Started life as an untitled (?) Zierschrift at
Berger in Leipzig. After Gustav
Reinhold bought Berger [in 1890], he had the design expanded
and named it Favorit-Grotesk. Continued by Berthold under that name [Reynolds].
Other sources credit Wagner & Schmidt in 1900 with the design
[Wetzig 1926–40].
Also sold by Berling, Roos &
Junge (as Carola-Grotesk), Krebs (as Excentric), Augusta (as Hermes), FTF (as
Pittoresques droites), and Stempel (as Reklame modern mager, or
Magere moderne Reklame) [Reichardt 2011]. Artist’s
Grotesque (Caslon, wood type) [c.1900
specimen] might be related, too.
For an inclined version, see Hansa-Kursiv.
See also the similar Japonia (Woellmer) and Spleen-Script (Poppelbaum).
Digital interpretations include Harold Lohner’s
Boomerang (1998), Dieter Steffmann’s More…
Started life as an untitled (?) Zierschrift at Berger in Leipzig. After Gustav Reinhold bought Berger [in 1890], he had the design expanded and named it Favorit-Grotesk. Continued by Berthold under that name [Reynolds]. Other sources credit Wagner & Schmidt in 1900 with the design [Wetzig 1926–40].
Also sold by Berling, Roos & Junge (as Carola-Grotesk), Krebs (as Excentric), Augusta (as Hermes), FTF (as Pittoresques droites), and Stempel (as Reklame modern mager, or Magere moderne Reklame) [Reichardt 2011]. Artist’s Grotesque (Caslon, wood type) [c.1900 specimen] might be related, too.
For an inclined version, see Hansa-Kursiv.
See also the similar Japonia (Woellmer) and Spleen-Script (Poppelbaum).
Digital interpretations include Harold Lohner’s Boomerang (1998), Dieter Steffmann’s Hansa (1999), and George Thomas’s Pendula (2014).
