 Ladies and gentlemen, dear friends, at first I would like to thank you for all your kindness and friendship. You did such a wonderful job with the exhibition. It is great to see our type designs in the public library together with the other type designers. We thank especially Susie Taylor and her helpers. They did such a great work and it could not be better done. Now I like to show you some slides of my work, bookbinding, calligraphy and types. Hermann and I, we started with calligraphy in 1934 after the same books from Rudolf Koch and Edward Johnston. He in Nuremberg and I in Weimar as an apprentice of bookbinding. But we met us many years later in Frankfurt. I had there my own bookbinding studio and was teacher for calligraphy at the art school in Frankfurt. There was an exhibition of the work of the teacher and students. One day Hermann Zapf and the director of the type foundry, the Stempel AG saw this exhibition. They liked my work and I was asked to make a type design that became my first type, the Ultima. Now to the slides. I begin with my early works influenced by Rudolf Koch, one of my first books I have written. This is the second all in black letters and this is a quotation from Rudolf Koch also in black letters. And here are the bookbindings with handwritten titles. And this is a leather binding and in the right side you see the layout and after this I have to print with tools in leather. Here is the book finished. This is also a book I designed back and a tool just in gold. There's also designed letters and this in gold. This also leather binding. I have to look. 1946 began my first connection with type at the Bauer foundry and I was fascinated to see how the punch cutter made punches and so I asked if I could try myself to do a punch. I worked good so and so I cut an alphabet in brass, the Hesse Antiqua for gold tooting. Here I use the types for leather binding. Also printed of wellum, carved wellum with my types. Also a quotation from Gerhard Marx printed in gold of wellum. This shows the preamble of the Carter of the United Nations pressed in thick handmade paper. This is not so good. And here is a cut off out also in the Hesse Roman the sign for my bindery. Here are some black letters written with a broad edge pen. This is a book written in Anschel. This is a Matheus passion. Also a handwritten book. This is also of Hippocrates written in Roman capitals in 1948. This was on the exhibition when I was a teacher for calligraphy in Frankfurt on the art school. And there was an exhibition and Herman and a director of stemple visited him and he liked this type and asked me to make a type design for him and that was the beginning of the Otima. This is a design for 36 points for the cutting in metal. This is the first smoke proof executed by Alfred Rosenberger. He was a very good punch cutter at my stemple. And here you will see the Otima in print. This is also a print of the Otima. This was the use of the Otima for the campaign for Opel Car Company. The firm of General Motors in Germany. Several years they used my type. This is a book binding for the first publication. The first book printed in the Otima. I was very proud and so I did some bindings in leather. You will see it in the next bindings. It was printed in 36 points on the Otima in this book. Thank you. There's another binding. This is the third one. This is the last one. And this is the Ayatnir initials I also made for stemple. This is marked in all caps alphabet in English. It's emerald. Here you see this marked type in use together with the Otima italic for the document presented to Hermann Hesse when he received the Friedens Prize from the German book fair 1955. All these designs were made for metal types. Alphabet designed to be used for photocomposition. I started several years later with Heilmark cards in Kansas City. This was in 1968. I am showing here some of the drawings for the calligraphic Roman and italic. This alphabet was named Shakespeare for it was first used in a crown edition by Heilmark of Shakespeare sonnets. The Shakespeare italic had done the first year of photocomposition. And all letters had to be fixed within the 18 unit system. For the manufacturing, they needed very precise drawings. I have to look for a moment. This is designed for Norfolk. The type is so too easy for me. It is crazy, just a little louder. Yes, this is a bold version of Norfolk. This is an italic. At first it should be the Otima book, but then we decided that the name should be Norfolk. That means the beauty of Egypt. This was a poster for the first presentation in the United States and Canada, designed by Ed Clary. Norfolk is more in the direction of a typeface, but with small caps and different weights for the use in display and jobbing work. Here I would like to mention the first book, which I saw printed in this type. It is designed by Harold Blake in Irvingston, Illinois. Alex Osborn's Your Creative Power, published by Motorola University Press. Here is a Karmina, which I designed for Bitstream. This is an italic for Bitstream. And this was a design. In this, I have to make to give them for, not so good. This is a design for Christiana, which I did for Bertolt. But you can't buy it anymore, because the successor of Bertolt, they don't pay any royalties. This is Columbine, one of my last designs for URV in Hamburg. This is a black type. This is a design for Alcoine. I did also for URV in Hamburg. And that is a handwritten sheet for me. It's also finished, it's also Alcoine. Above it is a handwritten, and it's a type design. And here I show you some latest design of mine with watercolor. And this is our room in Frankfurt. And this is cut out with letters I did several years ago. This I did for the Gülterhaus in Frankfurt. These are the letters with the aquarelle painted. You have seen this in the exhibition. This was a placard for the exhibition in Offenbach. Aquarelle done with aquarelle color, a black letter, also done with aquarelle color, water color. This is a booklet I have written in 1955. These are cut out letters. My design, and I cut it out and put it on this paper. A freelance thing. Designed letters and this small script I did with a white bowtie pen. The design with water color. That's also what I did for Steinhauer Press as a New Year's greeting. This also. And this is one of my latest works. The beginning of the Guinnesses, the creation of the world. I did this when I had finished my type design. And I had it a long time in my mind. So I was glad to have time to execute the 14 large sheets for only with text and the other with symbols in this way. Now I am on the end and I thank you for listening.