Gert Wunderlich (typographer)

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Gert Wunderlich (*  18th November 1933 in Leipzig ) is a German book designer, font , poster designer and typographer . He is an important graphic designer in the German-speaking area. He has received numerous prizes and awards for his work.

life and work

Gert Wunderlich learned the profession of typesetter at the Deutsche Grafische Werkstätten Leipzig and from 1953 to 1958 studied at the University of Graphic and Book Art Leipzig (HGB) with Irmgard Horlbeck-Kappler, Wolfgang Mattheuer and Elisabeth Altmann in basic studies as well as with Albert Kapr , Oskar Zech and Otto Erler in their specialist studies. He completed his studies with a diploma.

From 1958 to 1960 he worked as a book designer in the printing company Progress Erfurt. Membership in the Association of Visual Artists of the GDR (VBKD) followed in 1959. In 1964 he became secretary of the International Book Art Exhibition (IBA) Leipzig in 1965. The exhibition poster he designed with the memorable sign made him internationally known. In 1966 he got an apprenticeship at the HGB with Albert Kapr, became assistant in 1967 and senior assistant in 1968. In 1971 he was appointed lecturer at the HGB. In the same year he was accepted as a member of the Association of German Book Artists, Offenbach / Main.

Wunderlich was appointed professor with artistic teaching activities in 1979, and from then on he headed the book design / commercial graphics department until 1994 . In 1982 he became chairman of the GDR's ICOGRADA committee . In 1988, Wunderlich taught as a visiting professor at the Academy of Art & Design Beijing (People's Republic of China). From 1991 to 1999 he was responsible for training master class students. In 1992 he was appointed professor of "New Law" at the HGB. Until 1999 he was also head of the typography / book design / poster class at the HGB.

After his retirement in Leipzig in 1999, Wunderlich again took on a guest professorship at the Academy of Art & Design Beijing, which included lectures at Xiamen University and the Suzhou Art Academy . As a recognized graphic artist and typographer, he was often asked to serve as a juror in national and international book, poster and graphic design competitions, such as the competitions " Most Beautiful Books of the GDR ", " Most Beautiful Books from All Over the World ", the IBA , the Poster Biennale in Warsaw , the Graphic Design Biennale in Brno , the poster competition "Auschwitz warnt", the Biennale of the Poster in Lahti or the competition for the " Best Posters of the Year ". He was a member of the board of trustees for the award of the Gutenberg Prize of the cities of Leipzig and Mainz from 1992 to 2011.

Wunderlich is one of those typographers who received classical training at the HGB Leipzig after the Second World War . Influences of Expressionism and the Bauhaus can already be recognized in the 1950s , which led to a contemporary conception without abandoning or completely breaking with familiar traditions. Wunderlich is a representative of the » Leipzig School « in the field of typography, whose conception consisted in establishing something new alongside the tried and tested. His credo was: The typographical form should be appropriate to the content, but forms are to be selected that make the texts tangible without neglecting legibility. The reader as the addressee has an elementary right to a typographical ordering principle that makes it easier for him to understand texts.

Font design

As early as 1958, Wunderlich designed the »Antiqua 58«, which was manufactured as a test bike by Typoart Dresden . From 1957 onwards, other commercial typeface designs were created, including a. the "Egeria-Grotesk" (1962), which is regarded as the preliminary stage for the maxima . In 1963/64 the draft of the linear Antiqua Maxima was drawn manually and initially produced for metal typesetting. In the 1980s it was one of the most widely used sans serif fonts in the GDR and was designed as a large family of fonts under the criteria of legibility, aesthetics and expressiveness. The range also includes Cyrillic and Greek characters with corresponding special characters and accents for more than 20 languages. In addition, the Maxima generally contains old style figures and small caps for the first time . The font was used in all book genres, in telephone books and in the field of graphic design, etc. a. in local transport in Berlin (U-Bahn, S-Bahn, tram).

With the privatization of Typoart Dresden in 1990 the activity was stopped. It was not until 2006 that the Hamburg company Elsner + Flake devoted itself to a revision (redesign) in the OpenType -Pro format. The font was named »Maxima Now« and is initially available in 25 Latin weights - with old style figures and small caps in 6 versions. It can be used with special characters and accents for 79 language areas.

Book design

After completing his university studies, Gert Wunderlich appeared as a book designer. He took his first steps in the printing works in Erfurt with the design of picture and text volumes about the memorials of the Nazi concentration camps Buchenwald , Sachsenhausen and Ravensbrück as well as art and picture books. »He always understood the (book) as a unified, coherent overall organism. Based on a respectful relationship to literature or to the specific content of the respective book, he sets the individual elements in a tense, but always balanced relationship to one another. Perhaps, alongside his two older comrades-in-arms, Albert Kapr and Walter Schiller , he represents one of the last great, complete achievements of the book art tradition that had been developing again in Leipzig since the mid-1950s and matured in the seclusion of the GDR, even with great material difficulties and affected by cultural-political debates. "

The important traditions of book design of the past, the avant-garde achievements of the first half of the 20th century and the exciting designs of his teachers and colleagues at the HGB stimulated his artistic work. Not only separate cover or book cover designs, but the holistic book design as a creative task was the real concern, characterized by idiosyncratic interpretations of the given material. Publishing houses such as the Kongreß Verlag Berlin, Verlag der Kunst Dresden, EA Seemann Leipzig, FA Brockhaus Leipzig, Deutscher Verlag für Musik Leipzig, Domowina-Verlag Bautzen, Edition Leipzig , Reclam-Verlag Leipzig were among the most important clients for elaborately designed picture and volumes of text.

The collaboration with illustrators and graphic designers was important for Wunderlich, with the aim of combining texts and graphics with a wide variety of content and graphic techniques in the bibliophile book. This was achieved with unusual formats, valuable papers and combinations of the same, taking into account special manuscripts by the artists Karl-Georg Hirsch , Baldwin Zettl , Jiří Šalamoun , Willi Sitte , Eckhard Froeschlin, Josef Hegenbarth , Hans Fronius , Winfried Wolk, Hans Ticha , Egbert Herfurth , Rolf Münzner , Achim Freyer , Inge Jastram , Wolfgang Henne, Johannes Vennekamp , Volker Pfüller , Hartwig Ebersbach , Rolf Kuhrt , Hans Meid u. a. Publishers such as Faber & Faber Leipzig, Book Guild Gutenberg Frankfurt / Main, Edition Curt Visel Memmingen, editors and presses such as the burgart-presse Jens Henkel Rudolstadt and the Leipziger Bibliophile-Evening see in Gert Wunderlich an outstanding and sensitive designer for complex text structures, also for differentiated graphics to be treated and their interaction in the book. Artist monographs, for which Gert Wunderlich created an adequate presentation, take up a large space. The bibliophile editions with illustrations by renowned graphic artists, often reproduced from the original printing block, deserve special mention.

poster

Gert Wunderlich sees posters as an indispensable field of activity . Here the spectrum of topics is just as varied as his typographical ingenuity. Dealing with writing as a poster title or accompanying information is characterized by confident handling of the types themselves, knowledge of their creation and the uniqueness of their characters. »Gert Wunderlich uses the Cyrillic characters in the 'Graphic Design' poster at an exhibition in his department in Moscow with the same laconic style. Red snippets on bright yellow counteract the black Jirij-Ju-Ja's of Cyrillic and at the same time are themselves rhythm in the sense of writing. No wonder that the Neue Sammlung in Munich collected the poster right after the fall of the Wall. "

The topic to be treated is the specification for the choice of the types that are virtuously put together on the poster surface to form a harmonious whole - be it antiqua , Fraktur or sans serif types. »There is a whole series of exemplary posters for gallery exhibitions in the HGB that Gert Wunderlich has designed over many years. Here he shows fine empathy in order to find an adequate creative solution for the respective artist, as well as extreme sensitivity in the combination of text and image. «In addition to numerous commissioned works for theater, exhibitions, anniversaries and events, socially relevant topics have always been on the rise since the 1970s more space. With the »affiche directe« edition he founded, Gert Wunderlich reacts to social processes, social injustices, and political events beyond the national framework. The creation of posters has always proven to be a stimulating factor for work in the book design sector. Since 1957, Wunderlich has received more than 100 awards for " Most Beautiful Books in the GDR " and " Most Beautiful Book Covers " and since 1966 more than 30 " Best Posters ". He developed numerous logos and CI: IBA 1959 and 1971, Most Beautiful Books from All Over the World , Leipzig Theater, University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig , HGB Leipzig 1988 and 1991.

Gert Wunderlich is married to the commercial artist Sonja Wunderlich (* 1935), with whom he designed works together.

Works (selection)

Font design

  • Commercial typeface. 1957/1958. Draft.
  • Antiqua 58. 1958. Trial wheel in lead type 28p. 1963, Typoart Dresden. Polish accents. Draft. (The test bike was disposed of at the Leipzig Institute for Book Art after 1999.)
  • Antiqua 58, italic. 1958. Design.
  • Book art, uppercase alphabet. 1958. Design.
  • Chamois. 1958/1962. Draft of a commercial typeface.
  • Linear Antiqua. 1961/1962. Draft / samples in lead type.
  • Egeria grotesque. 1962. Draft of a linear antiqua.

Electronic font production by Typoart Dresden:

  • Lector, skinny. Metal type sample with italics, 1963. Photo typesetting 1989. Collaboration with Fritz Richter. (The production was discontinued by the privatization of Typoart Dresden in 1990.) In 2016, Kursiv, Fett, Schmalfett were added in collaboration with Reymund Schröder.
  • Maxima, lean. 1963/1964. Lead type, 6–48 p. 1969. Photosetting 1981.
  • Maxima, lean italic. 1963/1964. Lead type, 6–48 p. 1966. Phototypesetting, 1987.
  • Maxima, semi-bold. 1963/1964. Lead type, 6–48 p. 1966. Photosetting 1981.
  • Maxima Cyrillic, lean. 1964. Bleisatz, 1973. Photo typesetting, 1982. Collaboration with Hans-Peter Greinke.
  • Maxima Cyrillic, lean italic. 1964. Metal type sample, 1973. Photo typesetting 1982.
  • Maxima Cyrillic, semi-bold. 1964. Metal type sample, 1973. Photo typesetting, 1982.
  • Maxima-Cyrillic, bold italic. 1964. Phototypesetting, 1983.
  • Maxima, tender. Latin index of figures for all versions of this font family (uppercase, lowercase, ligatures, dots, uppercase and lowercase figures, fractional figures, characters) 1979/1981.
  • Maxima small caps, delicate. 1979/1986
  • Maxima, narrow semi-bold. 1979/1982.
  • Maxima, narrow bold. 1979/1983.
  • Maxima, bold. 1979/1981.
  • Maxima, narrow lean. 1979/1985.
  • Maxima, extra bold. 1979/1987.
  • Maxima Cyrillic, special characters lean. 1982. Additions in lean italics, semi-bold, semi-bold italics.
  • Maxima-Cyrillic, semi-bold, with special figures. Designed in 1982.
  • Maxima-Greek, lean. 1983/1985. Collaboration with Fritz Richter.
  • Maxima-Greek, italic. 1983/1985. Collaboration with Fritz Richter.
  • Maxima-Greek, semi-bold. 1983/1985. Collaboration with Fritz Richter.
  • Maxima, light shaded. 1984. Collaboration with Fritz Richter.
  • Maxima-Greek, bold italic. 1985. Collaboration with Fritz Richter.
  • Maxima small caps, lean. 1964/1986.
  • Maxima textbook version. 80s.
  • Maxima-Egyptienne. Test word. 1988.
  • Maxima, in bold italics. 1988.
  • Maxima-Vietnamese, lean. 1988.
  • Maxima, in italics. 1990.

Note: The entire Maxima font family, including Cyrillic and Greek, from the typeface manufacturer Typoart Dresden / Leipzig has been offered since 2012 under the name »Avus pro« (My Fonts). In addition to the name of the designer, ie the creator Gert Wunderlich, another person is incorrectly named as a »designer« who has nothing in common with this typeface design in the roughly 25 years of development. A “redesign” of the “Typoart Maxima” by third parties is by no means to be assumed.

  • Maxima Now. 2006-2009. Redesign by Elsner + Flake, Hamburg. 31 versions: Including small caps in six versions, all 31 versions with additional old style figures.

Book design

  • Kurt Schifner: Otto Pankok. VEB Verlag der Kunst Dresden, 1963.
  • Raquel Tibol: David Alfaro Siqueiros. VEB Verlag der Kunst Dresden, 1966.
  • Ferdinand Anton: Art of the Maya. VEB EA Seemann Verlag Leipzig, 1968.
  • Wolfgang Hütt : Lea Grundig. VEB Verlag der Kunst Dresden, 1969.
  • Companions. 25 GDR artists. VEB Verlag der Kunst Dresden, 1970.
  • Wolfgang Hütt: Willi Sitte. VEB Verlag der Kunst Dresden, 1972.
  • Berthold Beiler / Heinz Föppel (eds.): Experience, image personality. VEB Fotokinoverlag Leipzig, 1973.
  • Budissin Bautzen. VEB Domowina Verlag Bautzen. 1973. (with Sonja Wunderlich)
  • Heinz Mode : mythical animals and demons. Edition Leipzig, 1973.
  • Ferdinand Anton: The art of gold countries. VEB EA Seemann Verlag Leipzig, 1974.
  • Helmut Zeraschi : The donkey, the grandmother and other musical instruments. Illustrations: Sonja Wunderlich. VEB German publishing house for music Leipzig, 1974.
  • VBK-DDR (ed.): Commercial graphics in the GDR. VEB Verlag der Kunst Dresden, 1975.
  • J. Markschiess-van Trix / Bernhard Nowak: Artists and circus posters. Edition Leipzig, 1976. (with Sonja Wunderlich)
  • Walter Böttger: Culture in ancient China. Illustrations: Sonja Wunderlich. Urania-Verlag Leipzig / Jena / Berlin, 1977.
  • Fritz fighter: cups, tankards and trophies. Edition Leipzig, 1977.
  • Josef Horschik: stoneware. VEB Verlag der Kunst Dresden, 1978.
  • Alma Reed : José Clemente Orozco. VEB Verlag der Kunst Dresden, 1979.
  • Dieter Nadolski / Arkadi Miltschin: proofreading and editing of specialist literature. VEB Fachbuchverlag Leipzig, 1979.
  • Horst Büttner / Günter Meißner : Town houses in Europe. Edition Leipzig, 1980.
  • Johannes Forner: The Gewandhaus Concerts in Leipzig 1781–1981. VEB German Publishing House for Music Leipzig, 1981.
  • Magdalena George: Max Schwimmer. VEB Verlag der Kunst Dresden, 1982.
  • Rudolf Weinhold : Sound in many forms. Edition Leipzig, 1982. (with Sonja Wunderlich)
  • Mexico. VEB FA Brockhaus Verlag Leipzig, 1982. (with Sonja Wunderlich)
  • Lothar Willmann / Werner Rietdorf / Horst Baeseler: Overflight. VEB FA Brockhaus Verlag Leipzig, 1982. (with Sonja Wunderlich)
  • Georg Brühl : Herwarth Walden and 'Der Sturm'. Edition Leipzig, 1983. (with Sonja Wunderlich)
  • General artist lexicon. VEB EA Seemann Verlag Leipzig, 1983.
  • Dieter Nadolski: Old used tin. Edition Leipzig, 1983.
  • Willi Geismeier : The painting of the German romantics. VEB Verlag der Kunst Dresden, 1984.
  • Max Beckmann : Ebbi. Publishing house Philipp Reclam jun. Leipzig / Gutenberg Book Guild Frankfurt am Main, 1984.
  • HAP Grieshaber / Hans Marquardt : Dear Nani, dear Ricca… Buchverlag Der Morgen Berlin, 1985.
  • Fritz Erpel: Max Beckmann. Life in the factory. The self-portraits. Henschelverlag Art and Society Berlin, 1985.
  • Norbert Hornig : Leipzig poster art. VEB EA Seemann Verlag Leipzig, 1985.
  • Dieter Nadolski: guild tin. Edition Leipzig, 1986.
  • Lain S. Bangdel: Nepal. Two thousand five hundred years of Nepalese art. Illustrations: Sonja Wunderlich. VEB EA Seemann Verlag Leipzig, 1987.
  • Cheerful and biting things from Marx and Engels. Illustrations: Egbert Herfurth. Dietz Verlag Berlin, 1987.
  • Dietmar Debes (Ed.): Zimelien. Book treasures of the Leipzig University Library. VEB EA Seemann Verlag Leipzig, 1988. (with Sonja Wunderlich)
  • Hans Henning (Ed.): Sheets of memory. From family records of women in the 18th and 19th centuries. Verlag für die Frau Leipzig, 1988.
  • Heinz Schönemann: Wolfgang Mattheuer. VEB EA Seemann Verlag Leipzig, 1988.
  • Günter Meißner: Werner Tübke. VEB EA Seemann Verlag Leipzig, 1989. (with Sonja Wunderlich)
  • Hellmut Rademacher: Theater posters. Edition Leipzig, 1990.
  • Georg Brühl: The Cassirers. Edition Leipzig, 1991. (with Sonja Wunderlich)
  • Sylke Wunderlich: Email posters. Edition Leipzig, 1991. (with Sonja Wunderlich)
  • Michael Stuhr: The Krakow Marien Altar by Veit Stoss. EA Seemann Verlag Leipzig, 1992. (with Sonja Wunderlich)
  • Gardens of the Goethe era. Edition Leipzig, 1993. (with Sonja Wunderlich)
  • Johannes Forner (Ed.): University of Music and Theater "Felix Mendelssohn Bartholdy" Leipzig. 150 years of the Musikhochschule 1843–1993. Verlag Kunst und Touristik Leipzig GmbH, 1993.
  • From tender to extra fat. Typographical by Gert Wunderlich 1957–1998. Gert Wunderlich Leipzig, 1998.
  • Egbert Herfurth / Gert Wunderlich: From monkey to zebra. Prestel Verlag Munich / London / New York, 2001.
  • Claus Baumann / Thomas Topfstedt : Art in Construction. Sparkasse Leipzig / EA Seemann Leipzig, 2003.
  • Foundation Poster OST (Ed.): Graphic Design Splitter. Sonja & Gert Wunderlich. Gert Wunderlich Leipzig, 2013.
  • Gert and Sylke Wunderlich: Zittau faience. Historical overview with numerous images from museums and collections. Collection Sonja and Gert Wunderlich. Foundation Poster OST / Gert Wunderlich Leipzig, 2016.

Bibliophile books (selection)

  • Eberhard Haufe (Ed.): Who wehlet in Liebesfrüchten… Gustav Kiepenheuer Verlag Weimar, 1973. Wood engravings: Karl-Georg Hirsch.
  • Friedrich Engels : The German Peasants' War. Ministry of Culture / HGB Leipzig (ed.), 1974. Wood engravings: Karl-Georg Hirsch.
  • Goethe in Leipzig . Insel-Verlag Anton Kippenberg Leipzig, 1982. Wood engravings: Karl-Georg Hirsch.
  • Ernesto Cardenal : Latin American Psalms. Union Verlag Berlin, 1986. Etchings: Winfried Wolk.
  • Matthias Biskupek : Black hip and other captivating feelings. District group Gera of the Pirckheimer Society in the Kulturbund of the GDR in cooperation with the Institute for Book Design of the HGB Leipzig, 1989. Wood engravings: Karl-Georg Hirsch.
  • Stronger than a rock. Texts about Sisyphus. Edition Leipzig, 1990. Illustrations: Hans Fronius, Heidrun Hegewald , Karl-Georg Hirsch, Harald Metzkes, Wolfgang Mattheuer, Baldwin Zettl.
  • Herbert Kästner (Ed.): 35 years of bibliophilia in Leipzig. Pirckheim Society Leipzig, 1991.
  • Nikolai Gogol : The nose. Edition Curt Visel Memmingen, 1993. Wood engravings: Karl-Georg Hirsch.
  • Kerstin Hensel : Kiss the bald. burgart press Jens Henkel Rudolstadt, 1993. Wood engravings: Karl-Georg Hirsch.
  • Volker Ebersbach : Apocalyptic Prayer. Leipzig Bibliophile Evening Leipzig, 1993.
  • Dorothee Sölle / Josef Hegenbarth : Noah's Ark. Edition burgart Jens Henkel Rudolstadt, 1994. Brush drawings: Josef Hegenbarth.
  • Bella Achmadulina : The sound of loss. Institute for Book Art Leipzig, 1995, woodcuts: Karl-Georg Hirsch.
  • Antonin Artaud : Van Gogh, the suicide by society. Book guild Gutenberg Frankfurt / Main, Vienna, 1995. Etchings: Eckhard Froeschlin.
  • Uwe Johnson : If Jerichow had come to the West. Leipzig Bibliophile Evening, 1995. Wood engravings: Karl-Georg Hirsch.
  • Matthias Biskupek: Blackened in red and other captivating feelings. burgart press Jens Henkel Rudolstadt, 1996. Wood engravings: Karl-Georg Hirsch.
  • Annette von Droste-Hülshoff : The Jewish beech. Edition Curt Visel Memmingen, 1996. Wood engravings: Karl-Georg Hirsch.
  • Peter Gosse : Gerhard Kurt Müller on his 70th birthday. Leipzig Bibliophile Evening, 1996. Portfolio design.
  • Edgar Allan Poe : Three Tales. Leipzig Bibliophile Evening, 1996. 6. “Leipziger Druck”. Lithographs / drawings: Jiří Šalamoun.
  • Bertolt Brecht : Refugee Talks. Leipzig Bibliophile Evening Leipzig, 1997. 7. “Leipziger Druck”. Woodcuts: Hans Ticha.
  • Johannis von Saaz: The tiller and death. Leipzig Bibliophile Evening Leipzig, 2000. Stone prints: Rolf Münzner.
  • Board of the Leipzig Bibliophile Evening (Ed.): Hommage à Herbert Kästner. Leipzig, 2001. Acrylic engraving: Egbert Herfurth. Texts: Volker Braun, Elmar Faber , Lothar Lang .
  • Herbert Kästner (Ed.): Ten years of the Leipzig Bibliophile Evening. Leipzig, 2001.
  • Karl-Georg Hirsch: ... you should actually shoot yourself. Publishing house Faber & Faber Leipzig, 2001.
  • The graphic books. First works by German authors of the 20th century. Verlag Faber & Faber Leipzig, 2001-2006. Volume 21–30: Anna Seghers : Revolt of the fishermen of St. Barbara. Lithographs: Willi Sitte; August Stramm : Sancta Susanna. Lithographs: Achim Freyer; Wolfgang Borchert : Lantern, Night and Stars. Etchings: Inge Jastram; Martin Walser : A plane over the house and other stories. Transparent lithographs: Johannes Vennekamp; Klaus Mann : Anja and Esther. Linocuts: Wolfgang Henne; Franz Jung : The idiot book. Transparent lithographs: Volker Pfüller; Joseph Roth : Hotel Savoy. Woodcuts and silhouettes: Hartwig Ebersbach; Volker Braun : Provocation for me. Woodcuts: Rolf Kuhrt; Erich Mühsam : Billy's path to earth. Woodcuts: Artur Dieckhoff; Bazon Phönix Phlebas Brock : fenders. Typographics: Gert Wunderlich; Kurt Tucholsky : Rheinsberg. A picture book for lovers. Etchings and pen drawings: Gudrun Brüne .
  • Matthias Biskupek: Golden Ratio and Other Aesthetic Disasters. burgart-presse Jens Henkel Rudolstadt, 2002. Wood engravings: Karl-Georg Hirsch.
  • Dances of death. 6 volumes. Texts: Kerstin Hensel , Hubert Schirneck , Peter Gosse , Volker Braun, Kathrin Schmidt , Richard Pietraß . Leipzig Bibliophile Evening Leipzig, 1998–2002. Wood engravings: Karl-Georg Hirsch.
  • Volker Braun: The notorious Christian Sporn. Leipzig Bibliophile Evening Leipzig, 2004. Etchings: Joachim John .
  • Walter Jens : Me, a Jew. burgart press Jens Henkel Rudolstadt, 2004. Wood engravings: Karl-Georg Hirsch.
  • Bertolt Brecht: Freedom and Democracy or the Anachronistic Train. Leipzig Bibliophile Evening Leipzig, 2006. Copper engravings: Baldwin Zettl.
  • The older the deer, the more prongs. Leipzig Bibliophile Evening Leipzig, 2008.
  • Hermann Kant : Identifier. Leipzig Bibliophile Evening, Leipzig, 2008. Wood engravings: Karl-Georg Hirsch.
  • Rolf Hochhuth : Why an Elser memorial - and where? Leipzig Bibliophile Evening, 2010. Etching: Rolf Kuhrt.
  • Petrarch / Shakespeare / Rilke : Sonnets. Leipzig Bibliophile Evening Leipzig, 2010. Woodcuts: Robert Schmiedel. Etchings: Michael Triegel . Stone prints: Rolf Münzner.
  • Herbert Kästner (Ed.): Leipzig Bibliophile Evening - The Second Decade. Leipzig, 2011.
  • Werner Heiduczek : The sad story of Snow White. Verlag Faber & Faber Leipzig, 2011. Drawings: Egbert Herfurth.

Posters (selection)

  • International Book Art Exhibition Leipzig. 1965.
  • Week of the book. 1968.
  • Read, discover, experience. 1969.
  • Ten years of the New Leipzig Opera House. 1970.
  • 8th art exhibition in the Leipzig district. 1972.
  • International Book Art Exhibition Leipzig. 1971.
  • Break in the poster. 1978.
  • Thomas Mann honor of the GDR. 1975.
  • Death to all fascism. 1975.
  • Exhibition typography, lettering, book, poster. Gert Wunderlich. 1976.
  • 100 selected graphics. 1977.
  • Leipzig Theater: The Ring of the Nibelung. 1976.
  • Honor for the 50th anniversary of the founding - Association of proletarian revolutionary writers in Germany. Association of revolutionary visual artists in Germany. 1978.
  • Theater International Leipzig. 1977/1980.
  • Exhibition GW book design, typography, poster, typeface. 1981.
  • upgrade = to upgrade. 1983.
  • 100 years of the German Museum of Books and Writing in Leipzig. 1884-1984. 1984.
  • Sztuka Książki i grafika. Wrocław 1985.
  • Leipzig Theater: The Rise of Mount Fuji. 1986.
  • 100 best posters of 1985. 1986.
  • Heinrich Heine: That is the fate of the beautiful on earth…. 1987.
  • Exhibition Sonja & Gert Wunderlich posters. 1987.
  • Leipzig book art & graphic design. 1991.
  • Most beautiful books from all over the world. 1982/1991.
  • Victor Hugo: The future belongs to the book and not to the bomb, to peace and not to war. 1988. (iba 1989)
  • 225 years anniversary of the Leipzig School of Graphics and Book Art. Painting, graphics, book design, posters, photography. 1989.
  • Graphic design. Exhibition of the book art / graphic design department of the HGB in Moscow. 1989.
  • I praise my Leipzig! 1990. (with Sonja Wunderlich)
  • Common sense versus violence. 1992.
  • 60th anniversary of the book burning by the National Socialists. 1993.
  • Gala concert. 150th anniversary of the "Felix Mendelssohn Bartholdy" University of Music and Theater in Leipzig. 1993.
  • About the pleasure of making books. 1995.
  • Ex oriente lux. 1995
  • quo vadis littera? 1996
  • HIM succeeds in taking the millennium. Bertolt Brecht 1898–1998. 1998. Draft.
  • Exhibition from tender to extra bold. Typography by Gert Wunderlich. 1998.
  • Aggressors 1939/1999. 1999.
  • To everyone, to everyone, to everyone. 2002.
  • Jan Tschichold. 100th birthday. 2002
  • Karl-Georg Hirsch / Gert Wunderlich. Greifenstein. 2003.
  • Competence for peace: ¡UN! Competence for war: ¿USA? 2003
  • Exhibition Typo-Ego-Ich-AG. Typography by Gert Wunderlich. 2004.
  • Hiroshima / Nagasaki. terror. 2005.
  • Red carpet for right-wing extremists - how much longer? 2009.
  • Auschwitz. 1940 - 1945 - 2005. The German crime of the century. 2005.
  • Future. 2007.
  • the exploitation of man by man never stops. 2007/2013.
  • never again fascism. 2006.
  • Unrestrained maximum profit kills morality. 2008.
  • Error: "Man is not the measure of all things ..." but capital. 2009.
  • Bertolt Brecht: Children's anthem. 2010.
  • A deep crack runs through Germany ... 2011.
  • Fukushima - apocalyptic prelude. 2011.
  • Typography exhibition - a game? 2013/2014
  • Stefan Zweig , 1938. You don't hate the same enemy as you did in 1914 ... 2014.
  • "Hero's death". 2014.
  • Terrorists. 2015.
  • IS stop forever. 2015/2016.
  • Bertolt Brecht: The great Carthago ... 2016.
  • nato aggression? 2016.
  • Ogaki Matsuri Festival. Japan. 2016.

Personal exhibitions (selection)

  • 1976: typography, book, writing, poster. German library, Leipzig.
  • 1976: Posters, typefaces, book design by Gert Wunderlich. Gallery exhibition, Amsterdam.
  • 1978: Sonja + Gert Wunderlich. Book art, illustration, typography, punctuation. Cultural Center of the GDR, Warszawa.
  • 1981: Book design, typography, poster, typeface. Georg Maurer Library, Leipzig.
  • 1987: Sonja & Gert Wunderlich posters. Ernst Friedel Maischein Gallery, Bad Dürkheim.
  • 1998: from tender to extra fat. Gallery of the HGB, Leipzig. (Oeuvre exhibition)
  • 1999: Exhibitions in Beijing, Xiamen, Suzhou with student theses in the HGB class.
  • 2000: The work of the book designer Gert Wunderlich. Pirckheimer Society, Magdeburg.
  • 2000: Book and font design. Pavilion Press, Weimar.
  • 2001: Liebricht & Kläfker bookstore and paper workshop, Bremen-Lesum.
  • 2002: Typography in the castle. Delitzsch Castle.
  • 2003: Gert Wunderlich. With theses from the HGB subject class. Graphic design school, Anklam.
  • 2003: Book Art Book with Karl-Georg Hirsch. G. Sauer-Encke Gallery, Greifenstein.
  • 2004: Gert Wunderlich typography. Brandenburg art collections, Cottbus. (Oeuvre exhibition).
  • 2006: literally. Gallery “interim”, Taucha.
  • 2006: Most Beautiful Books. Haute couture book design by Eugen Götz-Gee, Bern and Gert Wunderlich, Leipzig. Musée Gutenberg Friborg / Switzerland.
  • 2013: Typography - a game? Gert Wunderlich. House of the Book , Leipzig.
  • 2014: Typography - a game? Gert Wunderlich. Literaturhaus, Magdeburg.

Participation in exhibitions (selection)

  • 1959/1965/1971/1977/1982/1989: International book art exhibitions. Leipzig.
  • Since 1964: all art exhibitions in the GDR. Dresden.
  • 1965: Typomundus 20 / I. Toronto.
  • 1966/1968/1970/1972/1976/1978/1980/1984/1986/1988/1990/1996/2000/2002/2004/2014: Biennials of the poster. Warszawa.
  • 1966–2006: all commercial art biennials. Brno.
  • 1966–1989 / 1991: The best posters of the year. Erfurt / Berlin.
  • 1970: Typomundus 20 / II. Toronto.
  • 1972: Global eye. Tokyo.
  • 1978/1982/1985/2001/2007/2012/2016: Triennial of Political Poster. Mons.
  • 1979/1981/1983/1985/1987/1989/1991/1993/2001/2003/2012: Biennials of the poster. Lahti.
  • 1979/1987/1993/2003/2005/2007/2009/2011: International Invited Poster Exhibition. Colorado.
  • 1985: L 'image des mots. Paris.
  • 1989: Self-Image. Jerusalem.
  • 1989/1990: P 40. Posters from the GDR. Berlin / Hanover.
  • 1991/1993/1995: Premio international biennial »Felice Feliciano«. Verona.
  • 1992: United Germany. Poster exhibition. Ogaki.
  • 1995/1997: Biennial of the poster. Helsinki.
  • 1997: Taipei International Poster Festival.
  • 1996/1998/2001/2002/2005/2006/2008/2010/2012/2013/2016 International Invited Poster Exhibition. Ogaki
  • 2001: International Poster Triennal. Hong Kong.
  • 2007/2012: pasted over posters from the GDR. Schwerin / Foundation Poster OST, Berlin.
  • 2008/2009: Leipzig advertises. Poster art of the XX. Century. Leipzig.
  • 2009/2010: cracks in time. Munich, Freising, Dresden.
  • 2009/2012/2014/2015/2016: plakat-social, Leipzig, Dresden.
  • 2010: World from writing. State museums in Berlin, art library.
  • 2016: Quantity and class commercial graphics from the GDR. Werkbundarchiv-Museum der Dinge, Berlin.

Further participation in exhibitions in: Altenburg, Berlin, Braunschweig, Budapest, Camaiore, Chemnitz, Damascus, Emden, Erfurt, Essen, Frankfurt / Main, Genoa, Hanover, Havana, Heilbronn, Hong Kong, Kiev, Listowel, Mainz, Munich, Osaka, Osnabrück , Plovdiv, Prague, Seoul, Taipei, Toyama.

Awards

  • 1958 1st prize in the national iba poster competition
  • 1958 1st prize in the national competition for new typesetting
  • 1959/1965/1971/1977/1982/1989: gold, silver and bronze medals of the IBA, Leipzig
  • 1971 1st prize winner in the typesetting competition of the Comecon countries for the design of the "Maxima" font
  • 1976 Art Prize of the GDR
  • 1977 Wilhelm Bracke Medal in gold
  • 1978 Prize of the President of the 8th International Biennial of Commercial Graphics Brno
  • 1979 Gutenberg Prize of the City of Leipzig
  • 1984 gold medal of the XI. Biennial for commercial graphics in Brno
  • 1984 together with Sonja Wunderlich "Golden Letter" of the exhibition "Most Beautiful Books from All Over the World"
  • 1986 National Prize of the GDR (3rd class for art and literature)
  • 1989 together with Sonja Wunderlich honorary award of the Minister for Culture of the GDR at the IBA
  • 1990 Bronze medal at the XIV Brno Commercial Graphic Biennale
  • 1994/1998 2nd prize in the Walter Tiemann competition
  • 1998 Walter Tiemann Oeuvre Prize for book and script art
  • 2004 Award for the "Best Design" of the XXI. Biennial of commercial graphics in Brno
  • Since 1957 over 100 awards for "Most Beautiful Books" and "Most Beautiful Book Covers"
  • Since 1966 more than 30 awards for "Best Posters"

Working in collections

literature

  • Rolf Rohleder: ... and result in an excellent overall performance. A guest at Gert Wunderlich. 2 decades in the service of the beautiful, user-friendly book. In: Börsenblatt für den deutschen Buchhandel , Leipzig, Volume 145, 1978, pp. 777–780, with 7 illustrations.
  • Walter Bergner: Gutenberg Prize Winner Professor Gert Wunderlich. In: Paper and Printing. Printing form production. Leipzig 29 (1980) 11. Pp. 161–168, with 44 illustrations.
  • Albert Kapr: Gert Wunderlich. In: novum commercial graphics. Munich, 1981. Vol. 52, No. 7, pp. 12-19.
  • Gert Klitzke: Gert Wunderlich. Book design. Typography. Font. Poster. Punctuation. Leaflet Georg Maurer Library Leipzig, 1981.
  • Herbert Kästner : Greetings to Gert Wunderlich. In: Marginalien, 151. Heft, 1998, pp. 69-71.
  • From tender to extra fat. Typographic graphics by Gert Wunderlich 1957–1998. A contribution to book and lettering in the book city of Leipzig. Gallery of the College of Graphics and Book Art, Leipzig 1998, ISBN 3-932865-16-2 . Contains bibliography and catalog raisonné, pp. 224–255. (Book for the exhibition of the same name, Gallery of the College of Graphics and Book Art, November 21– December 19, 1998).
  • Sylke Wunderlich: pasted over - posters from the GDR, cat. Schleswig-Holstein-Haus Schwerin, 2007. P. 96, 111 f./114/132/155.
  • Kürschner's Handbook of Fine Artists. KG Sauer Munich / Leipzig, 2nd year 2007. Vol. 2, p. 1177 f.
  • Helmut Bähring / Kurt Rüddiger: Lexicon Book City Leipzig. From the beginning until 1990. Leipzig, 2008. P. 278.
  • Dietmar Eisold (Ed.): Lexicon artists in the GDR. 1st edition. Verlag Neues Leben, Berlin 2010. pp. 1053-1055. ISBN 978-3-355-01761-9 .
  • Julia Blume / Fred Smeijers: A Century of Writing and Writing Lessons in Leipzig. Institute for Book Art Leipzig. Leipzig, 2010. pp. 202/203/204/205/206/207/208/209/273 f.
  • Dietmar Eisold (Ed.): Lexicon artists in the GDR . 1st edition. New Life, Berlin 2010, ISBN 978-3-355-01761-9 , pp. 1053-1055 .
  • Horst Riedel: Stadtlexikon A to Z. Pro Leipzig , (Ed.). Leipzig, 2012. p. 654.
  • Foundation Poster OST (Ed.): Graphic Design Splitter. Sonja & Gert Wunderlich. Leipzig, 2013. Bibliography and catalog raisonné on Sonja & Gert Wunderlich. Text contributions: Axel Bertram, Elmar Faber, Jochen Fiedler, Peter Gosse, Peter Guth, Anneliese Hübscher, Stephanie Jacobs (greeting), Herbert Kästner, Anita Kühnel, Horst Schuster. ISBN 978-3-00-042809-8 .
  • Rainer Behrends: Introduction to the exhibition with works by Gert Wunderlich on November 5, 2013. In: Marginalia. Journal of book art and bibliophilia. Ed .: Pirckheimer-Gesellschaft im Harrassowitz Verlag. Wiesbaden, 1st issue, 2014. pp. I – XVI.

Gert Wunderlich - own texts (selection)

  • IBA Leipzig 1977. Cat. Of the special exhibition of book designers and typographers. Preface. Leipzig, 1977. pp. 5f.
  • The tasks of the book design department in the present. In: University of Graphic and Book Art Leipzig. Book design department. Leipzig, 1985. pp. 27-31.
  • University of Graphics and Book Art Leipzig (GDR). In: novum commercial graphics. Munich, Volume 57, 1986, Issue 10. pp. 44-51.
  • A pillar of the university: book art. In: Leipzig book art and graphic design. Work by teachers and students in the book art / graphic design department at the HGB Leipzig. Cat. Of the exhibition in the Klingspor Museum. Offenbach / Main, 1991. pp. 21f.
  • Oldřich Menhart, a Czech type artist. In: Marginalia. Journal of book art and bibliophilia. Ed .: Pirckheimer Gesellschaft im Aufbau-Verlag. Berlin / Weimar, Issue 134, 1994. pp. 91-99.
  • Greetings to Walter Schiller. In: Marginalia. Journal of book art and bibliophilia. Ed .: Pirckheimer-Gesellschaft im Harrassowitz Verlag. Wiesbaden, 3rd year 1995, 139. Issue 3. pp. 8-11.
  • Horst Schuster - passionate bookmaker. In: Horst Schuster. Book and commercial. Dresden, 2000. pp. 10f.
  • From monkey to zebra. The other animal alphabet. Font design / text, illustration: Egbert Herfurth. Munich / London / New York, 2001.
  • About Jiři Šalamoun. In: i dreamed i was a dog that dreams. Picture stories by Hans Hillman and Jiří Šalamoun. Cat. National Museums in Berlin, Art Library, 2011. P. 48f.
  • Font in the poster. In: Stiftung Poster OST (Ed. :): Graphic Design Splitter. Sonja & Gert Wunderlich. Leipzig, 2013. pp. 154/156.
  • About the origin of writing. In: Ibid. Pp. I-IV.

Web links

Individual evidence

  1. ↑ Detailed description in text and images in: Stiftung Plakat OST (Ed.): Sonja & Gert Wunderlich - Graphic Design Splitter . Leipzig, 2013, pp. I – XXIV.
  2. ↑ The Drescher company (Pulsnitz) produced the font in wood and the special graphics company (Saalfeld) produced rub-off foils for Latin and Cyrillic texts.
  3. ↑ Anneliese Hübscher: Commitment and versatility. Quote after: From tender to extra fat. Typographic graphics by Gert Wunderlich 1957–1998 . Leipzig 1998, p. 7.
  4. ^ Uwe Loesch: Date limits. Quote after: From tender to extra fat. Typographic graphics by Gert Wunderlich 1957–1998. Leipzig, 1998, p. 25.
  5. ^ Rolf F. Müller: With the persuasiveness of writing. Quote after: From tender to extra fat. Typographic graphics by Gert Wunderlich 1957–1998. Leipzig, 1998, p. 26.
  6. ^ Association of graphic designers of the GDR and Lower Saxony Ministry for Federal and European Affairs: P40. Posters from the GDR , Berlin 1990, pp. 88, 205, ISBN 978-3-8758-5184-7 .
personal data
SURNAME Wonderful, Gert
BRIEF DESCRIPTION German type designer and typographer
DATE OF BIRTH November 18, 1933
PLACE OF BIRTH Leipzig