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Many of Koch's blackletter typefaces, such as
Kochschrift and Willhelm Klingspor Gotisch, were greatly influenced by hand-written manuscripts and Gothic letterforms, a style that originated in Germany. Known also for his nationalistic ideology, he wrote in
180:, spending much of his time working on religious publications and manuscripts, of which he completed nearly a hundred in his lifetime. Koch viewed the alphabet as humanity's ultimate achievement. He died prematurely of a heart attack in 1934, aged 57.
215:. Koch prized craftsmanship in his type design and printing methods, a principle deeply rooted in the Arts and Crafts Movement. Yet Koch was working in a period of rapid development in print technology, which saw the invention of the
204:. Speaking at a meeting in London, he expressed his disbelief that Morris was not of German descent: "I feel such a closeness to him that I always have the feeling that he cannot be an Englishman, he must be a German."
363:, designed the same year. The differences between the two typefaces are most noticeable in Kabel's far-reaching terminal on the 'a' and the 'e', as well as the slanted crossbar and the loop of the 'g'.
1049:
collected, drawn and explained by Rudolf Koch ; translated from the German by Vyvyan
Holland. An unabridged republication of the English translation first published ... in 1930.
253:, wood-cutting, and other crafts. Best known for his calligraphic talent he built upon the calligraphic tradition by creating an original, simple expression from his materials.
192:
A postcard Rudolf Koch used to send when asked for a free sample of his art: "Lecken Sie mich am Arsch!" (German: "Kiss my arse!", literally "Lick me on the arse!" in formal
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261:, "Even as a boy I wanted to become a proper real German. I hated anything that was foreign, and even as I was growing up I felt this was a sign of true loyalty."
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which promoted hand lettering and calligraphy, and in these, he expressed the revival of traditional lettering. Koch worked closely with bookbinder
1945:
1101:
1019:
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
264:
Koch frequently defended
Germanic blackletter script in the journals and publications he contributed to. He also held exhibitions with his group
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typeface in 1923. Taking a more experimental turn, the typeface counterpoints his preferred traditional style with a more contemporary feel.
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are evident in Koch's use of hand-lettering and wood-cutting techniques. At the same time, his book illustrations are evocative of
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as an apprentice in a metal goods workshop, whilst also attending art school, where he learned to draw, and soon after went to the
275:
Koch's dedication to Gothic script may have limited his recognition in
English-speaking countries. His work was also part of the
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778:"Ignatz Wiemeler and his ingenious bindings. A highlight in the collections of the Klingspor Museum Offenbach"
1935:
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features inline capitals in the larger sizes, an idea inspired by the traditions of blackletter capitals.
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was a huge admirer of Koch, and took great inspiration from his work after acquiring a copy of his book
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109:(20 November 1876 – 9 April 1934) was a German type designer, professor, and a master of lettering,
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style that was popular at the time. In 1906, Koch began working for the
Rudhard Type foundry in
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Koch wrote a book containing 493 old-world symbols, monograms, and runes entitled
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149:. Between 1897 and 1906, he worked for various businesses in the book trade in
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463:]. Leipzig, Germany: Verlag des Deutschen Buchgewerbe-Verein. 1921.
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Klingspor-Museum
Offenbach, Museum for Modern International Book Art
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called it "unbearably ugly", despite its great commercial success.
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648:(4th ed.). New York, USA: John Wiley & Sons. p. 173.
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533:"Rudolf Koch. Calligrapher, Type Designer, Punch Cutter, teacher"
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756:(1st ed.). London, UK: The British Library. p. 125.
595:(1st ed.). London, UK: The British Library. p. 136.
967:(1st ed.). London, UK: The British Library. p. 92.
829:(1st ed.). London, UK: The British Library. p. 30.
231:
165:. Other notable designers who worked for the foundry include
142:
696:
Type. A Visual
History of Typefaces and Graphic Styles vol.2
673:(2nd ed.). Laurence King Publishing Ltd. p. 208.
620:. Amsterdam, the Netherlands: BIS Publishers. p. 13.
1109:
1075:
Type Design, Typography & Graphic Images -Rudolf Koch
992:. London, UK: Laurence King Publishing Ltd. p. 208.
314:
Koch's first non-blackletter typeface was the delicate
564:
Type: A Visual
History of Typefaces and Graphic Styles
304:
Das
Schreiben als Kunstfertigkeit (Writing as a Skill)
879:. New York, USA: John Wiley & Sons. p. 325.
121:. Commonly known for his typefaces created for the
639:
637:
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1912:
153:, illustrating and designing book covers in the
727:(4th ed.). John Wiley & Sons. p.
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227:in 1907, all of which were antithetical to his
510:. London, UK: Thames and Hudson. p. 172.
449:Some of Koch's most well known works include:
1095:
965:Rudolf Koch. Letterer, Type Designer, teacher
827:Rudolf Koch. Letterer, Type Designer, teacher
754:Rudolf Koch. Letterer. Type Designer, teacher
593:Rudolf Koch. Letterer, Type Designer, teacher
91:Non-blackletter fonts designed by Rudolf Koch
537:Type Design, Typography & Graphic Images
245:, he opened a workshop training students in
1102:
1088:
698:. Cologne, Germany: TASCHEN. p. 19.
125:, his most widely used typefaces include
1070:Klingspor-Museum Offenbach - Rudolf Koch
782:Association of European Printing Museums
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187:
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141:Koch spent his teenage years working in
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1946:Olympic competitors in art competitions
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397:Koch Antiqua / Locarno (1922), sold by
176:Koch was deeply spiritual and a devout
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437:Wilhelm Klingspor-Schrift (1920–1926)
16:German type designer and calligrapher
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373:Deutsche Anzeigenschrift (1923–1924)
366:Typefaces designed by Koch include:
13:
530:
14:
1957:
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456:Das Schreiben als Kunstfertigkeit
1022:. New York: Dover Publications.
723:Meggs' History of Graphic Design
646:Meggs' History of Graphic Design
207:The teachings of Morris and the
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355:, in 1927, which is similar to
147:Academy of Fine Arts, Nuremberg
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440:Zeppelin / Kabel Inline (1929)
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1941:People from Offenbach am Main
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241:in Offenbach. In 1918, after
802:"Typography and Calligraphy"
413:Maximilian Antiqua (1913–17)
376:Deutsche Schrift (1908–1921)
309:
59:typeface designer, professor
7:
1165:Christian Heinrich Kleukens
1065:Font Designer - Rudolf Koch
618:Graphic Design 20th Century
506:Masini, Lara-Vinca (1984).
379:Deutsche Zierschrift (1921)
298:Pictorial Archive Series).
294:(reprinted in 1955, in the
136:
10:
1962:
1796:Friedrich Christian Delius
694:Purvis, Alston W. (2013).
644:Meggs, Philips B. (2006).
616:Purvis, Alston W. (2003).
562:Purvis, Alston W. (2013).
347:Koch introduced his first
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877:History of Graphic Design
875:Meggs, Philip B. (2011).
719:Meggs, Philip B. (2006).
77:
63:
55:
43:
28:
21:
1412:Hans Magnus Enzensberger
990:History of Modern Design
963:Cinamon, Gerald (2000).
825:Cinamon, Gerald (2000).
752:Cinamon, Gerald (2000).
671:History of Modern Design
669:Raizmann, David (2010).
591:Cinamon, Gerald (2000).
401:in the United States as
382:Grotesk-Initialen (1933)
209:Arts and Crafts Movement
988:Raizman, David (2010).
1931:Artists from Nuremberg
929:Tracy, Walter (2003).
905:"Overlooked Typefaces"
416:Neufraktur (1933–1934)
239:Arts and Crafts School
197:
163:Klingspor Type foundry
123:Klingspor Type Foundry
103:
92:
1812:Sibylle Lewitscharoff
1572:Wolfdietrich Schnurre
1436:Wolfgang Hildesheimer
1348:Marie Luise Kaschnitz
470:(The Little ABC Book)
237:Koch lectured at the
200:Koch greatly admired
191:
184:Career and influences
161:, later known as the
98:
90:
1936:German calligraphers
1716:Friederike Mayröcker
1596:Friedrich DĂĽrrenmatt
1297:Elisabeth Langgässer
1213:Nikolaus Schwarzkopf
935:. pp. 153–173.
903:(10 February 2011).
566:. Cologne, Germany:
543:on December 10, 2000
445:Notable publications
410:Marathon (1930–1938)
370:Claudius (1931–1934)
285:1928 Summer Olympics
266:Offenbach Schreiber,
102:fonts by Rudolf Koch
1884:Emine Sevgi Ă–zdamar
1460:Helmut HeiĂźenbĂĽttel
1112:Georg BĂĽchner Prize
488:(Classic Lettering)
486:Klassiche Schriften
482:(The Book of Signs)
407:Koch Current (1933)
1396:Hans Erich Nossack
1133:Arnold Mendelssohn
1110:Recipients of the
531:Fabian, Nicholas.
461:Writing As A Skill
388:Jessen (1924–1930)
336:Koch designed the
198:
104:
93:
1908:
1907:
1748:Brigitte Kronauer
1420:Ingeborg Bachmann
1257:Hans Schiebelhuth
1217:Johannes Lippmann
1189:Richard Hoelscher
1181:Johannes Bischoff
932:Letters of Credit
886:978-0-471-69902-6
705:978-3-8365-4480-1
577:978-3-8365-4480-1
476:(The Flower Book)
292:The Book of Signs
223:in 1887, and the
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539:. Archived from
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468:Das ABC-BĂĽchlein
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425:Offenbach (1928)
399:Continental Type
217:Linotype machine
81:Offenbach School
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480:Das Zeichenbuch
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281:art competition
270:Ignatz Wiemeler
221:Monotype System
194:imperative mood
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1788:Reinhard Jirgl
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1700:Arnold Stadler
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1652:Peter RĂĽhmkorf
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1201:Carl Zuckmayer
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1129:Adam Karrillon
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1059:External links
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909:Print magazine
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680:978-0131842663
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570:. p. 19.
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474:Das Blumenbuch
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277:painting event
202:William Morris
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64:Known for
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51:(aged 57)
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1900:Oswald Egger
1852:Terézia Mora
1836:Marcel Beyer
1708:Volker Braun
1676:Sarah Kirsch
1660:Adolf Muschg
1620:Botho StrauĂź
1612:Albert Drach
1548:Christa Wolf
1532:Hermann Lenz
1524:Reiner Kunze
1492:Peter Handke
1428:GĂĽnter Grass
1273:Anna Seghers
1193:Well Habicht
1156:
1145:Paul Thesing
1048:
1041:. Retrieved
1018:
1014:Koch, Rudolf
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541:the original
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385:Holla (1932)
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323:display face
319:Koch-Antiqua
313:
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300:Hermann Zapf
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259:Der Deutsche
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225:offset press
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167:Otto Eckmann
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119:illustration
106:
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49:(1934-04-09)
1926:1934 deaths
1921:1876 births
1892:Lutz Seiler
1604:Erich Fried
1580:Ernst Jandl
1564:Peter Weiss
1476:Uwe Johnson
1380:GĂĽnter Eich
1356:Karl Krolow
1157:Rudolf Koch
1141:Alfred Bock
948:19 December
508:Art Nouveau
434:(1925–1934)
422:(1922–1923)
394:(1927–1929)
357:Paul Renner
325:with a low
251:calligraphy
243:World War I
213:Art Nouveau
155:Art Nouveau
111:calligraphy
107:Rudolf Koch
23:Rudolf Koch
1915:Categories
1844:Jan Wagner
1388:Paul Celan
1372:Max Frisch
1306:Since 1951
1241:Adolf Bode
1229:Hans Simon
1205:Adam Antes
901:Shaw, Paul
811:2021-02-08
787:2021-02-08
547:14 October
493:References
351:typeface,
349:sans-serif
247:typography
115:typography
35:1876-11-20
1452:Golo Mann
1324:not given
1249:not given
1247:1933–1944
1119:1923–1950
855:Olympedia
310:Typefaces
229:artisanal
159:Offenbach
1868:Elke Erb
1016:(1955).
327:x-height
178:Lutheran
137:Overview
78:Movement
860:26 July
568:Taschen
420:Neuland
338:Neuland
331:oblique
283:at the
279:in the
151:Leipzig
127:Neuland
100:Fraktur
68:Neuland
1043:25 May
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329:. Its
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392:Kabel
353:Kabel
316:roman
296:Dover
232:ethos
143:Hanau
131:Kabel
72:Kabel
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1889:2023
1881:2022
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1239:and
1234:1932
1227:and
1222:1931
1215:and
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1203:and
1198:1929
1191:and
1186:1928
1179:and
1174:1927
1167:and
1162:1926
1155:and
1150:1925
1143:and
1138:1924
1131:and
1126:1923
1045:2021
1034:OCLC
1024:ISBN
994:ISBN
969:ISBN
950:2016
937:ISBN
916:2015
881:ISBN
862:2020
831:ISBN
758:ISBN
733:ISBN
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675:ISBN
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622:ISBN
597:ISBN
572:ISBN
549:2014
512:ISBN
321:, a
173:.
169:and
129:and
117:and
44:Died
29:Born
729:173
403:Eve
359:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
