Claude Garamond probably needs little introduction. There are a bunch of “Garamonds” in any type collection, but I used “Granjon” in my imitation because it seemed to match the best. Sadly, I did not have access to that “st” ligature. The specimen I copied is obviously not contemporary to Claude Garamond (16th century), but it is the oldest and best representation of that style that I could physically get my hands on (it’s a 19th century sample found in the Ransom Center).
Rudolf Koch was a 20th century German calligrapher who spent a lot of his career reworking old German blackletter faces and enhancing readability. He is credited with the innovative introduction of the Roman capital to traditionally all lower-case blackletter.
In my experimentation with combining these two visual languages, I accidentally created monsters.
I used the same words set in each type face to dissect eachother, inventing a kind of new, unreadable calligraphy. The background is a texture of overlapping columns of text, integrating the horizontality and lightness of Garamond with the vertical blackness of Koch.