Julius Hager ads (1902–04)
Eckmann was very hot in the first few years after its release in 1900. At the time, It seemed everyone wanted a piece of Jugendstil action, and Otto Eckmann’s design, cut by the Rudhard’sche foundry in many sizes, was probably the most comprehensive embodiment of German Art Nouveau as a typeface. Evidence of its popularity can be seen in the advertising section of the major printing annual Archiv für Buchgewerbe where the type makes a frequent appearance. In the 1904 edition there is a page showing Eckmann used by two different companies, side-by-side: Julius Hager and Georg Büxenstein.
2 Comments on “Julius Hager ads (1902–04)”
Florian Hardwig says:Apr 7th, 2019 10:43 am
Florian Hardwig says:Apr 8th, 2019 9:23 am
When comparing the two ads by Hager, two inconsistencies can be observed.
At this time, and in the centuries before, the use of both forms of s – long ſ and round s – was mandatory for blackletter text in Germany, at least in the field of typography (lettering is a different thing, with less strict rules). Antiqua (i.e. roman) typefaces incl. slab serifs, sans serifs, and other non-blackletter styles typically were equipped with a long ſ (and the respective ligatures), too. However, the use of ſ in Antiqua text became increasingly uncommon. Some specimens from the 20th century mention that the sorts will be included in the font only upon special request.
Hybrid typefaces like Eckmann-Schrift sit between blackletter and Antiqua – not only in terms of the letterforms, but also regarding such preferences. The ad from 1902 doesn’t feature the ſ (and also skips the eszett in favor of a plain double s in “Breitkopfstrasse”). The typesetter apparently placed Eckmann more in the Antiqua category. The ad from 1904, however, uses the ſ – here, the typeface was regarded more a blackletter design.
The second inconsistency can be found right in the company’s name. Eckmann comes with two forms for I; a plain dotted one to be used in medial or final position in all-caps settings, and a standard one with top bar and hook. The J is distinguished from the latter by a crossbar. While the 1902 ad uses the J proper, the ad from 1904 technically spells the name as “Iulius”. It’s not really an error, though. After all, in German orthography, the J is rather a stylistic alternate for the initial I than a character in its own right.