The History of Font: BAUHAUS by German Art School [#BEKANTAN Tales]
The Bauhaus typeface family is a small collection of sans serif fonts of geometrical design with monotone strokes in each of its five weights. Very distinctive in appearance, it’s often found in applications where form is at least as important as function.
The Bauhaus typography is especially credited for the development of modern day graphic and industrial design. The Bauhaus School was founded by Walter Gropius in Weimar in 1919. The movement sought to utilize the 20th-century machine culture and create buildings, design, and furniture in a useful way. They encouraged the usage of modern technologies and believed that form follows function and that the artist and the craftsman should be united in one individual, and focused on the productivity instead of the mere beauty of the design. The Bauhaus School taught typography, and they were strong advocates of sans-serif type, as they believed that its simplified geometric form was more appealing and useful than the ornate German standard of blackletter typography.
Bauhaus style of typography is effective in conveying the message of the design. Balanced layout, harmonious geometric shapes, vibrant colors, and sans-serif letters in upper case or lower case fonts are simple but strong. Bauhaus layout was not only horizontal and vertical, but angled as well, or wrapped around objects. The influence on the modern day posters and designs is evident, as you can see the legacy of the German school on various book and album covers, as well as political posters and signs. One of the most notable examples is the poster for Barack Obama’s presidential campaign, heavily influenced by its German predecessor.
Bauhaus is used frequently for public signage, especially to evoke the art deco feel of the early 20th century, and for other display and decorative uses. It’s also found online and in broadcast images, especially advertising headlines and broadcast programming titles. Its very distinctive appearance also makes it popular as a wordmark, for logo design and packaging design. The monotone strokes and lack of serifs or other adornment make it unsuitable for continual text, although it can be used in presentations and booklets that rely more on graphics than on text.
Contributor: Benaya Stephen
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