Wa l b a u m Pr o | 1

S t o r mt y p e . c o m
c d C D c d C D c d C D c
d C D c d C D c d C D c d
C D c d C D c d C D c d C
D c d C D c d C D c d C D
c d C D c d C D c d C D c
d C D c d C D c d C D c d
C D c d C D c d C D c d C
D c d C D c d C D c d C D
c d C D c d C D c d C D c
WW
Wa l b a u m Pr o | 2
S t o r mt y p e . c o m
Walbaum 2010 Pro

Two optical grades, 12 cuts, 1070 glyphs, over 7000 kerning pairs,
full array o OpenType funcions for scientifc & aeshetic use,
Greek and Cyrillic scripts.
K
Wa l b a u m Pr o | 3
S t o r mt y p e . c o m
Upon numerous demands of highly esteemed users of our fonts I decided to supplement the Walbaum type family by dislay
and poser cuts. Because I obviously cannot compete with worlds renowned type foundries which already oer a number o
renderings o forenamed typeface, I thought proper to decline a bit from the original Walbaums design, sricly seaking from the
apprehension we commonly keep about this typeface. Terefore I didnt set forth the way o modernising (shame!), but rather the
opposite direcion: towards an analysis o the original neo-classical intention. I took the 10-point characer, magnifed it enormously
and cut o progressively all the optically thickened bobbles which raised by small-size correcion. I ended up at the size o about 120
points, where it became obvious that any further thinning would lead to an undesired mannerisic fragility.
Resulting 8-member family Walbaum 120 is naturally usable in variety o sizes, as well as cuts marked 10 you can use, say, from 6
to 30 points. I only hope that miser Jusus Erich wont pull me by the ear when well meet on the other side...
Na etn pn velevench uivatel naich
psem jsem se v lt roku 2010 rozhodl doplnit
psmovou rodinu Walbaum o titulkov a plaktov
ezy. Ponvad nechci a nemohu konkurovat
slovutnm svtovm psmolijnm, kter ji mnosv
ez tohoto psma nabzej, rozhodl jsem se ponkud
odchlit od Walbaumovy pedlohy, pesnji eeno
od utkvl pedsavy, kterou o tomto psmu mme.
Nevydal jsem se ovem smrem modernisace (fuj!),
nbr opanm: k analyse pvodnho klasicisnho
zmru. Psmo destibodov zvtil jsem mechanicky
Wa l b a u m Pr o | 4
S t o r mt y p e . c o m
Wats the optical grade?
aa
(Or optical size) An efec known from old letterpress
times each cut was adapted for its secifc size. Te letter
shape was made o metal which is not scalable as todays
digital fonts.
On the lef we can see signifcantly thickened outlines o
a letter drawn for approx. 10 pt size. Too fat for dislay
or poser use. In the middle, an elegant drawing o the
same letter designed for bigger sizes. Beautiful here, but
when used in text setting, a reader will soon feel headache
from razor-sharp hairlines. On the right: both grades
overlapped.
Dont confuse optical size and font weight.
Wa l b a u m Pr o | 5
S t o r mt y p e . c o m
120Regular
120Medium
120Bold
120Med.Bold
Walbaum 120 Pro has four weights + italics, Walbaum 10 Pro has only two weights + italics; hence twelve cuts total.
Te black headlines on this page are set in 120 point size, small red text in 10 points to demonsrate the diference between both grades in their suggesed sizes.
However, it doesnt mean that sizes like 72, 24 or 8,5 points are forbidden; all you need to know is
that Walbaum 120 is suggesed to be used as dislay or poser family, while Walbaum 10 is ideally suited for longes books.
Wa l b a u m Pr o | 6
S t o r mt y p e . c o m
Romantic
musc
is a musicological term referring to a
particular
period, theory, compositional
practice, & canon
in European
music history, from about
1815 to 1910.
Musical
language
Composers o the Romantic period sought to fuse
the large srucural harmonic planning demon-
srated by earlier masers such as Haydn, and
Mozart with further chromatic innovations, in
order to achieve greater fuidity and contras, and
to meet the needs o longer works. Chromaticism
grew more varied, as did dissonances and their
resolution. Composers modulated to increasingly
remote keys, and their music oten prepared the
lisener less for these modulations than the music
o the classical era. Te properties o the dimin-
ished seventh and related chords, which facilitate
modulation to many keys, were also extensively
exploited. Composers such as Beethoven, and
later Richard Wagner, expanded the harmonic
language with previously-unused chords, or inno-
vative chord progressions.
Some composers analogized music to poetry and
its rhapsodic and narrative srucures, while cre-
ating a more sysematic basis for the composing
and performing o concert music. Previous prac-
tices, such as the sonata form, continued in use,
and composers extended them. Tere was an in-
creasing focus on melodies and themes, as well as
an explosion in the composition o songs.
Te greater harmonic elusiveness and fuidity, the
longer melodies, poesis as the basis o expres-
sion, and the use o literary insirations were all
present prior to this period. However, some com-
posers o the Romantic period adopted them as
the central pursuit o music itself. Composers
were also infuenced by technological advances,
including an increase in the range and power o
the piano and the improved chromatic abilities
and greater projecion o the insruments o the
symphony orchesra.
Non-musical
infuences
During the 1830s, Hector Berliozs Symphonie
Fantasique, which was presented with an exten-
sive program text, caused many critics and aca-
demics to pick up their guns.
Examples o music insired by literary and ar-
tisic sources include Liszts Faus Symphony,
Dante Symphony, his symphonic poems and his
Annees de Pelerinage, Tchaikovskys Manfred
Symphony, Mahlers Firs Symphony (based
on the novel Te Ttan), the piano cycles o Rob-
ert Schumann and the tone poems o Richard
Strauss. Schubert included material from his
Lieder in some o his extended works, and others,
such as Liszt, transcribed opera arias and songs
for solo insrumental performance.
Events and changes that happen in society such
as ideas, attitudes, discoveries, inventions, and
hisorical events always afec music (Schmidt-
Jones & Jones 2004, 3). For example, the In-
dusrial Revolution was in full efec by the late
eighteenth early nineteenth centuries (Schmidt-
Jones & Jones 2004, 3). Tis event had a very pro-
found efec on music: there were major improve-
ments in the mechanical valves, and keys that
mos woodwinds and brass insruments depend
on. Te new and innovative insruments could
be played with more ease and they were more re-
liable. Te new insruments oten had a bigger,
fuller, better-tuned sound. Another development
that had an efec on music was the rise o the
middle class. Composers before this period lived
on the patronage o the arisocracy (Schmidt-
Jones 3). Many times their audience was small,
composed mosly o the upper class and individ-
uals who were knowledgeable about music. Te
Romantic composers, on the other hand, oten
wrote for public concerts and fesivals, with large
audiences o paying cusomers, who had not nec-
essarily had any music lessons. Composers o the
Romantic Era, like Elgar, showed the world that
there should be no segregation o musical tases
(Young 1967, 525) and that the purpose was to
write music that was to be heard.
Source: Wikipedia.
Wa l b a u m Pr o | 7
S t o r mt y p e . c o m
Unicode Uni
Middle f f(f)
Long s s
Bulleted fgures
Pointers
Ornaments (special font)
ABC
CE diacritics
Cyrillic
Greek
Euro currency sign
Standard Ligatures f f
Discretionary Ligatures s c
Small capitals Smcp
Capital fgures
2369
Oldstyle fgures 2369
Smallcap fgures 2369
Num./denom. 2345
Sup./inferiors abcd
OpenType Features
Wa l b a u m Pr o | 8
S t o r mt y p e . c o m
Basic and cursive letterforms.
Modifcations of italic shapes follow the nature of handwriting. Modifkace italikovch tvar sleduj pirozenost rukopisu.
a @
a @
a@
a@
Wa l b a u m Pr o | 9
S t o r mt y p e . c o m
Na etn pn velevench uivatel naich psem jsem se
v lt roku 2010 rozhodl doplnit psmovou rodinu Walbaum o titul-
kov aplaktov ezy. Ponvad nechci anemohu konkurovat slovut-
nm svtovm psmolijnm, kter ji mnosv ez tohoto psma na-
bzej, rozhodl jsem se ponkud odchlit od Walbaumovy pedlohy,
pesnji eeno od utkvl pedsavy, kterou o tomto psmu mme.
Nevydal jsem se ovem smrem modernisace (fuj!), nbr opanm:
kanalyse pvodnho klasicisnho zmru. Psmo destibodov zvtil
jsem mechanicky naenormn velikos aposupn znj osekval veke-
r opticky naslen bambule vznik korekc pro mal supn. Zasavil
jsem se a uvelikosi okolo sodvacti bod, kdy bylo zejm, e dal
vytenovn by vedlo kezbyten manrisick kehkosi.
Vsledn osmilenn rodina Walbaum 120 je pouiteln pirozen ipro
celou klu jinch velikos, sejn jako ezy oznaen 10 me klidn
szet odesi doticeti bod. Doufm jen, e m pan Jusus Erich nevy-
tah zaui a se potkme naonom svt...
Upon numerous demands of highly esteemed users of our fonts
Idecided to suppement the Walbaum type family by dislay and pos-
er cuts. Because Iobviously cannot compete with worlds renowned
type foundries which already oer a number o renderings o fore-
named typeface, Ithought proper to decline abit from the original
Walbaums design, sricly seaking, from the apprehension we com-
monly keep about this typeface. Terefore Ididnt set forth the way
o modernising (shame!), but rather the opposite direcion: towards
an analysis o the original neo-classical intention. Itook the 10-point
characer, magnifed it enormously and cut o progressively all the op-
tically thickened bobbles which raised by small-size correcion. Iend-
ed up at the size o about 120 points, where it became obvious that any
further thinning would lead to an undesired mannerisic fragility.
Resulting 8-member family Walbaum 120 is naturally usable in variety
o sizes, as well as cuts marked 10 you can use, say, from 6 to 30 points.
Ionly hope that miser Jusus Erich wont pull me by the ear when well
meet on the other side...
-
2010
.
-
, -
, -
, -
, .
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Walbaum 10 Pro Text sample @ 12 pt.
Wa l b a u m Pr o | 1 0
S t o r mt y p e . c o m
Naetn pn velevench uivatel naich psem jsem se vlt
roku 2010 rozhodl doplnit psmovou rodinu Walbaum o titulkov
aplaktov ezy. Ponvad nechci anemohu konkurovat slovutnm
svtovm psmolijnm, kter ji mnosv ez tohoto psma nab-
zej, rozhodl jsem se ponkud odchlit od Walbaumovy pedlohy,
pesnji eeno odutkvl pedsavy, kterou otomto psmu mme.
Nevydal jsem se ovem smrem modernisace (fuj!), nbr opanm:
kanalyse pvodnho klasicisnho zmru. Psmo destibodov zvtil
jsem mechanicky naenormn velikos aposupn znj osekval veke-
r opticky naslen bambule vznik korekc pro mal supn. Zasavil
jsem se a uvelikosi okolo sodvacti bod, kdy bylo zejm, e dal
vytenovn by vedlo kezbyten manrisick kehkosi.
Vsledn osmilenn rodina Walbaum 120 je pouiteln pirozen ipro
celou klu jinch velikos, sejn jako ezy oznaen 10 me klidn
szet odesi doticeti bod. Doufm jen, e m pan Jusus Erich nevy-
tah zaui a se potkme naonom svt...
Upon numerous demands of highly esteemed users of our fonts
Idecided to suppement the Walbaum type family by dislay and pos-
er cuts. Because Iobviously cannot compete with worlds renowned
type foundries which already oer anumber o renderings o fore-
named typeface, I thought proper to decline a bit from the orig-
inal Walbaums design, sricly seaking, from the apprehension
we commonly keep about this typeface. Terefore I didnt set forth
the way o modernising (shame!), but rather the opposite direcion:
towards an analysis o the original neo-classical intention. Itook the
10-point characer, magnifed it enormously and cut o progressively
all the optically thickened bobbles which raised by small-size correc-
tion. Iended up at the size o about 120 points, where it became obvi-
ous that any further thinning would lead to an undesired mannerisic
fragility. Resulting 8-member family Walbaum 120 is naturally usable
in variety o sizes, as well as cuts marked 10 you can use, say, from 6
to 30 points. Ionly hope that miser Jusus Erich wont pull me by the
ear when well meet on the other side...

2010
.
-
, -
,
,
, . ,
(!), :
. -
-
-
,
. -
, ,
.
120 , ,
,
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.
,

, , -
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. ,
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Walbaum 120 Pro Text sample @ 12 pt.
Wa l b a u m Pr o | 1 1
S t o r mt y p e . c o m
Na etn pn velevench uivatel naich psem jsem se
v lt roku 2010 rozhodl doplnit psmovou rodinu Walbaum o ti-
tulkov a plaktov ezy. Ponvad nechci a nemohu konkurovat
slovutnm svtovm psmolijnm, kter ji mnosv ez tohoto
psma nabzej, rozhodl jsem se ponkud odchlit odWalbaumovy
pedlohy, pesnji eeno odutkvl pedsavy, kterou otomto ps-
mu mme. Nevydal jsem se ovem smrem modernisace (fuj!), nbr
opanm: kanalyse pvodnho klasicisnho zmru. Psmo destibo-
dov zvtil jsem mechanicky naenormn velikos aposupn znj
osekval veker opticky naslen bambule vznik korekc pro mal
supn. Zasavil jsem se a uvelikosi okolo sodvacti bod, kdy bylo
zejm, e dal vytenovn by vedlo kezbyten manrisick keh-
kosi. Vsledn osmilenn rodina Walbaum 120 je pouiteln piro-
zen ipro celou klu jinch velikos, sejn jako ezy oznaen 10
me klidn szet od esi do ticeti bod. Doufm jen, e m pan
Jusus Erich nevytah zaui a se potkme naonom svt...
Upon numerous demands of highly esteemed users of our fonts
Idecided to suppement the Walbaum type family by dislay and pos-
er cuts. Because Iobviously cannot compete with worlds renowned
type foundries which already oer anumber o renderings o fore-
named typeface, I thought proper to decline a bit from the orig-
inal Walbaums design, sricly seaking, from the apprehension
we commonly keep about this typeface. Terefore Ididnt set forth
the way o modernising (shame!), but rather the opposite direcion:
towards an analysis o the original neo-classical intention. Itook the
10-point characer, magnifed it enormously and cut o progressively
all the optically thickened bobbles which raised by small-size correc-
tion. Iended up at the size o about 120 points, where it became ob-
vious that any further thinning would lead to an undesired manner-
isic fragility. Resulting 8-member family Walbaum 120 is naturally
usable in variety o sizes, as well as cuts marked 10 you can use, say,
from 6 to 30 points. Ionly hope that miser Jusus Erich wont pull
me by the ear when well meet on the other side...
-
2010
.
-
, -
, -
, -
,
. , (!),
: -
.
-
,
.
, ,
-
. 120
, , -
, ,
10,
. , -


, , -
. . -
, . , -
. .
. , -
, . , -
. , -
. , -
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. ,
Walbaum 120 Medium Pro Text sample
Wa l b a u m Pr o | 1 2
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f
g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f f f a b c d e f g h
i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3
4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 $ # % ^ ~ + <
= > | l _ - , . : ; ? ! ( ) [ ] { }
/ \ * (



& & @ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2
3 4 5 6 7 8 9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t
u v w x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Regular
Wa l b a u m Pr o | 1 3
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f
g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f f f a b c d e f g h i j k
l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6
7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 $ # % ^ ~ + < = > |
l _ - , . : ; ? ! ( ) [ ] { } / \ *
(



& & @ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5
6 7 8 9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w
x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Italic
Wa l b a u m Pr o | 1 4
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g
h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f f f a b c d e f g h i
j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4
5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 $ # % ^ ~ + <
= > | l _ - , . : ; ? ! ( ) [ ] { }
/ \ * (



& & @ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2
3 4 5 6 7 8 9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t
u v w x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Medium
Wa l b a u m Pr o | 1 5
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c d e f g h
i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f f f a b c d e f g h i j k
l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5
6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 $ # % ^ ~ + < =
> | l _ - , . : ; ? ! ( ) [ ] { } /
\ * (



& & @ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4
5 6 7 8 9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v
w x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Medium Italic
Wa l b a u m Pr o | 1 6
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


a b c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o
f f f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9
0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > |
l _ - , . : ; ? ! ( ) [ ] { } / \ * (



& &
@ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8
9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w
x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Bold
Wa l b a u m Pr o | 1 7
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b
c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f
f f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2
3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& & @ @
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 [ ]
{ } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y
z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Bold Italic
Wa l b a u m Pr o | 1 8
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b
c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f
f f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1
2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& &
@ @ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8
9 [ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w
x y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Medium Bold
Wa l b a u m Pr o | 1 9
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

a b c
d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f
f f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1
2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& & @
@ A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9
[ ] { } + = < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x
y z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 120 Pro Medium Bold Italic
Wa l b a u m Pr o | 2 0
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


a b c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o
o f f f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2
3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& & @ @ A B C D
E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 [ ] { } +
= < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 10 Pro Regular
Wa l b a u m Pr o | 2 1
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


a b c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f
f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7
8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l _ -
, . : ; ? ! ( ) [ ] { } / \ * (



& & @ @ A B C D E F G H I J K L
M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 [ ] { } + =
< > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z
0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 10 Pro Italic
Wa l b a u m Pr o | 2 2
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


a b c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f f
f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6
7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& & @ @ A B C D E
F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 [ ] { } +
= < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y
z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 10 Pro Bold
Wa l b a u m Pr o | 2 3
S t o r mt y p e . c o m
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


a b c d e f g h i j k l m n o p q r s t u v w x y z

f f f f f f f f f f s s c T T W o o o o f f
f f a b c d e f g h i j k l m n o p q r s t u v w x y z ss ? ! ( ) [ ] { }

ss 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4
5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
$ # % ^ ~ + < = > | l
_ - , . : ; ? ! ( ) [ ] { } / \ * (



& & @ @ A B C D E
F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 [ ] { } +
= < > / A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y
z 0 4 5 6 7 8 9 [ ] { } + = . , < > /
Characer Map. Walbaum 10 Pro Bold Italic
Wa l b a u m Pr o | 2 4
S t o r mt y p e . c o m
Walbaum 120 Pro Italic Bold BoldItalic
Walbaum 120 Medium Pro Italic Bold BoldItalic
Walbaum 10 Pro Italic Bold BoldItalic
Walbaum Ornaments ABCDefgh
Font Map.
Wa l b a u m Pr o | 2 5
S t o r mt y p e . c o m
All of asudden, everything must be reasonable, serious; even the minute details of serifs are
now rectangular, subordinated to an idea. Te composition of abook comes closer to archi-
tecture; everywhere there is an abundance of blank space; the casting of both type faces and
cannons advances towards perfection. Te lack of emotions gave rise to desperate Romanti-
cism, which did not manifest itself in book typography at all, as if the division of work in art
had marked the industrial revolution. At the same time, at the beginning of the 19th century,
when Caspar David Friedrich paints his snow-covered graves with forked, mutilated trees,
Justus Erich Walbaum sits quietly in his Weimar workshop, establishing the German branch
of Neo-classical typography. Beside Didot and Bodoni, Walbaum seems to stand rather on
the margin of glory. His typeface, when judged according to the Neo-classical rules, is even
alittle bit impure. But this is precisely the reason why it is much more legible, softer and
more humane than it would have been, if it had merely, blindly, aimed at an ideal.
Just like the teacher of calligraphy, designer of gravestones and painter-craftsman Basker-
ville, also Justus Erich Walbaum came to typography from another, this time much more dis-
tant profession. He was born in 1768 as aparsons son and was apprenticed to aconfectioner
in his young days. From engraving confectioners moulds it was only ashort step to cutting
type punches and type-founders tools. Renaissance graphic artists, to be sure, were fellows
of a diferent calibre they started their careers by engraving weapons! Walbaums name,
however, does not appear in any imprint lines, because he probably never printed books
himself. Te same type faces were used by other printers of that period, for example Unger
or Prillwitz. Maybe the last fne Walbaum type face was used to print Bertholds Specimen
Book of 1923, which also includes aspecimen text in the size of 10 points, on which our tran-
scription draws.
In contradistinction to the strictly rational Didot or the elegant Bodoni, Walbaum at frst
sight does not possess any features that might lead to abrief attribute. In any case, however,
it is an outstanding work, afar cry from chocolate wafer-cakes or cream horns. Te expres-
sion of the type face is robust, as if it had been seasoned with the spicy smell of the dung of
Saxon cows somewhere near Weimar, where the author had his type foundry in the years
1803-39. Its typical features are: a frm skeleton of the design of the individual letters, in
some cases supported by asquare scheme; daring triangular serifs of S, s, C, and G; Kand R
standing, like an old grumbler, with one foot placed forward; and rather conservative italics.
An especially unsuccessful solution for its time was the design of italic fgures. Neverthe-
less, they were blindly taken over by the Berthold Company in 1919, together with the other
shortcomings.
Te x-height of our Walbaum Text Pro is Neo-classically reasonable in reaction to Baroque
experimentation with proportions. Its descenders are relatively long; its ascenders are on alevel
with upper case letters. In the italic designs, lower case letters are inclined slightly more than
upper case ones: this is atypical phenomenon seen in most historical type faces and we have al-
ready got accustomed to it over all those centuries. Te minor irregularities and the soft details
of the original type face have been retained for pleasant reading. Te already mentioned fgures
in the italic designs have been completely redrawn to preserve the time-conditioned, uniform
character of the type face family. All designs have been balanced for small sizes under 12 points.
My work on Walbaum did not take long thanks to its very economizing form; the rough digi-
talization of its eight designs lasted exactly from 2 to 23 April 2002.
Tis solid body face can be used for any sort of fction, in particular, however, for German
Romantic novels from rural settings.
(written in 2002)
Najednou mus bt vechno rozumn, vn; idrobn detaily patek jsou pravohl, podzen
ideji. Komposice knihy se pibliuje architektue, vude je plno przdnho msta, odlvn
psem i kann spje k dokonalosti. Z nedostatku emoc se vyvinul zoufal romantismus,
kter se v knin typografi vbec neprojevil, jako by dlba prce v umn pedznamenala
prmyslovou revoluci. Vte chvli, nazatku 19. stolet, kdy Caspar David Friedrich maluje
zasnen hroby srozeklanmi pahly strom, Justus Erich Walbaum klidn sed vesv dln
ve Vmaru a formuje nmeckou vtev klasicistn typografe. Vedle Didota a Bodoniho stoj
Walbaum tak trochu naokraji slvy, jeho psmo je vklasicistnch intencch itrochu neist,
ale prv proto je mnohem itelnj, mk alidtj, ne kdyby jen slep milo kidelu.
Podobn jako uitel krasopisu, pravce nhrobk alakrnk Baskerville, piel iJustus Erich
Walbaum ktypografi zjinho, tentokrt mnohem vzdlenjho oboru. Narodil se roku 1768
jako syn fare avmld se vyuil cukrem. Odryt cukrskch forem byl jen mal krek
kezn psmovch raznic apsmolijeckho nad. To renesann grafci byli jina chlapci
zanali gravrovnm zbran! Walbaumovo jmno se vak neobjevuje vdn tiri, protoe
sm pravdpodobn knihy netiskl. Stejnmi typy v t dob tiskne teba Unger i Prillwitz.
Mon poslednm pknm Walbaumem je vytitn Bertholdv vzornk z roku 1923, kde je
iukzka textu vevelikosti 10 bod, ze kter erp nae transkripce.
Narozdl odpsn racionlnho Didota nebo elegantnho Bodoniho nem Walbaum naprvn
pohled takov rysy, kter by mu daly njak strun pvlastek. Rozhodn vak jde ovynikajc
dlo, bez nejmen stopy popiingrech i kremrolch. Vraz psma je robustn, jakoby koen-
n vn hnoje saskch krav nkde uVmaru, kde ml autor vletech 180339 psmolijeckou
dlnu. Typick jsou: pevn kostra kresby podpoen tvercovm schematem nkterch liter,
odvn trojhelnkov serify S, s, C, G, bruounsky nakroen K, R aponkud konservativn
kursiva. Zvl neastn natu dobu byly eeny kursivn slice, kter slep pejm vroce
1919 frma Berthold spolu sostatnmi nedostatky.
N Walbaum m stedn vku minusek klasicistn pimenou vreakci nabarokn experimen-
ty sproporcemi. Spodn dotanice je relativn dlouh, horn lcuje sverslkami. Ukursiv jsou
minusky naklonny onepatrn stupe vce ne verslky: to je typick jev vtiny historickch
psem a za ty stovky let jsme tomu ji pivykli. Mrn nepravidelnosti a mkk detaily byly
ponechny pro pjemn ten. Ji zmnn slice kursiv jsou pln pepracovny kzachovn
dobov ucelenho rzu psmov rodiny. Vechny ezy vyveny pro mal stupn pod 12 bod.
SWalbaumem jsem byl rychle hotov dky jeho velmi sporn kresb; hrub digitalisace osmi
ez trvala pesn od2. do23. dubna 2002.
Tuto fortelnou chlebovku lze pout navechny druhy beletrie, zejmna pak nanmeck
romantick novely zvenkovskho prosted.
(napsno vr. 2002)
About Stormtype Walbaum
Wa l b a u m Pr o | 2 6
S t o r mt y p e . c o m
K L k l K L k l K L k l K
L k l K L k l K L k l K L
k l K L k l K L k l K L k
l K L k l K L k l K L k l
K L k l K L k l K L k l K
L k l K L k l K L k l K L
k l K L k l K L k l K L k
l K L k l K L k l K L k l
K L k l K L k l K L k l K
Storm Type Foundry
2010