“Every style has to combine harmoniously with every other style. Given the volume of Grotesque typefaces currently in circulation, these small differences and tensions set Gerstner-Programm apart, as does its design methodology: These unique traits, combined with the intense detail paid to the harmony and readability of the typeface, are quite an accomplishment. But Gerstner also introduced some new shapes to his model - most notably the Helvetica-style R and a Univers-style K. The typeface itself deviates significantly from Akzidenz in subtle ways, with a more condensed overall form and a smoothing out of some of the source material’s unpredictability. Simultaneously appreciating the “restive” nature of Akzidenz and trying to systematize it led to a utilitarian typeface whose character remains lively and unique, while also being wholly cohesive. In attempting a systematic Grotesque in the vein of Univers or Helvetica, Gerstner created an interesting tension. It’s a compelling approach: framing innovation as a refinement of past works feels perfectly contemporary in light of the remixing, curatorial working methods that pervade art and design today. And, second, we should develop them harmoniously (meaning coherently), as completely as possible.” We take the view that instead of drawing new types, we should (subtly, subtly!) improve the originals (the best, the tried-and-tested). The 1963 essay “The Old Akzidenz-Grotesk on a New Basis” recounts his analysis of several grotesque typefaces and his decision to reassess Akzidenz-Grotesk: Gerstner Programm was designed by Karl Gerstner in an attempt to harmonize and extend Akzidenz-Grotesk. Sharing this important work allows designers to examine past technologies and their aesthetic outcomes, and provides intimate insight into the late Karl Gerstner’s methods and approach. Gerstner-Programm from Forgotten Shapes restores a previously inaccessible typeface to a new audience.
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