Maimer JfmMerfterr, *awlmnnu. r geb.&Uwt&l öywMÉw! specific style. It is quite true that the medieval clerks in chancelleries and monasteries and later, after Gutenberg's invention, the writing masters and stamp cutters determined the fundamental typographic features of their times, but they still left sufficient expressive discretion to other typographic craftsmen such as panel painters, stone masons, engravers and wood-cutters who created many variants of which the rustic one strike us as the most charming today. Playful forms continued to be copied and tradited so that - like the architectural and artistic elements of style adapted by honest craftsmen - they survived for a long time in all those spheres where changes of style were slow to spread. It was above all the basic elements of baroque to which the brush, burin or chisel in the hands of anonymous artists often added peculiar curlicues. It would be wrong to use the deprecatory term deformation in this context, for in so far as script and typography are visual expressions of language they are also entitled to popular mutations. Today, we witness a similar, but technically inspired develop ment of letters and type-faces whose new, frequently unconventional forms are far removed from the compositor's standards. Advertising, in particular, is in constant need of new letters and type-faces for eye- catchers and head-lines. Most of them are prefabricated and practically KumflHWR 52

Gebrauchsgraphik de | 1971 | | page 58