development, usually described as the communication revolution, could largely be traced back to Maximilian's initiative, with contributions from Frederick III and Charles the Bold in developing the messenger networks, the Italian courier model and possibly influence from the French model. The establishment of the postal network also signaled the beginning of a commercial market for news, together with the emergence of commercial newsagents and news agencies, which the emperor actively encouraged. According to Michael Kunczik, he was the first to utilize one-sided battle reports targeting the mass, including the use of the early predecessors of modern newspapers (neue zeitungen). The capital resources he poured into the postage system as well as support for the related printing press (when Archduke, he opened a school for sophisticated engraving techniques) were on a level unprecedented by European monarches, and earned him stern rebuke from the father. His patronage drew to Augsburg printmakers from the Netherlands (especially from Antwerp) like Jost de Negker and the brothers Cornelis I (died 1528) and Willem Liefrinck, who came there as teens. After his death, as teams dispersed, Negker remained in Augsburg while the Liefrincks returned to their homeland, established there a printmaking dynasty and introduced German-styled workshops. According to Printing Colour 1400–1700: History, Techniques, Functions and Receptions, there was a dramatic drop in both quantity and quality of print projects in Augsburg as a whole once Charles V took over. The development of the printing press led to a search for a national font. In 1508 or 1510, Maximilian (possibly with Dürer's advice) commissioned the calligrapher Leonhard Wagner to create a new font. Wagner dedicated his calligraphy work Proba centum scripturatum (including one hundred fonts) to Maximilian, who chose the Schwabacher-based font Fraktur, deemed the most beautiful one. While he originally envisioned this font for Latin works, it became the predominant font for German writings, while German printers would use Antiqua for works written in foreign languages. The font would spread to German-influenced countries and remain popular in Germany until being banned in 1941 by the Nazi government as a "Jewish" font. Burgkmair was the chief designer for most of his printing projects. Augsburg was the great center of the printing industry, where the emperor patronized printing and other types of craft through the agency of Conrad Peutinger, giving impetus for the formation of an "imperial" style. Burgkmair and Erhard Ratdolt created new printing techniques. As for