Google Fonts Search - we suggest free alternatives to expensive fonts. Click to find the best 44 free fonts in the Bauhaus style. from $39.00 (1 FREE), 18 Styles ITC Bauhaus® - Desktop font « MyFonts. I was asked by Aaron Burns to create a complete family of ITC Bauhaus. Well, unfortunately I have no real proof at hand at the moment, or rather the books we might find some hints in (e.g. Willberg also wrote that Futura became the typeface of its time. Breite Halbfette Grotesk in a 1912 Schelter & Giesecke specimen. Bauhaus Modern by Nils Kähler . After the Metrical product was discontinued.
Marty Wallace Marty Wallace. In bauhaus: drucksachen, typografie, reklame (1984) edited by Gerd Fleischmann it says: “Erst in Dessau wird eine bestimmte Schriftfamilie als “Hausschrift”’ favorisiert: die Breite fette ud die Breite halbfette Grotesk der Schriftgießerei J.G. FF Bau (2004) is a digital interpretation of this face. Browse our collection of fonts similar to ITC Bauhaus® Light: Cookies help us deliver our services. That led in said Bauhausbuch 12 to the unlucky encounter of Futura (!) fonts typography.
Searching for fonts that look All the font questions you were afraid to ask. To be more precise we should perhaps change the last sentence to “based on design ideas that were popular in the 1920s, and which also happened to find support at the Bauhaus as well as in many other places like Stuttgart, München, Offenbach, Leipzig, Amsterdam, Russia, England, the United States …”. As I said earlier, to my knowledge the Bauhaus never used a geometric typefaces in any of their products, at least I couldn't find any example in publications I have access to. By 1925, the Bauhaus was already a much different place than it had been in 1919, and not just because it had moved to Dessau. In his Modern Typography Robin Kinross names El Lissitzky and Moholy-Nagy as the most notable ones who formulated “some of the leading ideas of the new typography” between 1923 and 1925—the latter teaching there between 1923–28, the first closely connected to the Bauhaus. The transmission of these ideas into usable and commercially available fonts was carried out by others, clearly illustrated in the example of Futura. How to get your webfonts working on your website. It was immensely popular outside of avant-garde circles, both in Germany and the United States (where Bauer had a sales office). Bauhausbüch 12 (1930), titled gropius: bauhaus, bauten, dessau, uses Futura Black for the author and title on its front cover. Renner and Kramer worked together and perhaps it is impossible to tell who did what and how they influenced each other. (p. xxv, emphasis mine), Kinross's footnote #30 states, "Herbert Bayer was the only 'master' at the Bauhaus with a long-term commitment to typography, but – by comparison with Renner, Tschichold, or Trump, at Munich – his work showed little of the calligraphically trained and historically informed typographer's sensitivity to letterforms or the handling of text."