![]() Not only did its name hold great demands, but even more so the Bauer advertising: “Die Schrift unserer Zeit” (the type of our time), which was initially an idea by the editor Jakob Hegener. In 1927, the Bauer type foundry released Futura, a geometric sans serif designed by Paul Renner. 1 Many foundries at the time were in search of a typeface that would not only serve these needs, but one that visually reflected the zeitgeist and thus letterforms originating from basic shapes. In the fourth commandment of his manifesto it reads: “The elementary form of type shall be sans serif in all its variants”. Tschichold claimed it followed purpose and function it rejected ornaments and instead used lines and basic shapes as graphic elements. In a special edition of the journal Typographische Mitteilungen titled Elementare Typographie it was Jan Tschichold who expressed his views on a new typographic style. The basic shapes circle, square and triangle were omnipresent in the fields of industrial design, architecture, certainly in graphic design, as well as in lettering and type design. Not only is the building’s transparent “curtain wall” iconic, but so too the letters B-A-U-H-A-U-S running down the façade – geometric letters constructed from a simple grid. At the same time the students of the Bauhaus moved into their new school building in Dessau, designed by Walter Gropius. Both are long and round building complexes equipped with many little square windows of different sizes – milestones in social housing. ![]() The architect Bruno Taut and his colleagues began major housing estate projects in Berlin: Onkel Toms Hütte (named after the famous novel Uncle Tom’s Cabin) in 1926 and the Hufeisensiedlung (literally horseshoe estate) a year earlier. It was designed in semicircles instead and thus supported the ability to swing. The same year Mart Stam designed a cubic chair construction made from tubes (possibly the first without back legs), while Ludwig Mies van der Rohe filed a patent application for his version of this so-called Freischwinger (cantilever chair). TheSans was also chosen as corporate typeface for one of North America’s major mobile telephone companies, Sprint.In 1926, the Berlin Funkturm – a transmitting tower with an observation platform first opened to the public enabling new perspectives on the metropolis. Lightbox poster for Spain’s major mobile telephone company, Movistar. TheSans in corporate design The Dutch road users organisation ANWB uses TheSans as a corporate typeface for its Wegenwacht motorists’ assistance service. The TrueType versions are manually hinted, giving them excellent reading quality on-screen in Microsoft’s Windows applications. These are linked, meaning they can be accessed through the “B” (Bold) and “I” (Italic) buttons in office programs. ![]() This four-font family has the structure that’s conventional on Windows: Regular, Italic, Bold, Bold Italic. OpenType allowed us to include more characters, and we created a system for package naming. These fonts supported Western European languages only. We also used to sell TheSans Caps, with small caps instead of lowercase. ![]() The fonts had Proportional Oldstyle figures, but TheSans Basic was created to offer Proportional Lining figures. In 1999, Luc(as) began selling licenses himself, renaming it TheSans (classic). Version historyįontFont published FF TheSans in 1994. Yet the italic forms themselves are very distinctive: they were not derived from the upright but were individually designed while perfectly complementing the roman forms. The roman letterforms tend to have some characteristics of an italic or written construction. Yet the reference to writing with the broad-nibbed pen is still present, giving the letters a diagonal stress and a forward flow that facilitates reading. TheSans is a low-contrast typeface – i.e., the differences between thin and thick strokes are not very pronounced. ![]() It aims to fill that gap by providing the user with three compatible styles – TheSans, TheMix and TheSerif – in an optically harmonious range of eight weights, including real italics for each weight. It grew out of a dissatisfaction with the limited range of good typefaces available for corporate identity projects. Thesis was conceived as a versatile typographic system of ambitious scope. It has become the face of thousands of organisations, publications and web sites, making it one of the most widely used sans-serifs world-wide. Over the subsequent decades, TheSans came to epitomize the useful-yet-friendly, all-purpose contemporary sans-serif. TheSans is part of the Thesis superfamily which Luc(as) de Groot first published in 1994. ![]()
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