This typeface enjoyed some popularity in Germany for a few years, and went on to influence further type designs in Holland and Italy. In a way, it was one of the representatives of the European anti-type typefaces of that era, when print media was searching for the elusive aesthetic balance between humanism and geometry.
Martin Wilke’s underrated yet influential deco classic from 1932 has both feet firmly planted in the high traditions of Western European calligraphy while carefully and subtly introducing some traits from the sweeping geometric/minimalist vision of the time.
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