Adobe Typekit

Hidden Treasures of the Bauhaus Dessau Designed by Elia Preuss, Flavia Zimbardi, Hidetaka Yamasaki, and Luca Pellegrini. From Adobe Originals.

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6 fonts
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Design Information

Designer

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How to Use

You may encounter slight variations in the name of this font, depending on where you use it. Here’s what to look for.

Sync

In application font menus, this font will display:

{{familyCtrl.selectedVariation.preferred_family_name}} {{familyCtrl.selectedVariation.preferred_subfamily_name}}

Web

To use this font on your website, use the following CSS:

font-family: {{familyCtrl.selectedVariation.family.css_font_stack.replace('"', '').replace('",', ', ')}};
font-style: italicnormal;
font-weight: {{familyCtrl.selectedVariation.font.web.weight}};

Glyph Support & Stylistic Filters

Fonts in the Typekit library include support for many different languages, OpenType features, and typographic styles. If you know you need a specific combination of languages or features covered, you can use these filters to narrow down your search while browsing our library.

Text sample — CSS font-size (px) with 1.4em line-height

18 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent”…

16 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the…

15 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive…

14 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of…

13 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of an able mind. For, let…

12 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of an able mind. For, let a man be as able & original…

11 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of an able mind. For, let a man be as able & original as he may…

10 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of an able mind. For, let a man be as able & original as he may, he can’t afford to discard knowledge of what…

9 Is not the best kind of originality that which comes after a sound apprenticeship? That which shall prove to be the blending of a firm conception of, “useful precedent” and the progressive tendencies of an able mind. For, let a man be as able & original as he may, he can’t afford to discard knowledge of what has gone before or what is now going…

Grayscale — CSS hex color

#000The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#333The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#666The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#999The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#CCCThe best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#FFFThe best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#CCCThe best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#999The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#666The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

#333The best kind of originality is that which comes after a sound apprenticeship, that which shall prove to be the blending of a firm conception of useful precedent and the progressive tendencies of an able mind. For, let a man be as able and original as he may, he cannot afford to…

Size — CSS font-size (px)

36 Pack my box with five dozen liquor jugs.

30 Pack my box with five dozen liquor jugs.

24 Pack my box with five dozen liquor jugs.

21 Pack my box with five dozen liquor jugs.

18 Pack my box with five dozen liquor jugs.

16 Pack my box with five dozen liquor jugs.

15 Pack my box with five dozen liquor jugs.

14 Pack my box with five dozen liquor jugs.

13 Pack my box with five dozen liquor jugs.

12 Pack my box with five dozen liquor jugs.

11 Pack my box with five dozen liquor jugs.

10 Pack my box with five dozen liquor jugs.

9 Pack my box with five dozen liquor jugs.

Packages 0 packages

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About the family

CarlMarx

This typeface is based on lettering by Carl Marx (1911–1991), designed during his first semester at the Bauhaus in Joost Schmidt’s class, in 1932. Although the letter proportions are based on Schmidt’s teachings, the forms are not constructed from compass and ruler, but drawn with brush and marker, lending the words a warm and lively touch. Hidetaka Yamasaki redrew the letters from scratch and added all missing characters for today’s needs. A set of hanging figures, alternates for some critical letterforms (such as f, r, and t) as well as several ligatures make CarlMarx especially suitable for use in body text. As suggested by Marx, Yamasaki captured two weights from the original drawing and perfectly adjusted light and bold to highlight words and create hierarchy in headlines – without losing or adding space. True to the original, Yamasaki captured the wobbly contour in CarlMarx, preserving warmth in the condensed geometric style of the early 1930s.

Joschmi

Joost Schmidt’s (1893–1948) name is undoubtedly connected with monolinear condensed letters of geometric appearance – his unfinished draft of a stencil alphabet, constructed on grid paper in 1930, is much lesser known. These modular shapes simply consist of half circles, quarter circles and square strokes with half-round terminals. From just six original letterforms (a, b, c, d, e, g), Flavia Zimbardi completed Schmidt’s draft and extended it to a full character set for contemporary use, adding upper case letters and different figure sets including old-style. Joschmi overcomes legibility issues usually associated with this stencil style, with special attention to the design of white space. Zimbardi lends the face even more character by carefully adding round terminals in subtle spots of the alphabet, accessible through stylistic sets.

Xants

In 1932, Xanti Schawinsky (1904–1979) designed an alphabet that combines two styles: a neo-classic stroke contrast paired with characteristics of stencil lettering. This mix is a child of its time and seems to reflect the Swiss and Italian biography of Schawinski. Luca Pellegrini took on the modern look and re-drew the letterforms, interrupted by subtle spaces where thick and thin strokes meet. Although Schawinsky had already designed a complete alphabet and figures in the early 1930s, Pellegrini took the character set to another level, adding currency signs, mathematical symbols and all kinds of punctuation – anything needed to set more than just headlines. Xants is a blend of Swiss elegance and exclusiveness with Italian charm and imperfection, a combination that never gets old.

Reross

Of all student work produced in Joost Schmidt’s Bauhaus classes, Reinhold Rossig’s (1903–1979) alphabet designs are perhaps closest to his master’s teachings: monolinear, geometric lettering, constructed on grids using compass and ruler. Drafts by Rossig, dated 1929, also demonstrate explorations of letterform width and x-height. Almost ninety years later, Elia Preuss carefully preserves Rossig’s letters and considerations in a proper typeface, by overcoming most of the optical mistakes captured in true geometric letterforms. To carry Rossig’s design further away from Schmidt’s influence, Preuss also lent more characteristic letters found on poster designs by fellow Bauhaus student Hermann Werner Kubsch. Reross is a true Bauhaus-influenced geometric sans, equipped with different historic influences and contemporary features.

About the foundry

The Adobe Originals program started in 1989 as an in-house type foundry at Adobe, brought together to create original typefaces of exemplary design quality, technical fidelity, and aesthetic longevity.

Today the Type team’s mission is to conduct original research and development for type at Adobe, making sophisticated and even experimental typefaces that explore the possibilities of design and technology. Typefaces released as Adobe Originals — fully-featured families and smaller “Concept” projects alike — are the result of years of work and study, regarded as industry standards for the ambition and quality of their development.

Quality fonts from the world’s best foundries.