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Gmund Paper

Corporate Design, Xº

Gmund Paper

Gmund Paper
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Büttenpapierfabrik Gmund

Corporate Design Jennerwein

 

Project | Corporate design for Gmund Papier in vintage style for the company’s own inn »Jennerwein«.
Client | Gmund Paper, Tegernsee, Bavaria, Germany.
Year | 2002.
Industry | Paper industry, gastronomy.
Services | Corporate Design.
Scope of order | Business and stationery, beverage and menu cards, napkins, coasters, stamps, place cards, house and outdoor signage.

gmund papier karte design

Background information
for design and production


The initial situation
Florian Kohler, owner of the Büttenpapierfabrik Gmund, commissioned Wolfgang Beinert to create a visual identity for his acquired “Jennerwein” inn in Dürnbach am Tegernsee. Kohler renovated the inn, which dates back to 1826, with great sensitivity according to historical models from the 19th century and had an interior designer furnish it accordingly.

On the one hand, the impression of the corporate design was to do justice to this historical claim; on the other hand, the design was to be “Bavarian”, “personal”, “cosmopolitan” and “sophisticated”. Beinert was given all the necessary freedom to achieve this. Only the name “Jennerwein” was binding. No historical background or existing design elements were available.

The scope of the order included a signet, a main business sheet, a secondary sheet, four business cards, a stamp, a welcome card, a presentation folder, a universal card, an envelope, a menu card, a drinks menu, a paper napkin, a beer mat, the building identification, an in-house orientation system, a carrier bag, an invitation card with reply card, an opening announcement and a place card. Just under two months were planned until the start of production.

Research
In order to give the »Jennerwein« inn a non-advertising authenticity in terms of design, research on site, in libraries, on the internet and in museums was a prerequisite. For the historical reference was to be made in aesthetic, stylistic and content-related form. The graphic design thus had to be preceded by an intellectual examination of the early 19th century and the local history of the Tegernsee Valley.

Design
Beinert matched the materials, typography, colours and ornaments exactly to the historical background and the ambience of the inn. The colour world of the interior, characterised by wood, is latently continued in the printed matter without appearing “standardised” and thus sterile. The tactile papers play a decisive role here. Apart from napkins and beer felts, they come from the handmade paper factory of Florian Kohler. The natural-looking earth colours beige and brown and the straw paper blend harmoniously into the atmosphere of the restaurant.

Typography
Beinert chose the typefaces of Mrs. Eaves (1996) by Zuzana Licko, an Americanised and feminine re-cut of the English pre-classical antiqua “Baskerville” (around 1750), as his “bread typeface”. For the lettering “Jennerwein” he used Robert Wiebking’s engraving, originally an engraving script from 18th century Vienna, a script that was also used handwritten in cartographic and accounting directories in the Benedictine monastery at Tegernsee at that time. The lettering “Gasthaus” was set in Engravers Gothic, an American majuscule grotesque typeface that was used in the USA from the middle of the 19th century, mainly as advertising typeface. Characteristic of all the typefaces used are the wide interior spaces. A fashionable feature of the time. The year 1826 was composed from a handwritten document of the same date.

Beinert deliberately used the fonts as »incorrectly« as they were used in small country printers during the period of lead typesetting: Block basic type, bold proper names and simply abbreviate words. The background: Typesetters at that time were paid according to the number of lines set. The basic typeface was therefore also called “bread type”. To make matters worse, mark-up fonts and commercial fonts were too expensive for small rural printers. For this reason, there was often only one normal, one italic and one bold typeface available, the character sets of which were usually also very small; words therefore inevitably had to be abbreviated.

In those days, »commercial printed matter« was also not designed by graphic designers but by specially trained hand compositors, the so-called Akzidenzsetzern. In the Bavarian hinterland, this was of course done by the printers themselves. There, commercial printing, for example letterheads, were simply set from top to bottom. Mostly in axial, i.e. symmetrical typesetting. As a rule, aesthetic considerations hardly played a role.

Font Mrs Eaves

Final artwork ornament

Final artwork logo

Final artwork beer felt

Final artwork napkin

Logo
The final drawing of the signet was deliberately destroyed in such a way as to give the impression that the Bavarian coat of arms together with the oval lettering had already existed in this form since the 18th century. Beinert used a narrowly modified Mrs. Eaves in capitals in the oval circle. The heraldic form of the coat of arms is based on a certification stamp of the “Royal Bavarian Academy of Fine Arts in Munich” from 1874.

Ornaments
The polytypes, vignettes, borders, asseré and accidence lines used by Beinert come from an old hand edition of a type specimen book by the Schriftgiesserei und Xylographische Anstalt Julius Klinkhard, Leipzig and Vienna. They were partially restored in the illustrator and date from the middle of the 19th century.

Production
The production was done on the fine and uncoated papers of the Büttenpapierfabrik Gmund in three coordinated material shades. Printing was done in four Pantone true colours with 5 % dry substance in offset on a Heidelberg Speedmaster. The embossed lettering in the signet and on the inside pages of the drinks and food menu were produced on a Heidelberg platen.

Jennerwein
In Bavaria, the story of the poacher Jennerwein is still told today. Films, books and plays illustrate his popular appeal. The lumberjack Georg Jennerwein came from Westenhofen near Schliersee, the neighbouring community of Dürnbach on Lake Tegernsee. He was a passionate poacher and, as contemporary testimonies show, also a notorious womaniser. The latter was also the reason why he was tragically shot in the back by the hunting assistant »Johann Pföderl«.

Whether the gamekeeper “Jennerwein” has anything in common with the inn “Jennerwein”, built in 1826, is not documented, but very likely. The family name “Jennerwein” is still widespread both at Lake Tegernsee and at Lake Schliersee. The prose and poetry texts on the paper napkins and the beer mats refer independently to the life of the gamekeeper “Jennerwein”.

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Studio Beinert | Berlin