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MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: ITC Galliard RomanHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSNEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFFind further Font Features in our Font Feature Archive.FONT OF THE WEEKFONT LOUNGEMY FAVORITESThe Lifestory ofHermann ZapfI’ve been asked to tellyou about myself andmy types. My storybegins in Nuremberg,where I was born on 8November 1918.Those were turbulentdays. On the day I wasborn, a workers’ andsoldiers’ council tookpolitical control of thecity. Munich and Berlinwere rocked byrevolution. The warended, and the Republicwas declared in Berlinon 9 November 1918.The next day KaiserWilhelm fled to Holland.To add to the chaos,the Spanish flu tookhold of Europe in 1918and 1919. It isestimated to have killedsome 20 million people,more lives than werelost by Germany and theAllies put togetherduring the First WorldWar. Two of my siblingsdied in the flu epidemicof 1918.The school yearsThen famine hitGermany, reaching itspeak in 1920. In 1925my mother was relievedto send me to school,where I received aQuaker meal each day,a program organized byHerbert Hoover, wholater became Presidentof the USA.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMDuring my school yearsI was primarilyinterested in technicalsubjects. The librarian inmy local library wassurprised by all thethings I wanted to read.One of my favoritebooks was the annual"Das neue Universum"("The New Universe"),which was a wonderfulway of acquaintingoneself with all thelatest inventions anddiscoveries.One of the things I didduring those years wasto build a detectorradio, otherwise knownas a crystal set,together with mybrother, who was fouryearsmy senior. At night welistened to the radiounder the bedclothes. Ofcourse we had to keepSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

all our antics a secretfrom our parents. Toensure that we could dowhat we liked withoutbeing found out, we setup various warningsystems in the house with door handlecontacts and the like,low voltage of course.Our master systemworked perfectly,sounding a warning bellin the cellar as soon asthe garden gate wasopened. This went onuntil the day my fatherdiscovered the wireswhilst digging in thegarden.Even during those earlyyears, I was alreadygetting involved withtypes. I invented thestrangest forms ofsecret writing to enableus to exchangeinformation. They weresome kind of crossbetween Germanic runesand Cyrillic, and couldonly be deciphered ifyou knew the code. Thiswas around 1930. Mydespairing mother couldnot make head nor tailof them. That’s over 70years ago now, and Isuppose they constitutedmy first alphabeticcreations.When I left school in1933 my ambition wasto become an electricalengineer. But in early1933 my father becameunemployed and he hadterrible trouble with thenew regime. Prior to1933 my father hadbeen too involved withthe unions and in Marchof that year he wassent to the campDachau for a short time.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Snell Roundhand ScriptHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGEMY FAVORITESNEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory ofHermann ZapfFONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSFirst Step intoLetteringGiven the new politicalcircumstances, I was notallowed to attend theOhm Technical Institutein Nuremberg. Not until30 years later in theUSA was I able to fulfillthe dreams of my youthwith computertechnology.So I had to find anapprenticeship. Since Iwas good at drawing,my teachers -who wereaware of our politicalproblems - suggestedthat I should become alithographer. It was 10months later, in 1934,before I found anapprenticeship.Every time I went foran interview, I wasasked political questions.I was told that theyliked my work, butcouldn’t take me on.The last company in thetelephone directory wasthe only one that didn’task me any politicalquestions. They too saidthat my work was good,but they didn’t dolithography and didn’tneed an apprenticelithographer.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMInstead, they said Icould become aretoucher, and couldstart on the followingMonday. I acceptedstraight away, andrushed home on mybike to consult thedictionary and find outwhat a retoucher was.And so I became aretoucher, starting my4-year apprenticeship inFebruary 1934.In 1935 there was anexhibition in theNorishalle in Nurembergin memory of theNuremberger RudolfKoch (1876-1934). Hepassed away on 9 April1934. It was at thisexhibition that I firstbecame interested inlettering. I boughtKoch’s book "DasSchreiben alsKunstfertigkeit" ("TheArt of Writing") and atextbook about letteringby Edward Johnston,"Writing andIlluminating, andLettering". Using theseSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

two books, I taughtmyself calligraphy athome using a broadedged pen. I studiedhistorical examples inthe Nuremberg citylibrary.It didn’t take longbefore my masterdiscovered that I wasgood at calligraphy.After that I was mainlygiven letteringretouching work to doand often had to workovertime improving mycolleagues’ retouchingwork. I rarely got homebefore 8 p.m. Myparents were angry butof course they couldn’tdo anything about it.When it came to takingthe journeyman’sexamination at the tradecorporation in 1938, myfather said I shouldrefuse to sit it because Iwas made to do somany other tasks duringmy apprenticeship. In atime when absoluteobedience wasparamount, such adecision would havecaused a lot ofproblems. It wasunthinkable to dootherwise.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Linotype Arab Stroke LightHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGEMY FAVORITESNEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory ofHermann ZapfFONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSFigure 1From Nuremberg toFrankfurtOn the day I finishedmy apprenticeship, Ihanded in my noticeand a few days laterwent to Frankfurt without a journeyman’scertificate. I wouldn’thave stood a chance ofgetting a work permitfor another company inNuremberg. They couldcheck up on everythingusing the so-calledlabor-book thateveryone had to have.In Frankfurt I went tothe "Werkstatt Hauszum Fürsteneck", whichwas run by Paul Koch,son of Rudolf Koch. TheHaus zum Fürsteneckwas a beautiful buildingdating from around1360. It stood on theWeckmarkt corner ofthe Fahrgasse. It wascompletely destroyedduring the 1944 airraids on Frankfurt.Most of my time therewas spent in typographyand writing songbooks. Ilearned a lot during mytime at the WerkstattHaus zum Fürsteneck.All my colleagues werespecialists covering awide range of subjects.One of the hallmarks ofPaul Koch was hismusical notation printingon the manual press.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMIt was through the printhistorian Gustav Morithat I first came intocontact with the D.Stempel AG typefoundry and LinotypeGmbH in Frankfurt. Itwas for them that Idesigned my firstprinted type in 1938, afraktur type called"Gilgengart".On 1 April 1939 I wascalled up to reinforcethe Siegfried Lineagainst France nearPirmasens. I wasn’tused to the hard labor,my hand being skilled inthe use of a brushrather than a heavyspade. After a fewweeks I developed hearttrouble and was sent tothe writing room. ThereI wrote out the camprecords and sportscertificates in my bestSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

fraktur letters (seeFigure 1).In early September1939, when war hadbroken out and theentire unit was to betaken into theWehrmacht, I wasinformed thatunfortunately, due tomy heart complaint, Iwas not going to betransferred, but wouldbe dismissed. I was notat all sad about this, itwas my comrades whowere sad about havingto stay at the Frenchborder. But again on 1April - this time in 1942and not an April fool’sjoke in sight - thePrussians summoned meto do my bit for the wareffort. They were notsending me to theairforce, for which I hadbeen selected, butinstead to the artilleryin Weimar. That’s justthe way it is in thearmy.I had problems with mysuperiors from day one.During training I oftenconfused my left andmy right, a problemwhich I still have today.To make matters worse,I was over-cautious andvery clumsy with mygun. I soon had theofficers in a state ofdespair and brought apremature end to mycareer in the artillery.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: F2F Czykago TransHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGENEWSMY FAVORITESSUPPORTCOMPANYGo to Font FeaturesFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFBack to Font Feature ArchiveThe Lifestory of Hermann ZapfAt the Cartographic Unit in the ArmyI was no longer welcome on the parade ground. Iwas first sent back to the office and then toJüterbog to train as a cartographer. From there Iwent to Dijon and then on to Bordeaux to thestaff of the 1st Army.FONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSFigure 1In Bordeaux I drew secret maps of Spain,especially of the railway networks, from Irun onthe French border near Biarritz down to La Lineain southern Spain. The plan was to conquerGibraltar from the land side using heavy railwayartillery. But Franco, that sly fox, mistrusted his"friend" Adolfo and only used narrow gauge tracksto repair the railway bridges destroyed during thecivil war. Of course these tracks were of no useto the mighty railway artillery.I was quite happy in the cartography unit. Butthese backup units were forever being combed foryoung soldiers who could be commissioned. Wecalled it "stealing heroes". Being only 25 yearsold, my turn eventually came. But my officer inthe cartography unit was anxious to keep me, andsang the praises of my special skill for drawingmaps of Spain. While he was speaking, I took afine brush and wrote out the general’s namewithout glasses or a magnifying glass. He took aclose look at it, and his monocle fell off. Withouta word of praise he continued on his way, and Iremained the youngest cartographer in theGerman army. So you see the fateful effects thatletters 1 mm large can have.I had a reasonable amount of free time inBordeaux and was able to do some work in mysketch book. In 1944 in Bordeaux I wrote outHans von Weber’s "Junggesellentext" (see Fig. 1),which would be reproduced in its original size over50 years later when Linotype was showingZapfino.The amazing thing is that I didn’t need glasses oreven a magnifying glass back then to write suchsmall letters. What excellent eyesight I had!At the end of the war I was held by the Frenchas a prisoner of war in a field hospital inTübingen. I was treated very well and they evenlet me keep my drawing instruments. They had agreat deal of respect for me as an "artiste" and Ithink the French still have this respect today.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSince I was in very poor health, the French sentme home just four weeks after the end of thewar. I first went back to my parents in my hometown of Nuremberg, which had suffered terribledamage. It took a very long time before life inthe city returned to normal.SECURITYIMPRINT/IMPRESSUMI gave my first calligraphy lesson in Nuremberg in1946. There were hardly any teachers inNuremberg who were politically untainted. Thelessons were part of a program aimed at buildingthe German Federation of Trade Unions. We wroteout our letters in an old school building undervery primitive circumstances. The classroom hadalmost no glass in the windows, some of whichhad merely been papered over, and we had towork by artificial light. The light bulbs had to bereturned to the caretaker after the lesson. Afterall, they were in short supply in 1946.In 1947 I went back to Frankfurt, where theStempel type foundry had offered me a positionas artistic head of the in-house printshop. I wasnot yet 30 years of age. I was not asked forqualifications, journeyman’s certificates, orreferences. All I had to do was show them my 3sketch books from the war, which contained mydrawings and writings, and the calligraphic piece Imentioned earlier.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429TOP OF PAGEThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Linotype Charon RegularMY FAVORITESHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGENEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory ofHermann ZapfFONT OF THE WEEK"Feder and Stichel".Alphabets and Pagesof CalligraphyFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSFigure 1SUBMIT FONTSFigure 2A noteworthy product ofthose post-war years,when we worked in trulymiserable conditions, isthe publication "Federund Stichel" ("Pen andGraver", see Fig. 1).The 25 plates were cutin metal by the punchcutter AugustRosenberger. I designedthem between 1939 and1941 and Rosenbergercut them during the airraids on Frankfurt - justimagine! He was one ofthe great masters of histrade. In 1949 the bookwas printed in theprintshop at D. StempelAG.Between 1948 and 1950I gave calligraphylessons at the Arts andCrafts School inOffenbach, which is nowthe School of Design. Iwas not the classteacher for calligraphy,that was the job of myfriend Karlgeorg Hoefer.I only taught letteringtwice a week to the twoclasses of graphicsstudents.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMIn 1951 I marriedGudrun von Hesse. Shewas a teacher at theStädel school inFrankfurt. Suspiciousminds might believe thatI was marrying awaythe competition, just asbig companies do today.But there’s no truth inthat. I think my wifedemonstrated herremarkableindependence andartistic skills at herexhibition"Bucheinbände Graphische Arbeiten Alphabete fürDruckschriften" ("BookBinding - Graphic Design- Alphabets for PrintingTypes") in Darmstadt inthe autumn of 1998.My main work as agraphic artist involvedbook design forpublishing houses. Iworked for Suhrkamp,Insel, the Book GuildGutenberg in Frankfurt,Hanser in Munich, Dr.Ludwig Reichert inWiesbaden, Philipp vonSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

Zabern in Mainz andvarious other publishers.As a matter of principleI did not work foradvertising agencies.Other important areasof activity included thedevelopment of printingtypes, such as Palatino,Optima, etc., alphabetsfor hot metalcomposition, then forphototypsetting, andfinally for the digitalresolution of types.You’re sure to find someof my types on yourMac or PC.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Herculanum BoldMY FAVORITESHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGENEWSSUPPORTCOMPANYGo to Font FeaturesFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFBack to Font Feature ArchiveThe Lifestory of Hermann ZapfThe Typefaces Palatino and OptimaThe Palatino alphabet was designed after many careful studies togetherwith the punchcutter August Rosenberger. Even such small details as theserifs were carefully scrutinized. In 1948 tests in offset printing weremade, especially in connection with the weight of the serifs. You seehow important such serifs are.The type Palatino is named after the Italian writing master of the 16thcentury Giambattista Palatino. I hope he will forgive me once a day inheaven and give me his blessing in using his good name. I had nointention of disturbing his fame.Optima, designed in 1952, was released 1958 by the D. Stempel AGtypefoundry in Frankfurt. It is an unusual sans-serif type. The letterswere based on the Golden Section and developed after studies andsketches done in Italy in 1950. It is an alphabet design between aRoman (like Bodoni) and a sans-serif (like Futura). Optima was firstintended as a display face. But after showing proofs in 1954 to MonroeWheeler of The Museum of Modern Art in New York, I followed hissuggestion to correct the design into a text type, to later have anopportunity to replace sans-serif alphabets in art books, magazines andother publications. The name "Optima" was not my idea at all. It is forme too presumptious and was the invention of the sales people atStempels (see Fig. 1).FONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESFigure 1LEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSIt goes without saying that life is not always easy for a freelancegraphic artist. You have bad times as well as good. I used the bad timesto do calligraphic work for myself.During all those years, I only had a few calligraphic jobs. The biggestwas writing out the Preamble of the Charter of the United Nations in 4languages, including Russian. That was in 1960 for the Pierpont MorganLibrary in New York and I was paid 1000 dollars. That was a lot ofmoney in those days. A copy of this work has been on display since1993 in my permanent exhibition in the Herzog August Library inWolfenbüttel.more.Palatino Font Family (Linotype Library)- consisting of 22 font weightsCharacter set features:Available Format / Platform:CONTACTSITEMAPTERMS OF BUSINESSView PDF sampleCreate sampleSend eCardAdd to favoritesLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMOptima Font Family (Linotype Library)- consisting of 16 font weightsCharacter set features:View PDF sampleAvailable Format / Platform:Create sampleOptima nova CD for Mac and PCSend eCardUSD897.00Add to favorites(excl. VAT)- containing 40 font weightsAvailable Format / Platform:Delivery by:ShippingView PDF sampleCreate sampleFor further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.Send eCardAdd to favoritesTOP OF PAGEThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Olympian Bold ItalicHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGEMY FAVORITESNEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory ofHermann ZapfFONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSFigure 1New DevelopmentsIn the sixties the radicalmove from theGutenberg principletowards typesettingproduction began. Itstarted withphototypesetting andthen went digital whenDr. Rudolf Hell inventedthe Digisetphotocompositionmachine in 1964.I have witnessed andparticipated in all thestages of typeproduction. From hotmetal composition in thefifties, tophototypesetting, andthrough to today’sdigital methods. It’sbeen an exciting timewith all the radicalchanges that theprinting industry hasseen.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMSince the early 1960s, Ihave been working onthe use of typographyin computer programs.When you are a bookdesigner, you arealways looking for waysof simplifyingproduction. In particularyou need precisetypesetting details, forwhich I was well knownamong the publishers.But there was also roomfor improvement in thetechnical process. Atfirst my ideas aboutcomputer-aidedtypesetting were nottaken seriously inGermany and were evenrejected at the TechnicalUniversity in Darmstadt,where I lectured intypography from 1972to 1981. The director ofa major company which is no longer inexistence - thought thatit was unrealistic toapply modular structuresto typesetting with theaid of a computer. "ThatZapf is crazy", he said,as I later discovered,and I should stay withalphabets (see Fig. 1).Of course nobody couldhave predicted thatcomputerizedtypography would bethe order of the day afew years later. Thesedays computers are runof -the-mill. Evenchildren of pre-schoolSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

age are playing withthem.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: PMN Caecilia 56 italic SCMY FAVORITESHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGENEWSFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory ofHermann ZapfFONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSFigure 1Typographic ComputerProgramsSince nobody wanted tohear my ideas inGermany, I had nochoice but to go to theUSA. People were moreopen to such new andunconventional thingsover there. TheAmericans still havesomething of their oldpioneering spirit. In mylectures there Ideveloped my ideasabout computerizedtypesetting programs.My moment came whenI was invited to speakto the students in theCarpenter Center atHarvard University inCambridge,Massachusetts in 1964.That got the Universityof Texas in Austininterested too. Theymade me a verygenerous offer andoffered to create aspecial professorship forme. The Governor mademe an Honorary Citizenof Texas - which mighthave exempted me fromtaxes - and presentedme with a huge flag ofthe State of Texas,which had once flownover the Capitol buildingin Austin. Moreover,Austin is a veryattractive universitytown, and is nothing likethe way one otherwisepictures Texan cities likeHouston.CONTACTSITEMAPTERMS OF BUSINESSLICENSE AGREEMENTSECURITYIMPRINT/IMPRESSUMBack home I told mywife the whole story.She listened patiently.Then she said that wasall fine and well, butshe would never go toTexas. Unfortunately mywife had only seenTexas from the air,when we had once flownover those endless oilfields on our way to SanDiego. So that was theend of my Texan dream.Since the American planhad come to nothingand our house inFrankfurt had becometoo small - even thoughI had my studio in theold city gate building inDreieichenhain, whichdates from 1460 - wetook the opportunity toSUPPORTCOMPANYGo to Font FeaturesBack to Font Feature ArchiveThe School YearsFirst Step into LetteringFrom Nuremberg to FrankfurtAt the Cartographic Unit in the Army"Feder and Stichel"The Typefaces Palatino and OptimaNew DevelopmentsTypographic Computer ProgramsThe Zapfino StoryThe Film "The Art of Hermann Zapf"

move to Darmstadt in1972.Princess Margaret ofHessen had a plan torevive the tradition ofthe Ernst Ludwig Press,under the name "PrinceLudwig Press" inmemory of her husband,who died in 1966. Dr.Dolf Sternberger was tobe in charge of theliterary part and I wasto be responsible forequipment and printing.Unfortunately theproject never got offthe ground for want offunds. We had all knownfrom the start that itwould not generate anyprofits.In 1976, the RochesterInstitute of Technologyasked me whether Iwould take over fromProfessor AlexanderLawson when he retired.They wanted to set up aspecial professorship fortypographic computerprogramming, the firstof its kind in the world.I taught there from1977 until 1987, flyingback and forth betweenDarmstadt andRochester. In RochesterI got the chance todevelop my ideasfurther, particularly onceI had connentions withcompanies like IBM andXerox through mystudents. I also learneda great deal from thecomputer specialistsduring our discussions,which often continuedinto the night.In 1977 my friendsAaron Burns, HerbLubalin and I founded"Design ProcessingInternational Inc." inNew York. The aim wasto develop programs fortypographic structuresbased on a variablemenu and for use bynon-specialists. Thecompany existed until1986. After the death ofHerb Lubalin, we startedafresh, setting up "Zapf,Burns & Company" inNew York in 1987.Sadly in 1991 mypartner Aaron Burnsdied of AIDS, which hehad contracted from ablood transfusion duringa heart bypass operationin 1982. He had beenresponsible for ourmarketing. To add to histroubles, two of ouremployees had stolenmy ideas and started acompany of their ownshortly before his death.That was the last strawfor Burns, and a terribleexperience for both ofus.

Of course it was notpractical for me to run acompany in the USAfrom Darmstadt. Icouldn’t even take legalaction but I didn’t wantto move to New York.Anyone who has seenour house on theRosenhöhe in Darmstadtwill understand why. Iput all the experience Ihad gathered in the USAinto developing a newand very ambitiouscomposition program forthe improvement oftypesetting quality. Wecalled it the "hzprogram" (see Fig. 1). Ideveloped it inconjunction with URWSoftware & Type GmbHin Hamburg. It is stillnot quite finishedbecause we are forevertrying to get new thingsout of the existing basicstructure. Computertechnology is developingat a breathtaking paceand it’s difficult to keepup.more.For further details do not hesitate to contact us viaeMailinfo@linotype.comPhone 49 (0) 6172 484-418Fax 49 (0) 6172 484-429We reserve the right of errors and changes. 2005, Linotype Library GmbH, All rights reserved.TOP OF PAGE

MY ACCOUNT / LOGINMY SHOPPING CARTpresented in: Olympian BoldMY FAVORITESHOMESearchFONT FINDERFONT PRODUCTSFONT SERVICESFONT LOUNGENEWSSUPPORTCOMPANYFONT LOUNGE FONT FEATURES THE LIFESTORY OF HERMANN ZAPFThe Lifestory of Hermann ZapfFONT OF THE WEEKFONT DESIGNERSTYPE GALLERYFONTS IN USEFONT FEATURESLEARN ABOUT TYPEMOVIE FONTSBOOKSHOPFONT LINKSSUBMIT FONTSThe School YearsThe story of Zapfino goes back to 1993. I had just completedan extensive project with Donald Knuth and David Siegel atStanford University for the American Mathematical Society. Wehad developed a typeface for mathematical compositionincorporating fraktur, Greek, and so on. It was particularlyinteresting to work with Donald Knuth, Professor of ComputerProgramming at Stanford.The Zapfino StoryWhile I was interested in working on a complicated program, Iwas a little concerned about starting something new. But thenI remembered the page of calligraphy in my sketch book from1944. Perhaps now was my chance to make a typeface out ofit. I had tried to do just that with the Virtuosa script for D.Stempel AG back in 1948, but the result was only acompromise. Hot metal composition placed too manylimitations on the freedom of the swash characters. It wasonly with modern digital technology that I achieved thepleasing result you can see today.For the digitization of the project, David Siegel took on GinoLee, a programmer from Boston, who was bursting withenthusiasm from the very beginning, and was even preparedto move to Palo Alto. It was a pleasure to work with him, andI hardly had to correct his work at all.But just when everything was nearly done, I received a sadletter from Dave Siegel. His girlfriend had left him. He had nointerest in anything anymore. No more types for him. It wasall I could do to convince him not to take his own life. Afterall, I said, there are plenty more pretty girls in California, andelsewhere besides.SITEMAPTERMS OF BUSINESSLICENSE AGREEMEN

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The shopping cart view provides many options to edit the shopping cart: Export shopping cart (XML): By using this function the shopping cart can be exported as an XML file. Export shopping cart (CSV): The shopping cart can be exported as a CVS file by using this function. Export sho

Shopping Cart A tool in SRM used to enter a request for a product or service. When an end-user has a need for a good or service, a Shopping Cart is created in SRM to begin the procurement process. Shopping cart creators can use any one of a number of the search options to select goods or services for a shopping cart: Contract Search,

SRM 7.2 Shopping Cart Creation Exercise 4 Page 5 of 11 Version 1.0 9. In the "Shop in Three Steps: Step 1" screen, click located near the top of the screen. 10. This brings you to Step 2 of the Shopping Cart. Click PASTE. 11. The Shopping Cart you copied is now pasted into a new Shopping Cart and defaults all the

Quick Shopping Cart Help Guide 1 . Quick Shopping Cart Help Guide . Quick Shopping Cart is a legacy product and is no longer sold. This guide contains archived Help content for Quick Shopping Cart to help answer questions. However, it's no longer being updated as of March 2020. .

Shopping Cart . from the left-side menu. The class(es) you have added to our Shopping Cart will be listed with the following available options: Delete: Removes the course from your Shopping Cart. Validate: Confirms that you may add the course to your schedule, when ready. Student Guide: Add Course to Shopping Cart 03/03/2021 5 "

The shopping cart has two different compartments the top being for eggs, bread, and other delicate grocery items. The bottom could be used for any other groceries (water, soda, other bulky items) the folding shopping cart material altogether came to a total of 32.57. The shopping cart has a weight capacity of 150 pounds.