VOLUME 1. NUMBER 3. Born in 1900, Imre Reiner ... - Below the Fold

VOLUME 1. NUMBER 3. Born in 1900, Imre Reiner is generally understood 

to be the ultimate modernist graphic designer. Despite early years 

living in Yugoslavia and Romania — and later in Frankfurt, Stuttgart, 

Paris, London, New York and Chicago, his cultural identity was always 

deeply connected to his Eastern European roots: he was, first and 

foremost, a Hungarian and a Jew. In 1931, he moved to Ruvigliana (near 

Lugano) in Switzerland, where he lived until his death in 1987. His 

early training in sculpture, painting, graphic and industrial design 

provided him with an unusually comprehensive formal foundation, and his 

prodigious output over the next 50 years reflected this deeply eclectic 

education: Reiner was skilled in calligraphy and typography, engraving 

and illustration, painting and graphic design. He produced a body of 

work that distinguished itself primarily through the adaptation of 

individual craft into public artifact, creating over a dozen typefaces, 

and more than one hundred different hand-drawn alphabets. His calligraphic 

style was distinctively his own, enthusiastically invoking the abstract 

without renouncing the classic. At the same time, he worked steadily 

as a literary illustrator, bringing a visual reading to the works 

of Cervantes, Goethe and Voltaire — as well as a host of moderns, 

including Frisch, Gorky and Rilke. Produced in collaboration with guest 

editor Lorraine Wild, this issue of Below the Fold: focuses on Imre 

Reiner’s extraordinary achievements as a writer, a calligrapher, a 

typographer, and a phenomenally gifted graphic designer. WINTER 2006.

Imre Reiner: Modern Craftsman 

emorable design (the kind that persists in art annuals and 

design compilations) long surpasses the actual lifespan of its 

creator, usually by virtue of a few endlessly reproduced images. 

Such minimal records highlight the brilliance yet omit some of 

the more real, idiosyncratic details that tell us what a certain 

designer did, for example, on a day-to-day 

basis — the kinds of details that link the 

person to the time in which they lived to 

the work itself. We are left to draw our own 

conclusions, constructing some sort of biographical narrative (and over 

time, a social history) from what are often sketchy and unreliable first- 

hand sources. How odd, then, to consider the case of Imre Reiner, a Hungarian 

designer who was not only prolific, but who generously published his work, 

over half a century ago, to a large international audience. Odder still, 

he is scarcely remembered. 

Reiner’s most interesting designs do little to correspond to our sense of 

design history, to what might be considered the über-narrative of the period. 

Reiner lived in Switzerland, but was not of it: he was neither part of Neue 

Grafik Design, nor was he associated with Joseph Müller-Brockmann, nor was 

he connected to Max Bill or any of a number of peers associated with the 

Kunstgerwerbeshule. Perhaps the Swiss contemporary most compatible with 

Reiner at that time was Walter Herdeg, the editor of Graphis, who frequently 

published historical examples of early design and incunabula contrasted with 

his advocacy of then-contemporary graphic design — work that Herdeg felt pos- 

sessed energy and spirit, regardless of any formal or stylistic allegiance to 

the post-war Swiss Style. This was the same strategy that Reiner used in his 

books, mixing historical material with his own work to gently minimize the 

contextual difference between the old and the new. (Reiner’s books were typi- 

cally covered in craft paper, the text printed in plain black and accented in 

his signature Chinese-lacquer red — such bold graphic presentation belying 

the complexity of the work.) Herdeg and Reiner both used history to con- 

nect the spirit of the new with something unique that they saw in the (often 

anonymous) work of the past. As an editorial strategy, this impulse to “mix 

it up,” — to use history as a counterpoint to the contemporary — produced 

a lively argument in support of graphic design as a field with substantive 

cultural continuity. As a design strategy, however, it was decidedly less 

accessible than, say, the modernist work of Reiner’s Swiss colleagues, those 

predisposed toward the pure, rational, reduced form that came to epitomize 

post-war visual culture. 

In the end, the aspect of Reiner’s work that is impossible to mimic is 

his hand; his calligraphic work, pursued for its own sake, as well as the 

gestural form underlying his letterforms and font design, demonstrates a 

profound level of craft, a considerable depth of knowledge and artistic 

instinct. The evidence is there, too, in his obsessively creative extrapola- 

tion of new ideas for the 26 old ones: Letters, in their boundless variety of 

form, are an inexhaustible topic. Not only are they mirrors of their times, 

they lead the student into the fairest lands of controlled ardor, where primal forms and 

enigmas meet; where that which was believed unconquerable shows itself pliant and unresist- 

ing, asking nothing of the wanderer but patience and understanding of its world. Here, Reiner 

establishes his rightful place — somewhere between the larger history of visual communica- 

tion and the specific context which he himself occupied — as an émigré whose true home was 

a world fashioned in his drawings, through his reading, an imagined domain connecting the 

private language of the artist’s hand to the public realm of graphic design. A seeker of bal- 

ance, his words reveal an attempt to reconcile traumatic history with an acknowledgement that 

everything was now different. And how could such difference be rationalized through one, even 

International Style? Even in our short life we often have to realize that rigid devotion to 

one single dogma must spell, not development, but sterility. 

He may have been operating from a different standpoint, one that allowed for a more di- 

versified practice — from the most personal and experimental gestures to the most graceful 

revisions of classicism — that sustained his unique and independent identity as a designer. 

Despite the vagaries of public commissions, he somehow crafted work that was his own, pre- 

figuring an era in which so many designers would seek work, as so many of us do today, that 

somehow transcends the limits of the trade. To look at Reiner today is to appreciate that 

knowledge can emerge from the study of history, that a designer can simultaneously embrace 

the pragmatic and the romantic, and that the discipline that sustains a practice must come, 

in the end, from the heart. As for the rest, Reiner said only this: I am content to leave my 

handiwork to time. 

— Lorraine Wild 

2 

A piece of Reiner’s typography I’ve 

always admired but never understood: 

an advertisement for a printer, 

composed simultaneously on a center 

axis, and not. A capital Z hangs 

to the left of the center, alluding 

to a traditional label; in the box 

are fragments of some older ornament 

(currency?) and a few free-floating 

lines and dots. Bold copy composed 

within delicately floating lines 

suggests sophisticated modernist 

typography. There are precedents for 

experimental 20th century typography 

composed with eclectic fonts, such 

as early Bauhaus typography or, in 

a more deliberately exuberant manner, 

Jan Tschichold’s 1935 Asymmetric 

Typography. Reiner’s work, continuing 

that theme, is somehow both more 

sophisticated and more motley, 

combining the elegance of Bodoni 

with Dadaist scraps, with a nod to 

vernacular commercial settings. The 

resultant design is fascinating but 

too refined and particular to have 

influence. Or perhaps its just too 

tricky to be copied.

Examples of Reiner’s calligraphic letterforms 

5

Calligraphic alphabets (left page) and Reiner’s lettering for book covers and title pages 

7

Corvinus, Bauersche Giesserei, Frankfurt a. M., 1932-35 (1928-30). [Corvinus Skyline, Ann Pomeroy, 1992] 

Gotika, Bauersche Giesserei, Frankfurt a. M., 1933 (1931). [Leather, Patrick Griffin, 2005] 

Symphonie (Stradivarius), Bauersche Giesserei, Frankfurt a. M., 1938 (1932-35). 

Matura, Monotype Corporation, London, 1938 (1936-37). 

Reiner Script, Lettergieterij Amsterdam, Amsterdam 1950 (1938-47). 

Mustang, D. Stempel AG, Frankfurt a. M., 1956 (1954). [Hunter, Patrick Griffin, 2005] 

Bazaar, D. Stempel AG, Frankfurt a. M., 1956 (1954). [Boondock, Patrick Griffin, 2005] 

London Script, Stephenson Blake & Co., Sheffield, 1957 (1955). [Almanac, Phil Rutter & Rebecca Alaccari, 2004] 

Mercurius, Monotype Corporation, London, 1957 (1955). 

Pepita, Monotype Corporation, London, 1959 (1955-56). 

Meridian, Gebr. Klingspor, Offenbach a. M., published 1929 (sketched 1927). 

Floride, Deberny et Peignot, Paris, 1939 (1937). 

Figaro, Monotype Corporation, London, 1940 (1937-38). 

Contact, Deberny et Peignot, Paris, 1953 (1951-52). 

Reiner Black, H. Berthold AG Berlin, 1955 (1953).

TK alligraphic alphabets (left page) and Reiner’s lettering for book covers and title pages 

9

“Lettering and all its ample and manifold forms is a topic 

that never can be exhausted. Writing is not only a mirror of 

the character of the writer and of the period in which it was 

written, it leads anyone studying it into the glamorous regions 

of bridled passions, where primeval forms and ancient riddles 

meet, where what is otherwise uncontrollable shows itself 

docile and willing, demanding no more of the observer than 

patience and sympathy with its own world.” 

Imre Reiner, Creative Desire, 1949. 

10

Ornamental symbols and flourishes 

11

13 

Examples of Reiner’s illustrative letterforms

17 

Examples of illustrative words and logotypes.

Imre Reiner, c. 1948. 

Monogram for Imre & Hedwig Reiner. 

Please do not put me in the Register of swiss artists, for I am not Swiss 

and, the Swiss artists would be very offended to hear or see my name among 

theirs, or have my work mentioned under the flag of Switzerland. I was a 

Hungarian citizen, during the Hungarian Nazi Regime I have lost my 

citizenship which, I had back now temporarily only. I am either Hungarian, 

nor Swiss, I am – quasi – a nobody. And I am positively not a swiss, for 

the sake of all Switzerland! 

From a letter to George Wittenborn, October 9, 1946. 

Chronology 

1900 

Born August 18 in Vrsac, Yugoslavia. 

Father was a gold, silver and stone engraver 

and sculptor. 

1904 

Family moves to Timisoara, Romania, birthplace 

of his mother. 

1904 – 1913 

Elementary and middle school, where he studies 

sculpture, painting and drawing. 

1914 – 1915 

As World War I begins, leaves home to live 

independently. 

Death of both parents. 

1915 – 1918 

Spends four years in Zlatna, a provincial town 

in Transylvania, Romania. 

With war in the background, attends the 

national sculpture school on a scholarship. 

1918 – 1920 

Moves to Budapest, Hungary; attends the 

National Art School to study sculpture. 

In the chaotic aftermath of the war, leaves 

Budapest. 

1920 

Moves to Frankfurt and attends the 

Kunstgewerbeschule. Shifts from sculpture 

to focus on painting and graphic arts. 

1921 – 1923 

Moves to Stuttgart and attends the Akademie 

der Bildenden Künste. Studies with Ernst 

Schneidler, a professor of the book arts. 

Meets Hedwig Bauer, an acquaintance of a 

classmate. 

First exhibition: Galerie Schaller, Stuttgart. 

First published illustrations: Maxim Gorky’s 

Die Geschichte eines Verbrechens. 

Meetings with Paul Klee in Weimar. 

1923 – 1925 

Moves to New York, then Chicago, where he works 

as a laborer in a factory. 

1925 – 1927 

Returns to Europe. 

Continues studies at the Akademie der Bildenden 

Künste in Stuttgart with Ernst Schneidler. 

In addition to painting, studies graphic and 

industrial design. 

Sketches automobile bodies for Mercedes. 

Study trips to Paris and Brittany. Encounters 

Chardin and Poussin in the Louvre. 

Study trip to Tuscany (Florence and Settignano). 

First stay in Ruvigliana, near Lugano, 

Switzerland. 

1928 – 1929 

Continues to work in Stuttgart. 

First drafts of typography for Meridian 

and Corvinus. 

Summer stay at Westkapelle, Holland. 

1930 

Moves from Stuttgart to Paris. 

Exhibition at Galerie Zak, Paris. 

1931 

Marries Hedwig Bauer in Paris. Moves to 

Ruvigliana, Switzerland into the Villa Sassa. 

Inspired by Loire Valley landscapes, a period 

of painting. 

First drafts of typography for Gotika. 

1932 – 1935 

Vacations in England. 

First drafts of typography for Symphonia. 

1936 – 1939 

Numerous visits to London as advisor to the 

Monotype Corporation. 

First drafts of typography for Matura, Floride, 

Figaro, and Reiner Script. 

1941 

Exhibition at Buchantiquariat Art Ancien, 

Zurich. 

Illustrations for Miguel de Cervantes’ Szenen 

aus Don Quixote. 

1942 

Moves to Basel as artistic director of the 

publishing house Benno Schwabe; designs the 

internal magazine Officina. 

Illustrations for Novalis’ Hymmen an die Nacht. 

Illustrations for Voltaire’s La Princesse 

de Babilone. 

Publishes Initialen von Imre Reiner. 

1943 

Illustrations for Goethe’s Novelle. 

Illustrations for Rainer Marie Rilke’s Zwei 

Gedichte. 

18 

1944 

Illustrations for Hugo von Hofmannsthal’s 

Andreas oder Die Vereinigten. 

Publishes Typo-Graphik: Studien und Veruche. 

1945 

Illustrations for Charles Dickens’ 

Die Geschichte des Handlungreisenden. 

Publishes Das Buch der Werkzeichen. 

1946 

Publishes Grafika. 

1947 

Publishes Alphabets by Imre and Hedwig Reiner: 

A Manual of Alphabets. 

Publishes Monogramme. 

Publishes Holzschnitt — Holzstich. 

1948 

Publishes Schrift im Buch. 

Exhibition at Musée Royal des Beaux-Arts, 

Antwerp. 

1949 

Publishes Wunsch und Gestaltung. 

Exhibition at the Print Club, Philadelphia. 

Exhibition at Buchhandlung Waldmann, Zurich. 

1950 

Becomes a Swiss citizen. Works in Paris for 

UNESCO Department of Cultural Activities, 

where he designs International Art Review. 

Publishes Typo-Graphik II. 

Exhibition at Galerie A. Loewy, Paris. 

1951 – 1956 

First drafts of typography for Contact, Reiner 

Black, Mustang, Bazaar, London Script, 

Mercurius and Pepita. 

1954 

Exhibition at Museu de Arte, São Paulo. 

1956 

Exhibition at Apprentice House, Chicago. 

1962 

Honored at “Accademia Fiorentina delle Arti 

del Disegno.” 

Exhibition at Civic Center, San Francisco. 

1964 

Honored at “Biennale Bianco e Nero” in Lugano. 

Illustrations for Adelbert von Chamisso’s Peter 

Schlemihls Wundersame Geschichte. 

Publication of A Section of Wood Engravings by 

Imre Reiner. 

1965 

Illustrations for Robert Walser’s Eine Ohrfeige 

und Sonstiges. 

1968 

Illustrations for The Poems of John Donne. 

1969 

Exhibition at Galleria Mosaico in Chiasso, 

Switzerland. 

1970 

Exhibition at Square Gallery, Milan. 

1974 

Large retrospective exhibition at the 

Malpensata, Lugano. 

1975 

Illustrations for Die Ziffernbilder 

and exhibition in Stuttgart. 

Publication of Imre Reiner by Mogens 

Greve-Olsen. 

1976 

Publication of Samtale i Weimar, Sommeren 1923. 

1979 

Death of wife, Hedwig Bauer. 

1982 

End of travel and artistic activities for 

health reasons. 

1983 

Exhibition at the Royal Institute of British 

Architects, London. 

1984 

Illustrations for Primo Levi’s L’ultimo Natale 

di guerra. 

1987 

Dies August 21 in Lugano, Switzerland. 

1990 

Publication of Blumen und Fruchte in 

Holzstichen von Imre Reiner. 

Publication of Tre Xilografi: Ugo Cleis, 

Aldo Patocchi, Imre Reiner.

Bibliography 

Works by Imre Reiner 

Alphabets by Imre and Hedwig Reiner: A Manual of Alphabets. St. Gallen: Zollikofer & Company, 1947. 

Creative Desire. English version by Cecil Clifferet Palmer. St. Gallen: Zollikofer & Company, 1949. 

Das Buch der Werkzeichen. St. Gallen: Verlag Zollikofer & Company, 1945. 

Grafika: Modern Design for Advertising and Printing. New York: Paul A. Struck, 1947. [Edition of 

1000 copies.] 

Initialen von Imre Reiner. Introduction by Hermann Kienzle. Basel: Benno Schwabe & Company 1942. 

Lettering in Book Art. St. Gallen: Zollikofer & Company, 1948. 

Modern and Historical Typography: An Illustrated Guide. St. Gallen: Zollikofer & Company, 1946. 

Modern and Historical Typography: Second Volume. St. Gallen: Zollikofer & Company, 1950. 

Monograms. St. Gallen: Zollikofer & Company, 1947. 

“The Ornamental Lettering of Imre Reiner.” Spencer, Herbert, editor. Typographica, Original Series : 

Number 2. London: Lund Humphries, 1950. 

Samtale i Weimar, sommeren 1923. Essay by Mogens Greve-Olson. Kobenhavn: Ruvigliana, Roskilde. 1976. 

[Reiner’s conversations with Paul Klee. Limited edition with engraved frontispiece.] 

Typo-Graphik II: Studien und Versuche. St. Gallen: Verlag Zollikofer & Company, 1950. [German edition 

of Modern and Historical Typography: Second Volume.] 

Typo-Graphisme: Etudes et Essais. St. Gallen: Editions Zollikofer & Cie, 1948. [French edition of 

Modern and Historical Typography.] 

“Visual Qualities of Corvinus and Symphony.” Rudge, William Edwin, editor. Print: A Quarterly Journal 

of the Graphic Arts, Volume VI : Number 1. Woodstock, Vermont: Print, 1948. 

Woodcut/Wood Engraving: A Contribution to the History of the Art. London: Publix Publishing Company 

& St. Gall: Zollikofer & Company, 1947. 

Works About Imre Reiner 

Gasser, Manuel. “Imre Reiner.” Amstutz, Walter and Walter Herdeg, editors. Graphis, Volume 2 : Number 

13. Zurich: Graphis Press, January/February 1946. [Cover illustration by Reiner.] 

Greve-Olsen, Mogens. Imre Reiner: Skriftkunstner, Typografiker, Forfatter, Maler og grafiker. Frankfurt: 

D. Stempel AG, 1975. 

Imre Reiner. Catalogue 24. Chiasso: Galleria Mosaico, 1969. [Exhibition catalogue of etchings and 

paintings (12) by Reiner.] 

Reiner, Roland. Blumen und Fruchte in Holzstichen von Imre Reiner: Eine chronologische Darstellung. 

Bern: Bentali, 1990. [Limited edition, number 138 of 195 copies in a slipcase with a limited edition 

engraved print.] 

A Selection of Wood Engravings by Imre Reiner. With an introductory biography by Abel Pokorny and 

appreciations by Eleanor F. Steiner-Prag and Paul Standard. Chicago: Apprentice House, 1964. [Edition 

of 1000 copies: one in wrappers and one in boards.] 

Society of Typographic Arts. Imre Reiner. English translation by Tom Laufer. St. Gallen: Zollikofer & 

Company, 1954. 

Terrapon, Michel, editor. Tre Xilografi: Ugo Cleis, Aldo Patocchi, Imre Reiner. Mendrisio, Switzerland: 

Museo d’arte Mendrisio, 1990. [Engravings and paintings by Reiner; with an essay by Michele Reiner.] 

Willberg, Hans Peter. Die Ziffernbilder. Stuttgart: Fachhochschule fur Druck Stuttgart, 1975. 

Typography by Imre Reiner 

Corvinus. New York: Bauer Type Foundry, 1935. [Portfolio and pamphlet: typographic specimens and 

printing samples (23). 

Jost, Heinrich. Bauer Beton. New York: Bauer Type Foundry, n.d. [Pamphlet: Design of this typographic 

specimen by Reiner.] 

Reiner Script. New York: Typfoundry Amsterdam, n.d. [Pamphlet: typographic specimen.] 

Reiner Script. Amsterdam: NV Lettergieterij and N. Tetterode, 1952. [Pamphlet: typographic specimen.] 

Spon’s Pocket Book of Alphabets: Revised Edition. London: E. & F. N. Spon, 1956. [Typographic specimen 

of Reiner’s Stradivarius (Symphonie).] 

Symphonie: Nach Entwurfen von Imre Reiner. Frankfurt: Bauersche Giesserei, n.d. [Pamphlet: typographic 

specimen and printing samples (19).] 

Three ‘Monotype’ Scripts by Imre Reiner: Matura, Mercurius and Pepíta. London: Monotype Corpration 

Limited, n.d. [Pamphlet: typographic specimen.] 

Town Topics with Typographic Trimmings. New York: Bauer Type Foundry, n.d. [Features a typographic 

sample of Reiner’s Corvinus.] 

Illustration by Imre Reiner 

Adams, Frederick, Elmer Adler, Alfred Stanford and John Winterich, editors. The Colophon: New Series, 

A Quarterly for Bookmen, Volume III : Number 2. New York: Colophon, Spring 1938. [Christmas 

illustration by Reiner.] 

Amstutz, Walter and Walter Herdeg, editors. Graphis, Volume 8 : Number 40. Zurich: Graphis Press, 

January 1952. [Cover illustration by Reiner.] 

Andric, Ivo. Die Geliebte des Veli Pascha: 17 Novellen. Stuttgart: Steingruben, n.d. [Cover 


Bates, H. E. The Scarlet Sword. Harmondsworth, England: Penguin Books, 1958. [Cover illustration 

by Reiner.] 

Büchner, Georg. Die Nacht. St. Gallen: Zollikofer & Co., 1946. [Typography and illustrated titlepage 

vignette by Reiner. Includes photograph of an illustration inscribed and dated by Reiner.] 

Cervantes, Miguel de. Szenen aus Don Quixote: Mit einundzwanzig Holzstichen von Imre Reiner und einem 

Nachwort von Hermann Kienzle. Basel: Holbein Verlag 1941. [Illustrations (22) by Reiner.] 

Donne, John. The Poems. Selected, introduced and annotated by Frank Kermode. New York: Heritage Press, 

1970. [Wood engravings (31) by Reiner.] 

Forster, E. M. “The Celestial Omnibus.” Dimensions, Volume 3 : Number 1. Vicksburg, Michigan: Lee Paper 

Company, Spring 1959. [Illustrations (5) by Reiner.] 

Frisch, Max. Die Chinesische Mauer: Eine Farce. Frankfurt: Suhrkamp Verlag, 1955. [Cover illustration 

by Reiner.] 

Gasser, Manuel. “Imre Reiner: Vier Gemålde und fünf Zeichnungen.” du: Kulturelle Monatsschrift, Volume 

22 : Number 253. Zurich: Conzett & Huber, March 1962. [Cover illustration and reproductions of 

paintings (10) by Reiner.] 

Goethe, Johann Wolfgang von. Das Marchen: Mit 20 Holzstichen von Imre Reiner. Basel: Petri Press, 1972. 

[Limited edition, number 12 of 280 copies, signed by Reiner. One of 80 copies with an extra suite 

of woodcuts on Japan paper. Clamshell box pattern paper designed by Reiner.] 

Herdig, Walter, editor. Graphis, Volume 16 : Number 89. Zurich: Graphis Press, May/June 1960. [Cover 


Levi, Primo. L’Ultimo Natale di Guerra. Lugano: Serio Grandini, 1984. [Limited edition, number 405 

of 500 copies. Engraved illustrations (6) by Reiner.] 

Rudge, William Edwin, editor. Print: A Quarterly Journal of the Graphic Arts, Volume V : Number 4. 

Woodstock, Vermont: Print, 1948. [Cover typography by Reiner.] 

Chamisso, Adelbert von. Peter Schlemihls Wundersame Geschichte: mit Neun Holzstichen von Imre Reiner. 

Bern: Ars Liborum, Gotthard de Beauclair, 1964. [Limited Edition, number XII of XXXV copies, signed 

by Reiner. Woodcut engravings (9) by Reiner. French fold, bound in calf. Includes an extra suite of 

woodcuts on Japan paper, in separate calf portfolio. Slipcase pattern paper designed by Reiner.] 

Simon, Oliver, editor. Signature: A Quadrimestrial of Typography and Graphic Arts, New Series : 14. 

London: Signature, 1952. [Frontispiece: Etching 1922 by Imre Reiner.] 

Walser, Robert. Eine Ohrfeige und Sonstiges: mit Holzstichen von Imre Reiner. Basel: Schwab & Company, 

1965. [Limited edition, number 24 of 100 copies, signed by Reiner. Wood engravings (15) by Reiner 

and a separate signed print of the title illustration on Japan paper.] 

Other Materials by Imre Reiner 

Autograph Material 1946–48. Ten single-page signed autographed letters to George Wittenborn (publisher) 

concerning books and other material sent to him for consideration: Seven letters in English, three 

letters in German. Includes one signed postcard; four entry forms for books submitted for an AIGA 

exhibition at the Pierpont Morgan Library in 1946; and a few pieces of publisher’s promotion for books 

illustrated by Reiner. 

19

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