With Syntax™, Hans Eduard Meier wanted to prove that even a grotesque can be eminently legible. Even today, the prejudice that sanserifed typefaces are less legible than serifed typefaces has stubbornly remained. This conservative attitude definitely originates with unsuccessful attempts by Meier’s predecessors. Paul Renner began Futura® with essentially similar intentions, but followed the dogmatism of the Bauhaus too much. Even Otl Aicher never managed to prove that his Rotis® Sans was as [...]
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Almost half a century has passed since Hans Eduard Meier drew the first pencil sketches in 1955 which would provide the basis for the forms and scope of today´s Linotype Syntax typeface family. Considering the technical developments which led from hot metal composition to digitization, the passage of time is a strong affirmation of the timelessness of the Syntax design. The five weights of Syntax Antiqua were the last hot metal types produced by the German type foundry Stempel AG. The [...]
Die von Hans Eduard Meier entwickelte Syntax wurde 1968 von der Schriftgießerei D. Stempel AG herausgegeben. Den Figuren dieser Schrift liegt das Formenprinzip der Renaissanceschriften zugrunde. Das Neuartige der Syntax liegt in der Synthese aus linearer Struktur und dynamischem Duktus. Sie ist bewegter, spannungsreicher und dynamischer als die statischen Linearschriften.
