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Gudrun Zapf von Hesse releases her first digital typeface, aged 100

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Date
4 January 2018
A typographic layout on a white background featuring blue and red text. It reads “Gudrun Zapf von Hesse”, “2. Januar 1918”, “Antiqua 2018” and the number “100”.
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Gudrun Zapf von Hesse: Hesse Antiqua

To mark her 100th birthday on Tuesday 2 January, lettering artist and bookbinder Gudrun Zapf von Hesse has released her first digital typeface, Hesse Antiqua. The typeface is now available at Fontshop.

Gudrun Zapf von Hesse found a job with the Bauer Type Foundry in Frankfurt just after the Second World War, although her interest in lettering had been sparked much earlier by calligraphers such as Edward Johnston and Rudolf Koch. She developed her alphabet during her time in Frankfurt, where she punch cut the letters onto wooden handles and used them for title lettering on leather book covers and spines. The first book to use Hesse Antiqua was the anniversary book of Georg Hartmann’s 75th birthday in 1946. 70 years later, after innovating her initial alphabet, Gudrun can add digital typeface designer to her list of accomplishments.

“This is a transformation of the Hesse Antiqua from a lettering alphabet into a typeface” explains Ferdinand Ulrich, the typographer who helped Gudrun Zapf von Hesse digitise her alphabet. Through close collaboration, Gudrun and Ferdinand worked to fashion a modernised font that remained true to the original letters. “A great challenge immediately arose in its various appearances in different circumstances,” says Ferdinand Ulrich. From initial drawings to golden hand-stamps, the font had repeatedly changed over time. Yet the finalised digital format manages to retain the alphabet’s initial warmth. The letters are uppercase with rounded off strokes that maintain the font’s tenderness, while the typeface also includes some of the ornaments from Gudrun Zapf von Hesse’s original brass punches like the triple-leafed branch. This has beautifully preserved the font’s distinct character.

Hesse Antiqua is available in capital letters, small caps, figures and several ornaments. Ferdinand Ulrich advises not to use the font smaller than 36 point and recommends it for a variety of projects from book jackets to contemporary editorial design covers and posters.

A red poster with white text and small leaf illustrations. The text reads “DER NACH TI GALLEN BAUM” and “GZvH”.
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Gudrun Zapf von Hesse: Hesse Antiqua

White serif text on a blue background reads “We the peoples of the United Nations determined to save succeeding generations from the scourge of war”. The text continues to describe regaining faith in fundamental human rights and the dignity of the human person.
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Gudrun Zapf von Hesse: Hesse Antiqua

A typographic specimen showing a serif typeface in blue, black and red. The letters of the alphabet are paired with the names “Darmstadt”, “Hessen”, “Potsdam”, “Weimar” and “Zapf von Hesse”, separated by small floral ornaments.
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Gudrun Zapf von Hesse: Hesse Antiqua

The uppercase alphabet from “A” to “Z” is printed in a clean, black serif typeface. The letters are set in a single line across a textured, off-white paper background.
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Hesse Antiqua: photograph by Norman Posselt, from the collection of Gudrun Zapf von Hesse

A white card features a tree shape formed from small gold leaves. Gold text is integrated into the foliage, reading “Der Nachtigallenbaum”.
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Hesse Antiqua: photograph by Norman Posselt, from the collection of Gudrun Zapf von Hesse

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About the Author

Daphne Milner

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Daphne has worked for us for a few years now as a freelance writer. She covers everything from photography and graphic design to the ways in which artists are using AI.

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