Architype Universal is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals underpin the design philosophies of the modernist movement in Europe. Their ‘universal’, ‘single alphabet’ theory limits the character sets. Architype Ballmer is inspired by the experimental, universal letterforms drawn by Bauhaus trained Swiss designer Theo Ballmer for a series of 1928 posters, most notably for an exhibition on industrial standards. The grid-based square forms reference elements of De Stijl.

ITC Ronda, with its constructed forms, was designed by Herb Lubalin in 1970. Behind its figures lie the clear geometric forms of the circle, triangle, and rectangle. The typeface presents a clear, modern look in any application. Distinguishing characteristics are the shapes of the upper right third of the capital B, P and R as well as the half-circle form of the descender of the Q. ITC Ronda is similar to Michael Neugebauer's Litera; both fonts display styles characteristic of the Bauhaus' work. "

Reflex update: Now in 18 styles and variable version. Reflex was designed as an alternative to many overused types found on the packaging of pop culture products. Taking its inspiration from Bauhaus design roots, even in its heavy weights it maintains a soft aesthetic that can transparently convey a message of newness and understanding, as well as clarity and evenness. The Reflex set comes with a wide range of linguistic support, at no extra charge, including characters for Central European, Cyrillic, Greek, Turkish and Baltic regions.

The minimal character of this typeface with its direct reference to Bauhaus, manages to keep the balance between strict geometric structure and elegance. It strays from monotonous repetitions and works equally well with Latin and Greek, while it really hits home with Cyrillic. Now, in its 3rd major upgrade comes equipped with all that’s needed for an international career. In total 602 characters offer support for all European languages in six different variations. Finally, five special OpenType features offer typographic solutions which includes a stylistic alternate set for Greek and Cyrillic.

Litera was designed in 1983 by Michael Neugebauer, who used the same strict constructed design found in his typeface Circulus. In its figures are the clear geometric forms of the circle, triangle and rectangle, which were also the main forms of Bauhaus designs. The overall look of Litera is modern, clear and light. Distinguishing characteristics are the openness and the e and P and the particularly long cross stroke of the G. The cool Litera is best for middle length texts and headlines. Similar typefaces include Futura from Paul Renner and Avenir from Adrian Frutiger.

Josef Albers drew a stencil sanserif form at the Bauhaus in 1923 (published in 1926); Paul Renner and the Bauer design office made a similar design into a typeface in 1929, and rather confusingly included it in the Futura series. Many websites erroneously attribute the stencil design to Josef Albers, but there is no evidence that the two met or collaborated on Futura Black. In 1929 Josef Albers and Jan Tschichold corresponded on the “Transito” typeface (another very similar stencil typeface, while Paul Renner was working with Jan Tschichold.

Are you looking for a modern typeface? Geometrico. Round without Compromises. Now 12 Italic Styles added. Even more futuristic than the classical Bauhaus typeface Futura, “Geometrico” is a geometric typeface based on round shapes as suggested by its name. Designed without compromises, neither in form nor in function: Geometrico is ideal for logotypes, headlines and other modern typographic purposes. Would Paul Renner be delighted? Or would he turn around in the grave? Make your own opinion. Try Geometrico for free. Download a free trial version of Geometrico with a reduced character set. Check it out!

Brody’s fonts borrow elements from both Art Deco and non-Western styles. His designs received international recognition for their innovative, computer-oriented style, reaching almost cult status. Four original Brody fonts are available from Linotype Library GmbH: Insignia, Industria-Solid, Industria Inline and Arcadia. For your convenience, we have gathered all four into one package. Insignia has the basic forms of constructed grotesque fonts and was influenced by the New Typography of the Bauhaus during the 1930s. Its image reflects the Zeitgeist of that age, suggesting technology and progress.

K-haus 105 is inspired by the work of graphic designer and typographer, Herbert Bayer, during his time at the Bauhaus around 100 years ago — work that kick-started graphic design as we know it, to this day. It owes something to the simple geometry of Bayer’s hand-drawn, ‘universal typeface’, updated and expanded to deliver a clean, balanced, geometric sans for today. Also available as K-haus 205 , featuring a few, more 'daring' characters here and there, chiefly in the lower case set. Both variations include an extended character set, featuring accented characters for Central European languages.

A condensed sans serif designed as an additional companion to the Corbert font family. Incorporating the key characteristics from the original family with influences drawn strongly from the Bauhaus and modernist era. This condensed version is 15% closer than the normal family improving economy of space across design layouts. Used in conjunction with the regular widths Corbert becomes a functional and versatile font system ideally suited for large complex design projects. Details include 9 weights with italics, 540 characters with alternative lowercase a, e and g, 5 variations of numerals, manually edited kerning and Opentype features.

Stolzl Display is an original font family designed for headlines, titles and subtitles. Based on the combination of contrasting shapes, the harmony of form and rhythm is fundamental to the design. Inspired by Bauhaus, Stolzl represents, not just the significant influence of this “crucible of modernism”, but aims at capturing its original idealism, commitment to creativity and experiment driven philosophy. Details include six weights, Cyrillic, 480 characters, alternative glyphs, manually edited kerning and Opentype features. Named after Gunta Stölzl, the Bauhaus’s only female master, Stolzl Display is the first subfamily of the Stolzl font collection to be released this year.

K-haus 205 is inspired by the work of graphic designer and typographer, Herbert Bayer, during his time at the Bauhaus around 100 years ago — work that kick-started graphic design as we know it, to this day. It owes something to the simple geometry of Bayer’s hand-drawn, ‘universal typeface’, updated and expanded to deliver a clean, balanced, geometric sans for today. Also available as K-haus 105 , featuring a few different characters here and there, chiefly in the lower case set. Both variations include an extended character set, featuring accented characters for Central European languages.

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau family consists of two subfamilies - Neubau Sans and Neubau Serif, each of them in three weights - light, regular and bold. Neubau typeface is recommended for use as a display font, and has been generated in a single OpenType format with Western CP1252 character set.

OTC New York is a geometric sans serif font family with support for Latin, Cyrillic and Greek. The display font comes in 18 styles, 9 weights (including italics) and as a variable font which supports two axis variability: weight and italic. It’s ideal for branding, logos, headlines, editorial design, packaging, web and television use. The font family is inspired by the Bauhaus school with its simplified geometric form, balanced layout, harmonious geometric shapes that are simple but strong. OpenType features contain stylistic alternates (for A, a, e & g); old style figures; fraction figures; subscript, superscript, numerator and denominator figure position and tabular figures.

Architype Universal is a collection of avant-garde typefaces deriving mainly from the work of artists/designers of the inter-war years, whose ideals underpin the design philosophies of the modernist movement in Europe. Their ‘universal’, ‘single alphabet’ theory limits the character sets. Architype Bill was developed from the few letterforms created by Max Bill for a 1949 exhibition poster. All the forms, with the exception of the letter ‘o’, were constructed using only straight lines and triangles on a purely mathematical basis, that showed the continued influence of his earlier Bauhaus training, and the universal alphabet principle.

TOMO Radix gracefully merges the enduring charm of mid-century modernism with the captivating allure of pronounced inktraps. Inspired by the clean lines and geometric aesthetics of the Bauhaus movement, as well as the distinctive lowercase forms of Futura, this typeface embodies a harmonious fusion of classic and contemporary design. Featuring seven (7) weights, Radix showcases an extensive collection of spurless characters that delicately embrace and enhance the inktraps, resulting in a visually captivating and balanced composition. Complementing its versatility, the typeface offers alternate glyphs accessible through opentype stylistic sets, further expanding its expressive potential for any design project.

‘Plaquette’ is a collection of retro typefaces ranging from victorian to bauhaus to the sixties. They are all equipped with a load of OpenType features such as alternates, catchwords, stylistics sets and others. Plaquette 3D A chromatic set of fonts including gradient and outline layers. Crisp and precise. Plaquette Lovecraft A vintage typeface with some sweet discretionary ligatures to make your typography exciting. Take a look at the many alternates. Plaquette Sittl A clean geometric style with many alternative letters, some inspired by Paul Renner’s original Futura. Plaquette Labels This set provides you with 220 different shapes ideal for logos, plates and… labels.

"Sambia" is a geometric sans-serif, straight, extra condensed, monoweight font, accidental with sharp corners and closed aperture. The font family consists of regular and bold fonts. Typeface is great for headlines, logos and posters. The typeface is inspired by the Bauhaus style and tributes to the first half of the 20th century era. It has concise rounded forms, geometricity and a small letter-spacing. - Uppercase and lowercase letters - Numbers, punctuation and symbols - Multilingual support (Latin, Latin Extended, Cyrillic) - Support for more than 20 languages: Albanian, Belarusian, Bulgarian, Croatian, Danish (Norwegian), Estonian, Finnish, German, Hungarian, Icelandic, Italian, Latvian, Lithuanian, Moldovan, Portuguese, Russian, Slovak, Slovenian, Spanish, Swedish, Turkish, Ukrainian and others

Altone was created in a pursue of regularity and conventional geometric sans serif typeface which tend to be easy to receive by it's reader, broad usage possibility, shown a simple, bold and strong personality. The letterforms are more likely associated with Grotesk rather than the original classical Bauhaus style, formed in moderate and proportional width, flat apex, closed aperture with straight cuts stroke ends. Consist of 9 weight from Thin to Heavy with each matching Obliques. Contain several OpenType features: Stylistic Alternates, Figures Variation (fraction, tabular lining, numerator, denominator), and also covered broad latin languages. Provided also variable fonts in two styles; Upright and Oblique

SD Quainton was created in 2016 by Jonathan Quainton the co-founder of graphic design studio Sawdust. With a harmonious blend of Didone and Bauhaus elements Quainton embarks on a fresh and innovative direction. Drawing inspiration from revered typefaces like Bodoni and Didot, SD Quainton evokes the same sense of awe that captivated its creator. Designed with specific contexts in mind, SD Quainton finds its perfect home in the realms of fashion, retail, and premium products, where its captivating charm can truly shine. Although ideally suited for eye-catching headlines and titles due to its delicate strokes, the possibilities of where this remarkable typeface may find its place are as limitless as the designer's imagination.

British designer Bob Newman's Horatio family is a delightful look back into the modernists experiments of the 1920s. This geometric sans serif design was created in 1971, and was originally released by Letraset. We are please to offer the family in digital form, in light, medium, and bold weights. Many designers during the 1920s were interested in reforming the alphabet, and wanted to reconcile letterforms with the machine and manufacturing technology of the age. Herbert Bayer at the Bauhaus was one of many designers who developed a universal alphabet," creating letters using only the simplest of geometric forms. Similar experiments in 1920s-style revivals were also created during the 1970s, most notably Herb Lubalin's ITC Avant Garde Gothic."

The multilingual accidental typeface was inspired by the pathos of the late revolutionary asceticism and architectural projects of V.F. Twelkmeyer. All story on twelkmeyer.com This typeface is a spring swallow. This typeface is a dawn and optimism of alumnus of Higher Art and Technical Institute in Leningrad. This typeface is a mirror of the Soviet architecture 30’s. It reflects the impressions from Vesnin brothers and Ginzburg’s works, a curiosity to Bauhaus, and the first test of the waters of socialist reconstructions. This wide, dynamic, angular, drawing typeface will be perfect for serious branding and architectural projects. So, give it a try! From innovative ideas of the 30s to innovative projects of the XXI century.

Twentieth Century was designed and drawn by Sol Hess in the Lanston Monotype drawing office between 1936 and 1947. The first weights were added to the Monotype typeface library in 1959. Twentieth Century is based on geometric shapes which originated in Germany in the early 1920's and became an integral part of the Bauhaus movement of that time. Form and function became the key words, unnecessary decoration was scorned. This clean cut, sans serif with geometric shapes was most appropriate. The lighter weights of the Twentieth Century font family can be used for text setting; the Twentieth Century bold and condensed fonts are suitable for display in headlines and advertising. Commonly spelled 20th Century.

Arquitecta. The humanist typography as a rational project. Since the experimentation from the Bauhaus through modern sans history we looked for a new mix to construct a rational geometric typeface with humanist proportions suitable for text layout and continuous reading. Inspired by American & European hand lettering from the first half of the past century, Arquitecta finds his own space as a great alternative for paragraphs in front of classics like Futura, Kabel or Avant Garde. The family contains 8 upright romans and 8 italics with the following features: - European accents, Old Style Numbers, Numerators & Fractions. - Ink traps to avoid press impressing spots & hinting optimized. - Small X-height with accentuated ascenders y descenders. Upgrade Mar 2023: Contours were corrected and the set was extended to the current Latinotype.

“Byblos” is the name of a town in Lebanon and the name of a famous hotel in St. Tropez. Some time ago I discovered their original logo in an old french magazine, just 5 by 3 centimeters small without any text, address, telephone number not even a picture. They did not need that, that’s how famous the hotel and its old logo was. Well they abandoned their identity when the place was sold to a big chain – I think. But the logotype, just those five letters inspired me to this new font. It evokes times past and has a little Bauhaus in it – as well as a really modern touch, all depends on the way you use it. Your strange typedesigner Gert Wiescher

Arquitecta Standard. The humanist typography as a rational project. Since the experimentation from the Bauhaus through modern sans history we looked for a new mix to construct a rational geometric typeface with humanist proportions suitable for text layout and continuous reading. Inspired by American & European hand lettering from the first half of the past century, Arquitecta finds his own space as a great alternative for paragraphs in front of classics like Futura, Kabel or Avant Garde. The family contains 8 upright romans and 8 italics with the following features: - European accents. - Ink traps to avoid press impressing spots & hinting optimized. - Small X-height with accentuated ascenders and descenders. Arquitecta Standar update: Improvements of proportions and drawing. The set was extended to the current one of Latinotype.

The Boboli garden in Florence (16th century) is one of the first examples of Italian renaissance garden, where nature was shaped into geometric beauty; the Boboli font was designed in the same spirit, filtered by a Modernist view. It comes in two sets, Autumn/Winter and Spring/Summer: by mixing them you can compose the typographic season of your choice. From the geometric, minimal Fall/Winter set stem the leaves of the baroque-esque Spring/Summer set, with many stylistic alternatives that allow perfect matching. The two opposite styles merge perfectly, because the leaves are not mere decorations but organic part of the structure, achieved by sampling the curves of the basic glyphs. With Boboli design meets nature, Bauhaus goes greenhouse.

Introducing Gotti. Where Timeless Precision Meets Seventies Flair We are thrilled to unveil our latest creation, Gotti font family, born and meticulously crafted during an inspiring journey to Goteborg. This typeface seamlessly fuses the Bauhaus essence with the spirited vibes of the seventies, resulting in a font that's not just a visual treat but a design experience. Gotti draws its creative fuel from the geometric elegance of the Bauhaus movement, prioritising functional simplicity and razor-sharp lines. However, its design journey doesn't end there. Imbued with the unmistakable energy of the Seventies, Gotti emerges as a font family that encapsulates both nostalgic charm and contemporary boldness. At its core, Gotti boasts a geometric skeleton that has been intricately designed to redefine precision. Ranging from light to black, the weight variations offer a broad spectrum of expressive possibilities. Gotti is perfect for display use, advertising, and branding, it transforms your creative vision into a visual masterpiece. Stand out with confidence, whether it's a captivating logo, a compelling headline, or an unforgettable advertisement. Elevate your brand identity with Gotti. It brings strategic branding to life, communicating sophistication and modernity. Your advertising materials become memorable works of art, leaving a lasting impression on your audience. Curious about the magic Gotti can bring to your designs? Our showcase reveals real-world applications, demonstrating its adaptability and aesthetic appeal. See for yourself how this font family turns ordinary designs into extraordinary visual experiences. Follow us on social media for updates, inspiration, and a glimpse behind the scenes. Have questions or just want to share your thoughts? We're here for you!

Virginia has a proven track-record. Unashamedly geometric, starkly simple with a touch of art deco/bauhaus/rococo about her, she was the most popular headline face around, at least in my home town in the year of her release circa 1970. That was the year my five-weight design won the inaugural (and only) Lettergraphics International Alphabet design competition and shut out 5000 competitors. Alas, Lettergraphics ceased to trade from its LA studios after the mid-80s and Virginia's two-inch film fonts were left to collect dust on the cutting room floor. Until my recent decision to revive her along with some subtle tweaking, a few additional glyphs and Opentype features, supported by an abundance of kern pairs making Virginia suitable for text or the largest display type.

Neubau is a condensed geometric display typeface, designed in 2009. The inspiration for this face came from Joost Schmidt lowercase letters developed during 1925-28 in Bauhaus Dessau. Schmidt was one of the proponents of New Typography – a movement advocating the use of only lowercase letters which were constructed strictly geometrically using only ruler and compass. Neubau Pro is the new edition of Neubau fonts. The new typeface is an upgraded version of an old fonts (2009), with careful refinements to glyph shapes, and the extension of glyph amounts which enabled support of more Latin languages as well as Greek and Cyrillic languages. Neubau Pro is released in six styles with small caps, and true italics, and contains OpenType features. This typeface can be used for editorials and print designs.

First of all, Ring font has a little story. It was created as an example for Typography Exhibition in Moscow. And the font was immediately awarded! 10 years later, I decided to continue working on it and improve this font. Ring - really circular typeface. I felt inspired by Bauhaus. I've always wanted to design something similar. Ring is a cool and geometric-styled font. Expertly designed to make your creation look out of this world, this font will look gorgeous on a variety of ideas. This font is ideal for writing web designs, business cards, or pretty much anything else that requires a unique touch. Ring font comes in 8 weights and 16 styles and this is just the beginning. The beginning of a further big font family called Ring!

Almost a half of a millennium after being mistaken for the original 4th century Gothic alphabet and falsely labeled "barbaric" by the European Renaissance, the blackletter alphabet was still flourishing exclusively in early 20th century Germany, not only as an ode to Gutenberg and the country's rich printing history, but also as a continuous evolution, taking on new shapes and textures influenced by almost every other form of alphabet available. Blackletter would continue to go strong in Germany until just before the second World War, when it died a political death at the height of its hybridization. For almost 50 years after the war, blackletter was very rarely used in a prominent manner, but it continued to be seen sparely in a variety of settings, almost as a subliminal reminder of western civilization's first printed letters; on certificates and official documents of all kinds, religious publications, holiday cards and posters, to name a few. In the early 21st century, blackletter type has been appearing sporadically on visible media, but as of late 2005, it is not known how long the renewed interest will last, or even whether or not it will catch on at all. The last few years before World War II were arguably the most fascinating and creative in modern blackletter design. During those years, and as demonstrated with the grid-based Leather font, the geometric sans serif was influencing the blackletter forms, taking them away from their previous Jugendstil (Art Nouveau) hybridizations. Blackhaus is a digitization and elaborate expansion of a typeface called Kursachsen Auszeichnung, designed in 1937 by Peterpaul Weiss for the Schriftguss foundry in Dresden. This is one of very few designs from that time attempting to infuse more Bauhaus than Jugendstil into the Blackletter forms. This is why we used a concatenation of the words blackletter and Bauhaus to name this face. The result of injecting Bauhaus elements into blackletter turned out to be a typeface that is very legible and usable in modern settings, while at the same time harking back to the historical forms of early printing. The original 1937 design was just one typeface of basic letters and numbers. After digitizing and expanding it, we developed a lighter version, then added a few alternates to both weights. The Rough style came as a mechanically-grunged afterthought, due to current user demand for such treatment. Having the flexibility of 2 weights and many alternates of a blackletter typeface is not a very common find in digital fonts. More specifically, having the flexibility of 2 weights and alternates of a 20th century blackletter typeface is almost unheard of in digital fonts. So the Blackhaus family can be quite useful and versatile in an imaginative designer's hands.

Futura is THE prototype of a geometric or constructed linear sans serif and the font most commonly font of its kind used to date. Futura, very much influenced by the Bauhaus movement in Germany, was designed in 1927 by Paul Renner. Although being around for almost 90 years, Futura seems eternally young and fresh which also explains its continuous popularity with designers and typographers. Futura simply means efficiency and functionality documented by both its many usages as corporate type (e.g. Volkswagen, formerly IKEA, Vuitton, Shell, formerly HP, SMA and many more) as well as in various famous film projects (e.g. Kubrick, Anderson etc.). Futura’s iconic status was probably established when it walked on the moon with the Apollo 11 crew in 1969. It was used for the lettering of the plaque that was left up there.

Ageo is a soft geometric sans serif font family. Contain 8 weights from Thin to Heavy with matching Italics. It's a compromise of bauhaus and modern styles with a soft, minimalist, elegant, warmth, quirky, yet still purposed to be versatile and easy to read. Ageo was created to satisfy reading experience, it's compatible for text and also display, fit for headers, titles, posters, websites, brands, apps and other various design or creative projects. It contains several OpenType features: Standard ligature, figures variation (old style, fraction, numerator, denominator), and also broad latin language support. Ageo has been trusted by large enterprises and is still one of our best selling works. This latest update version 2.0 provides some fixes to the letterforms, spacing, and additional 2 variable font files, also new fonts format to support broad reading experiences.

The Genau family is a geometric sans serif designed under the influence of the constructivist schools of Vkhutemas and Bauhaus. Despite the traditional shapes, the family has characteristic features in the modern outline. The sharp junction of round and straight strokes repeats the sharp tails in “a” “d” “n” “u” and other. The family has an even, smooth texture. The family has been developed to advert materials for architecture, design, education, modern art. The family has high readability in a small size, and doesn't lose aesthetic qualities when enlarged. The font family contains 8 styles The font is equipped with a Variable file with two axes (weight and slope) Supports languages ​​of central Europe and some languages ​​of eastern Europe Contains small uppercase letters Contains tabular figures There are several alternates in the font The font has more than 1700 kerning pairs

Initially released in 2013 Corbert was a big hit and was named one of the most popular fonts of the year by MyFonts. Following on from its success the design is updated and remastered to meet the latest standards of The Northern Block and to satisfy critical issues put forward by the most demanding of users. A geometric sans serif typeface influenced by Bauhaus and the early modernist era. Precise shapes are optically adjusted to create a clear, natural typeface with excellent legibility. Corbert is a regular, self-evident design that works well across a wide range of applications. Details include nine weights with matching italics and over 540 characters per style. Opentype features consist of five variations of numerals, including inferiors, superiors, fractions, alternative lowercase a, e and g, and language support covering Western, South, and Central Europe.

Quidic is an unusual display typeface. The upper-case letters are strongly vertical, condensed, and bold. Used by themselves, they make headlines and titles that stand out. The lower case letters do not have serifs similar to those on the upper-case letters, but rather have the serif shapes one expects from an italic style. The lower-case is also quite short compared to the upper-case letters. The italic styles of the family are unusual because the lower-case letters keep their shapes and the upper-case letters and numbers change. The family has three styles that differ more by width rather than by weight. Although some Bauhaus fonts have several letter shapes that are similar, there is no other typeface quite like Quidic. The family can be used for many things, but not for text. For a "normalized" version of this typeface, see Qwatick.

Originally designed in 2012 by Ryoichi Tsunekawa, All Round Gothic is a font family inspired by classic sans serif fonts such as Avant Garde Gothic and Futura. All Round Gothic is a structured geometric sans, but also creates a sweet and cute atmosphere by removing unnecessary stems. With their bowls shaped by not-perfectly-geometric circles, All Round Gothic makes an organic impression in some degree. As a result, All Round Gothic became a new font family that covers between 1920s Bauhaus and contemporary design trends comprehensively and one of the most suitable family for any purpose such as text, headline, logo, poster, and animations thanks to clean and legible but soft and friendly letterforms. All Round Gothic includes 5 weights and obliques corresponding to each weight. Why don't you try this family if you got a little bored with classic sans serifs. This font is used in Minions movie.

The Nixt Font Family is a new font with currently seven styles. As an alternative to Helvetica, Arial, Gill Sans, Futura, & Gotham, Nixt has a similar design aesthetic to those aforementioned in that its design, structure, and feel crosses decades of appeal. From Mid-Century, through the stark '60s, decades of succeeding modern architecture through the turn of the 21st Century, Nixt's glyphs are timeless, clear, ultra-legible in all styles and weights. Best use in Advertising, Branding, Signage, Architecture, Fashion, Posters, Headlines, and By-Lines, Print & Digital, and of course Labels. There are currently, at first release, 7 Styles: Extra Light, Light, Regular, Italic, Book, Bold, & Extra Bold. There are more in process and will be added when completed. The inspiration behind the Nixt Fonts is the Bauhaus, Mid Century Industrial Design, Art Deco through Moderne Era Architecture, American Pottery and American Design of The Twentieth Century.