Monday, March 28, 16 The Bauhaus Monday, March 28, 16 In 1919, - - PowerPoint PPT Presentation

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The Bauhaus

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In 1919, Walter Gropius was the first director of a new school which was a merging of The Weimar Arts and Crafts School (the applied arts school) and the Weimar Art Academy (the fine arts school). He renamed it Das Staatliche Bauhaus (The State Home for Building)

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Attributed to Johannes Auerbach first Bauhaus seal 1919 (a student competition)

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Gropius sought a complete unity

• f art and technology through

the combined disciplines of fine and applied arts. One of the early symbols of the Bauhaus was the cathedral, because it symbolized man’s spiritual needs as well as functional needs.

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The workshops at the Bauhaus were taught by an artist AND a craftsman and followed the MEDIEVAL model of Master, Journeyman and Apprentice. At the Bauhaus, there was no distinction between fine and applied art.

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Lyonel Feininger Cathedral, 1919 woodcut on the title page

• f the Bauhaus Manifesto

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Oscar Schlemmer, later Bauhaus seal, 1922

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Joost Schmidt Bauhaus Exhibition poster 1923

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Herbert Bayer, cover design, Staatliches Bauhaus in Weimar, 1919-1923, 1923 Laszlo Moholy-Nagy, title page, Staatliches Bauhaus in Weimar, 1919-1923

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Laszlo Moholy-Nagy proposed title page for Broom, 1923

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Laszlo Moholy-Nagy poster for tires 1923

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Laszlo Moholy-Nagy, Chairs at Margate, 1935

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Texture, light/dark, repetition, unexpected points of view and angles were all part

• f Moholy-Nagy’s aesthetic.

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Laszlo Moholy-Nagy Photogram 1922

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Walter Gropius, Dessau Bauhaus building, 1925-26

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The Bauhaus at Dessau was where the Bauhaus philosophy flourished from 1925 to 1932. The masters were now called professors. The medieval model was abandoned.

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Laszlo Moholy-Nagy, dust jackets for 4 Bauhaus books 1924-30

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Herbert Bayer symbol for the Kraus stained-glass workshop, 1923

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Herbert Bayer, proposed streetcar station and newsstand, 1924

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Herbert Bayer cover for Bauhaus magazine 1928

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Herbert Bayer, universal alphabet 1925 Bayer believed that upper and lower case letters were visually incompatible

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During the Dessau period the Bauhaus’s typography and graphic design classes, taught by Herbert Bayer, solicited print design work from local businesses.

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Herbert Bayer 1926 exhibition poster shows principles of typographic hierarchy

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Herbert Bayer European Arts and Crafts exhibition poster 1927

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Joost Schmidt Bauhaus magazine cover 1929

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In 1933, the Bauhaus shut down because of Nazi harrassment and interference.

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https://www.youtube.com/watch?v=ZQa0BajKB4Q

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Jan Tschichold (son of a designer and sign painter) developed an early interest in calligraphy. He would later call for a radical approach to typography in his book, The New Typography (Die Neue Typographie)

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Jan Tschichold Handlettered ad for the Leipzig Trade Fair, 1922

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Jan Tschichold, display poster for a publisher, 1924 (an early attempt to apply modernist design principles to his work)

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Jan Tschichold cover for Elementare Typographie insert 1925

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Jan Tschichold, pages from Elementare Typographie insert, 1925

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Jan Tschichold, pages from Elementare Typographie insert, 1925 Illustrated with El Lissitzky’s work, Russian Constructivism is explained

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Jan Tschichold The New Typography 1928

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Jan Tschichold movie poster for Die Hose (The Trousers) 1927

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Jan Tschichold, poster for Der Berufsphotograph (The Professional Photographer), 1938

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Jan Tschichold exhibition poster for Konstructivism (Constructivism) 1937

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Jan Tschichold, brochure cover for The Pelican History of Art, 1947 Jan Tschichold, paperback book cover, 1950

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After World War II, Jan Tschichold suggested that designers should draw upon the whole history of design to create solutions that successfully express content!

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Eric Gill Gill Sans type family 1928-30

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Eric Gill, page from The Four Gospels, 1931 Eric Gill, page from Essay on Typography, 1931

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In his 1931 text Essay on Typography, Eric Gill advanced the concept

• f unequal line lengths

(ragged right) in text type.

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Paul Renner, folder for Futura, 1927

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Paul Renner Futura typefaces 1927-30

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Stanley Morrison, typographic advisor The London Times, Oct. 3, 1932

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Times New Roman was designed by Stanley Morrison for the London Times. It is slightly condensed with short ascenders and

• descenders. These attributes make it a

perfect typeface for newspapers as more words fit on each page.

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Piet Zwart ad for the Laga company 1923

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Piet Zwart, folder, 1924

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Piet Zwart, pages from the NKF cableworks catalog, 1928

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Piet Zwart, pages from the NKF cableworks catalog, 1928

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Piet Zwart page from the english language NKF cableworks catalog 1926

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H.N. Werkman page from The Next Call, no. 2 (an experimental typographic magazine) 1923

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H.N. Werkman, pages 2 and 3 of The Next Call, no. 4, 1924 To commemorate Lenin’s death

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H.N. Werkman pages 4 and 5, The Next Call, no. 4, 1924

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Paul Schuitema brochure cover for scale company before 1929 “So clear, so small”

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Willem Sandberg page from Experimenta typographica 1956 to show meaning of the word KRUGES (jugs) the U is filled with blue w’s (water)

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Willem Sandberg page from Experimenta typographica, 1956

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Willem Sandberg cover for Museum Journal of Modern Art 1963

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pages from Nu (Now), 1959

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Herbert Matter Swiss tourism poster 1934

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Herbert Matter Swiss tourism poster 1935

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Herbert Matter poster for Pontresina 1935

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Herbert Matter pioneered extreme shifts in scale for Swiss tourism posters.

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