Sttclibaelarfangc Çlariff- pmtëa &
fmDememplto:t)tnon Qlföem ©uteriDet>a

Figure 258

Figure 259

Шйтштт mât раШ

тмщт,%шітщр<фп* вт

tmmt фтщт$ хтЬт,ЬйЬмщШ$ шиит
хп(^$\тщ.Ю<* wmtwnbaoüm ftotüim toait

Figure 260

9° ?

^a$í9tt«§t firmerfi^mmfoÍ° ,

gn an fcptpm auf baeföaflfr

Figure 261

Figure 262

258 Type from the prayerbook of Emperor
Maximilian, 1515. From Albert Kapr, Johann
Neudörffer the Elder. Leipzig, 1956.

259 Type from Dürer's Proportionslehre, 7534.
From Albert Kapr, Johann Neudörffer the Elder.

260 Fraktur, detail of "Clipanicana maior, "
from the sixteenth-century pattern book Proba
centum scripturarum by Leonhard Wagner.
Facsimile edition. Leipzig: Insel Verlag, 1963.

261 Type from the Theuerdank, 1517. From
Albert Kapr, Johann Neudörffer the Elder.

262 Ductus.

On page 101:

263 Fraktur. Study by the author.

264 Fraktur. Study by the author.

265 Fraktur. Study by the author.

266 Upper Rhine style. Study by the author.

267 Upper Rhine style (the capitals do not
match). Study by the author.

268 Variation of a fraktur. Study by the au¬
thor.

On pages 102 and 103:

269 Renaissance fraktur initials by Paul Frank,
Nuremberg, 1601. From Petzendorfer, Schriften-
Atlas (Type atlas). Stuttgart: Verlag Julius
Hoffmann, n.d.

100

Figure 263

Figure 264

Figure 265

Figure 266

Figure 267

Figure 268

Зшп 93cftm tor (jcfmmtn 9Kmfiftl)rir

farm mmtmtb beirrten,

ber mrf)t «us ftcf) jelbfr гпафс

ШЛО (TUS tl)ttt

werben taïuiib fol
aövt>tfy$ijftnnfopc\wcf\шѵ ющ

o4fte (Сапзе

abcbcf$\)íjklmnopqrf$mvTv?yz

Fraktur was used for the Book of
Hours of Emperor Maximilian, 1513, by
Schönsperger. Its forms were probably
influenced by Leonhard Wagner and
Vincenz Rockner (Figure 258). Also by
Schönsperger is the type for the Theuer¬
dank, 1517 (Figure 261). Neudörffer
created the model for the types used in
Dürer's Proportionskhre (1522 and 1534).
The cutter was Hieronymus Andrea
(Figure 259).

During the baroque era fraktur type

moved further from its calligraphic roots
and became increasingly flourished and
elaborate.

Neoclassicism, under the influence
of engravings on copperplates, favored
forms that to us seem fragile, colorless,
and artificial. Up to the nineteenth cen¬
tury fraktur type were the staple of Ger¬
man printers; today they are barely in
use any more, displaced by classical
roman letters. Among the typefaces still
in use are the Alt Fraktur of Luther

(1708), that of Breitkopf (eighteenth
century), and Ernst Schneidler's Zente-
nar (1936).

When you draw these letters, pay spe¬
cial attention to the ligatures between
the letters m, n, u, and h. Emphasize the
differences between narrow lowercase
and wide uppercase letters, and try to
create a field of tension within capitals
that contain large and small units.

101