Ehrhardt (typeface)

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Ehrhardt (typeface)_table_infobox_0

EhrhardtEhrhardt (typeface)_table_caption_0
CategoryEhrhardt (typeface)_header_cell_0_0_0 SerifEhrhardt (typeface)_cell_0_0_1
ClassificationEhrhardt (typeface)_header_cell_0_1_0 Old-style

DutchEhrhardt (typeface)_cell_0_1_1

Designer(s)Ehrhardt (typeface)_header_cell_0_2_0 Nicholas KisEhrhardt (typeface)_cell_0_2_1
FoundryEhrhardt (typeface)_header_cell_0_3_0 Monotype CorporationEhrhardt (typeface)_cell_0_3_1
Date releasedEhrhardt (typeface)_header_cell_0_4_0 1938, 1680sEhrhardt (typeface)_cell_0_4_1
Design based onEhrhardt (typeface)_header_cell_0_5_0 JansonEhrhardt (typeface)_cell_0_5_1
VariationsEhrhardt (typeface)_header_cell_0_6_0 Fleet TitlingEhrhardt (typeface)_cell_0_6_1

Ehrhardt is an old-style serif typeface released by the British branch of the Monotype Corporation in 1938. Ehrhardt (typeface)_sentence_0

Ehrhardt is a modern adaptation of printing types of "stout Dutch character" from the Dutch Baroque tradition sold by the Ehrhardt foundry in Leipzig. Ehrhardt (typeface)_sentence_1

These were cut by the Hungarian-Transylvanian pastor and punchcutter Miklós (Nicholas) Tótfalusi Kis while in Amsterdam in the period from 1680 to 1689. Ehrhardt (typeface)_sentence_2

From 1937 to 1938, Monotype re-cut the type for modern-day usage, and it has become a popular book typeface. Ehrhardt (typeface)_sentence_3

Ehrhardt has a slightly condensed design, giving it a strongly vertical, crisp appearance. Ehrhardt (typeface)_sentence_4

Historical background Ehrhardt (typeface)_section_0

Miklós Kis, a Transylvanian Protestant pastor and schoolteacher, became deeply interested in printing after being sent to Amsterdam to help print a Hungarian Protestant translation of the Bible. Ehrhardt (typeface)_sentence_5

This was a period of considerable prosperity for the Netherlands and a time when its styles of printing were very influential across Europe, making it a centre for the creation of new typefaces. Ehrhardt (typeface)_sentence_6

He developed a second career as a punchcutter, an engraver of the punches used as a master for making moulds for metal type, working on commission for printers and governments. Ehrhardt (typeface)_sentence_7

Kis returned to Transylvania around 1689 and may have left matrices (the moulds used to cast type) in Leipzig on his way home. Ehrhardt (typeface)_sentence_8

The Ehrhardt type foundry of Leipzig released a surviving specimen sheet of them around 1720. Ehrhardt (typeface)_sentence_9

Kis's typefaces were in the tradition of Dutch and German printing developed over the previous century that would later be called the "Dutch taste" (goût hollandois), a term originating from the writings of Pierre Simon Fournier in the next century. Ehrhardt (typeface)_sentence_10

This developed the influence of French typefounding such as the typefaces engraved by Claude Garamond with a smooth, even structure and 'e' with a level cross-stroke, by increasing the stroke width, boosting the x-height (height of lower-case letters) and reducing the length of the descenders to achieve a noticeably darker colour on the page. Ehrhardt (typeface)_sentence_11

Kis's surviving matrices were first acquired by Stempel, and are now held in the collection of the (Museum of Printing), Darmstadt. Ehrhardt (typeface)_sentence_12

They were earlier often called the Janson designs, after the Dutch printer Anton Janson, based in Leipzig, who it was once believed might have created them, and Linotype's revival of the same designs in a less condensed form accordingly is named Janson. Ehrhardt (typeface)_sentence_13

Kis's identity as the maker of the typefaces was rediscovered by comparison with type from Hungarian archive sources (including an autobiography) on which his name was identified. Ehrhardt (typeface)_sentence_14

Modern history Ehrhardt (typeface)_section_1

Monotype's development of Ehrhardt took place under the influence of executive and historian of printing Stanley Morison, not long after their successful creation of Times New Roman. Ehrhardt (typeface)_sentence_15

It began from a recognition that the Janson designs were well-respected by fine printers of the Arts and Crafts period such as Daniel Berkeley Updike, who could print books from them using hand-set type cast from surviving original matrices owned by the Stempel company of Germany. Ehrhardt (typeface)_sentence_16

Morison had discussed what he knew of their history with Updike in their extensive correspondence from the 1920s onwards. Ehrhardt (typeface)_sentence_17

Modernised versions of the Janson designs for hot metal printing were being created by Linotype and Monotype's American branch at the same time. Ehrhardt (typeface)_sentence_18

In addition, Morison was interested in the history of printing in Leipzig, a centre of the German book trade, and would later write an article on the topic. Ehrhardt (typeface)_sentence_19

Ehrhardt's development took place following a series of breakthroughs in printing technology which had occurred over the last fifty years without breaking from the use of metal type. Ehrhardt (typeface)_sentence_20

Pantograph engraving had allowed punches to be precisely machined from large plan drawings. Ehrhardt (typeface)_sentence_21

This gave a cleaner result than historic typefaces whose master punches had been hand-carved out of steel at the exact size of the desired letter. Ehrhardt (typeface)_sentence_22

It also allowed rapid development of a large range of sizes with the same consistent style of letter in all of them, although in fact the design was adjusted to produce a clear image at different sizes, for instance by widening the letters and spacing and increasing the x-height. Ehrhardt (typeface)_sentence_23

In addition, hand printing had been superseded by the hot metal typesetting systems of the period, of which Monotype's was one of the most popular (in competition with that of Linotype's). Ehrhardt (typeface)_sentence_24

Both allowed metal type to be quickly cast under the control of a keyboard, eliminating the need to manually cast metal type and slot it into place into a printing press. Ehrhardt (typeface)_sentence_25

With no need to keep type in stock, just the matrices used as moulds to cast the type, printers could use a wider range of fonts and there was increasing demand for varied typefaces. Ehrhardt (typeface)_sentence_26

Artistically, meanwhile, the preference for using mechanical, geometric Didone letterforms introduced in the eighteenth and nineteenth centuries was being displaced by a revival of interest in "old-style" serif fonts developed before this, a change that has proved to be lasting. Ehrhardt (typeface)_sentence_27

At the same time, hot metal typesetting had imposed new restrictions: in Monotype's system (while less restrictive than Linotype's), in order to mechanically count the number of characters that could be fitted on a line, letters could only be certain widths, and care was needed to produce letters that looked harmonious in spite of this. Ehrhardt (typeface)_sentence_28

Monotype developed a revival of the Ehrhardt typefaces using a rediscovered specimen sheet as a source, while simultaneously also working on Van Dijck, a revival of the work of Christoffel van Dijck (d. 1669), a slightly earlier Dutch Baroque punch-cutter. Ehrhardt (typeface)_sentence_29

Ehrhardt's original working title was 'Old Holländische', according to veteran Monotype designer Robin Nicholas. Ehrhardt (typeface)_sentence_30

Developed by the Monotype drawing office team in Salfords, Surrey, led by Fritz Steltzer, the project veered away from a purely faithful revival towards a denser, more condensed design. Ehrhardt (typeface)_sentence_31

This differentiated it from the other Janson revivals on the market. Ehrhardt (typeface)_sentence_32

Nicholas commented "I think it was Morison's take on Janson - made a little heavier and narrower to give improved legibility and economy." Ehrhardt (typeface)_sentence_33

Typesetting expert Yannis Haralambous wrote of being told by a Monotype manager that the typeface was designed particularly for sale in Germany "to appeal to those who have a weakness for Fraktur" (blackletter or 'Gothic' typefaces, still very popular in Germany in the 1930s). Ehrhardt (typeface)_sentence_34

In its dense design it may be able to complement blackletter well, and Morison in his article on Leipzig printing suggested that this might have been a motivation behind the original's design style. Ehrhardt (typeface)_sentence_35

Ehrhardt's technical production followed Monotype's standard method of the period. Ehrhardt (typeface)_sentence_36

The characters were drawn on paper in large plan diagrams by the highly experienced drawing office team, led and trained by Steltzer, who Monotype had recruited from the German printing industry. Ehrhardt (typeface)_sentence_37

The drawing staff who executed the design was disproportionately female and in many cases recruited from the local area and the nearby Reigate art school. Ehrhardt (typeface)_sentence_38

A wax-copy was made from these drawing, the wax-copy was used to produce a lead plate with the design. Ehrhardt (typeface)_sentence_39

These plates were then used as a plan for machining metal punches to stamp matrices in the Benton-pantographs. Ehrhardt (typeface)_sentence_40

It was Monotype's standard practice at the time to first engrave a limited number of characters and print proofs from them to test overall balance of colour on the page, before completing the remaining characters. Ehrhardt (typeface)_sentence_41

The finished design was first displayed in Monotype's journal, the Monotype Recorder, in 1938 with an unsigned blurb in what Carter would later call "the accents of Morison". Ehrhardt (typeface)_sentence_42

Morison's article on the history of printing in Leipzig would later be typeset in it and it was also used to set a festschrift on his work after his death. Ehrhardt (typeface)_sentence_43

Distinctive features Ehrhardt (typeface)_section_2

Distinctive features of Ehrhardt include an 'A' with gently curving bar matching the centre-link of the 'B', a wide 'T' with spreadeagled serifs on either side and a 'b' with no foot on the left. Ehrhardt (typeface)_sentence_44

In italic the 'J' has a crossbar, the 'w' has sharp reverse curves towards the top and left, and the 'v' has a flourish on the left. Ehrhardt (typeface)_sentence_45

The face has high stroke contrast (difference between thick and thin strokes) by the standards of most old-style serif fonts. Ehrhardt (typeface)_sentence_46

In order to allow compact line spacing, descenders were kept reasonably short. Ehrhardt (typeface)_sentence_47

Reception Ehrhardt (typeface)_section_3

Ehrhardt attracted considerable attention on its initial release; Monotype's publicity material blurbed it as "in the opinion of some authorities, the most important new book face since Times New Roman". Ehrhardt (typeface)_sentence_48

However Ehrhardt remains considerably less well-known than many of Monotype's other classic serif designs of the interwar period, such as Times, Perpetua, Garamond or Bembo. Ehrhardt (typeface)_sentence_49

Harry Carter (who with George Buday made the modern attribution to Kis) wrote that "the letters of Monotype Ehrhardt are like those of the Janson, but the appearance of a page set in it is different. Ehrhardt (typeface)_sentence_50

The Janson is more rotund and has greater contrast of thick and thin." Ehrhardt (typeface)_sentence_51

Writing in the 1970s, Carter had misgivings about the condensation, saying that it came close to turning Kis's work into an "accurate drudge" but that "it is a successful type-face". Ehrhardt (typeface)_sentence_52

He also suggested that some condensed typefaces made by Kis and sold to the Ducal printing establishment in Florence might have made for a more authentic model. Ehrhardt (typeface)_sentence_53

Printing historian James Mosley's review of Morison's memoir, A Tally of Types, described the original metal type as "crudely drawn" compared with some earlier Monotype designs, and suggested that this was due to a change in works management at Monotype with the retirement of head engineer Frank Hinman Pierpont. Ehrhardt (typeface)_sentence_54

Notable books set in Ehrhardt include the Oxford World's Classics series, the New English Bible, the Pelican Shakespeare, the Penguin 60s and Hugh Williamson's textbook Methods of Book Design. Ehrhardt (typeface)_sentence_55

It has also been used by Faber and Faber and The Iconic magazine. Ehrhardt (typeface)_sentence_56

An extremely rare infant variant of the typeface also exists, which can be seen in the American edition of the book Hey! Ehrhardt (typeface)_sentence_57

Get off Our Train by John Burningham. Ehrhardt (typeface)_sentence_58

Extensions Ehrhardt (typeface)_section_4

Monotype later created a bold and bold italic (called a semi-bold in some digitisations) to match the roman and italic of the original release. Ehrhardt (typeface)_sentence_59

(True bold type did not exist in Kis's time.) Ehrhardt (typeface)_sentence_60

Released in 1967, Fleet Titling was a capitals-only alphabet intended to serve as a companion for titling use. Ehrhardt (typeface)_sentence_61

It was created by Monotype's occasional collaborator John Peters, a Cambridge University Press designer who also worked as a private printer. Ehrhardt (typeface)_sentence_62

Monotype used it for their logo and letterhead. Ehrhardt (typeface)_sentence_63

More oddly, Monotype in the 1960s used Ehrhardt as a base for printing in the Initial Teaching Alphabet. Ehrhardt (typeface)_sentence_64

This alphabet system, intended to be used to teach children to read, used alternative characters for different sounds spelled with the same letter, like t's and c's dropped below the baseline of the text. Ehrhardt (typeface)_sentence_65

Digitisations and alternative versions Ehrhardt (typeface)_section_5

Monotype has digitised Ehrhardt into the TrueType and OpenType font formats. Ehrhardt (typeface)_sentence_66

It is sold in standard and professional releases, some releases including text figures and small caps (in the roman style only). Ehrhardt (typeface)_sentence_67

Like several other Monotype typefaces digitised in the early period of computerised publishing, it is sold under two releases credited both to Monotype itself and to Adobe, the latter only in the standard version without small caps. Ehrhardt (typeface)_sentence_68

Fleet Titling and the Initial Teaching Alphabet version have not been digitised. Ehrhardt (typeface)_sentence_69

Inspired by Ehrhardt, type designer and lawyer Matthew Butterick created a revival called Equity, praising its "satisfying heft and authority". Ehrhardt (typeface)_sentence_70

This design was inspired by his experiences of office needs from working as a lawyer; it was created for sale with separate grades designed to suit different types of paper and printers, and separate small caps fonts (in regular and bold) intended for use in Word. Ehrhardt (typeface)_sentence_71

Font Bureau also created the very large revival family Kis. Ehrhardt (typeface)_sentence_72

Unlike other digitisations, this has been released in optical sizes, with a separate display-size font intended for headlines. Ehrhardt (typeface)_sentence_73

It is used by the Los Angeles Times but (as of 2015) has not been released for online sale. Ehrhardt (typeface)_sentence_74


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Ehrhardt (typeface).