Folder and specimen for the introduction of Wilke Antiqua for phototypesetting, published by Linotype around 1988. The brochure is set in the three weights of Wilke, in roman and italic styles, and also showing the originally available oldstyle numerals and small caps. Conceived by Martin Wilke, it contains various calligraphic works by the lettering artist and typeface designer who died in 1993. Typographical design, layout and production work by Ralf Rudorf of Sedley Place Design, Berlin branch, Germany.

Cover and interior pages of this new adaptation of Goethe’s Faust, published by Sesi-SP and designed by São Paulo-based graphic designer Tereza Bettinardi.

The title of the book is written out mixing different characters of Gandur Alte and Gandur New by Brazilian type designer Daniel Sabino from Blacklettera. The name of the author is set in Futura and is aligned with the main title’s extended ‘t’.

The interior is set in Tribute by Emigre, using Gandur for drop caps.

“Allen Freunden und Förderern ein glückliches 1917. Möge es uns den heiß ersehnten Frieden bringen zum Wohle der Menschheit und das Aufblühen unserer idealen Kultur-Arbeiten.”

[To all friends and supporters a happy 1917. May it bring us the much-desired peace for the sake of humanity and the flourishing of our ideal culture works.]

In: Typographische Mitteilungen, Vol. 14, Issue 2, February 1917.

The typeface is F.W. Kleukens’ Gotische Antiqua, exclusively using its uncialish alternates for ‘EMNÜW’. Both forms of ‘T’ and ‘U’ are present. The two-colored decorated ‘N’ is from the series of initials that accompanied Gotische Antiqua.

F@ust v3.0 Limited Edition (2000) by La Fura Dels Baus / www.lafura.com

Double page spread from the program book of the theatre performance Faust by La Fura dels Baus from Barcelona.

Wir sind nie entfernter von unseren Wünschen, als wenn wir uns einbilden, das Gewünschte zu besitzen — JWG (Johann Wolfgang von Goethe). Translation: We are never further from our wishes than when we imagine that we possess what we have desired.

For this card, Martin Z. Schröder of Letterpress Berlin used Compliment. This upright script was first published by Ludwig & Mayer in 1965. Note the hook on ‘u’ – not a diacritic, but a means to help distinguish the letter from ‘n’, as it once was common in German handwriting. Compliment is another design by Helmut Matheis (*1917) — see also his Charme and Slogan.

The bird is an onament that accompanied Kleukens-Antiqua.