Shown in Photo-Lettering’s Art Nouveau Xenotypes
1895–1905 (1962) as Xenotype 3481 and later as
Staudel Xenotype J. [PLINC One Liner 1971]
Virtually identical to Roberta III (Facsimile Fonts, undated,
before 1973), but with lowercase. In Roberta III, ‘J’
is a flipped ‘L’, and the tear-shaped top counter in ‘B’ has a kink
at the bottom right. It’s not clear which came first, or if there
is a common historical source.
Staudel Xenotype J is distinguished from plain
Roberta by square dots, an ‘L’ with top serif and an
‘r’ with foot serif to the right, ‘D’ with opening at the top left,
‘V’ with diagonals, ‘Y’ with straight stem, ‘e’ with straight left
side, descending ‘f’, ‘k’ with an almost closed counter.
Later extended with Open (Staudel Xenotype Open),
Shaded (Staudel Xenotype Shaded V), and Contour
(Staudel Xenotype Contour V) variants. Staudel
Gemutlich A and B are variants with one half
hatched and one solid. [PLINC One Liner 1971] Also (accidentally)
spelled Staudle. More…
Shown in Photo-Lettering’s Art Nouveau Xenotypes 1895–1905 (1962) as Xenotype 3481 and later as Staudel Xenotype J. [PLINC One Liner 1971]
Virtually identical to Roberta III (Facsimile Fonts, undated, before 1973), but with lowercase. In Roberta III, ‘J’ is a flipped ‘L’, and the tear-shaped top counter in ‘B’ has a kink at the bottom right. It’s not clear which came first, or if there is a common historical source.
Staudel Xenotype J is distinguished from plain Roberta by square dots, an ‘L’ with top serif and an ‘r’ with foot serif to the right, ‘D’ with opening at the top left, ‘V’ with diagonals, ‘Y’ with straight stem, ‘e’ with straight left side, descending ‘f’, ‘k’ with an almost closed counter.
Later extended with Open (Staudel Xenotype Open), Shaded (Staudel Xenotype Shaded V), and Contour (Staudel Xenotype Contour V) variants. Staudel Gemutlich A and B are variants with one half hatched and one solid. [PLINC One Liner 1971] Also (accidentally) spelled Staudle. [PLINC 1971]
The sample is pieced together from various sources and not necessarily representative in all details.
Ars Nova (PintassilgoPrints, 2019) is a digital interpretation.
