Originally designed around 1912 by Willy Wiegand for the exclusive use by his
Bremer
Presse, a German private press (1911–1939). The typefaces were
cut by Louis Hoell and cast at Bauer in three sizes, starting with a 16pt, followed
by 11pt and 10pt sizes. The design is based on incunabula by Adolf
Rusch and Johann von Speyer. Included several alternates for more
even spacing [Wikipedia].
Digital interpretations include Bremer Antiqua by
Daniel Perraudin (c.2014, unreleased),
Bremer Presse by Dorothée Schraudner (three weights, Schraube, 2019, used for
sample), and two academic revivals made at Type West, by Kevin
Barrett Kane (c.2020, unreleased) and by Pranavi Chopra (2021,
unreleased). More…
Originally designed around 1912 by Willy Wiegand for the exclusive use by his Bremer Presse, a German private press (1911–1939). The typefaces were cut by Louis Hoell and cast at Bauer in three sizes, starting with a 16pt, followed by 11pt and 10pt sizes. The design is based on incunabula by Adolf Rusch and Johann von Speyer. Included several alternates for more even spacing [Wikipedia].
Digital interpretations include Bremer Antiqua by Daniel Perraudin (c.2014, unreleased), Bremer Presse by Dorothée Schraudner (three weights, Schraube, 2019, used for sample), and two academic revivals made at Type West, by Kevin Barrett Kane (c.2020, unreleased) and by Pranavi Chopra (2021, unreleased). Inga Plönnigs started a tribute which is work in progress and available on request as of December 2023.
