A number of typefaces were created in succession that would became popular at the time, and are still in use today. Looking to the German typefounding industry proves more fruitful for those searching for authentic geometric type created during the 1920s. Some of the type and lettering being designed elsewhere ITC Bauhaus also includes uppercase letters (not pictured). Note the gaps in the letters a, b, d, e, g, p, and q. This is a more stylized typeface, less tightly based on Bayer’s drawings. Below, ITC Bauhaus Demi, first released in 1975. This 1997 digital font approximates letters drawn by Herbert Bayer at the Bauhaus, c. Students in the Vorkurs, or foundation, received two hours of Schrift instruction per week, for two semesters.įigure 1: Universal-Alfabet vs. The best-possible English-language translation for this is probably “lettering.” It was the first course of its kind at the school, but was not a very significant part of the curriculum. Beginning in 1925, Joost Schmidt-who drew several of the iconic 1923 Weimar Bauhaus exhibition posters-began teaching a class for Schrift. These drawings would go on to inspire later typeface designs in later decades, most notably the 1975 ITC Bauhaus family drawn by Ed Benguiat and Victor Caruso in New York (figure 1). His drawings for the Universal-Alfabet, first published in Offset in 1926, have often since been reproduced. Herbert Bayer, who left his teaching post at the Bauhaus in 1928, published a typeface named Bayer-Type through the Berthold type foundry in the 1930s.
#ITC BAUHAUS TYPEFACE SERIES#
Albers’s was able to commercialize his stencil experiments his Kombinationschrift was released as a series of patterns for glass makers. Of the Bauhäusler, Josef Albers, Herbert Bayer, and Joost Schmidt were most associated with letter design. The Bauhaus did not have the facilities to accommodate this sort of activity. Fonts were produced, sold, and distributed by large companies with hundreds of employees working in factory settings. During the 1920s and 30s, typecasting was still an industrial activity. While a number of letter drawing experiments were undertaken there, no typefaces were created. Some contemporary designers may assume that typefaces were developed at the Bauhaus, but this is not the case. However, the role that Bauhaus designers played in the popularization of geometric letter styles is minimal, and their role in the development of geometric typefaces is tangential. The starting point for many investigations into this theme is work from the Bauhaus. This article will highlight a few-but not all-prominent examples. By repeating a series of basic shapes, all of the forms of our writing system may be easily recreated, or at least approximated. Designers pride themselves on their ability to create complex systems from simple elements, and the alphabet is no exception. Graphic design and printing has engaged with geometric letters for at least a century.
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