The Fate of Fonts, Part Six

The Fate of Fonts Typography and Danger in Germany, Part One One of the heroes of the modern font was Paul Renner (1878-1956), a founding member of the Deutsche Werkbund when it was established in 1907. In many ways, he was temperamentally conservative, not a...

The Fate of Fonts, Part Five

The Fate of Fonts Typography and Danger in Germany The debate about the appropriate typeface was not a new one in Germany. Introduced to the printing press as a substitute for handwritten Medieval manuscripts in the fifteenth century, the fraktur or Gothic script,...

The Fate of Fonts, Part Four

History of French Fonts, Part Two Cassandre and the Fonts of Art Déco A. M. Cassandre, as the artist sometimes signed himself, was also known more simply as “Cassandre.” Adolphe Jean-Marie Mouron (1901-1968) burst on the Parisian scene as Cassandre with a...

The Fate of Fonts, Part Three

History of French Fonts, Part One Cassandre and Deberny et Peignot When an artist heaped with honors in his lifetime, including the being promoted an officer of the French Legion of Honor, ends his career with suicide that is a terrible tragedy and a great loss to the...

The Fate of Fonts, Part Two

The Fate of Fonts Typography in the 1920s,  Part Two Printing and its old-fashioned fonts had long been viewed as problematic, and, in the nineteenth century, the English designer, William Morris, set out to revive what had once been an art form with the famous...

The Fate of Fonts, Part One

The Fate of Fonts Typography in the 1920s,  Part One Until the 1920s, a printer’s font was selected and combined into words with the intention that the words were going to be read. This assertion may seem axiomatic at first, but, in the modern era, fonts were...
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If you have found this material useful, please give credit to Dr. Jeanne S. M. Willette and Art History Unstuffed.
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