 I actually asked for a little extra time at the beginning so I could make an announcement and it turns out that I have two. So this is for for those who don't know or have never been there, this is the reading room of the letter form archive. But we have some kind of exciting news. This is our new stacks. This is in another unit in the same building. We had to get another unit because of what's happening, as you will soon understand. And what you're looking at is 600 linear feet of shelving in one dense storage space, which is actually more than the entire existing archive. This is what arrived on Monday. And really the worst part of this whole thing, it's like I'm missing Christmas morning, because I got to see the boxes broken out of the crates and I got to open a few sample boxes, but I missed the unpacking. It's still going on. They won't be done. So here's a clue. If there's really anyone who still doesn't know about this. So you all probably know these books. The Tashin set history of type and typography. And these books have about 300 pieces. And it's a nice presentation. I mean they give each piece two or three spreads. So they go into a little bit of depth. But I will tell you in a minute how many there actually were in the collection. This was in April when Stephen came to help me appraise and organize and get ready for making a bid. And this is this week during the unpacking. It also happens to introduce you to our new executive director and Kate who's been with us for a year now. And in the background you can see some of the unpacked collection. So the first day, Tuesday, I was gone. But Jim Parkinson, as soon as he found out about this, he said, okay I want to volunteer to be there the first day that the boxes are open. So Jim and Kate on Tuesday unpacked 25 boxes of type specimens before 1850. So this is the Tolanar collection. That's the Tolanar in front of it. And there's a summary of what's in it. It's one of the largest aggregations of type specimens that's ever been brought together in private hands. Obviously there are institutions that have depoldings, but this is a pretty good addition to the LR4 archive. I've always wanted to do this. So actually I thought there was going to be one announcement, but we have a new thing, a new deal that was just done in the last week and it is this. So thank you. The details are there. So the extended program will start in January. It's pretty much a clone of the New York program in terms of curriculum. With one significant change, as Sumner has been working on the syllabus, as he goes through the historical stuff, whenever there's a reference or something that he's showing in slides or whatever that we have in the archive, the actual object will be brought and shown. So his syllabus now it's pretty much the same as New York, except that in each sort of subsection there's a list of objects that will be shared with the students. And similarly to New York, there's a lecture series that will be public workshops. We're starting this fall with that stuff to kind of ramp up. The deadline for portfolio submissions is November 16th and the extended program will start in January. It's one year. It's all evenings and weekends, so it works for people who have a job. And special thanks to Monotype. They have given us a very nice grant, which is going to fully outfit the new classroom. So the new unit will house the Tolanar collection and the Type of Cooper classroom. And we're calling it the Type Annex. And here's a preview of the web page, which should be live now. We don't have all the details. Some of the instructors are confirmed, Jim Parkinson, Sumner, of course, Jessica Hisch will probably have some of the same folks that teach in New York like John Downer and Ken Barber on a kind of a rotation. And also other Bay Area folks that have good things to say. So that's the end of my announcements. Let's move on to the actual presentation. Okay. So Ernst Schneidler was one of the greatest teachers, certainly of the 20th century, maybe ever based on the work of his students. And he was one of those teachers that didn't create clones of himself, but rather pushed people to experiment and develop their own styles. And so the work is really diverse. So this is a shelf of the stuff in the archive that this presentation is drawn from. On the left is Schneidler's own stuff. The four volume portfolio set is called Der Wassermann. And that's kind of Schneidler's masterwork. It's an extraordinary piece of business. And it's quite rare. Nobody knows exactly how many copies there are. But it was produced over a span of almost 20 years by Schneidler with the help of his students in the workshop of the Schuttgart School. And then the rest of what's on the shelf are examples of things by his students. So Walter Brudi, George Trump, Emory Reiner was probably the most prolific author of his students. There's about 10 books in the middle there by Emory Reiner. Rudolf Speyman, Copper, and it goes on. This is some of the type of ephemera that's included in the presentation. Basically the specimen booklets for typefaces designed by Schneidler and his students. So this is kind of prehistory. This is a piece by one of Schneidler's teachers. This is by Peter Barron's. It was done in 1900. It's a very early use of a grotesque for text. Actually, here you're seeing the title page, but the book is set in in sans serif throughout. And Barron's was an influential architect and also one of the first people to do corporate identity for the AEG company, which is kind of the German equivalent of RGE, big conglomerate, lots of divisions. And he created the first complete corporate identity. He was one of Schneidler's students, sorry, teachers. The other one was Fritz Helmuth M.K., and this is an example of his work from the early part of the century. M.K. was a lettering artist, also type designer, and Barron's actually did some type design as well. Okay, so here is an overview. And so the blue lines are his two teachers. The black, of course, is Schneidler. The dark gray are his direct students, and the light gray are students of his students. And this is, it's kind of random that this stuff is in the archive. I mean, I've loved this guy's work for a long time and been interested in his work and the work of his students in a kind of a general way. But there was no sort of conscious effort to collect this range of stuff. And when I started to discover that we had, some of these things we had, and I didn't even know that they were students, or students of students, figured that out through the research. And it's a pretty interesting bunch. The ones that are best known in this world are obviously the type designers and calligraphers and book designers. But a lot of its students became print makers or book artists, or in one case, one of the most famous children's book illustrators. So here is an early piece of Schneidler's work. This was book design and illustration from 1913. And I'm trying to see how sharp it is. Not his fully formed style and very decorative, which a number of his early book illustration commissions were. Okay, this is from Der Wassermann. And this begins a series of slides from Der Wassermann. Can you read it? Is it legible? Because it's a really good piece of text. It's actually the only sort of instructional text in Der Wassermann in English. And in fact, as far as I know, there's no German version of it. So it's kind of strange. It's definitely an outlier because most of the content is in German. And so I'm not going to read it, but I encourage you to read it. The slides that follow are a perfect example of what he's talking about. It's one eight page gathering from Der Wassermann, which contains 24 iterations on essentially business card design. And the, you know, the elements of variation that you see at the bottom, shape, size, degree of movement, direction of movement, degree of contrast, manner of interlocking are all demonstrated here. Now, I'm pretty sure you can't read this. I'm not sure that really matters. The text is the same. It's basically a business name and address, the kind of stuff that would be on a business card or maybe a letterhead. But 24 iterations of how you might arrange it. So this is typical of Schneider's work and also his pedagogy. He encouraged a lot of iteration and experimentation. And you see this as a recurring theme in his work and in the work of his students. So there's the end of that. Now we're continuing in Der Wassermann. This is from the first of the four portfolios, which is basically type setting and book design. And these are various examples from that from that first portfolio. This is one of maybe three or four slides coming up. That is basically a complex book spread. You've got shoulder verse numbering, you've got shoulder notes, you've got lots of stuff going on. These are complex bits of design, but exquisite control over texture and emphasis and just beautiful spreads. Another one, I think this is this is Bible text. There's another one. This one with the with the red and the blue and the black reminds me of some of the mid century stuff from the 60s. It's really kind of ahead of its time, I think. And the extra letting is a textural device, something that a lot of people used in mid-century modern design. And Zapp also was fond of that device. This is from the second portfolio, which is a Schrift and Treiben, basically calligraphy and lettering. And there's most of the work in Der Wassermann is Schneidler's, but some individual pieces have been identified as students work. So this one on the left is actually by Rudolf Speyman. And we know that because it was reproduced later in one of his books. But for the most part, this is Schneidler's own work. Here's an exemplar of a sort of a humanist slash rotunda. And it gives you a sense of the calligraphic skill in evidence here. All of Schneidler's students had to learn basically everything. They all had to learn how to set type. They all had to learn calligraphy. They all had to learn how to draw. And they were required to do illustration projects, even if they were essentially on a typography track and calligraphy, if they were an illustrator, it's basically kind of a foundational program of graphic arts. These are something that Schneidler coined the term Schriftblot, which is basically kind of text. I don't know. Somebody who speaks German can help me. It's basically sort of word picture in a way. And they're quite abstract. He did a number of them. And his students also did them. Often they're iterations of the same thing like a monogram or a brief bit of text repeated as here. This is a fun one. This is just basically a calligraphic exemplar, but such a beautiful spread. And then this is from I actually skipped the third portfolio, which is variations on the theme of Horus. It's the whole portfolio is variant layouts of an addition of Horus title pages and spreads and so forth. There's a lot more to see here. So I skipped that volume. It's really wonderful, but it's also kind of about minor variation. So now we're in the fourth portfolio, which is illustration and abstracts. And the thing on the left is poster. This is where you see some ad work, which was also part of the curriculum, combining illustration and typography. This is a really interesting thing. This is basically a sort of figure ground study with circular form. And it precedes this, which is playing with some of the same ideas for Mark. These are illustrations from one of his earlier illustrated books, not the same one that I showed at the beginning, but quite similar one from the same period. And it's more ad design. So der Wassermann was started in the late twenties or early thirties. And in the mid thirties, the existing sheets were packed away. He didn't consider it complete. And I think because of what was going on in Germany, maybe he felt it was wise to just kind of take it out of circulation. It was eventually released after the war. As four portfolios, he'd originally intended it to be five. Here's some abstract studies from that last portfolio. This is a really fun piece. This is actually an offering from a German periodical, the Archive de Bocoubert. And it's all about the Stuttgart School. This is the the opening spread with the title page. And this happens to be the only piece in the archive that that belonged to Schneider. That has his book played. Notice the 1927, which I think is pretty fabulous. And then this is what's in it. And this, there's a section at the beginning of this is about two spreads of German text, which I need to get translated, but it's pretty clear from the structure of it that it's kind of a pedagogical overview of the program. So I'm really looking forward to finding out what that says. The work itself is kind of typical of what's in der Wassermann, maybe extends it a little. And it's, it's also credited to the individual artists. So it's kind of cool because a lot of this is student work. And you know, there's a list in the back so you can tell exactly what Schneider's and what's what's student. This is not well known. It's apparently quite rare. Again, you see iteration on a mark. Okay, and this is the first of the type specimens of Schneider faces. This was done for Shelter and Gesheke in I think about 1920, maybe 1919, 1920. By this time, he had just gotten the job teaching at Stuttgart. He taught there from from around 1919 for 30 years until 1949 or so when he retired. And this face isn't well known. It's really kind of an interesting thing. It's sort of a kind of a sans serif. But it's it's not monoline. And it has a few kind of medieval alternate forms. But it prefigures things like Lydian, but then also Pascal and Optima. A little bit. And again, this is 1919. This is another of Schneider's faces. This was for the Weber type houndry in Stuttgart 1920s. It's a really interesting face. It's a beautiful, bold display face. And a quirky italic. This is probably his most famous face, which has many names. It's now known, probably mainly as Stempel Schneidler. In Germany, it was released as Schneidler medieval in UK and US. It was released as our text. And it's a beautiful face. This is legend, which was very popular for a while, especially in sort of suggesting, you know, what would probably in those days be called Oriental flavor, but it's a little bit reminiscent of Hebrew or Arabic in the edge pen forms. And so it was used for that kind of advertising quite a lot. This is a monograph on Schneider that was done about 10 years ago in Germany. It was a small addition. And didn't get very wide distribution. Unfortunately, it's very good. And has a lot of his working drawings for types and a lot of types that were never released. So these are two faces. These were actually released contrast and graphique. This one I think is uniparous. And it was cut by Bauer but never released until this monograph. Okay, so now we're moving on to the students. This is probably, well, in a way, his best known student. Certainly, Broody took over after Schneider retired at the Stuttgart school and taught for another 2025 years. So he sort of carried on the tradition. He also did some typeface design. But he was probably mainly known as a teacher. This is a book that he did, which is about 60 or 80 pages. And the entire thing is this EGB monograph. It's 60 or 80 pages of variations on one set of three letters. This is actually from a portfolio that Broody did with his students in the 50s. That's in the same format as Der Wassermann, but it's smaller. It's one portfolio and it's not even as big as the smallest of the Der Wassermann portfolios. But it's a similar idea. It's Broody's work as well as his students' work. It kind of shows the range of what was going on, carrying on the Schneider tradition into the 50s and 60s. So they're all from that portfolio. This is one of Broody's typefaces called Pan script. And then probably his best known face is Broody Medieval, which not many people know anymore, but Bertolt did well with it in the 50s. But this was kind of a recent discovery. So this is the first of a student, first work of a student of a student. This is Werner Pfeiffer was a student of Broody. After going to the Stuttgart School, he landed in New York in the late 50s. And he worked in advertising, but what he ended up doing mainly was teaching at Pratt and developing a kind of a book art practice, which continues to this day. He's exhibited as recently as a couple of years ago and he's still active. This book is quite remarkable. It's, the title Liebermobile suggests that there's something active about it. Basically, it's a series of folded sheets with circular and semicircular die cuts and layers of essentially collaged type, which you can set up, you can kind of stand it on a table and interleave the sections, or you can, you know, what's on the left is actually, I think the first view of it, which is through a die cut circle down through maybe two or three layers. And it just kind of goes on and on and you can, you can recombine it endlessly. And I think this is a really good example of, you know, Schneiderler's influence once removed, right? This is not something Schneiderler would have done, but it's clearly somebody who learned about letter forms and printing and space and figure ground and all the things that came out of the Schloedtgart School and Schneiderler's teaching. So this is a monograph about Georg Trum, the German type designer, also a Schneiderler student. This spread basically, you can't see the detail, but this is sort of a summary of his his oeuvre. And city is, was his first typeface, it was from the 30s for Behrtold and it was quite modernist and the specimen is really cool. We didn't have it when I was doing this presentation, but we do now. And it's, it prefigures some of his later work, but it's also kind of of the modernist moment. I like this better, I think it's more distinctive than Memphis and Rockwell and and Beaton, some of the others that came out around the same time. This is also from the monograph showing some of his work with Marx and graphic design. Once again, iteration, see it everywhere. And then this is a book catalog and a photo of Trump looking at I think a proof of Jaguar. And here are some of the first specimens of Trump's faces. So this is time script. Most of these are 50s and 60s and except for city, which was Behrtold, I think almost all of his faces are for Weber, which was Stuttgart Foundry. This is kind of a unique thing. It echoes some of the work that you'd see in Der Wassermann, but it's definitely a branching development. It's really sort of a monoline script in a way. It has a very calligraphic feel while being extremely legible and having a modern character because of monoline. Codex, which was his homage to Roman capitals, the imperial letter with his own flavor. That's the thing. I'm just actually realizing now I don't think any of Schneiderler's work or any of Schneiderler's students work in type design could be called a revival. There was always a twist. There was always something original. Delphin is a kind of an interesting thing. It goes back to the first italics in that it's an italic lowercase with a Roman uppercase. Of course, you know, when a Regi and and Grifo and so on cut the first italics, they didn't bother cutting punctuation in capitals and so they were used with Roman capitals. It's a pretty cool look. This was Trump's homage to that, but it couldn't be more different from a Regi, obviously. This is Jaguar script and then Trump medieval, which is probably his best known face and was really popular in the 60s and 70s for corporate work, for art monographs. It was one of Carl Zahn's favorite faces and too bad about the comb binding. It's kind of a cool, I mean it's actually a beautifully designed specimen, but why would they comb bind it? This is the same period when Temple started doing perfect bound ephemeral specimens that were, it's almost like padding compound. You look at it and it falls apart. I don't know what they were thinking. Some of it is that by now, even though they were producing the fonts in metal, the specimens were sometimes printed by offset. I think parts of this were printed by offset. Okay, moving on to Emre Reiner. This is a little book, a little oblong book about Jebig of initial letters and it's got three or four versions of each letter of the alphabet in some kind of context. This is from another book by Emre Reiner called Alphabets. By the way, in fact, this was co-offered with his wife, Hedwig, whose maiden name was Bauer and was, she was a Strangler student as well, so they work together on a number of things. She shares the credit with him on this book. That's from the alphabet book and I think maybe from the monogram book. There's a book of monograms as well. This one is called Lettering in Book Art and it's pretty much what it is. And now some of the Reiner types. So this is Reiner Black, Strativarius and Reiner Script. These were for Bauer and Amsterdam. Here's the inside of that script one. And then probably his best known face is Kravinas. These pieces are examples from a portfolio specimen. It's basically a kind of a folder that has a booklet specimen in the front and then a bunch of loose pieces of examples in use. So these are actually, you know, the size. This is one shot. So moving on to Rudolf Speyman, who was mainly a calligrapher. He did one typeface, but he did a lot of calligraphic book jackets, book titling, and in this case entire books. This is a little series of sort of religious texts that were entirely hand lettered. These are two little chapbooks about Rudolf Speyman's work and some examples from inside them. And this is his one typeface, which is called Gavotte for Klingsboro in the late 30s. Moving on to Albert Kopper. Kopper was, you know, he was a student of Schneidler. He not sure where he was from originally, but you know he went to school and stood guard obviously, but he landed in in Leipzig after the war. And it was in fact by choice. He was a communist, but he was a great book artist and teacher. And Leipzig has had a long tradition of excellence in in book design and the Leipzig Book Fair goes back like over 100 years. And even during the Cold War era, it was one of the bright spots behind the Iron Curtain in terms of book production and design and type generally. They had issues. There was only one foundry in East Germany. And they had limitations in terms of materials and so on, but they did really quite good work. And he was a very influential teacher. So these are examples of of his calligraphy from books. Actually this one, the one on the left is a woodcut. One on the right is lettering. This is obviously the end papers of one of his books. And he was a pretty prolific author too. He wrote I don't know six or eight books, including a really good biography of Gutenberg and a big instructional text on typography. So this woman, Hildegard Kerger, was a student of copper and taught after he did or I think with him and then after at the Leipzig school. This has always been one of my favorite calligraphy books. It was recommended to me early on and it has a very typographic sensibility. It's not artsy craftsy at all. It has wonderful basic instruction in figure-ground relationships and the geometry of letters and so on. But the best part of it is that Kerger's interpretations of the classical scripts are very clean and modern. So whereas a lot of calligraphy books, especially American and British ones, take chance recursive and make it look like it did in the Renaissance. What Kerger did is is to bring them into the 20th century and it's a it's a solid book of instruction in calligraphy but it also has a very modern sensibility and beautiful design. Okay this is a monograph on the work of Gerd Wunderlich who was another student of copper and also taught at the Leipzig school. His most famous typeface was called Maxima which is kind of in the the Helvetica universe realm. It was the the East German typo art version of that style. It's actually beautifully done and it has some unique characteristics. Nobody knows it because the typo art faces that were done in East Germany are virtually unknown now. Does anybody know if any of that stuff has been revived? Yeah? Okay. I like this face. It's quite good. There's another one of his faces and some of his book work. He did he did a lot of different things in his design practice, book design posters and he was also a very influential teacher. So this is a grouping of some of Wunderlich's book work and again I think you can see echoes of the Schneidler pedagogy but in a completely you know obviously he's moved on but the sensitivity to to figure in ground the flow of things the relationship of letters and the I don't know it just it seems to me to echo that pedagogy. Okay this is actually the work of I think this is the only one that we have in the collection which is student of a student of a student. So this is the work of a woman named Sabine Golde and she was a student of Kerger and Wunderlich. So that's once removed from Copper, once removed from Schneidler. So she's a student, a student of two students of a student of Schneidler and she's a graphic designer but she's also a book artist. This is an example of her book art and it's it's poems about clouds it's you can probably tell it's printed on I don't know what the stuff is called it's sort of like Tyvek it's a it's a long fiber substrate but it's super super light so this entire book weighs about an ounce and it's also translucent as you can see. These letters are individually rubber stamped for the entire edition which you know she only does like 10 or 20 of each so I guess it's okay and then there's some print you know the full text is interspersed. This is another of her pieces. Can you see the white on white on the cover on the left I don't know how clear that is. So this is actually four views composited the far left is the cover of the case next is the open case then the piece as you take it out of the wrapper and one spread and it's it's hand cut through the cardstock essentially and folded and then with vinyl letters applied by hand the white on white and this is another that's the entire piece so but it's reversible so it's it goes both ways. This is one of Schneider's direct students, Greece Haber and he was primarily known as a printmaker he did a lot of book illustration he wasn't very well known as a type typographer or graphic designer and he didn't do any typeface design but he did this one book in in the 50s called Poesia typographical and it's a beautiful thing this is a letterpress mostly wood type and black overprint so some of them I've never actually tried to count the passes but it's it's all black and it's all direct from letterpress so in some cases there's three or four passes. Okay why is the very hungry caterpillar in a Schneider presentation? Because Erik Karl was a student of Schneider. Erik had a really interesting trajectory he was actually born in Germany his parents brought him to the U.S. before the war and back to Germany before the war think about that for a minute so he was in Germany in Stuttgart during the war and he went to the Stuttgart school after the war and studied with Schneider for four years this is the book about Erik Karl's work and a photograph of Schneider from that period so late 40s during the time that that Karl was studying with him. These are some examples of Erik's student work from the Stuttgart school and this is the personal connection because these are books that I published of Erik Karl's in the 80s when I had a publishing company and the only reason you know he had he had published the very hungry caterpillar in the 60s and by the way the very hungry caterpillar is the best-selling children's picture book of all time the last I heard they were up over 40 million copies worldwide it's you know children's books translate easily so that's has an effect but it was just a remarkable that was his first book I mean but it's a perfect example of how he thinks and the concept all of his books have a unifying concept and a very strong idea behind them and so but the the interesting thing is that he was published at the time by Putnam and Harper's and all the major publishers why would he agree to be published by my little picture book studio because I knew who Schneidler was we bonded over Schneidler I helped find him a copy of Der Waffsemann and the other thing is that I promised to print his books with more care and better quality than he was getting and he was very sensitive to these things because he was a Schneidler student he knew what good printing was and what Putnam and Harper were giving him in the 80s was crap so anyway we did we published about 10 of his books this is a trade show sign that he did for us and the collage is sort of typical Eric Carl and and by the way the technique that he uses is really kind of fun he developed this pretty early on and it's been a consistent style through most of his children's illustration what he does is he takes plain white tissue paper and then prepares it splatters paints you know dry brush everything you can think of to apply color to plain tissue paper he creates these full sheets of patterns and colors and he has flat files in his studio with like 40 drawers each it's a spectrum flow right it's it's each is a color and so when he when he starts to do an illustration he basically you know sketch it out and then he goes to the drawers and he picks the colors and cuts the tissues that he's made and makes the collage so you know the PBS those are kind of cool letter forms but I want to point out that the picture book studio is hand cut from black paper this is a guy who knows letter forms you don't see it in his work generally uh but he was a schneidler student yeah thank you