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Fleischmann

Designed by Johann Michael Fleischmann in 1739, DTL Fleischmann (1992, by Erhard Kaiser for the Dutch Type Library) is a true revival of this baroque face. Ingo Preuss writes: The impressive re-interpretation of the Fleischmann Antiqua and the corresponding italics by Erhard Kaiser from Leipzig, which were done for the Dutch Type Library from 1993 to 1997, snatched Fleischmann away from being forgotten by history.

Ingo Preuss himsel;f created Fleischmann Gotisch PT in 2004. He explains: The other fonts by Fleischmann are only known to a small circle of connoisseurs and enthusiasts. So far they are not available in adequate quality for modern systems. Same applies the Fleischman Gotisch, which has been made available cross platform to modern typeset-systems as CFF Open Type font through the presented sample. The Fleischman Gotisch has been proved to be one of the fonts, on which Fleischmann spent a good deal of his best effort; this font simply was near to his heart. Between 1744 and 1762 he created 13 different sizes of this font. All follow the same principles of forms, but their richness of details has been adapted to the particular sizes. In later times the font was modified more or less sensitive by various type founderies; letters were added, changed to current taste or replaced by others; so that nowadays a unique and binding mastercopy of this font is missing. Likewise the name of the font underwent several changes. Fleischmann himself probably never named his font, as he did with none of his fonts. By Enschedé this textura was named Nederduits, later on Nederduitsch. When the font was offered by the German type foundry Flinsch in Frankfurt/Main, the more convenient name of Fleischmann-Gotisch was chosen. In his "Masterbook of the font:" and his "Abstract about the Et-character" Jan Tschichold refered to it as Duyts again. To honour the genious of Johann Michael Fleischmann we decided to name the writing Fleischmann Gotisch PT(unhyphenated). Developing the digital Fleischman Gotisch I decided not to use one of the thirteen sizes as binding mastercopy, but corresponding to the typical ductus of the font to re-create an independent use of forms strongly based on Fleischmann´s language of forms. All ascenders and descenders were standardised. Some characters, identified as added later on, were eliminated (especially the round lower case-R and several versions of longs- respectively f-ligatures) and others were adjusted to the principles of Fleischmann. Where indicated the diverse characters were integrated as alternative. They can be selected in the corresponding menu. All for the correct German black letter necessary longs and other ligatures were generated.

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