![]() ![]() Additional tools for font customization.You may view our design objectives and instructions on how to contribute in CONTRIBUTING.md.įrequently asked questions are answered in our FAQ. The project is in active development, and we welcome your input and contributions. The full set of changes to the upstream source are available in the changelog. The large x-height + wide aperture + low contrast design make it legible at commonly used source code text sizes with a sweet spot that runs in the 8 - 14 range. It has deep roots in the free, open source typeface community and expands upon the contributions of the Bitstream Vera & DejaVu projects. Hack is designed to be a workhorse typeface for source code. Have a quick question that doesn't require an issue report? Drop by our gitter Help channel and ask away. (我自己定义的Hack字体,只修改了圆括弧)ĭon't like the development noise from the repository but want to keep up with changes? Check out our gitter Hack channel. Today we’re delighted that the Hidden Treasures collaboration has resulted in a new life for the letter designs that were left as one-off or incomplete projects so many years ago.Hack Hack fonts, as defined by me, have only been modified with round brackets. It is with the cooperation of the Bauhaus archives that the original source material from the school became available for renewed typographic study. ![]() The school was in operation from 1919 to 1933, when it closed down due to pressure from the Nazi regime. A similar geometric, unadorned character imbued much of the design work emerging from the Bauhaus, often earning strong reactions from the public when unveiled. Many of the letters incorporated geometric features in the “modernist” tradition. Schmidt, his students, and a handful of other teachers at the school worked on numerous lettering projects over the years to accompany the designs coming from all corners of the Bauhaus. Artists like Paul Klee and Wassily Kandinsky spent time at the school as instructors, and the broadly-themed curriculum included courses on lettering, which typographer Joost Schmidt taught for seven years. The Bauhaus was a German design school that became celebrated for its novel holistic approach to design. Image from the Hidden Treasures campaign. What was the Bauhaus?īauhaus design school. Visit the Hidden Treasures campaign page for more history about the project, design challenges, and more. Pelligrini is a second-year student at the MA program in type design at the University of Art and Design/ECAL in Lausanne, Switzerland. Based in New York, Zimbardi hails from Rio de Janeiro and is a graduate of the Extended Program.ĭesigned by Luca Pellegrini, Xants is based on an alphabet by Swiss-Italian designer Xanti Schawinsky that combines stencil characteristics with a neo-classical stroke contrast for a unique mix of lettering influences in one place. She had only six of the original letterforms to work with: a, b, c, d, e, and g. When designing Joshmi, Flavia Zimbardi referenced the design of a lesser-known stencil alphabet by Joost Schmidt, who instructed many other type designers of the Bauhaus Dessau. Yamasaki, currently a student at University of Reading’s MA Typeface Design program, painstakingly redrew the letters from scratch and completed two weights (Bold and Regular). Carl Marx was a student of Joost Schmidt at the Bauhaus, and the design that Hidetaka Yamasaki turned into the typeface CarlMarx was originally drawn with brush and marker. Hurka drew additional small caps to make up for Alfarn’s missing lower case, which adds versatility to the well-balanced design. Her source material came from a set of capital letters that Bauhuas student Alfred Arndt drew for a poster in 1923. Preuss is a student of type design at HGB Leipzig.Ĭéline Hurka, a student at the Royal Academy of Art (KABK) in The Hague, captures the spirit of 1920s Bauhaus-influenced posters with Alfarn. Reross is available in two styles, Quadratic and Rectangular - both designed to a strict grid system but playing with different x-heights. Under the supervision of Spiekermann and Ulrich, the students designed fresh new fonts based on the original source materials.Įlia Preuss used source material from two different Bauhaus students for Reross: Reinhold Rossig, whose alphabet from 1929 is the primary influence, and Hermann Werner Kubsch, whose poster designs informed the alternate glyphs. ![]() ![]() Project co-coordinators Erik Spiekermann and Ferdinand Ulrich worked with instructors at five different design schools to nominate students to participate in the project. Fittingly, these fonts are now a reality thanks to type design students a few generations beyond the Bauhaus era. ![]()
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