#Bauhaus geometric font ed benguiat trial
#Bauhaus geometric font ed benguiat professional
#Bauhaus geometric font ed benguiat series

While Kinross points out that Tschichold's typeface choices for the text of Die Neue Typographie were limited to what the book's printer would have had in stock, he postulates that these 'jobbing sanserifs' would have appealed more to Tschichold than Futura anayway which was also too new for the printer to have in stock. 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.

#Bauhaus geometric font ed benguiat professional

This apparent distance may point to Tschichold's capacity as a professional typographer, teaching at a school for printers, and the lack of typographic and printing-trade expertise at the Bauhaus, even at Dessau in the time of its greatest ideological commitment to designing for industrial production. On the question of Tschichold's relations with the Bauhaus: there is no record of any substantial contact. While I did not find anything directly addressing this, Kinross's text had a few items that I will cite.

#Bauhaus geometric font ed benguiat trial

Perhaps Hegner was responding to him? Drawings and trial settings of the typeface date fromand it was first issued commercially in Since Tschichold was working at Paul Renner's school in Munich during the time that Die Neue Typographie was prepared and published, I re-read Kinross's introductory text to see if there was any information about Futura and the Bauhaus in it. I think that Moholy-Nagy was the first German-language author during the s to write about a New Typography. But possible that it got picked up by Bauer for their marketing. They didn't even have their own print shop in the beginning. Also their work focussed on architectural and interior designs more than anything we'd now call graphic design or typography. In fact less so in the first Weimar years, right, when naturally a lot of their output was still marked by Jugendstil and Art Deco traces see printed matter above. But I concur that the Bauhaus wasn't the only place where constructivist and minimalist design ideas developed in the s. But if I recall it correctly Futura came after the experimental, geometric lettering by Bauhaus people and others, also later than the drawings of architect Ferdinand Kramer. Renner wasn't really connected to the Bauhaus, right. Well, unfortunately I have no real proof at hand at the moment, or rather the books we might find some hints in e. I don't think that it is completely accurate to write that many of those typefaces were 'based on the design ideas of the Bauhaus.

Futura may be the type of its time, but if this claim came from the foundry that made and sold it, then perhaps a different descriptor of its success would be more accurate. And I think that he only ever gave one single lecture there? While Futura was definitely very popular, and a run-away best-seller for decades, didn't the 'type of our time' claim come from Bauer, in their promotional materials for the typeface upon its release, or early thereafter. Of course, Renner was not a teacher at the Bauhaus. Perhaps they got to Renner via a different source, too? So the ideas behind Futura were making rounds through Europe before they got picked up by the Bauhaus.

In several pieces of secondary literature, for instance in Bauhaus Streit -, authors have written that constructivist ideas did not become common at the Bauhaus until afterperhaps in part because of Theo van Doesburg's private anti-Bauhaus classes at his studio in Weimar, and also perhaps because of the struggle between Itten and Moholy-Nagy.

#Bauhaus geometric font ed benguiat series

Without any citations to back this up, I would feel comfortable saying perhaps that Renner and the Bauhaus were both inspired by a series of concepts that were making their way through European design at the time. I am not sure how influenced Renner was by the Bauhaus as an institution. Also check out this FontList at FontShop. FF Bau is a digital interpretation of this face. Back then, one had to content oneself with the fonts a printer had in stock. It might be disappointing to some, but most of what the Bauhaus printed in their early years was set not in geometric sans serifs but in art nouveau flavoured text faces.

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