CHRISTIAN WNZINGER STADTRATH, BiLDNER, ARCHlTERT, MAHLER. STIFTER jNS KRANKENSPfTAi- ER DVRCHLEBTE EtN ÏAHRHVNDERT DVRCH ÏHN LEBEN iAHRHVNDERXE. -jcscf Aii,spJmFeuerbadi e e M:d.Z8.jOMob.e r< a to. GEB.X.DEC.MDC.a ZVEHRENSTEXTEN. jjpL'GEST. i.iVL MDCCXCVB. r 4elj 9.Sept.n9S-£esLlSep! 1851. if? JS1 T- der ft 1" reiburo. L v A ■- Proiedei Archaoloék* an -> 4 - -C'. È4MW ivïir' S V- V exclude any sort of artistic initiative on the part of the user: they are a ready-made substitute for individual artistic ability. They are mostly inspired by the vogue of the moment and, therefore, utterly ephemeral. As a rule, they hardly ever survive the day of their first application and the question is whether, like the tomb-stones in old cemeteries, they are likely to inspire positive emotions at a later day or whether they will be regarded as the last witnesses attending the death of the esthetic appreciation of organically grown type faces. Typography is a living thing - but all of those who devote themselves to this medium will have to keep returning to its original sources if they want to grasp W- ||1|M" 1 -1 the message which the typographic tradition has for our own time. The supreme achievements of this tradition are reflected by old cultural monuments, in museums and libraries. But there are also village church yards, streets and narrow lanes whose inscriptions demonstrate the immortal expressive force of type and letter. The tomb-stones reproduced here were photographed by the young graphic designer Ralph Görtler in the old cemeteries of Freiburg im Breisgau, a city famous for its university. a structure d'un caractère, qu'il soit latin, cyrillique, arabe ou chinois, ifI bjKÉBL Is w dfc f «HHB9I 53

Gebrauchsgraphik de | 1971 | | page 59