German type designer (b. Barmen, 1874, d. Saarow, 1931) principally associated with the Bauersche Giesserei. In 1914 he became a Professor at the Akademie für Kunstgewerbe in Dresden. Before that he lived mainly in Berlin. He designed
Biography by Harald Süß (Die deutsche Schrift, 2002). Picture. Klingspor link. Digital versions of Phyllis.
- Belvedere (1906-1907, Bauersche Giesserei). An art nouveau / fin-de-siècle typeface that was digitally revived by Ralph M. Unger in 2020 as RMU Belvedere.
- Kolumbus and Kolumbus Eng (1905-1906, W. Gronau)
- Mercedes Antiqua, Kursiv and Antiqua Halbfett in 1904, 1905 and 1906 respectively, at Wilhelm Woellmer
- Trianon (1905, Bauersche Giesserei) and Trianon Licht (1909, Bauersche). For a digital revival, see Ralph Unger's RMU Trianon (2020), which under pressure from Production Type, was quickly renamed RMU Trifels.
- Phyllis (1911, Bauersche Giesserei): a clean old-fashioned rounded script font. Digital versions: Phyllis (Linotype), Phyllis (URW++), Phyllis EF (Elsner+Flake), Phyllis SB (Scangraphic Digital Type Collection), Phyllis FS (Fontsite), Philadelphia (Softmaker). This typeface is also called Wieynck Kursio or Wieynck Cursive.
- Wieynck-Fraktur (1912) and Wieynck-Fraktur Halbfett (1913), both at the Bauersche Giesserei. Revived in 2002 by Dieter Steffmann, who also made Wieynck Vignetten). Also revived commercially by Ralph M. Unger as Wieynck Fraktur (2019).
- Wieynck Gotisch (1926, Schriftguss; revived by Gerard Helzel in 2001; see also Wieynck Gotisch in 2018 by Ralph M. Unger), Wieynck Werkschrift (1930, Schriftguss), Wieynck Gotisch Licht (1929, Schriftguss)
- Wieynck Kanzlei (1926, D. Stempel)
- Wieynck Mediaeval (1928) and Wieynck Mediaeval Kursiv (1929), at Otto Weisert.
- Woellmer Antiqua (1907), Woellmer Kursiv (1907) and Woellmer Antiqua Halbfett (1908), all at Wilhelm Woellmer.
Klingspor Museum page
Type designers ⦿
Type designers ⦿
Blackletter fonts ⦿
German type scene ⦿
Dieter Steffmann ⦿