Also called Chinesische Antiqua. Designed for use
in Latin-script texts set together with text in Chinese characters,
by Chinese calligrapher Yü
Bing-nan (1933–2020) while studying at the Leipzig Academy
(HGB) in 1960. A trial was cut at the HGB by Otto Erler and cast at Typoart, in 9pt and 28pt sizes. [Reynolds]
[ARTypes]
The typeface was used for the book Mao Zhuxi Shici
(Leipzig, 1962), but probably remained unreleased commercially.
Bing-nan also made drawings for an italic. It’s unclear whether it
was produced. The type at HGB’s print workshop was melted down.
[Wilhelm per email]
Digitized by Ari
Rafaeli as Freundschafts-Antiqua AR (ARTypes,
before 2010, used for sample) together with the italic
Freundschafts-Kursiv in two variants. Another
digitization is Bingnan Antiqua (Elsner+Flake, 2009?, roman only).
Freundschafts-Antiqua Neue is a revision and
expansion by More…
Also called Chinesische Antiqua. Designed for use in Latin-script texts set together with text in Chinese characters, by Chinese calligrapher Yü Bing-nan (1933–2020) while studying at the Leipzig Academy (HGB) in 1960. A trial was cut at the HGB by Otto Erler and cast at Typoart, in 9pt and 28pt sizes. [Reynolds] [ARTypes] The typeface was used for the book Mao Zhuxi Shici (Leipzig, 1962), but probably remained unreleased commercially. Bing-nan also made drawings for an italic. It’s unclear whether it was produced. The type at HGB’s print workshop was melted down. [Wilhelm per email]
Digitized by Ari Rafaeli as Freundschafts-Antiqua AR (ARTypes, before 2010, used for sample) together with the italic Freundschafts-Kursiv in two variants. Another digitization is Bingnan Antiqua (Elsner+Flake, 2009?, roman only).
Freundschafts-Antiqua Neue is a revision and expansion by Roman Wilhelm and Zheng Chuyang (3type) started in 2017, in six (roman) weights plus a sans-serif variant, devised to support Latin incl. Vietnamese and Hanyu Pinyin, Cyrillic, and (Uyghur) Arabic. As of 2025, it is work in progress.
