![]() ![]() Those designers were just as likely to specify new geometric-style sans serifs like Futura as they were older typefaces, like Schelter & Giesecke's late-nineteenth-century Breite magere Grotesk. ![]() Still outré for whole books, German typographers were by then finally beginning to regularly consider sans serifs for long texts, or publications intended for immersive reading. When Jan Tschichold's Die neue Typographie appeared 28 years later, it was also composed entirely with sans serifs. This was the Feste des Lebens und der Kunst: eine Betrachtung des Theaters als höchsten Kultursymbols, written and designed by Peter Behrens. The first book composed entirely in upper- and lowercase sans serif types was only published in 1900. Like other early British sans serifs, this approximately 36-pt face was an all-caps design. The matrices for this Neuste Titel-Versalien, Zehnte Sorte were imported from Caslon & Livermore in London. The first sans serif sold in Germany was introduced by the typefoundry inside Eduard Haenel's Magdeburg printing-house in 1833. It did not create waves in typography immediately, but the use of sans serifs would increase over time. ![]() The very first sans serif typeface was published in England, circa 1816. For about 20 years it was attributed to Theinhardt, but this has recently been proven untrue. Nobody knows who designed Akzidenz-Grotesk. This text is from notes published in a PDF file by Kris Sowersby (KLIM Type Foundry, New Zealand) in November 2019. TYPE DESIGN INFORMATION PAGE last updated on ![]()
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