Zierde is a take on early advertising, small-copy grotesks of the late 19th/early 20th century, and is largely inspired by Miller & Richards own range of Grotesques.
More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement.
The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Gieseckes 1913 type specimen book Die Zierde. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in Die Zierde make for beautiful combinations.
This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings.
The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the G, the gammy-leg of the R, a strange ampersand and some irregular terminals across the weights.
Zierde is display face meant for headlines, titles, short-copy, labels and logos.
It comes in caps and small caps, Latin and Cyrillic.
More importantly, Zierde is accompanied by a large set of ornaments (+200) which hark back to the look-and-feel of the early-modernist arts and crafts movement.
The ornaments in, and presentation of, Zierde owe much credit to J.G Schelter & Gieseckes 1913 type specimen book Die Zierde. The strong functional uppercase sans-serifs alongside luscious, beautiful patterns in Die Zierde make for beautiful combinations.
This early-modernist use of grotesk alongside ornament looks bizarre in the eyes of us used to seeing sans-serifs in more formal, sterile settings.
The face itself retains some historical flourishes such as the eccentric leaning angle of the italics, the long cross-bar on the G, the gammy-leg of the R, a strange ampersand and some irregular terminals across the weights.
Zierde is display face meant for headlines, titles, short-copy, labels and logos.
It comes in caps and small caps, Latin and Cyrillic.
