – the period commonly referred to in English as the Roaring Twenties – was first published by Denoël in 1958. Shown here is a book club edition issued in 1962 by the Club des Amis du Livre in their “Le meilleur livre de luxe” series, limited to 5,000 numbered copies.

The chosen display typeface dates from the end of the covered period: it’s Cassandre’s Bifur, first cast by Deberny & Peignot in 1928. Spine lettering, endpapers and title page show Bifur double, the version for two-color use. The geometric glyphs are printed in black plus alternating primary colors.

The original binding, typography and illustration are by E.W. Mercier and Yves Noirot. Text is set in the 10pt size of Egyptienne F. Designed by Adrian Frutiger, this humanist slab serif is another innovative release by Deberny & Peignot. It was issued in 1958 for their pioneering phototypesetting system, the Lumitype. The book was printed on the presses of Petits-Fils de Léonard Danel in Loos-lez-Lille.

The endpapers list the events covered in the book, including the death of Lenin, the scandal caused by Victor Margueritte’s La Garçonne, Atatürk’s revolution, the Four Musketeers at the Davis Cup, the Munich Putsch, the boxing fight between Jack Dempsey and Georges Carpentier, and the Black Thursday at Wall Street.

On the title page, the Bifur letters get in line. Contributors are listed below: François Brigneau, André Falk, Paul Gérin, Dominique Lapierre, Henri Legros, Anne Manson, René Masson, Pierre Minet, Hugues Panassié, Michel Perrin, and Robert de Thomasson.

Bifur is also used inside the book. A contour was added so that the black parts stand out from the dark background.

Opening to the chapter about “jazz as it conquers the century”, set in bold Egyptienne F

For the endpapers at the back, the parts in Bifur were mirrored.

The 2024 Paris Summer Olympics will be kicked off on July 26 this year. Exactly one thousand days before that moment, French sports newspaper L’Équipe dedicated a special issue to this event. “1924–2024, Cent ans de Jeux en France” builds a bridge between the Paris games of 1924 and the upcoming ones one hundred years later. In fact, this year the French capital will host the Olympic Games already for the third time, the first time being 1900 when they were held in conjunction with the world’s fair.

The front page of the special edition reflects on that long history designwise. The huge photograph (by Franck Seguin) on top shifts from black-and-white to color and depicts two superstars of today: Kylian Mbappé, Parisian footballer, and Cléopatre Darleux, goalkeeper of the French handball team, who respectively talk about their Olympic ambitions and experiences. While the layout of the page follows the expected pattern for a newspaper, the combination of typefaces is quite extraordinary.

The three fonts used to typeset the headlines draw an inspiring line through French type design history.

To begin with, you see Robur used for Darleux’s name and the quote beside the smaller picture of Mbappé. Robur was designed by George Auriol and published by Peignot & Fils between 1907 and 1911. In general terms, it is a bolder display variant of Auriol’s first typeface Auriol. It has its roots in Modern Style and the discovery of the Asian pointed brush as a writing implement by Western calligraphers. Auriol and Robur were very popular in France deep into the 1930s.

Next up in chronology is Cassannet, used in two contrasting weights for the big headline “1924–2024, Cent ans de Jeux en France”. Released in 2011, it was designed by Ismael González and draws its inspiration from the constructivist Art Déco lettering style of A.M. Cassandre who, back in 1924, had just begun his stunning career as a graphic and type designer.

All remaining headlines are set from Mars. This sans serif was designed by Alaric Garnier, who took cues from Venus, a typeface published by the Bauer type foundry around the same time as Robur. It is available from Production Type in three widths, two of which are used here: Mars Condensed is what you see in the all-caps lines and in the intro to the text about Darleux, Mars Standard was used for “Je veux vivre les Jeux de Paris”. Not on view here is the widest style, Mars Extended.

The reading text is typeset in ITC Cheltenham, a narrow and thereby economic roman with short sturdy serifs and roots in the early 1900s. “Sommaire”, the headline to the table of contents, is set from Engravers Old English, a broken script stemming from about the same time. The “Football” and “Handball” headings appear to be reproduced directly from an old newspaper. It’s unclear if these words use handdrawn letters or a typeface – Basuto is similar.

Dave on Design is intended to give a pure reading experience somewhat like the ‘reader mode’ in browsers, with a focus on typography inspired by pre-WW2 print. Some complex CSS allows mimicking early 20th century style sentence spacing. Following the design theme, the logo is also an old print-style engraving.

EB Garamond is a natural choice for the main text, and Sorts Mill Goudy for the slightly old-fashioned but elegant headings that lean into the century-old aesthetic.

Spirax is used for the drop caps.

Slipcase with all 14 books

Between 1925 and 1930, the Bauhaus published a series of 14 books, authored by teachers and friends of the legendary design school. The titles discussed the ideas of the Bauhaus in art, design and architecture. In response to the Bauhaus Centennial in 2019, all 14 Bauhausbücher were re-issued in 2021 by Lars Müller Publishers in collaboration with Bauhaus-Archiv / Museum für Gestaltung in a English translation, preserving the original typography and design.

The digital re-issue required the use of digital revivals of the original typefaces used – four of those books utilise LD Genzsch Antiqua by Michael Wörgötter / Lazydogs as their main text face: Book 10 Dutch Architecture by Jacobus Johannes Pieter Oud, Book 11 The Non-Objective World by Kasimir Malevich, Book 13 Cubism by Albert Gleizes, and Book 14 From Material to Architecture by László Moholy-Nagy. The typeface’s original features such as the historical hyphen and the em dash enable a redesign true to the original publication.

Book jacket of Dutch Architecture feat. Akzidenz-Grotesk fett

Pages 26–27 from Dutch Architecture feat. LD Genzsch Antiqua and Akzidenz-Grotesk. The caption uses an unidentified font, see comments.

Pages 28–29 from Dutch Architecture feat. LD Genzsch Antiqua and Akzidenz-Grotesk

Book jacket of Cubism with the English title added in Helvetica Inserat or similar, see comments

Pages 84–85 from Dutch Architecture feat. LD Genzsch Antiqua and Akzidenz-Grotesk

Double-page spread from Cubism feat. LD Genzsch Antiqua and what looks like Helvetica Extended

Pages 84–85 from Cubism feat. LD Genzsch Antiqua and Helvetica. Page numbers appear to be from Akzidenz-Grotesk Super.

Book jacket of From Material to Architecture, with the English title added in what looks like Akzidenz-Grotesk Bold

Pages 92–93 from From Material to Architecture feat. LD Genzsch Antiqua and Akzidenz-Grotesk (in Bold and Super weights)

Pages 96–97 from From Material to Architecture feat. LD Genzsch Antiqua and Akzidenz-Grotesk. The caption on the right is set in a digitization of Neue Moderne Grotesk, with the paragraph below in Volta.

A variation of the well-known workspace joke, in a vintage 1910s/1920s style:

Working tariff ☚
Cost for 1 working hour: 78.—
If you watch: 83.—
If you talk to the worker: 90.—
If you help: 113.90

From a T-shirt printed on a proofing press at Druckwerkstatt Tecknau, Switzerland.

The typography combines two styles from the greater Block series. The headline in red looks like an apocryphal version of Schwere Block, with flatter strokes in e s a and also a t with a different top than in Berthold’s original. It’s not Hermes-Grotesk either. Could it be a copy by a local manufacturer, and/or a wood type rendition? There were several of those, like this unidentified one shown by Jens Jørgen Hansen.

The lines in black are set in Hochblock. This variant combines caps from the condensed Schmale Block with the lowercase of the schwer, but with enlongated ascenders and i dots. It’s here used with two forms for S, the regular one and a narrow alternate. Oliver Weiss digitized this peculiar family member in 2017, as Hochdruck.

Hochblock and Graublock, another lesser known style from the Block series, in Berthold’s Probe Nr. 275 from around 1932

The Roaring 20’s Special Edition, G.A. 33-602, 1957. Illustration by John Groth. Track names in Alternate Gothic No. 2, with Franklin Gothic and Venus Bold Italic for small bits. [More info on Discogs]

The Roaring 20’s is a series of records with “great hit songs of the 20’s, excitingly performed by Enoch Light and the Charleston City All-Stars”. It was started by Grand Award Records in 1955. Most of the covers shown here were designed for pressings from 1957: four LPs, a double LP, and a 7″ EP. The series also included the EPs Vol. 7, Vol. 8 and Vol. 9, some of them with art reused from the LPs.

All covers in this series feature a wordmark based on Metropolis. Willy Schwerdtner’s design from 1928 is shown in caps of increasing size, virtually creating a gradient from the Bold to the taller Titling cut. Although it was already possible to create such perspective effects through photographic means at the time, chances are it’s handlettering.

The Grand Award logo uses Caslon 540 Italic, with roman capitals. The label’s art director Casper Pinsker, Jr. worked with various illustrators. For the secondary texts, he employed a range of standard typefaces, most of them sans serifs.

The Roaring 20’s Volume 1, G.A. 33-327, 1957 (1961 pressing). Illustration by Tracy Sugarman. “Volume 1” is in Vogue Extra Bold Condensed. Track names in Futura/Futura Condensed, art credits in Bodoni. [More info on Discogs]

The Roaring 20’s Volume 2, GA 33-340, 1957. Illustration by Davis Stone. Track names in all-caps Vogue Extra Bold, art credits in Bodoni. [More info on Discogs]

The Roaring 20’s Volume 2, GA 33-353, 1957. Illustration by Emerson Barron. Track names in Erbar-Grotesk Bold Condensed, art credit in Ultra Bodoni Extra Condensed. [More info on Discogs]

The Roaring 20’s Volume 5, GA 33-378. Illustration by Elmer Wexler. “World’s Finest Performances” is in a Clarendon/Ionic. Track names in all-caps Futura. [More info on Discogs]

The Roaring 20’s Volume 6, G.A. EP2018, 1955(?). While the subtitle is set in Vogue Extra Bold, most other small text uses Futura/Futura Condensed. Illustration by Emerson Barron.

The Los Angeles-based design studio Use All Five used Lucifer by Nguyen Gobber and Roboto Condensed by Christian Robertson to design the 2022 edition of Google Frightgeist.

On the Google Frightgeist website itself, this project gets explained in more detail:

Every year, trillions of searches take place on Google, and Google Trends gives us an unparalleled look at what the world is searching for. Google News Initiative puts that data to use - from powering insightful journalism to helping you pick out your Halloween costume.

With Frightgeist, we went on a hunt to find the most popular Halloween costumes of 2022. Pulling from the top 500 costume searches in the United States, Frightgeist used Google Trends to tell people what costumes were trending around them and help them
find a costume that was sure to turn heads.

Blue Park Kitchen is a healthy fast casual restaurant located in New York City. Inspired by New York City parks, historic monuments and subway mosaics, Blue Park's rebrand by Hungry Studio aims to bring the inviting nature of Prospect Park to the lunch table.

The typefaces for the menu artwork include modified Worthington Arcade, Arquitecta and Gin. On the menu, information is set in Franklin Gothic and Miller, using Clearface Gothic for headlines.

The typographical cover of the book displays many faces in order to recall Bauhaus typography

A precise and previously unpublished archival research collects and reveals the biographical events of all the “girls” of the Bauhaus, the Bauhausmädels. Design historian Anty Pansera involves the reader by transporting them to the fascinating life inside the school where male and female students lived together with masters of the caliber of Gropius, Mies van der Rohe, Kandinskij, Klee, and free time was shared between parties, readings, political discussions, love stories, exhibitions, artistic performances, music (Bauhaus had its own orchestra), sports; in the background, of course, the tragic rise of Nazism which led to the closure of the academy, the prohibition of practicing for artists, and which forced many of the women (more than 14% were of Jewish origin) to flee and exile, when not to death in a concentration camp.

Published by Nomos Edizioni in Italian, the book shows unpublished archive photos of the school and collects in an extensive infographic some data relating to the Bauhausmädels, while on the back cover and in the flaps there is a visual representation of when our protagonists took part in the life of the school.

The infographic on the flap and inside cover

Chapter openings

This is the cover design for a single by Polish actress and singer Julia Wieniawa. It was designed by Tomek Kuczma using a photo by Adam Jakubowski.

A note from the designer:

The visual language of “Na darmo” is based around one story spanning from the 1920s through the 1980s and on to the 2020s. The single's cover represents the present, hence the use of Pomfret — a contemporary typeface with a hint of the 1920s.

Fabian – Going to the Dogs (original title: Fabian oder der Gang vor die Hunde) is Dominik Graf’s loose adaptation of Erich Kästner’s novel Fabian. Die Geschichte eines Moralisten, set in Berlin in 1931. The drama film premiered at this year’s Berlinale festival and had its theatrical release on August 5, 2021.

The typeface used for the title is from Berlin, too: Fanfare was first cast by the Berthold foundry in 1927. It’s a well-considered choice: Not only was Fanfare frequently seen on posters from the era. Fabian, the protagonist, works as a copywriter for a cigarette company. Louis Oppenheim, the designer of Fanfare, had a background in commercial arts, too, and created ads for Problem cigarettes (for Mahala Problem) and Juhl cigars (for Paul Juhl).

Apart from the title type, the posters have little in common with German poster design from the 1920s and 1930s, and lack in dynamics and audacity. They look as if the brief was to show Tom Schilling (as Fabian, with his obligatory cigarette) as big as possible. And to fill the remaining space with blurbs and credits.

[More info on IMDb]

Two Filmotype faces – Quentin, a contoured and shaded all-caps face with bifurcated serifs and Warlord, a Western-style slab with horizontal contrast – set on a curve for the cover of Roar Along With The Singing 20’s from 1959. “The Johnny Mann Singers” is set in the dreiviertelfett style from Venus Extended. The song names use Cairo, Intertype’s adaptation of Memphis [edit: it’s Stymie, see the comments].

Design by Pate/Francis & Associates, with a photo by Garret-Howard.

[More info on Discogs]

Franziska Neubert used David Kerkhoff’s Rotorua (Hanoded, 2014) for the cover of Der eiserne Gustav (“Iron Gustav”).

In this novel, Hans Fallada depicts the German society after the First World War, life in the Weimar Republic, and the challenges of modernity. First published in 1938, it’s named after the coachman Gustav Hartmann (1859–1938) from Berlin. In 1928, he drove his horse-drawn carriage all the way to Paris. It took him two months to get there. Accompanied by a newspaper reporter, this trip was supposed to be an act of protest against the decline of the cab trade and the increasing number of automobiles. Goebbels urged the author to change the ending, bringing it into line with the Nazis’ expectations. This new edition by Büchergilde Gutenberg claims to be the first to match Fallada’s original intention.

Studio Lindhorst-Emme. License: All Rights Reserved.

One hundred years ago, the formerly independent city of Spandau became a borough of Berlin, as part of the Greater Berlin Act. An exhibition at Zeughaus Zitadelle commemorates this administrative change and shows how it affected the Spandauer identity. The ambivalent, partly reluctant attitude of the local citizens towards the incorporation is reflected in the title, Jein danke! (“yes and no, thanks”).

Studio Lindhorst-Emme designed a series of four posters for the exhibition. The dominant typography pairs two typefaces from Pierre Pané-Farré’s Affichen-Schriften, a series with revivals of historical poster types released in 2018 by Forgotten Shapes. Schmale Egyptienne No.12 FSL and Breite-Fette Antiqua FSL both have roots in the mid-19th century and hence predate the events from 1920 by some seventy years. They nevertheless work as plausible period choices, certainly for a general audience. Similar condensed slab serifs and Fat Faces were still a common sighting on Prussian Litfaßsäulen in the early 20th century.

In the title settings, Studio Lindhorst-Emme playfully altered the proportions and details of the letterforms: On two posters, Schmale Egyptienne is made even schmaler (i.e. narrower), and Breite-Fette Antiqua becomes a little less breit (wide) for “JEIN”. This isn’t accomplished by stretching and distorting the letterforms, but rather by selectively extending them, taking advantage of their straight segments. The letter k in “danke” doesn’t lend itself to such an intervention, and consequently is left unmodified. Other edits are less obvious, but serve a comprehensible purpose: The roof of the fat J is extended to the left, to fill the void in the corner of the poster. In the condensed J, the hook grows higher for a similar reason, and the aperture of E is enlarged for a more distinct letter image.

These posters are easily my favorite ones currently on display in Berlin’s public space. The exhibition runs till 24 January 2021.

Studio Lindhorst-Emme. License: All Rights Reserved.

Studio Lindhorst-Emme. License: All Rights Reserved.

Studio Lindhorst-Emme. License: All Rights Reserved.

Studio Lindhorst-Emme. License: All Rights Reserved.

One of the posters as shown in Berlin’s U-Bahn stations.

First edition by Studio Vista, 1968, designed by Gillian Greenwood, ft. Broadway.

Morris Fuller Benton’s Broadway (ATF, 1927) is, from today’s perspective, a slightly unimaginative, but definitely period-correct and appropriate choice for the cover of this seminal book on Art Deco by Bevis Hillier. Designed by Gillian Greenwood, Studio Vista’s original edition was first published in 1968 in their Pictureback series, which was distributed in the U.S. by Dutton. From Wikipedia:

This was the first major work on a hitherto neglected genre of art that had previously been referred to as Art Moderne (the term Art Moderne has since come to be used to refer to the later streamlined style of Art Deco in the 1930s). Hillier's use of the term Art Deco became definitive. In 1971 Hillier curated a major Art Deco show at the Minneapolis Institute of Arts, which helped to increase popular awareness of this style.

Schocken Books published a revised edition in 1985. For the cover and the title page, designer Pauline Harrison stuck with Broadway, but worked with the inline version named Broadway Engraved. This spin-off was not part of ATF’s series (they already had the similar Boul Mich by Oz Cooper), but was made by Sol Hess for Lanston Monotype in 1928. The secondary typeface is Univers, just like in Greenwood’s design of the first edition. Univers is also the text typeface used for the interior (not pictured).

1972 edition.

Back cover.

Revised edition by Schocken Books, 1985, ft. Broadway Engraved.

Title page from the 1985 edition. The frontispiece depicts a frosted glass door removed from Maison Lee, hairdressers, Finchley Road, London NW3 (built 1937, demolished 1964).

Published in 2009, Chanel’s Russian Connection features the first use of KLTF Kerl. The condensed all-caps grotesque was specifically designed for this application. While the book by Karl Lagerfeld is out of print, the font is now publicly available for the first time. Previously referred to under the working title KLTF Titles, Karsten Luecke revisited this “simple, no-nonsense, honest” face and released it on his KLTF label. The final name, Kerl, is the German equivalent of the English guy, sport, or chap. The retail version of KLTF Kerl comes in bold and bold italic styles. There’s no lowercase, but wider alternates for some characters in four widths, Cyrillics, and circled numbers, among other extras.

Peripatetic Chanel head designer, book publisher, photographer – and now, film director – Karl Lagerfeld founded Metiers d’Arts in 2002 to showcase the talents of Chanel’s seven specialist ateliers (that provide the couture house with costume jewelry, embroidery and millinery). This volume focuses on Chanel’s 2008–2009 Metiers d’Arts collection Paris–Moscow. If Paris–Moscow indulges Lagerfeld’s fascination for Russia through fashion, then Russian Connection is that fascination embodied in book form. Lagerfeld’s images evoke Imperial Russia, Constructivism, Catherine the Great, Faberge, Russian folklore and Coco Chanel’s own passion for Russia, via the great Ballets Russes, Byzantine jewelry and her affair with the Grand Duke Dmitri Pavlovich.

Paperback, 22×25 cm. ISBN-13: 978-3865219237.

Koch Nueland shown on the front cover, paired with ITC Kabel (Expressionist prints)

The German Revolution (1918–1919) was a period of anarchy and violence that broke out at the end of the First World War, in Berlin and other cities. This publication accompanies a centenary exhibition at the Hunterian Art Gallery, University of Glasgow, from 1 March to 25 August 2019.

The book uses Hawkland for text throughout, ITC Kabel for running heads and Koch Nueland [P22’s version of Neuland, see comments] on the cover.

Chapter opening using Hawkland

Detail of footnote set in Hawkland

Page spread showing Hawkland for text and Kabel for running head

Chronology information set in Hawkland with Kabel for running head

Source: www.instagram.com Poster design: Gerwin Schmidt. License: All Rights Reserved.

Christopher Dresser for Hukin & Heath, spoon warmer, 1880. Photo: Martin Adam.

Source: www.instagram.com Poster design: Gerwin Schmidt. License: All Rights Reserved.

Marcel Breuer/Thonet, B25 armchair with reclining backrest (“Sitzmaschine”), 1928/1929. Collection Gerald Fingerle.

Most posters in Berlin’s urban space unfortunately aren’t worth a long look. When a poster in the subway for once succeeds to catch my eye, chances are pretty high that it’s one by Gerwin Schmidt. The accomplished designer from Munich has been responsible for the posters by the Bröhan-Museum for several years now, and he always manages to come up with something surprising. His work for the museum doesn’t adhere to a fixed corporate design. He uses all kinds of typefaces, in playful arrangements, sometimes involving stretched letterforms, perspective effects and other imaginative treatments that dogmatists would frown upon.

Source: www.instagram.com Photo: Sylvia Hinz. License: All Rights Reserved.

The third poster from the series, on display in front of the museum. It depicts Gerrit Thomas Rietveld’s toy barrow, c. 1920. Badisches Landesmuseum Karlsruhe, VG Bild-Kunst, Bonn 2019. Object photo: Thomas Goldschmidt.

The current exhibition that’s on display at this museum “for art nouveau, art deco, and functionalism” is titled “From Arts and Crafts to the Bauhaus. Art and Design – A New Unity!”

To mark the centennial anniversary of the founding of the Bauhaus, the exhibition at Bröhan-Museum will explore the prehistory of the Bauhaus and contextualize it within the Europe-wide emergence of modernism. It will show decisive steps in this development including the Glasgow School, Vienna Jugendstil, Deutscher Werkbund, and the Dutch group De Stijl leading up to the Bauhaus in Weimar and Dessau. With around 300 highlights—furniture, graphic design, metal art, ceramics, painting—from fifty years of design history, the exhibition will seek to explain this pan-European discourse on design.

For the poster series to this show, Schmidt did a literal typographic interpretation of its title and theme. Each of the three key terms is rendered in a typeface that immediately evokes the corresponding style and spirit. Schmidt explains:

“About two thirds of the exhibits stem from the period before the Bauhaus, so it would have been inappropriate to use a Bauhaus-like font for everything. On the other hand, using a Jugendstil typeface for the word “Bauhaus” would have looked odd, too. Hence the mix.”

Source: www.instagram.com Poster design: Gerwin Schmidt. License: All Rights Reserved.

Richard Riemerschmid, table, 1899. Alternative poster design (unused).

Source: www.instagram.com Poster design: Gerwin Schmidt. License: All Rights Reserved.

Archibald Knox (1864–1933), table clock. Alternative poster design (unused).

“Arts” is set in P22 Arts and Crafts. Made by James Grieshaber and Richard Kegler in 1995, this font family is a digital interpretation of Dard Hunter’s lettering as used for Roycroft books and periodicals between 1900 and 1910. With its square shapes and curved diagonals, it takes cues from works by members of the Vienna Secession.

For “Crafts”, Schmidt chose Bernhard Bold Condensed AKA Bernhard Antique, which today is the most prominent member of Bernhard-Antiqua. This typeface family was originally cut by Louis Hoell after drawings by Lucian Bernhard. Based on the handmade letters for his famous Sachplakat posters, it’s distinguished by wobbly contours. Bernhard-Antiqua schmalfett was first cast by the Flinsch type foundry in Frankfurt/Main in 1912.

“Bauhaus” features the iconic single case Universal-Alfabet drawn by Herbert Bayer at the Bauhaus school in c. 1926. In 1997, Bayer’s final, bolder variant of the geometrically constructed letterforms was made into a digital font by Denis and Richard Kegler and released as P22 Bayer Universal, which is used here.

Source: www.instagram.com Image: Gerwin Schmidt. License: All Rights Reserved.

A peek into the process: preliminary sketches by Gerwin Schmidt. He eventually settled on the most effective layout, with the type at the top, in stacked and staggered black boxes, and a photograph of a single object underneath. A series of three posters was selected for print.

Source: www.instagram.com Photo: Gerwin Schmidt. License: All Rights Reserved.

The cover design of the exhibition catalog picks up the typographic lockup used for the posters. The book was designed by Gerwin Schmidt together with Philipp von Keisenberg.

Source: www.instagram.com Image: Gerwin Schmidt. License: All Rights Reserved.

Announcement card, October 2018. This first application features the most direct graphic translation of the title, with the focus on the arrow that leads from Arts and Craft to the Bauhaus. See also this poster by Lucian Bernhard from 1919/1923. The smaller type is in Luigi, a private font designed by Timo Thurner. Among commonly available fonts, Michael Doret’s DeLuxe Gothic Condensed probably comes closest.

The exhibition was curated by Dr. Tobias Hoffmann and Dr. Anna Grosskopf, and designed by Katleen Arthen. It is shown until 5 May 2019. Find more information on the website of the Bröhan-Museum.