1. Geographica Script ™ is a careful simulation of the kind of 18th-century roundhand script you’ll find on engraved maps and trade cards of the mid-1700s. Six months in the making, our latest old script font has more than 1,100 glyphs, including scores of ligatures, historical flourishes, and an eye-popping series of period ornaments.
2. Germanica - Paul Lloyd. A Charming Font. In: Gothic, Famous, Halloween, Horror. A Charming Font - Gem Fonts. In: Calligraphy, Decorative, Gothic, Script, Tattoo. Artonic - Cucu Supriyadi. In: Gothic, Blackletter.
3. “German Script” and “Kurrent” The Kurrent script, which is commonly known as “The Old German Script” evolved from the gothic cursive handwriting at the beginning of the 16th century. The gothic cursive had been in use throughout much of the medieval ages and had developed into a staggering number of different writing styles.

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There is currently much discussion as to the origin and development of theOld German script. There are as many different opinions as there are voicestalking about it. To avoid further confusion and clear up the record, we wouldlike to trace the origins and development of the Old German Script from itsbeginnings in the first half of the 16th century to its termination as the“standard” German script in 1941.

“German Script” and “Kurrent”

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The Kurrent script, which is commonly known as “The Old German Script”evolved from the gothic cursive handwriting at the beginning of the 16th century. Thegothic cursive had been in use throughout much of the medieval ages and haddeveloped into a staggering number of different writing styles. The need for auniform and legible handwriting led many important writing masters to thedevelopment of the Kurrent, a script that was soon adopted by many chancelleriesbecause it was beautiful, fast to write and comparatively legible. Thisinitiated the widespread use of Kurrent as an everyday handwriting. Over the next two hundred years, writing styles became more and morestandardized, so that by the end of the 18th century the “modern”form of the Kurrent was established.

Sütterlin vs. Kurrent

Anybody who has tried will confirm that the classic Kurrent script is very hardto write. There are many sharp angles, straight lines and abrupt changes indirection. To give schoolchildren an easier start on the art of writing, theViennese graphic artist Ludwig Sütterlin (born 1865, died 1917) devised a formof Kurrent that consisted of wide curves and very few sharp angles. Heintended it as a basic script on which pupils would develop their individualhandwriting. This Kurrent was accepted as standard script in all Prussianschools in 1915. By 1934, it was firmly established at virtually all Germanschools. Sütterlin Kurrent is the handwriting remembered by the older Germangeneration. Like all Fraktur and Kurrent types, it mostly disappeared after1941.

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Why the German script disappeared

After the turn of the century, Kurrent, much like its printed counterpart, Fraktur, declined in popularity. As German society became more cosmopolitan, itviewed the national style of writing as antiquated and ugly. Consequently, thehumanist Antiqua, both in its printed and written form became more and morefashionable. This, of course, changed with the rise of the Nazi regime.

Antiqua and Latin script were declared “Un-German” and “non-Aryan.”Only Fraktur and Gothic typefaces were to be considered “German.” As aresult of this policy many bastardized Gothic and Fraktur designs cropped up,all of them commonly known as “Schaftstiefel Grotesk.” (Jackboot Sans-Serif)

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In 1941 however, Hitler ordered a complete reversal of existing policy andissued a curious decree, declaring Fraktur and Kurrentto be of “Jewish origin” and therefore taboo.

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The motive for this sudden change is easily seen. The Germanadministration of the occupied countries had found that Fraktur and Germanscript formed a veritable communication barrier with the peoples of Poland,France, The Netherlands, Belgium, Yugoslavia, Greece and parts of the SovietUnion. German or not, it had to go.

The nazi propaganda machine was charged with building public support for thedecision, but quite apparently it choked on this particular bit of nazireasoning. No mention of the order is made in the official newspapers for thefollowing six months. At the start of the new school year, a more plausiblereason was found, and the Reichsminister for Education touted the new policy asthe creation of new standard script, better suited as a base for an individualhandwriting. The Völkischer Beobachter (the official Nazi party newspaper)chimed in, complaining that presently German children had to learn eightdifferent alphabets (Fraktur, Kurrent, Antiqua and Latin Script, upper and lowercase each), which would now be reduced to four, thus making learning much easieron the children. The result, in any case, was that Kurrent was no longer taughtin schools.

It is a misconception that the allied forces officially prohibited the use ofFraktur and Script. It is, however, conceivable that local commanders preferredto have communications printed in Antiqua — again because non-Germans couldnot read Fraktur and Kurrent.

Was that the end of Kurrent?

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Not quite. Some German schools still taught the Old German Script in optionalafternoon classes. I still have a primer entitled “Wer kann das lesen,”printed in 1954, which is indicative of the innocence that was commonly feltabout the way Germany wrote. The poor image of Fraktur and Kurrent only cameabout when movies, television and printed media associated Fraktur with theThird Reich — to the extent that for some time any blackletter font wasconsidered “Nazi Type.” Today, Fraktur is experiencing a modest resurgence in the hands of progressive designers who use these interesting typefaces mostly in ornamental applications.