TYPE FOUNDRY STEREO MASTER FULL

The first sketches of his typeface » Stereo« found in his papers was dated 19557. Hoefer's experiment with typefaces forms and spatial representation began very early on. Stempel AG and appropriately named » Zebra«. The areas that should be grey were made from cross hatched lines: The typeface was released by D. The optical effect of this typeface was completely new and different, but how should the grey be produced? The punch cutters of D. Hoefer's most unusual type face was probably his experiment with a brush face which he designed as a partly black and partly grey drawing. This display type became famous under the name » Headline«. There were of course alternate letters with descenders, although they required additional leading by the hot metal typesetter. This typeface had no descenders in its primary character set, meaning that the g, j, p, q and y were so compressed that they it in a line with no further leading. In addition he also designed Permanent Headline with Headline outline. Permanent light 1971, regular 1962, italic 1967, bold 1962, black 1962, condensed 1967, black condensed 1967, light extended 1979, regular extended 1963, bod extended 1963, extra bold 1967. The weights were drawn and finished in the following order: Like Univers or Folio, Permanent is based on transitional forms.

TYPE FOUNDRY STEREO MASTER FULL

The typeface was called » Permanent« and over a ten year period, Karlgeorg Hoefer developed it into a full family. Sometime before 1962, Ludwig and Mayer commissioned from Hoefer the design of a new austere sans serif typeface family. Stempel AG and appeared in 1957 as » Prima«. He designed an italic roman written with a broad nibbed pen and with only one weight: The typeface was cut by the Klingspor Type Foundry and produced by D. The Diesterweg publishing house commissioned Hoefer to develop a new typeface for the German foreign school primer. This typeface could even be used in small point sizes. Like Salto, it had a spirited, brush like character, but narrower space saving forms. Stempel AG came out with a new display typeface called » Monsun«.

This typeface was never produced commercially. In addition, he designed a further variation, Saltarello, with the caps of Salto and new, larger lower case letters. At the request of the type foundry Klingspor, Karlgeorg Hoefer developed a narrower set of capitals to match the lower case forms, and this type face was produced in 1954 as » Saltino«. The capitals are extremely broad and the lower case letters are in contrast, very narrow. The type face is recognized today as the embodiment of type face design from the 1950s. He produced this type face with the name » Salto« in 1952. The expressive forms of his first type face are reminiscence of brush strokes and they impressed Karl Klingspor, the owner of the Klingspor Type Foundry (Schriftgiesserei Klingspor) in Offenbach.

His first hot metal type face developed from a piece of his writing done with the broad nib Brause 505, his own invention, with this nib he could produce broad, thick strokes as well as extremely thin lines. This talent was noted as a particularly well-developed skill in the recommendation from his apprenticeship. He wrote with the fountain pen and during his apprenticeship in the Rauhen Haus in Hamburg, he missed no opportunity to write out signs and certificates. This anecdote shows how early his fascination for type and printing began to develop. He saved his forst pocket money to buy his own fountain pen and his own calling card. As a joung boy in Hirschberg, Silesia, my father was fascinated by the local stationary shop and its attached printing shop.

Type foundry stereo master