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. 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.įutura 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. Perhaps they got to Renner via a different source, too? Of course, Renner was not a teacher at the Bauhaus.
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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.
#What adobe font is closest to hurme geometric sans 3 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.
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I am not sure how influenced Renner was by the Bauhaus as an institution.
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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.