vastra is a slim, futuristic, bauhaus inspired typeface. It has plenty of those pesky foreign glyphs and various alternates of the standard alphabet. It’s available in 5 different weights from light to Heavy and is complimented by 5 italicized versions of the 5 different weights too. I wanted this font to look like background set typography in a 70’s sci-fi movie. D A N G E R You can buy it in singles, pairs or the whole damn brood.

This is a modern-day interpretation of the 1930s font. With a wide range of alternates, you can create Art Deco and Bauhaus style typography in one piece. People who see it will be fascinated by the stylish and feminine look of the font.

Wedge’ is the outcome of a search for the essence of a formal alphabet for text — for 26 letters of the simplest form consistent with ease of reading.. Noted New Zealand architect Bruce Rotherham (1926–2004) was inspired by Herbert Bayer’s ‘universal alphabet’ created at the Bauhaus in 1927. While he admired Bayer’s pure geometry, Rotherham felt it was ‘virtually unreadable’. The Bauhaus-inspired inclination for architectural publications to use sans serif faces provoked Rotherham to consider how a readable Roman book face might be approached using some of Bayer’s same principles of simplification, but also retracing the evolution and use of the Roman form in an analytic manner. The Wedge alphabet was started in 1947 when Rotherham was an architecture student at the University of Auckland. It was worked on and refined over several decades but never commercially released, until now. Over sixty years after it was first conceived, Wedge is available from P22.

Mid Century Sans (MCS) is composed of high-geometric shapes. László Moholy-Nagy —professor in the Bauhaus— said “Typography is a tool of communication. It has to be communication in its most intense form. The emphasis must be on absolute clarity since this distinguishes the character of our own writing from that of ancient pictographic forms.” As same as you can see in modern typefaces in the early twentieth century, MCS has very efficient, clear and minima letterforms. There are not any decorative parts in the skeleton of letters. At the same time, Mid Century Sans has one more feature. In the middle of the twentieth century, one big movement which was called Mid-century modern had occurred. The Mid-century modern movement in the U.S. was an American reflection of the International and Bauhaus movements and it was slightly more organic in form and less formal than the International Bauhaus-style. In other words, it was friendly and stylish. We added Mid-century-spices to the Bauhaus-modernism. The basic letter form is geometric yet it has very friendly strokes and human touch. Mid Century Sans consists of 8 weights and their matching Italics for a wide range of usages. Farther, Mid Century Sans is supporting international Latin languages and basic Cyrillic languages including Basic Latin, Western Europe, Central and South-Eastern Europe. Also MCS covers Mac Roman, Windows1252, Adobe1 to 3. This wide range of international characters expands the capability of your works. Lowercase "a" has OpenType stylistic alternates for advanced typography.

Red Thinker is a sans serif typeface that includes Small Caps, is of square proportion and fuses soft curves in the outer vertices with straight lines inside the characters, a semi-stencil design that gives it a technological aspect and future fiction. Red Thinker is the heir by right of the geometrical fonts of the early twentieth century inspired by the Bauhaus school and is specially designed for use in any size for both screen and printing.

Hauslan is a simple, minimal and geometric type family inspired by the rationality presented by Bauhaus in 1920 which affected many areas such as architecture and graphic design. Following the concept of basic geometric shapes, Hauslan focuses on readability and versatility, either for small texts or headlines.

Burt is extended grotesk with condensed uppercase. Its combines modern bauhaus features with old grotesk details. And the X, what a banger! Well it actually is. That what gave the font name - buřt = sausage. Full Latin extended A support, many features, stylistic sets and alternates. All together 9 styles.

Neues Bauen is a Bauhaus inspired font with some interesting glyphs. It is slightly rounded in places, but sharp in others and it will most certainly make your designs stand out. Neues Bauen in other words, like the style that emerged in pre-war Germany, is a statement.

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.

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. "

A functional, constructive sans-serif with universal, geometric forms. Dedicated to the life and work of Bauhaus pioneer Josef Albers, the typeface follows a disciplined approach to composition using a limited palette of modular blocks. II Vorkurs has 3 weights and 6 styles with extensive latin language support and squared, stylistic alternates.

Letterforms from the 30s, inspired by Bauhaus Bold, combine with super 70s styling to create this disco-era delight. The bold characters, rendered by prismatic multilines, create striking headlines with a strong architectural feel. Both versions of this Pro Series font contain the complete Unicode Latin A character complement, along with extended ligatures and fractions.

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.

Joe Cool is a bold geometric sans with minimal counters designed to achieve the maximum weight, solidity and impact on the page. Joe Cool Extended was actually created first, then it seemed like a good idea to add progressively more compact versions for added variety and versatility. See also Gravitas, my Bauhaus inspired font family which explores similar territory.

Venecian Old Face fonts had a strong influence on typeface design in the 1930s and 1940s in England. Such influence is evident in the font Electra, designed by William A. Dwiggins for Linotype in 1935. Electra combines its classic roots with the Zeitgeist of the 1930s, also displaying characteristics of the Bauhaus and Art Deco styles.

Hans Bohn’s Orplid, a shadowed sans serif font strongly influenced by the then prevailing Bauhaus style, and released by Klingspor in 1929, was revived and vastly extended for multilingual use. In addition, a filling style was made to easily accomplish colorful headlines, ads and posters. Both styles come with alternatives for A, M, N and W.

Stadiona; it is a modern display font inspired by the functional and simple solutions of the 1920s design collective Bauhaus and blended with contemporary sans serif fonts. All letters are based on the stylized stadium of geometric form. To respond different and creative usage needs; it is presented in four different versions as Basic, Alternates, Inktrap and Shadow.

Bayer Sans, is based on the typography of the Austrian-born artist Herbert Bayer. Bayer worked as a teacher and graphic designer at the Bauhaus, a revolutionary German art school, during the 20's. His specialty was commercial art and he had many "radical" views on typography and its interaction with society. Bayer felt that written language should be merely a graphic version of spoken language. Thus, he advocated a single alphabet without majuscules and miniscules. Bayer's designs are simple, geometric letterforms that lend themselves to lowercase form. This font, based on the typography of Bayer and his students at the Bauhaus Werkstatt (studio), was digitally modeled by Noah Rothschild. Bayer Sans features a complete character set including European characters, alternate letters with adjusted widths and designs and ligatures. Included are the "f" characters and a special linked double-o.

Paramour is a handwritten font that is the perfect way to add some flirty elegance to your design. Use it to create inked-style logos, wedding stationery & photographer watermarks, or to add a handwritten look to your website's typography. Paramour includes a full set of gorgeous uppercase and lowercase letters, numerals, a large range of punctuation, and 93 ligatures. This handcrafted typeface has been engineered to perfectly fit together. Paramour Features: A full set of upper & lowercase characters Numbers & punctuation 93 Gorgeous ligatures Multilingual symbols PUA Encoded Characters – Fully accessible without additional design software. Thank you for checking out Paramour! I hope you find it enjoyable, and feel free to give it a try below!

The powerful Eknaton comes with slanted slabserifs, a new way to add some spring to the old Egyptian slabs. Eknaton echoes the tradition that started with Napoleon's Egyptian campaign 1798, and the simultaneous looting of Egyptian art. The imports led to new ladies fashion in Europe, new architecture and new typefaces like Antique (Figgins, 1815) and Egyptian (Caslon, 1816). The Egyptian faces were also the origin of the famous Clarendon (1845) and Ionic No.5 (1925) as well as the rest of "the legibility types". In the 20th century the slabserifs became popular again with Bauhaus incarnations like Memphis (Wolf, 1929) and Beton (Jost, 1931). The Bauhaus movement, otherwise anti-serif, liked the architectural influence in Egyptian slabserifs. The Bo Berndal design of Eknaton puts some speed into the old Sphinx - the cat is back, in better form than ever! Bo Berndal, born 1924, has been designing typefaces for 56 years, for Monotype, Linotype and other foundries. Eknaton comes in five different widths, from Tight to Expanded, and is an OpenType typeface for both PC and Mac. Swedish type foundry T4 premiere new fonts every month. Eknaton is our eleventh introduction.

This unusual sans typeface was inspired by a serif face called Faust, designed by Albert Kapr for the Institut für Buchgestaltung in 1959. Its mix of medieval, Jugenstil and Bauhaus influences makes it an intriguing choice for your next project. Both versions of this font include the Unicode Latin 1252 and 1250 Central European character sets, with localization for Moldovan and Romanian.

Benelux is inspired by European styles of the late twentieth century, their origins can be traced back to the Bauhaus. Broadly geometric and with an emphasis on legibility, it's well-balanced and is equally effective at both text and display sizes. Benelux is available in five weights and features an extended character set, including accented characters for Central European languages.

A unique sans serif typeface created from geometric shapes like perfect circles and straight stems with half-rounded endcaps. Simple, yet complex, this typeface is akin to other classics, like Avant Garde and Bauhaus, in that it can be used in modern, friendly or futurist designs. Whether your intent is serious or playful, the versatility of Robox has you covered.

Bolshy is a stroppy font whose x-height has got ideas above its station, it’s ended up being equal to the cap height. Bolshy doesn’t go completely Bauhaus, and although the boundaries are somewhat blurred, the distinction between upper and lower case just about remains intact. There is something slightly Cyrillic about Bolshy’s bulbous terminals, exotic shapes and condensed curvature.

Arthaus is a typeface family inspired by Herbert Bayer letter study for an universal alphabet, this version is built on a rigorous geometrical basis as originally planned by this master of the Bauhaus in 1927. Arthaus comes in 4 weights and one outline version. Ideal for creating posters and brands is a treat for anyone who deals with graphic design.

Retro was designed by Colin Brignall and Andrew Smith and comes in two weights, bold and bold condensed. They are all cap, slab serif typefaces which were inspired by a number of historical artistic movements: Constructivist, Bauhaus, Art Deco and Streamline. Retro has a strong graphic appearance, a number of alternate characters, and is suitable for a wide variety of promotional applications.

Side A – Bauhaus-inspired Experimental and spiky type in 3 sizes (1 - 1/2 - 1/3), designed by Benoît Bodhuin (An ideal use could be: Side A unit in 48 pt, half in 24 pt and A third in 16 pt, then bars would have the same width and spaces between the forms would be equal, but it’s just an ideal use)