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Since impressionism the modern art styles were reflected in graphic design and typography too. Since 1890 the Art nouveau became popular. Its floral ornaments, the curved forms, as well as the emphasis on graphical realisation inspired the type designers of the turn of the century. A popular art nouveau font was the Eckmann designed by graphic artist Otto Eckmann. Furthermore, the influence of art nouveau was expressed in a lot of book illustrations and exlibris designs.
Altogether the return to the roots of book art become stronger at the turn of the century. It was initiated by British typographer, socialist, and private press publisher William Morris as well as by the Arts and Crafts Movement, which refers to him. Essentially this movement initiated three things: a return to the antiqua-models of the Renaissance, clarity and simplicity of book illustrations, and straightforward technical processes during the production of printed matters. An immediate consequence of the Arts and Crafts Movement was the establishment of the private press movement, which more or less was committed to Morris’ ideals, and whose remains partially are still present today. An established meeting point of these scene in Germany for example is the Mainzer Minipressen-Messe, which actually is held every two years. Especially the New Book Art movement, which formed in the decade before World War I, was influenced by the Arts and Crafts Movement. The young type designers of the pre-war era, among them Fritz Helmuth Ehmcke and Friedrich Wilhelm Kleukens, rejected both the late typographical classicism and the ornaments of the popular Art nouveau. The new ideal became a tidy and straightforward book typography, which dedicated itself to the ideas of the Renaissance. Walter Tiemann in Leipzig, Friedrich Hermann Ernst Schneidler in Stuttgart, and Rudolf Koch in Offenbach as instructors were the mentors of this kind of typography. They stayed influential in the field of book typesetting until a long time after the end of World War II.