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A BAUHAUS
Brief History
Brief History

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Herbert Bayer of the Bauhaus school in Dessau, Germany designed
the inspiration for ITC Bauhaus, known as ‘Universal typeface, while he

ert
was teaching there in 1925. ITC Bauhaus is rounded sans serif design
whose froms were developed from the straight edge and compass. ITC

Rob
Bauhaus can be used in period pieces reminiscent of the 1920’s and
the Art Decoration era; its simple, clean lines, and not quite - closed
counterforms make it noticeabble in display settings.

BAUHAUS
TypeFace ITC Bauhaus

Purpose Display and Decoration

Designers Ed Benguiat & Vic Caruso

1 2 3 4 5 6 7 8 9 Table of Contents
Lowercase Bauhaus 6

#
Uppercase Bauhaus 7

Light Bauhaus 8

4& 6 !@
Medium Bauhaus 9

Demi Bauhaus 10

Bold Bauhaus 11

*
Heavy Bauhaus 12

7
$ 2
All Bauahus 13

Example Designs 14-15

Colophon 16
 6 7
Lowercase Bauhaus Uppercase Bauhaus
a Light 13pt Medium 13pt A
b Letterforms Have Tone, B

a B
c Letters have a life and
dignity of their own. Let-
Timbre, Character, C
d D
e terforms that honor and Just As Words And E
elucidate what humans
f Sentences Do. The F
see and say deserve
g to be honored in their Moment A Text And G
H

E
h

k
Demi 10pt
turn. Well-chosen words A Typeface Are Cho-
i deserve well-chosen
Writing begins with the
Even An Edition of Plato or I
j letters; these in their turn
making of footprints,
sen, Two Streams Of J
k the leaving of signs. ShakeSpeare Will Contain A K
deserve to be set with Like speaking, it is a Thought, Two Rhyth-
Medium 96pt

l Certain Amount of Routine

L

x
affection, intelligence,

Medium 86pt
perfectly natural act which
m knowledge and skill. humans have carried to mical Systems, Two M

Q
n Typography is a link, and complex extremes. The Text: Page Numbers, Sets Of Habits, Or If N
o it ought, as a matter of typographer’s task has O
always been to add a Scene Numbers, Textual P
You Like, Two erson-
p honor, courtesy and pure P
somewhat unnatural edge,

y
q delight, to be as strong
a protective shell of artificial Notes, The Copyright alities, Intersect. They Q
r as theothers in the chain. R
s
order, to the power of the
Publisher’s Need Not Live Togeth-
Claim, The S

X
Demi 10pt writing hand. The tools
t have altered over the Name And Address, And er Contentedly Forever, T
u centuries, and the exact
But They Must Not As U
v degree of unnaturalness The Hyperbole on The V
w desired has varied from A Rule Collide. W
place to place and time to Jacket, Not to Mention
x time, but the character of
Meduim 18pt X
y the essential transformation The Passage Work or Medium 11pt Y
z Medium 14pt Light 13pt Z
between manuscript and
type has scarcely changed.
Background Writing That is
Implicit in The Text Itself.

Literary style, says Walter
Benjamin, “is the power to move
Justified Mid 8 pt
freely in the length and breadth of
linguistic thinking without slipping
into banality.” Typographic style,
in this large and intelligent sense
of the word, does not mean any
particular style my style or your
style, or Neoclassical or
Baroque style - but the power
to move freely through the
whole domain of typography,
Justified10 pt
and to function at every step
in a way that is graceful
and vital instead of banal.
It means typography that
can walk familiarground
without sliding into
platitudes, typography
that responds to
Justified Left 11 pt
new conditions with
innovative solutions
and typography that
does not vex the reader
its own orginiality in a
self-concious search for
praise.
8 9
Typography is the art and The function of typography,
craft of handling these doubly
meaningful bits of information. A
Bauhaus Bauhaus as I understand it, is neither
Light Medium to further the power of
good typographer handles them
witches nor to bolster the
Left 8 pt
in intelligent, coherent, sensitive
ways. When the type is poorly defences of those, like this
chosen, what the words say lin-
guistically and what the letters
Magnificent Reading/ unfortunate parliamentarian,
imply visually are disharmonious, Writhing Typface Great Headline who live in terror of being
dishonest, out of tune. Typeface tempted and deceived.
CRAFT
Typography is the art and Typography exist to honor
craft of handling these content. But humble textx,
doubly meaningful bits of
R
such as classified ads or
information. A good ty-
Typography Exists
pographer handles them the telephone directory
Center 10 pt
in intelligent, coherent, may profit as much as any
sensitive ways. When
the type is poorly chosen, thing else from a good
what the words saylin-
guistically and what the
letters imply visually are
To Honor Content! typographical bath and a
change of clothes.
9 pt
disharmonious, dishonest, Center 30 pt
Typography is the art 100 pt
F
and craft of handling
these doublymean-
ingful bits of informa-
Further The Power
Right 1 2pt
tion. A good typog-
rapher handles them
in intelligent, coher-
ent, sensitive ways.
When the type is
poorly chosen, what
the words saylinguis- Center 45 pt
tically and what the 100 pt
letters imply visually
 10 11
Bauhaus Demi Bauhaus Bold
d D
Shape the page and frame the ... All women of whatever

textblock so that it honors and age, rank, profession, or

d
Center 13 pt
D
reveals every element, every
degree, whether virgins,

48 pt
relationship between elements,
maids, or widows, that shall
and every logical nuance of the
... Impose upon, seduce, and
text.
No matter what their relation to
Element the text, photos or maps must betray into matrimony, any
sometimes be grouped apart
from it of his majesty’s subjects, by
Element Center 14

Right 12 pt
the scents, paints, cosmetic

Element MATTER washes, artificial teeth, false

hair, spanish wool, iron stays,

36 pt

Element hoops, high heeled shoes [or]

TT
bolstered hips shall incur the
The Marriage, Upon
Element penalty of the law in force

against witchcraft... And ...

Conviction, Shall Stand
Element14 18 24 30 33 39 pt
72 pt
The marriage, upon conviction,

shall stand null and void.

Null And Void
26 pt
 12 13
Bauhaus Heavy All Bauhaus
Liveliness
Text is something
more than legibility:
If the text is long or
the space is short, or
if the elements are
Symmetry
some earned or many, multiple columns
unearned interest may be required. If
Liveliness that gives its living illustrations and

energy to the page.
It takes various forms
and goes by various
names, including
Liveliness serenity, liveliness,
laughter, grace and
Symmerty
text march side by
side, does one take
precedence over the
other? And does the
order or degree of
prominence change?

Symmerty
joy. Does the text suggest
Right 16 pt
perpetual symmetry,
perpetual asymmetry,
Liveliness or something in
between?
Left12

Liveliness Symmerty

Liveliness Symmerty
14 18 20 24 30 32 pt 40 pt
©®
14 15

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The original purpose of type was simply copying. The job of the typographer was to
16
imitate the scribal hand in a form that permitted exact and fast replication. Dozens,
then hundreds, then thousands of copies were printed in less time than a scribe would
need to finish one. This excuse for setting texts in type has disappeared. In the age of
photolithography, digital scanning and offset printing, it is as easy to print directly from
handwritten copy as from text that is typographically composed. Yet the typographer’s
task is little changed. It is still to give the illusion of superhuman speed and stamina

Bauhaus
and of superhuman patience and precision - to the writing hand. Typography is just
that: idealized writing. Writers themselves now rarely have the calligraphic skill of

GDES 1314.01
earlier scribes, but they evoke countless versions of ideal script by their varying voices
and literary styles. To these blind and often invisible visions, the typographer must

TH108
respond from what they say in silence to themselves. In poetry and drama, a larger
typographic palette is sometimes required. Some of Douglass Parker’s translations
from classical Greek and Dennis Tedlock’s translations from Zuni use roman, italic, bold,
Printed on Cougar Digital Choice
small caps and full caps in various sizes to emulate the dynamic markings of music.
Robert Massin’s typographic performances of Eugene Ionesco’s plays use intersecting
lines of type, stretched and melted letters, inkblots, pictograms, and a separate
typeface for each person in the play. In the works of other artists such as Guillaume
Apollinaire and Guy Davenport, boundaries between author and designer sometimes
vanish. Writing merges with typography, and the text becomes its own illustration.