I wanted to design a text typeface, a book garaldic on classical footing for our time. Not fashionable, but with new elements and shapes, fair, clear and well readable.
With these words Hellmuth Tschörtner describes his typeface, the Tschörtner-Antiqua, with was published in 1955 as foundry type as well as for Linotype linecasting machines. It should remain the sole typeface of this lettering artist and book designer. Besides the expensive new development of the generally vowed Garamond by Herbert Thannhaeuser, his typeface was one of the first new typefaces of the former German Democratic Republic (GDR). The design reflects the zeitgeist of text typefaces published around that time, standing in one line next to text typefaces by Hermann Zapf and Georg Trump.
The new drawn Toshna fonts are a sensitive interpretation and a gently further development. They offer three real optical weights. The display weight for titles and headlines is kept very tall, thin and graceful. The book weight for body text is drawn essentially wider, more round with robust, bold details. The punctuations and accents strictly serve the demands of body text. They are substantially bigger and more readable. Despite the fact that the width is running economically, the user notes the fonts’ big face, that qualifies for eye friendly long texts. Every font of the Toshna family offers extensive support for small caps, small cap figures, roman-, oldstyle-, tabular- and lining figures and dynamic fractions.
Toshna supports 109 different languages such as Spanish, English, Portuguese, German and French in Latin scripts. (Please note that not all languages are available for all formats.)