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^ a b "Herbert Bayer: creator of the Bauhaus' universal typography".
The emphasis must be on absolute clarity." Blippo In 1929, Bauhaus professor, László Moholy-Nagy, issued a statement that said typography "must be communication in its most intense form. The treatise shaped modern typography, printing, and graphic design. Jan Tschischold, heavily inspired by the Bauhaus school though never a member, developed a New Typography in 1928. Major elements of Bauhaus typography in Bayer's original form were the elimination of capital letters, composition based on strong geometrical elements and expressive use of colors, and the replacement of the Gothic font by a more cosmopolitan font suitable for the move from handcrafted to standardized production.
The most well known Bauhaus typeface is Bayer's Universal. In that era, they would only be drafts, and were not manufactured into printing typefaces yet, although they were used for signs, book covers and publications by the Bauhaus. After some years of design work at the school, Herbert Bayer and Joost Schmidt created the more recognizable proposals - sans-serif geometric letterings, with decorative elements of the font removed for a crisp industrial style. Contrary to their current perception, in its early years, the Bauhaus school printed serif art nouveau typefaces.
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