BEST 3 BOLD FONTS and It’s Stories [#Bekantan Tales]

Here is Bekantan Creative’s list of Top 3 BOLD Font and It’s Stories:

1. BAUHAUS

The Bauhaus emphasized practicality, and the school popularized sans-serif typographical designs like the Universal font, which are meant to be clear, readable, and versatile. Serifs are small ornaments that stick off of letters in some fonts (think Times New Roman or Courier), while sans-serif fonts (think Arial or Helvetica) do away with these. The reduction of ornamentation and the emphasis on simplicity that these fonts feature were integral principles of the Bauhaus’ approach to design. While this might not seem like a big deal today, when hundreds of fonts are available with just the click of a button, the shift to sans-serif was a radical move in the heyday of the Bauhaus.

2. BRAGGADOCIO

Braggadocio is a geometrically constructed sans-serif stencil typeface designed by W.A. Woolley in 1930 for the Monotype Corporation. The design was based on Futura Black. Braggadocio® is a very black typeface. Braggadocio is a strange hybrid with characteristics of both sans serif and modern faces; and it belongs very much to its time. Like high society in the 1920’s, it should not be taken too seriously. Use the Braggadocio font for display lines in advertising, magazines and light hearted communications.

3. FUTURA

The iconic typeface has been circulating since German typographer Paul Renner designed it in 1927. Originally created as a contribution to the New Frankfurt project, the geometric sans serif typeface was based on visual elements of the Bauhaus design style of 1919 to 1933. In fact, it was commissioned as a typeface by the Bauer Type Foundry.  It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period.^[2][3] It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer‘s seminal Erbar typeface of 1926. Futura has an appearance of efficiency and forwardness. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design. Renner’s design rejected the approach of most previous sans-serif designs (now often called grotesques), which were based on the models of signpainting, condensed lettering and nineteenth-century serif typefaces, in favour of simple geometric forms: near-perfect circles, triangles and squares. It is based on strokes of near-even weight, which are low in contrast. 

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Contributor: Benaya Stephen

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