Tobias-D. Albert
2.) LL Blankenhorn - Development / 1st starting point
Through a friend, I started working for @lineto_com on LL Blankenhorn in 2014. Lineto was looking for a designer who knew something about calligraphy as well as type design. With my interest in both fields, we found each other.
The basis for the work on LL Blankenhorn was above all the cover letterings by Fritz Blankenhorn, with which he shaped the covers of the best-selling author Johannes Mario Simmel (1).
Presumably because the editions of Simmel's books of his time were becoming larger and larger and the books had to be produced in different formats, Fritz Blankenhorn made himself a simple typesetting font for the phototypesetting of these covers (2).
Even before the title letterings for Simmel, the Deutsche Bücherbund published the Blankenhorn-designed edition of Frisch's "Homo Faber" in 1957 - my favourite cover (3).
You can still find Simmel's novels in any trashy German antiquarian bookshop (4).
In addition to his work as a graphic designer, or closely related to it, Blankenhorn wrote a book about his experiences as a Russian prisoner of war during the Second World War. Unlike my own grandfather, who was also a Russian prisoner of war, Blankenhorn had been lucky in the camp in Siberia and had even been able to practice his profession as a poster painter there (5).
Picture 2 and 4 by Cornel Windlin.
2.) LL Blankenhorn - Development / 1st starting point
Through a friend, I started working for @lineto_com on LL Blankenhorn in 2014. Lineto was looking for a designer who knew something about calligraphy as well as type design. With my interest in both fields, we found each other.
The basis for the work on LL Blankenhorn was above all the cover letterings by Fritz Blankenhorn, with which he shaped the covers of the best-selling author Johannes Mario Simmel (1).
Presumably because the editions of Simmel's books of his time were becoming larger and larger and the books had to be produced in different formats, Fritz Blankenhorn made himself a simple typesetting font for the phototypesetting of these covers (2).
Even before the title letterings for Simmel, the Deutsche Bücherbund published the Blankenhorn-designed edition of Frisch's "Homo Faber" in 1957 - my favourite cover (3).
You can still find Simmel's novels in any trashy German antiquarian bookshop (4).
In addition to his work as a graphic designer, or closely related to it, Blankenhorn wrote a book about his experiences as a Russian prisoner of war during the Second World War. Unlike my own grandfather, who was also a Russian prisoner of war, Blankenhorn had been lucky in the camp in Siberia and had even been able to practice his profession as a poster painter there (5).
Picture 2 and 4 by Cornel Windlin.