<fc%% -£ f(i%<ïi r(sfcfc C ^v\> 'fc'tS'fS (raffcffo <v~v^ 'fofc'fi tf;'' <Js^5^ I- l 1 I *MMfe '<g XV. g CWXM» 'ffi'fö'fë Border and type ornaments forms of metal work and gold, silver and copper smithing, chasing and engraving. Enamelling and bellcasting were also added to the list of his crafts. But despite the attractions of these studies Wolpe's main pre-occupation was with calligraphy, archi tectural and memorial inscriptions, and the application of his study of letter-forms to practical problems. It is interesting to note that Koch, the designer of Neuland, and other types, had also gone through the same hard school of metal work as an introduction to the graphic arts. More interesting still to English readers is the knowledge that Caslon himself was an engraver of gun-barrels Wolpe's career after this rigorous training was a record of consolidation. He was mentioned in The Fleur on of 1928 as a metalworker. He became an assistant master at Offenbach Art School in 1929 and a teacher of calligraphy at Frankfurt in 1930. The rest of the story you may have guessed, for in 1933 when Hitler came into power Wolpe was dismissed from his teaching post, and early in 1935 was forced to leave Germany. Since that time he has worked in England, mainly for the Fanfare Press and the Monotype 999I I 1 i Between 1932 and 1935 Berthold Wolpe designed for Ernest Ingham of the Fanfare Press a set of typographical units which can be composed into ornaments and borders. A selection is shown above. They form an unusual change from floral units and are particularly useful in advertisements 129

Commercial Art / Art and Industry en | 1940 | | page 7