influences modern
on
the
sans-serif
Rudolf Koch influences modern
on
the
sans-serif
CHELSEA HILL
Copyright © 2017 Chelsea Hill Essay copyright © 2017 Chelsea Hill Library of Congress Catalog Number: x000111000 ISBN: 1-000000-xx-0
01 b i o g r a p h y 03
introduction
INFLUENCES EARLY LIFE LIFE AS A TYPE DESIGNER LIFE AS A TEACHER
type description All rights reserved. No part of this book may be reproduced in any form
CLASSIFICATION
or by any electronic or mechanical means without written permission of
CHARACTERISTIC COMPARISON
the publisher and author except for brief quotations in reviews of critical
THE GRID SYSTEM
articals. Published in 2017 by Typography III Typography III produces books related to the history of type design.
07
11 t e c h n o l o g y 13 u s e 15
challenges and needs
REFINEMENTS Printed in the United States of America Distributed by CRH Publishers,
HOW IT’S USED
conclusion
17
Baltimore, MD.
CONTENTS
introduction 1
While typography started its roots in calligraphy, it has developed into a communicative platform for those of all languages. Type designers have studied and developed letterforms to develop their own appropriate typeface for a particular project, or effective communication.1 An original typeface is
1 Tomisa, M, D Vusic, and M
created with a purpose. The overall design is thought out and developed to
Milkovic. “The Impact Of
deliver a message through visual format and effective communication.
The Historical Development Of Typography On Modern Classification Of Typefaces”
The sans-serif movement started around the end of the first Word War. Modernism in twentieth-century typography was considered to be in its ‘heroic’ period. The center and meeting ground for an international exchange of experiments and ideas resided in Germany.2 Rudolf Koch’s approach towards creating a modern typeface was a response to this phenomenon.
Technicki Viesnik- Technical Gazette 20, no. 5 (n.d.): 905. 2 Kinross, Robin. Modern typography : an essay in critical history. (London : Hyphen Press, 2004), 103.
From working primarily with blackletter and calligraphic typography during his professional career, he felt a need to create a typeface more universal, to be translated in other languages other than German, therefore creating a sans-serif. Rudolf Koch’s typeface, Kabel, challenges the more Germanic nature of his craftsmanship and previous works by introducing a geometric sans-serif typeface. Used to woodblock cut-outs and use of a broad-edged pen, Koch’s handwriting qualities of his previous works alter his contribution of a more modern geometric design, resulting in developing a typeface with some humanist characteristics.
INTRODUCTION
biography 3
INFLUENCES Rudolf Koch (Figure 1) was born on November 20th, 1876 in Nüremberg Germany, which had been one of the first great centers for printing. Greatly influenced by William Morris (Figure 2), a craftsman and creator of the Kelmscott Press and admirer of the Arts and Crafts Movement, Koch worked with many different mediums. There was a very strong English influence in German fine printing towards the first decades of the century.3 Koch acknowledges the close relation and inspiration of Morris by later claiming that Morris must have been German.4 He worked primarily with a broad-edge pen, but also worked with some examples of the middle age, using wood-cuts and metals. All his works were done by hand and nothing
3 Carter, Sebastian. Twentieth century type designers. (Aldershot, Hampshire : Lund Humphries, 2002), 58. 4 Cinamon, Gerald. Rudolf Koch : letterer, type designer,
was left to the machine. Koch did a lot of work in book design like Morris,
teacher. (New Castle, Del. :
and considers himself to be more of a craftsman and had a secret love for
Oak Knoll Press ; London :
painting. Morris is a man of many parts and finds his inspiration through perfect craftsmanship.5 Working as a medievalist using ink on parchment, or using woodblocks. Using biblical texts often, he works to apply letterforms to other surfaces such as book bindings, woven, and embroidered materials. He is respectively one of the most influential figures in modern calligraphy, rekindling interest in creating work inspired by the middle ages.
British Library, 2000), 97. 5 McLean, Ruari. Typographers on type : an illustrated anthology from William Morris to the present day. (New York : Norton, 1995), 3. 6 Carter, Sebastian. Twentieth century type designers.
EARLY LIFE His father, Paul Koch, was a sculptor and inspector of museums, died
(Aldershot, Hampshire : Lund Humphries, 2002), 58.
when Koch was just the young age of ten. By age sixteen Koch took an Figure 1: Portrait of Rudolf Koch
apprenticeship under one of his father’s former business friends and family friend as a metal worker near Offenbach and Frankfurt.6 During his time there, he studied at an art school developing hand-crafted metal-chasing. It was then that he developed an interest to become an artist, but never completed his fourth-year apprenticeship. Koch knew metal-chasing was not something he wanted to do, so instead he returned to Nüremberg to study to become an art teacher/educator at the Nüremberg arts and crafts Figure 2: Portrait of William Morris
school. His time here didn’t last long, and after three semesters he left to teach drawing in Munich.
BIOGRAPHY
This re-occurring theme continues when he decides to drop out of Munich
5
not want to educate calligraphers but human beings.”11 Kochs teachings 7 Wronker, Lili, "{Rudolf Koch:
after two semesters because he didn’t feel welcomed by the tenured faculty.
and works mainly became a career not for money, but for gratitude.
After leaving, in 1898 he decided to seek employment in a lithographic
His classrooms became overcrowded and went against his belief of
printing house in Leipzig, working as a draftsman and painter.7 Here in
a close relationship between student and teacher. Knowing he still
Leipzig he also worked with various printers and binders. It wasn’t until
wanted that relationship with each of his students, he was able to convert
8 I bid, 5.
1902 that he decided to continue work as a freelancer. In 1903, he married
his studio in the school into a workshop where he would work with a
9 Ibid
students.12
the daughter of Adolf Koch (no relation.) Adolf Koch was a printer of copper
few handpicked
One of his students, Fritz Kredel, writes
engravings. Rudolf Koch said that marrying Rosa was one of the most
about the type of teacher, and overall human Koch was. He expressed
sensible things he has ever did in his life. Around the time of his marriage
his conversations with Koch as one that would leave an everlasting
was around the time he started to create his first letterforms, experimenting
impression. Kredel also gives us a visual of what it’s like to be a part of
with a broad pen and becoming a master of calligraphic styles.
one of his more private classrooms saying the workshop was a place of youthful abandon.13 After attending classes under the teachings of Koch,
LIFE AS A TYPE DESIGNER
Kredel was now involved in a work partnership. With his laid back idea of
Kochs first influence in creating letterforms started when he saw a picture
working for gratitude, Koch and Kredel never needed anything more than
in the magazine Jugend.8 He didn’t know about letterforms other than
a verbal agreement regarding financial arrangements.14 Many of the flower
what they appeared to be in various types of prints, such as newspapers
illustrations (Figure 3) were done by Koch, but woodcut by Kredel. They
and magazines. He moved to Offenbach in 1906 to take a position at the
continued to work together on many future works.
4 article special section}." Letter Arts Review 13, no. 1 (April 1996): 3.
10 Wronker, Lili, "{Rudolf Koch: 4 article special section}." Letter Arts Review 13, no. 1 (April 1996): 6. 11 Ibid 12 Wronker, Lili, "{Rudolf Koch: 4 article special section}." Letter Arts Review 13, no. 1 (April 1996): 8. 13 Ibid, 9. 14 Ibid, 11.
Rudhardsche Type Foundry, and what changes its name to the Klingspor Foundry. Koch was hired as a type designer here at the age of 30, and continued to study and develop typefaces throughout the rest of his life. Overtime he has created and produced over twenty type designs.9 LIFE AS A TEACHER In 1908, he started his teaching career at the Offenbach School of Arts and Crafts where he would teach a graphic arts and lettering class. There was a time in 1915 when Koch was drafted into the German army to serve in World War I. He described his experience in the war as an experience he could not Figure 3: Woodcut illustrations done by Rudolf Kochs student and partner, Fritz Kredel.
describe in words.10 He expressed how it changed him, and others noticed that a different man returned. He spent some time in a military hospital before returning several months later in 1918 to return to his normal life and teaching his classes at Offenbach. Teaching became something very special to him. Koch wrote to a friend, “I am nothing but an educator. Of course I do
BIOGRAPHY
type description
i j?! .
e e Kabel
Figure 6: Use of the diamond dot in the font "Kabel"
Futura
Figure 4: Lower-case letter 'e' comparison
CHARACTERISTIC COMPARISON
Kabel was created by German type designer Rudolf Koch and released
One of the major differences seen in Koch’s Kabel is the horizon bar on the
through the Klingspor foundry. It was released in 1927, along with other
lower-case ‘e.’ (Figure 4) The bar is angled shifting your eye up towards the
san-serif typefaces during its time. Paul Renner’s “Futura” was one of those
next character. Looking at Futura, you will notice the bar being parallel with
typefaces, released the same year and swept the boards in terms of sales
the baseline. This isn’t the only unusual angle used throughout this typeface.
and perfectly catching the ‘modern’ mood in which these san-serif typefaces
Another difference is seen throughout the angles at the ends of the stems,
were created for.15 German type designers mainly used hand-setting, taking
ascenders, and descenders. (Figure 5) The angles don’t allow the text to
them longer to adapt to modern mechanical composition.16 Many German
fully sit on the baseline. This may cause the font to look a little lighter and not
fonts were blackletter because this was the standard script used in German
as base heavy as Futura. When examining the capital letters in this typeface,
printing up until the early 1940’s. Monotype or Linotype machines were
we see some influences from Kochs early drawings in his book The Book
costly and could not be supported by overseas sales. Any new typefaces
of Signs. These symbols were a collective of carvings, inscriptions, and
that were created were heavily influenced by roman lettering, resulting in a
manuscripts. The very first symbol seen in this collective book is the
century type designers.
hybrid of both roman and blackletter since combining black-letter lowercase
signature diamond dot (Figure 6) seen throughout Kabel in the lowercase
(Aldershot, Hampshire :
with Romanized capitals greatly helped the non-German reader to read texts
‘i’ and ‘j’, as well as the period and other punctuations. The dot is described
in his types.17 This can be considered a German outbreak from the book, to
to be the origin from which all signs start, and is their innermost essence.18
17 Ibid, 59.
new sans-serif letterforms with new means of reproduction.
Many strokes in the collection of these symbols have the angled cut stems,
18 Koch, Rudolf. The book of
an obvious characteristic transferred when creating this typeface. When it
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
AFHKMNR
7
ITC KABEL
15 Cinamon, Gerald. Rudolf Koch : letterer, type designer, teacher. (New Castle, Del. : Oak Knoll Press ; London : British Library, 2000), 119. 16 Carter, Sebastian. Twentieth
Lund Humphries, 2002), 57.
signs, which contains all manner of symbols used
CLASSIFICATION
comes to Kabels lowercase b, d, p, and q, the counters are all identical, but
Kabel is classified under the modern-geometric category of Maximillien
there is a strange difference in the lowercase ‘b.’ The b’s stem never reaches
to the Middle Ages by
Vox’s ATypI system. Because Futura was released during the same time and
the baseline. Instead, the stroke continues to complete the circular form.
primitive peoples and early
has similarities to Kabel, it too is also considered a geometric typeface. The
The two-story lowercase g has a break in its counter and no traditional link
qualifications to a geometric typeface are very simple. The faces are formed
between the two parts that make up the letterform.
from the earliest times
Christians. (New York, Dover Publications, 1955?), 1.
and constructed using simple geometric shapes like circles, squares, and rectangles. The characters themselves seem to be wider because of the use of these shapes and show little variation between characters. Having little variation also means having the same stroke width. The counters within these letterforms are so rounded and circular, that there is absolutely Figure 5: ITC Kabel alphabet and examples of all capital letters
no stress created. Humanist and Transitional typefaces tend to have more stress and relates to a handwriting quality. With similar stroke weights and widths, what makes Kabel still so different to that of Futura?
TYPE DESCRIPTION
8
THE GRID SYSTEM Koch’s original design was sketched out using a grid system. (Figure 7) The way the letter forms are sketched on his grid, resemble that to the symbols created for The Book of Signs. There appears to be marks similar to a serif typeface, but are never executed into the final version of his letterforms. Other than the narrower upper-case letterforms such as B, D, and K, the grid system appears to use four identical square quadrants. Constructing the letterforms this way allowed him to limit the variation in his design in attempts to create something more geometric. One difference seen between the sketches and the final product are the counters in the upper-case B. The final typeface design shows a slight size difference between the counters, Figure 7:  Geometric, square grid system Koch used to form his ideas for the letterforms that soon became the typeface 'Kabel'
as well as wider counters that look more completed when placed next to the other characters of the alphabet.
TYPE DESCRIPTION
challenges and needs 11
Koch had been so invested in the Germanic nature of design, creating a sans-serif typeface that could be used universally was his biggest challenge to overcome. Although German expressionism was the dominant art movement in central Europe during the period of the first World War,19 (Figure 8) he needed to break away from his thoughts on disliking foreign ideas, and create a sans-serif that would become universally recognized. It wasn’t until the Modernist movement did Koch make a statement on
19 Wronker, Lili, "{Rudolf Koch: 4 article special section}." Letter Arts Review 13, no. 1 (April 1996): 13. 20 Cinamon, Gerald. Rudolf
globalization and the rapidly changing world through his art. Even he
Koch : letterer, type designer,
believes that he didn’t quite achieve what he intended. He expressed his
teacher. (New Castle, Del.
thoughts on the overall process of creating Kabel by stating: ‘I was very tempted by the exercise of using a compass and
: Oak Knoll Press ; London : British Library, 2000), 119-121.
straight-edge to create a typeface since, because of my lively interest in type form, I otherwise end up with very personal solutions, and I hoped for once to be free of this. People always think I am looking for a personal style but this is not true; I avoid it whenever I can but not with any success. And I have not succeeded here either. Maybe that is why this typeface has not been given the same recognition as others [other sans-serifs] in Germany because it projects a character in contrast with the spirit of the current style.’20 (Rudolf Koch in a letter dated 30 July 1931, quoted in J. Rodenberg, 1940, p.109; tr.HJvS)
This statement is a response to the high success of Paul Renner’s Futura, and the moderate sales from his own, Kabel. Each letterform must be near exact in order to be considered a successful geometric typeface. Koch’s sketch Figure 8: Rudolf Koch: Das Leben einer Familie in Schattenbildern. Koch playing at war, February 1915.
proves to be consistent, but the final product has slight variations between letterforms, and more humanist characteristics then a geometric sans-serif should have.
CHALLENGES AND NEEDS
technology 13
In most of Koch’s typographic works he sticks to the blackletter tradition. In 1922, he would release himself from the expressionist woodcuts and never return. It was only until 1923 that he develops a typeface using a new technique. Separating himself from the woodcuts into a practical printers type; the result was his typeface Neuland 21 (Figure 9). This bold, simplistic design is what inspired the idea of cutting punches which is the initial stage in producing a metal piece of type. As his first attempt at punch cutting, he did not stretch his skills too far.22 The technique still resembled his
21 Cinamon, Gerald. Rudolf Koch : letterer, type designer, teacher. (New Castle, Del. : Oak Knoll Press ; London : British Library, 2000), 92.
handwritten typefaces and even had similarities to the Oskar Kokoschka Poster from 1908 (Figure 10). Many could argue this was inspiration for
22 Carter, Sebastian. Twentieth century type designers.
Neuland. Koch felt a need to reach beyond blackletter tradition, and needed
(Aldershot, Hampshire :
to move forward in a new direction. This is considered innovative for Koch
Lund Humphries, 2002), 58.
since many of his typefaces are created using a broad quill pen or made from cutting out of woodblocks. Kabel was developed, as stated previously, using a compass and straight edge. When it came to the development of Kabel, Koch kept in mind that he would have to create multiple variations apart from the few different stroke widths that he created with the original typeface. From 1928-1931, he created two other variations of the sans-serif typeface, both being a display font. The first of the two was Prisma (Figure 11), using fine parallel lines but not including the same angled stems seen in the original typeface. An obvious display font considering Prisma is only available in all capitals. Zeppelin (Figure 12), a shadow of Kabel, still using the same characteristics as the original make of the typeface, but incorporating a cast shadow to give the text more depth. This version is seen in both uppercase and lowercase letterforms.
Figure 9: Typeface 'Neuland' used in one of Koch's poster designs
Figure 11: Kochs typeface 'Prisma'
Figure 12: Kochs typeface 'Zeppelin'
Figure 10: Oscar Kokoschka poster 'Kokoschka' from 1908 said to be inspiration for Kochs typeface 'Neuland' TECHNOLOGY
use
Figure 13: A version used on the Monopoly game board.
REFINEMENTS
HOW IT’S USED
The original release of Kabel had a total of four different font weights, not
Although it’s not the most popular or widely used geometric sans-serif,
including his decorative versions “Prisma” and “Zeppelin.” These weights
Kabel has shown up in many different medias over time. Mainly seen
included Light, Medium, Bold, and Heavy. As the stroke weights become
throughout many logo treatments or titling in TV shows and movies, Kabel
heavier, the angled stems become smaller and eventually disappear,
works best as a display typeface. A few examples of where Kabel is used
resulting the typeface to sit directly on the baseline. This creates even more
is the main logo treatment seen in the board game Monopoly (Figure 13).
variation between stroke weights. The Klingspor Foundry which originally
Other than the black drop shadow that’s added behind the font, we still
owned the typeface was bought out by the Stempel Foundry in 1956. To
notice the same angles and rounded counters that give this logo personality
this day, Linotype continues to sell the Typeface digitally. The only other
without any added changes to the characters itself. Its humanist character-
two foundries that have released a new version of this typeface are the
istics are what help make the typeface stand out or become more appealing
ITC (International Typeface Corporation), and Neue Kabel by Marc Schütz.
to other geometric sans-serifs due to how unique it is. Relating back to the
ITC Kabel, released in 1975 is well known. The changes made deal with
typefaces competitor, Futura, these humanist qualities are what make it a
the increased x-height as well as an edition of more font weights. Neue
much more successful display text. The newest Google logo (Figure 14)
Kabel which was release more recently in 2016 made changed to the ITC
uses a typeface that closely resembles Futura with its geometric forms.
version in decreasing the x-height between the original first release, and the
The stroke weight and overall width of the characters are very similar. One
International Typeface Corporations release.
major difference in this logo is the borrowed lower case ‘e’ from Kabel.
15
When overlapped they almost resemble each other perfectly (Figure 15). Whether the designer took inspiration from Kabel or not is unknown, but using this humanist characteristic in the last letterform makes the logo and the company more inviting.
Figure 14: Illustration of what the Google logo looks like on a popular interface used by many people on a daily basis.
Figure 15: An outline of the lowercase 'e' in the typeface 'Kabel', overlapping the Google logo to show comparison.
USE
conclusion 17
Although Koch had used various new methods aside from a calligraphy pen and woodblocks, one of his last works done in 1933 (Figure 16) reintroduces us to the German gothic style woodblock typography he is known for. Even the people in Germany today still say his work was too nationalistic and too religious. He died in 1934 after suffering from leukemia at the young age of 58. He was never worried about his work being carried on and after his death, and once he died the workshop had fallen apart.23
23  Wronker, Lili, "{Rudolf Koch: 4 article special section}."
Over the entirety of his career as a craftsman he was successful. Although
Letter Arts Review 13, no. 1 (April 1996): 23.
unable to beat the sales and popularity of other type designs, he influenced many inspiring calligraphers and craftsman during his time. Koch himself may have thought to be unsuccessful in his idea of creating a sans-serif typeface that would be used internationally, but did not realize the success it has had as a display text for many different projects. His calligraphic influence on typefaces cause Kabel to be considered a geometric humanist hybrid, resulting in a more universal typeface today.
Figure 16:  One of Kochs last works created in 1933, referencing back to his beginning style of woodblock typography and religious imagery.
CONCLUSION
bibliography 19
BOOKS Carter, Sebastian. Twentieth century type designers. n.p.: Aldershot, Hampshire : Lund Humphries, 2002., 2002. Cinamon, Gerald. Rudolf Koch : letterer, type designer, teacher. n.p.: New Castle, Del. : Oak Knoll Press ; London : British Library, 2000., 2000. Kinross, Robin. Modern typography : an essay in critical history. n.p.: London : Hyphen Press, 2004., 2004. Koch, Rudolf. The book of signs, which contains all manner of symbols used from the earliest times to the Middle Ages by primitive peoples and early Christians. n.p.: [New York] Dover Publications [1955?], 1955. Lange, Wilhelm, and Hermersdorf, Martin. Rodolf Koch, ein Deutscher Schreibmeister. [Berlin], [Leipzig], [Verlag für schriftkunde Heintze & Blanckertz], [1938?] McLean, Ruari. Typographers on type : an illustrated anthology from William Morris to the present day. n.p.: New York : Norton, 1995., 1995. ARTICLES "{Rudolf Koch: 4 article special section}." Letter Arts Review 13, no. 1 (April 1996): 2-26. Art Abstracts (H.W. Wilson) Tomisa, M, D Vusic, and M Milkovic. “The Impact Of The Historical Development Of Typography On Modern Classification Of Typefaces.” Technicki Viesnik- Technical Gazette 20, no. 5 (n.d.): 905-911.
BIBLIOGRAPHY
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