was not a fan of “mechanised graphics”, as he derogatively described Paul Renner’s
work (see Futura, #5 in this list) for example. But he was a supporter of modernisation, and so he accepted the trend towards constructed typefaces. In the autumn of 1926, he drew an alphabet that he christened Kabel
. It took its name from a contemporary symbol of technological progress, the transatlantic telecommunications cable.
Koch enthusiasts had little use for Kabel. But others who found the prevalent linear Roman fonts too cold were glad to use it. Koch
succeeded, with minimal means such as proportioning and a variable configuration of width and spacing, in creating a sans-serif font with an individual charm.
Kabel in a 1927 type sample by the Klingspor type foundry