Schelter & Giesecke’s geometric sans, released from 1931
[Reichardt 2011] in response to the success
of Futura, but
with more similarities to Kabel
(angled terminals on diagonals), Nobel,
and Erbar. With
Cyrillics (1932) [Wetzig 1926–40]. In 1937, another series,
Rhythmus-Werkschrift, was issued, again in three
weights [Reichardt 2011]. Later cast by Typoart. No designer
credits. Reichardt has a remark “is also ascribed to Hans
Möhring??” (Möhring
is the designer of Elegant
Grotesk.) Groenendaal also credits Möhring in
Drukletters, 1957. In any case, Möhring designed the
specimen for Rhythmus [Gebrauchsgraphik].
The fett More…
Schelter & Giesecke’s geometric sans, released from 1931 [Reichardt 2011] in response to the success of Futura, but with more similarities to Kabel (angled terminals on diagonals), Nobel, and Erbar. With Cyrillics (1932) [Wetzig 1926–40]. In 1937, another series, Rhythmus-Werkschrift, was issued, again in three weights [Reichardt 2011]. Later cast by Typoart. No designer credits. Reichardt has a remark “is also ascribed to Hans Möhring??” (Möhring is the designer of Elegant Grotesk.) Groenendaal also credits Möhring in Drukletters, 1957. In any case, Möhring designed the specimen for Rhythmus [Gebrauchsgraphik].
The fett weight was digitized by Peter Wiegel as CAT Rhythmus (2015, with Cyrillics). Ralph M. Unger’s Rhythmus Pro (RMU, 2016, with Cyrillics) spans the two lighter weights.
