Printer, publisher, typographer, Bertram Schmidt-Friedrichs
was infected with the “typovirus” 30 years ago, and now his specialist books continue to spread it around the world. As German Liaison Chairman of the Type Directors Club of New York
for the past 20 years, he has done his best to ensure that German designers get their fair share of “typography Oscars”. Bertram Schmidt-Friderichs works with Karin Schmidt-Friderichs towards making typography a standard school subject. His dream is a kind of “typographical driver’s license” for the keyboard.
To my mind the finest “designer font”, especially in the original prints. Nobody did it better!
In the 1980s, it delivered us from the dominance of cool Helvetica
. And although now a little overexposed, it remains one of the most balanced sans-serif fonts.
A strong Roman typeface with a distinctive character and an italic font of unmatched elegance.
What more does one really need for book printing? With its small capitals and semi-bold fonts, it is unequivocally superior to Times
in terms of beauty.
Even my selection cannot get by entirely without the no-nonsense directness of the Swiss: Univers
is more moderate than Helvetica
and more modern than Akzidenz Grotesk
Probably not a typeface that will last the next 100 years, but among contemporary fonts it is the one to which I am most attached.
If there’s going to be a historical sans-serif, it has to be the English queen!
The mother of modern sans-serif typefaces is still a cut above most of her imitators.
The seriffed elegance of the 19th century can still be put to excellent use today.
As a representative for a whole type class: a red letter day for blackletter typefaces, so that we have something to set at Christmas!
A special mention
goes to Futura
, a favourite of the 1980s. But I don’t want to swap it for any of my Top Ten at the moment. Maybe tomorrow. Luckily I don’t have to limit myself to ten.