Designed 1930–38 by Arno Drescher for Schriftguss AG, Dresden,
in response to Futura. In
1950, just before Schriftguss was merged into VEB Typoart, it was
recut for Linotype matrices as Super Buchgrotesk.
Napoli is a copy with added
Futura-like alternates for ‘AMNV’, shown by
De
Luca in three weights, plus italics. Accompanied by two
condensed weights without alternates, named Capri (=
Super-Grotesk schmalmager) and Ischia (=
schmalhalbfett) [post-1952 specimen].
In the 1980s, Typoart commissioned Karl-Heinz Lange to revise
Super-Grotesk for phototype, adding new extreme
weights.
PTL
Superla (primetype, 2009) is an expansion by Ole Schäfer
with Lange’s input. Typoart
Super Grotesk (Elsner+Flake, 2009) is based on the
phototype version, too. FF Super
Grotesk (FontFont, 1999; used for the sample) and
Drescher More…
Designed 1930–38 by Arno Drescher for Schriftguss AG, Dresden, in response to Futura. In 1950, just before Schriftguss was merged into VEB Typoart, it was recut for Linotype matrices as Super Buchgrotesk.
Napoli is a copy with added Futura-like alternates for ‘AMNV’, shown by De Luca in three weights, plus italics. Accompanied by two condensed weights without alternates, named Capri (= Super-Grotesk schmalmager) and Ischia (= schmalhalbfett) [post-1952 specimen].
In the 1980s, Typoart commissioned Karl-Heinz Lange to revise Super-Grotesk for phototype, adding new extreme weights.
PTL Superla (primetype, 2009) is an expansion by Ole Schäfer with Lange’s input. Typoart Super Grotesk (Elsner+Flake, 2009) is based on the phototype version, too. FF Super Grotesk (FontFont, 1999; used for the sample) and Drescher Grotesk (Bitstream, 1999) stay closer to the metal version. RMU Gong (RMU, 2020) is a digital interpretation of the schmalfett.
