TYPE DESIGN INFORMATION PAGE last updated on Mon Oct 28 17:11:11 EDT 2024

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ABOUT

Ludwig&Mayer

Big German foundry active in the first half of the 20th century. It was absorbed by Neufville in 1984, which will make its typefaces available in digital form. Type designers and typefaces:

• House typefaces: Allemannia Fraktur (1908, or: Alemannia Fraktur; a digital revival in 2018 by Mew Varissara Ophaswongse), Allright (1936), Altenburger Gotisch (1928), Aristokrat Zierbuchstaben (1911: digital revival by Dieter Steffmann in 2002), Bastard Mediaeval, Beatrice (1931), Chic, Cochin (1922), Commerciale, Die Mode (1914-1915), Diplomat (1964, see the digital version Diploma by Hans van Maanen, 2009), Excelsior (1914, script face), Firmin Didot (1929), Hallo (1956), Kombinette (1932), Kupferplatte (1950), Largo (1939), Magnet (1951), Manolo (art nouveau: revival in 2019 by Ralph Unger as RMU Manolo), Nelson (1902, art nouveau), Wren, Samson Script, Luminous, Behrens. Kudos Kaps NF (2006, Nick Curtis) is a set of five nice ornamental caps and associated alphabet and border sets, including a Lombardic set, and an engraved set--they are based on typefaces from the Ludwig&Mayer library.
• Albert Christoph Auspurg: Rasse (1924), Mona Lisa (1930), Brigitte (1935), Krimhilde (1934)
• Hans Bohn: Allegro (1936-1937)
• Jakob Erbar: Erbar-Grotesk (1922-1930), Lucina, Lumina, Lux, Phosphor, Koloss (1923), Candida (1936, a mediocre didone family), Feder Grotesk (1910), Fette Feder Grotesk, Erbar
• Hace Frey: Charleston (1967, Alphonse Mucha-style display face)
• G. Germroth: Germroth-Deutsch (1935, blackletter)
• Erhard Grundeis: Achtung (1932)
• Karlgeorg Hoefer: Stereo (1968), Permanent (1962), Headline (1964), Elegance (1968), Big Band (1974)
• Walter Höhnisch: Tempo (1930), Werbeschrift Deutsch (1933), National (Fraktur, 1933-1934), Schräge National (1937), Skizze (1935, a script face), Stop (1939), Antiqua die Schlanke (1938-1939), Express (1952), Candida Italic (1937), Slender (1939)
• Heinrich Jost: Aeterna (or Jost Mediaeval, 1927)
• Walter Ferdinand Kemper: Colonia (1938-1939, a humanist sans)
• Wilhelm Krause: Professor-Krause-Fraktur (1930, blackletter)
• Paul Eduard Lautenbach: Prägefest (1926)
• Richard Ludwig: Augenheil (1908)
• Helmut Matheis: Charme (1957-1958, calligraphic), Slogan (1959, connected script), Primadonna (1956, a formal script), Matheis Mobil (1960), Compliment (1965, an angular vertical script)
• Joshua Reichert: Reichert-Gotisch (1930s).
• Imre Reiner: Contact (Deberny&Peignot, 1952; Ludwig&Mayer, 1968 (according to Jaspert), and 1963 according to others), Corvinus (ca. 1932), Stradivarius (1945)
• Lorenz Reinhard Spitzenpfeil: Welt-Fraktur (1910), Werk-Fraktur (1918)
• Alfred Riedel: Domino (1954: a fat face)
• Georg Schiller: Lyrisch (1907)
• Arthur Schulze: Werbekraft (1926)
• Ilse Schüle: Rhapsodie (1949-1951, bastarda)
• Johannes Schweitzer: Dominante (1959)
• Francesco Simoncini: Aster (or Aster Simoncini, 1958), Life (1965), Armstrong (1970), Simoncini Garamond (1961)
• K. Sommer: Dynamo (1930)
• Hans Wagner: Altenburger Gotisch (1928, Fraktur font), Welt (1931, slab serif), Wolfram (1930, a heavy upright italic).
• Eugen Weiss: Hoelderlin (1937-1938, blackletter)

EXTERNAL LINKS
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INTERNAL LINKS
Extinct 20th century foundries ⦿ German type scene ⦿ Art Nouveau typefaces ⦿ Ornamental caps typefaces ⦿ Lombardic types ⦿ Modern style [Bodoni, Didot, Walbaum, Thorowgood, Computer Modern, etc.] ⦿ Bastarda / Bâtarde / Schwabacher ⦿ Garalde or Garamond typefaces ⦿ Skyline Typefaces ⦿ Dieter Steffmann ⦿