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The Bauhaus Monday, March 28, 16
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) Monday, March 28, 16
Attributed to Johannes Auerbach first Bauhaus seal 1919 (a student competition) Monday, March 28, 16
Gropius sought a complete unity of 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. Monday, March 28, 16
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. Monday, March 28, 16
Lyonel Feininger Cathedral, 1919 woodcut on the title page of the Bauhaus Manifesto Monday, March 28, 16
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Oscar Schlemmer, later Bauhaus seal, 1922 Monday, March 28, 16
Joost Schmidt Bauhaus Exhibition poster 1923 Monday, March 28, 16
Herbert Bayer, cover design, Staatliches Bauhaus in Weimar, 1919-1923 , 1923 Laszlo Moholy-Nagy, title page, Staatliches Bauhaus in Weimar, 1919-1923 Monday, March 28, 16
Laszlo Moholy-Nagy proposed title page for Broom , 1923 Monday, March 28, 16
Laszlo Moholy-Nagy poster for tires 1923 Monday, March 28, 16
Laszlo Moholy-Nagy, Chairs at Margate , 1935 Monday, March 28, 16
Texture, light/dark, repetition, unexpected points of view and angles were all part of Moholy-Nagy’s aesthetic. Monday, March 28, 16
Laszlo Moholy-Nagy Photogram 1922 Monday, March 28, 16
Walter Gropius, Dessau Bauhaus building, 1925-26 Monday, March 28, 16
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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. Monday, March 28, 16
Laszlo Moholy-Nagy, dust jackets for 4 Bauhaus books 1924-30 Monday, March 28, 16
Herbert Bayer symbol for the Kraus stained-glass workshop, 1923 Monday, March 28, 16
Herbert Bayer, proposed streetcar station and newsstand, 1924 Monday, March 28, 16
Herbert Bayer cover for Bauhaus magazine 1928 Monday, March 28, 16
Herbert Bayer, universal alphabet 1925 Bayer believed that upper and lower case letters were visually incompatible Monday, March 28, 16
During the Dessau period the Bauhaus’s typography and graphic design classes, taught by Herbert Bayer, solicited print design work from local businesses. Monday, March 28, 16
Herbert Bayer 1926 exhibition poster shows principles of typographic hierarchy Monday, March 28, 16
Herbert Bayer European Arts and Crafts exhibition poster 1927 Monday, March 28, 16
Joost Schmidt Bauhaus magazine cover 1929 Monday, March 28, 16
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In 1933, the Bauhaus shut down because of Nazi harrassment and interference. Monday, March 28, 16
https://www.youtube.com/watch?v=ZQa0BajKB4Q Monday, March 28, 16
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) Monday, March 28, 16
Jan Tschichold Handlettered ad for the Leipzig Trade Fair, 1922 Monday, March 28, 16
Jan Tschichold, display poster for a publisher, 1924 (an early attempt to apply modernist design principles to his work) Monday, March 28, 16
Jan Tschichold cover for Elementare Typographie insert 1925 Monday, March 28, 16
Jan Tschichold, pages from Elementare Typographie insert, 1925 Monday, March 28, 16
Jan Tschichold, pages from Elementare Typographie insert, 1925 Illustrated with El Lissitzky’s work, Russian Constructivism is explained Monday, March 28, 16
Jan Tschichold The New Typography 1928 Monday, March 28, 16
Jan Tschichold movie poster for Die Hose (The Trousers) 1927 Monday, March 28, 16
Jan Tschichold, poster for Der Berufsphotograph (The Professional Photographer) , 1938 Monday, March 28, 16
Jan Tschichold exhibition poster for Konstructivism (Constructivism) 1937 Monday, March 28, 16
Jan Tschichold, brochure cover for The Pelican History of Art , 1947 Jan Tschichold, paperback book cover, 1950 Monday, March 28, 16
After World War II, Jan Tschichold suggested that designers should draw upon the whole history of design to create solutions that successfully express content! Monday, March 28, 16
Eric Gill Gill Sans type family 1928-30 Monday, March 28, 16
Eric Gill, page from The Four Gospels , 1931 Eric Gill, page from Essay on Typography , 1931 Monday, March 28, 16
In his 1931 text Essay on Typography , Eric Gill advanced the concept of unequal line lengths (ragged right) in text type. Monday, March 28, 16
Paul Renner, folder for Futura, 1927 Monday, March 28, 16
Paul Renner Futura typefaces 1927-30 Monday, March 28, 16
Stanley Morrison, typographic advisor The London Times , Oct. 3, 1932 Monday, March 28, 16
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. Monday, March 28, 16
Piet Zwart ad for the Laga company 1923 Monday, March 28, 16
Piet Zwart, folder, 1924 Monday, March 28, 16
Piet Zwart, pages from the NKF cableworks catalog, 1928 Monday, March 28, 16
Piet Zwart, pages from the NKF cableworks catalog, 1928 Monday, March 28, 16
Piet Zwart page from the english language NKF cableworks catalog 1926 Monday, March 28, 16
H.N. Werkman page from The Next Call, no. 2 (an experimental typographic magazine) 1923 Monday, March 28, 16
H.N. Werkman, pages 2 and 3 of The Next Call, no. 4 , 1924 To commemorate Lenin’s death Monday, March 28, 16
H.N. Werkman pages 4 and 5, The Next Call, no. 4 , 1924 Monday, March 28, 16
Paul Schuitema brochure cover for scale company before 1929 “So clear, so small” Monday, March 28, 16
Willem Sandberg page from Experimenta typographica 1956 to show meaning of the word KRUGES (jugs) the U is filled with blue w’s (water) Monday, March 28, 16
Willem Sandberg page from Experimenta typographica , 1956 Monday, March 28, 16
Willem Sandberg cover for Museum Journal of Modern Art 1963 Monday, March 28, 16
pages from Nu (Now) , 1959 Monday, March 28, 16
Herbert Matter Swiss tourism poster 1934 Monday, March 28, 16
Herbert Matter Swiss tourism poster 1935 Monday, March 28, 16
Herbert Matter poster for Pontresina 1935 Monday, March 28, 16
Herbert Matter pioneered extreme shifts in scale for Swiss tourism posters. Monday, March 28, 16
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