There are four typefaces advertised in the issue, two texturas in the new schaftstiefelgrotesk style and two Baroque frakturs: a double-page insert for Tannenberg Schmale (with text announcing an exhibition of “Die schöne deutsche Schrift” sponsored by the Kampfbund für Deutsche Kultur in the Kunstegewerbemuseum in Frankfurt) from D. Stempel AG, a quarter-page advertisement for Leibniz-Fraktur from Genzsch & Heyse AG, another quarter-page advertisement for Standarte (described as “Eine neuer schöner Ausdruck deutschen Formwillens”) from Schelter & Giesecke, and the back cover dedicated to Original Breitkopf-Fraktur (described as “Eine charaktervolle deutsche Schrift für das gute Buch und für die Akzidenz…”) from Ludwig Wagner AG. The Standarte showing is accompanied by Rhythmus, a Futura clone. The mix of new, modernist-inflected blackletter faces and classical, literary ones symbolizes two different visions of German greatness, those looking to the industrial future—the advertisement for Mergenthaler Setzmaschinen-Fabrik GmbH is set in Tannenberg Schmale—and those looking to the cultural past.

Quelle: Paul Shaw Letter Design » From the Archives no. 24—German printing trade magazines in the 1930s