Posted on the occasion of the release of CJ Dunn’s Dunbar, a contemporary interpretation of Jakob Erbar’s eponymous grotesk (Ludwig & Mayer, 1926). Make sure to read Indra’s accompanying article about early geometric sans serifs, and Stephen’s introduction to CJ Type.
Erbar-Grotesk here appears in its “natural habitat” — used as a workhorse typeface on a German invoice from the second quarter of the 20th century.
H(einri)ch Wuhrmann was a large-scale print shop in Freiburg/Breisgau, specializing in carbon (?) copy books for business and accounting. The company is still in existence, now as Wuhrmann Druck & Service GmbH.
The gotisch used for the header is Jochheim Deutsch, released in 1934 by Wilhelm Woellmer. Such a combination of a blackletter and a geometric sans serif may seem incongruous today, but it actually is quite typical for the mid 1930s/1940s. Jochheim Deutsch, although less stripped and linearized than Element & Co., belongs to the same wave of simplified texturas that were marketed — with nationalistic wording and imagery, in the case of Jochheim Deutsch with oak — as a modernization of the genre, and often shown side by side with faces like Futura in ads and specimens.
In their eBay shop, allesauspaper shows a set of older invoices by the same company, from the 1920s. The letterheads may be more beautiful, but it’s all lettering, and hence not for Fonts In Use.
At the end of his article on the Satz- und Druck-Musterheft 1938, Paul Shaw notes:
It is quite evident that blackletter and roman typefaces not only co-existed in German graphic design in 1938, but that they were consciously paired. […] And when schaftstiefelgrotesks were used, they were often joined to geometric sans serifs in an attempt to project an air of modernity.
Contributed by Florian Hardwig
Contributed by Love Lagerkvist