![]() ![]() The Fraktur typefaces remained in use in Nazi Germany, when they were initially represented as true German script official Nazi documents and letterheads employed the font, and the cover of Hitler's Mein Kampf used a hand-drawn version of it. The shift affected mostly scientific writing in Germany, whereas most belletristic literature and newspapers continued to be printed in Fraktur. This move was hotly debated in Germany, where it was known as the Antiqua–Fraktur dispute. Some books at that time used related blackletter fonts such as Schwabacher however, the predominant typeface was the Normalfraktur, which came in slight variations.įrom the late 18th century to the late 19th century, Fraktur was progressively replaced by Antiqua as a symbol of the classicist age and emerging cosmopolitanism in most of the countries in Europe that had previously used Fraktur. Typesetting in Fraktur was still very common in the early 20th century in all German-speaking countries and areas, as well as in Norway, Estonia, and Latvia, and was still used to a very small extent in Sweden, Finland and Denmark, even though other countries typeset in Antiqua. Notably, the map itself uses Antiqua for its legend, even though it is in German, indicating that Fraktur was no longer universally used even among German-speakers. Denmark had shifted to antiqua during the mid 19th century, and in Norway the majority of printed texts used antiqua around 1900. ![]() In reality only German-speakers, Estonia, and Latvia still used Fraktur as the majority script at this time. Usage map: A map presenting the contemporary German view of the extent of scripts around 1900. While over the succeeding centuries, most Central Europeans switched to Antiqua, German speakers remained a notable holdout. In the 18th century, the German Theuerdank Fraktur was further developed by the Leipzig typographer Johann Gottlob Immanuel Breitkopf to create the typeset Breitkopf Fraktur. įraktur quickly overtook the earlier Schwabacher and Textualis typefaces in popularity, and a wide variety of Fraktur fonts were carved and became common in the German-speaking world and areas under German influence (Scandinavia, Estonia, Latvia, Central Europe). Fraktur types for printing were established by the Augsburg publisher Johann Schönsperger at the issuance of a series of Maximilian's works such as his Prayer Book ( Gebetbuch, 1513) or the illustrated Theuerdank poem (1517). The first Fraktur typeface arose in the early 16th century, when Emperor Maximilian I commissioned the design of the Triumphal Arch woodcut by Albrecht Dürer and had a new typeface created specifically for this purpose, designed by Hieronymus Andreae. Stroked variants of ⟨s⟩ are also used in pre-1950 Sorbian orthography. In the Latvian variant of Fraktur, used mainly until the 1920s, there are additional characters used to denote Latvian letters with diacritical marks. In Danish texts composed in Fraktur, the letter ⟨ ø⟩ was already preferred to the German and Swedish ⟨ ö⟩ in the 16th century. ![]() ![]() One difference between the Fraktur and other blackletter scripts is that in the lower case ⟨o⟩, the left part of the bow is broken, but the right part is not. Most older Fraktur typefaces make no distinction between the majuscules ⟨I⟩ and ⟨J⟩ (where the common shape is more suggestive of a ⟨J⟩), even though the minuscules ⟨i⟩ and ⟨j⟩ are differentiated. Some Fraktur typefaces also include a variant form of the letter r known as the r rotunda, and many include a variety of ligatures which are left over from cursive handwriting and have rules for their use. Besides the 26 letters of the ISO basic Latin alphabet, Fraktur includes the ⟨ ß⟩ ( Eszett ), vowels with umlauts, and the ⟨ſ⟩ ( long s). ![]()
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