Having experimented with the art of calligraphy shortly before enlisting, Koch returned to the art after WWI with the intention of making bold, noticeable typefaces that would shout to other Germans that following God’s path would help them find comfort from the trauma of war. The horrors of war inspired Koch to seek religion for himself and then preach the benefits of a religious life to his countrymen. Upon returning from the war, he commented to his close friend Siegfried Guggenheim that he was “profoundly stirred” by his experiences (10). Rudolf Koch was born in 1876 and had a career that was both uninteresting and undistinguished until he enlisted in the German Army in 1907 to fight in World War I. The Question can be put simply: How did these two typefaces come to signify Africans and African-Americans, regardless of how a designer uses them, and regardless of the purpose for which their creators originally intended them? The investigation of this question has four parts: first, an examination of the environments in which Koch and Twombly created the original typefaces second, an examination of the graphic culture that surrounded African-Americans prior to the creation of Neuland through a close viewing of tobacco ephemera third, an examination of the Art Deco (French Modern) style, the graphic culture most prevalent in the United States at the time of Neuland’s release and finally, an examination of the ways designers use Neuland and Lithos today. The “Neuland Question” to which Jonathan Hoefler refers involves not just Neuland, a “display” typeface hand-carved in 1923 by Rudolf Koch ( Plate 1), but also Lithos, another “display” typeface digitally created in 1989 by Carol Twombly ( Plate 2). “The Neuland Question comes up regularly, and alas without much resolution….” –Jonathan Hoefler Check your work! Use an automatic color checker like Color Contrast Analyser or WAVE.New Black Face: Neuland and Lithos as Stereotypography.When using colors to differentiate between things (e.g., different parts of a chart or a link and its surrounding text), do not rely on color alone to differentiate elements the two elements - underlined text, hatched patterns, outlines and labels, etc.Make sure selected colors for fonts and graphic elements have a lot of contrast against their background (most common issues: white backgrounds with Princeton orange or gray text).Changes in hue and saturation may not be apparent to readers who are color blind or low vision, and may disappear entirely when viewed in grayscale on devices with 'digital wellness' settings that desaturate the screen in the evening. When it comes to accessibility, it is important to remember that only brightness is visible to all users. Brightness (closer to white, closer to black).When we talk about color, we talk about three different things:

Princeton font bold