A font which defines a
style of the early 20th Century. Inspired in the hybrid alphabet which Peter
Behrens developed in 1901/2.
His first typeface saw the light in 1901 (having been
developed in 1899), engraved by the Klingspor foundry.
It was named
Behrens Schrift, and was severe and narrow, an attempt to merge the
Fraktur and Latin letter styles.
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Deeply involved in the debate on art, technique and society,
Peter Behrens was convinced that the activity, immediately after architecture,
that "supplies the most characteristic image of an era and the strongest
testimony of its spiritual progress" was printing.
The problem of the printing reform and the design of
characters was one of the issues that most involved Behrens at the beginning of
the 20th century, his aim being to "find a new type, suited to contemporary
sensations and style", characterised by "simplicity and legibility", because,
to use his words "we need a character with a serious style for serious books:
only then will we be able to transfer this lofty style into everyday life".
In Von der Entwicklung der Schrift, the note
presenting the specimen, Behrens warns that "a new character can only be
developed organically and almost imperceptibly from tradition, only in harmony
with the new spiritual and material concepts of the present age".
In 1903, Behrens moved to Düsseldorf, to direct the
school of applied arts, where he held a course on the design of letters three
times (repeated later in Berlin in 1909), aided by Fritz Ehmcke and Anna Simons
(student of the 20th centurys greatest calligrapher, Edward Johnston, who
Behrens tried to engage as a teacher) and then in 1909, also with Anna Simons,
Behrens traced the inscription Dem Deutschen Volk, positioned on the Reichstag
by Paul Wallot only in 1917, after much discussion.
Behrens second typeface, the elegant and fluid Behrens
Kursiv (narrow and bold relation of the Schrift) was produced by Klingspor in
1907, the year in which the Werkbund was formed, is a
fundamental date in Behrens career, as Emil Rathenau appointed him
artistic director of Aeg, for which he designed the character Behrens Antiqua
(1908), produced by Klingspor, initially used exclusively by AEG: inspired by
ancient classical proportions, with monumental afflatus and uncial variations.
Behrens last typeface produced by Klingspor, the
Behrens Mediäval, saw the light in 1914 (the same year as the exhibition
of the Werkbund in Cologne, for which Behrens also designed a splendid Plakat):
conceived in 1906-07 and elaborated in 1909-13, is a character of renaissance
inspiration, with certain idiosyncrasies in the terminations.
- Uma fonte OpenType, um
único formato para Mac e Windows.
- Na versão digital aqui apresentada, os glifos
foram completados com todos os diacríticos e também com uma
extensa colecção de ligaduras típicas das formas de letra
- Além da versão Regular, apresenta-se
igualmente uma versão Book, para compôr textos corridos com