Germany is the cradle of letterpress, German type & Black Letter type faces. In spite of the fact that Black Letter type faces belong to a bygone tradition, their spirit still survives even in quite modern Latin types. Already A. Hitler attempted, in vain, to eradicate the regular, upright and compact abscissas of the strokes made by a flat quill, which the first printers had taken over from their elder brothers – the scribes. He wanted to replace them with the Futura type face designed by the typographer P. Renner (whom he later committed to prison). It turned out to be futile to wish to root out the Black Letter type face from the awareness of a nation, to which O. Bismarck left the message: “Deutsche Bücher in lateinischen Schriften lese ich nicht“. German transcriptions of some Roman type faces feature hidden elements of Black Letter calligraphy: for example, a typical feature of all Garamond type faces produced by the Berthold type foundry is the Black Letter top of the lower-case “a” which looks like a residue of the Prussian Pickelhauben – as a matter of fact, however, such form arises as a result of the so-called “writer’s cramp” (Schreibkrampf), when the calligrapher’s hand is too deformed by Kurent, the handwritten version of the Black Letter. Let us note the embarrassment with which German type foundries treat Renaissance and Baroque type faces, while attaining certain qualities when handling type faces dating from the period of Neo-Classicism to the present day. The reason for this is that Neo-Classicism has one fundamental element in common with the morphology of the Black Letter – a consistently upright axis of shading, which pleases anybody who loves order. Another good example can be also J. E. Walbaum, who, unawares, joined Bodoni-type modernity with Gothic nostalgia in a remarkably pleasant form, distant from the Empire-style canon. Some of Zapf’s book type faces of Neo-Classical character strut before the eyes of readers from all over the world in the rhythm of a parade march, not unlike the vigorousness of the German type (during the sixties its influence, in the form of a plagiarism called “Public”, penetrated even into the then Czechoslovakia). Uncials, Rotundas and Texturas impressed R. Koch, but at a certain time also O. Menhart. The austere spirit of the type face, of course, found the best application in Grotesks and the “police” type faces: the DIN-Schrift type face family, Pra_ské kamenné (Prague Stone Type Face) and similar narrowed inscriptional alphabets are familiar to both officials and convicts. In such applications, the absence of any cultural connotations in the character of the type face is most welcome; the inscription, by the very nihilism of its design, must suggest to the public, clearly and without any fuss, that that’s the end. Not even we are quite immune from the Teutonic tenacity, which simplifies perception and the designer’s work in general: the Functionalist concept is in vogue again. The present type face project “Teuton” parodies the above-mentioned hypothesis; it is immediately inspired by an inscription on one German tomb in the Sudetenland.