“Bauhaus: Herbert Bayer, Josef Albers, Jan Tschichold” Walter Gropius, founder of Bauhaus o Negative effect of academic training for designers Johannes Iten o Created curriculum for Bauhaus o If you are a good artist, you become an exalted craftsperson o Art cannot be taught, but the craft can o Contrast, Rhythmic Line, Impression of Texture o w/ Josef Hauer, 12 part color circle o Analyses of Old Masters (Master Francke) Separated/changed colors “Anschauung” = sense perception Kandinsky, Zeichreihen o represents music o similar to this -> German Romanticist Philipp Otto Runge, The Large Morning and color diagram
Transcript
“Bauhaus: Herbert Bayer, Josef Albers, Jan Tschichold”
Walter Gropius, founder of Bauhaus
o Negative effect of academic training for designers
Johannes Iten
o Created curriculum for Bauhaus
o If you are a good artist, you become an exalted craftsperson
o Art cannot be taught, but the craft can
o Contrast, Rhythmic Line, Impression of Texture
o w/ Josef Hauer, 12 part color circle
o Analyses of Old Masters (Master Francke)
Separated/changed colors
“Anschauung” = sense perception
Kandinsky, Zeichreihen
o represents music
o similar to this ->
German Romanticist Philipp Otto Runge, The Large Morning and color diagram
Bauhaus photography
o Use camera to compose lettering
o Experimentation, composition
“Communication in its most itense form”
o 1923 Staatliches Bauhaus in Weimar covers by Laslo Moholy-Nagy and
Herbert Bayer
o eye moves back and forth from different colors
Herbert Bayer
o Banknotes
o News Kiosk, 1924
El Lissitsky, for Mayaovsky, “Our March,” in For the Voice (1923)
o Soviet Constuctivism
o Tabs on right-hand side
o Red square is dominant figure
o Letters form actions
El Lissitsky, Portrait, Proun L.N. 31
El Lissitsky, 1 Worker + 1 Peasant + 1 Red Armyman = 3 Comrades
o 3 men joined together, no matter their occupation to work for the state
Zement- und Kalkindustrie (1910)
o Workers as domesticated figures
o Enclosed in their own factories
El Lissitsky, Soviet Army Brochure
El Lissitsky, Soviet Catalogue for Intl. Hygiene Exhibition
Hamburger Fremdenblatt (1929)
o Newspaper layout
o “Bildersalat” = picture-salad
Jan Tschichold, Elementaire Typographie
o 24 page insert in Typohraphic Impartations (1925)
Jan Tschichold, display poster for Philobiblon
Jan Tshichold posters for Napoleon, Woman without a Name
National Socialist Germany: poster for Landvolk exhibition in Kiel (1937)
o Poster showing economic growth under der Fuhrer (1937)
o “I post these because I’m afraid”
Tannenberg type foundry booklets (1933)
Scheller, “Go to Nuremberg!
Ludwig Hohlwein, “Reichs Sports Day of the Association of Germ an Girls”
Ernst Keller, poster for Rietburg Museum
o International Typographic Style (Swiss Style)
Rigid grid system
Structured layout
Sans serif fonts
Objective photography
Left justification
Asymmetric
Siegfried Odermatt, Apotheke Sammet (1963)
Siegfried Odermatt, cover for Schelling Bulletin 4 (1963)
o Promoting corporation through its products
o Well thought-out grid
Theo Ballmer, office professions (1928)
Josef Muller-Brockmann, Musica Viva (1959)
Hans Leistikow and Paul Wolff, Musik im Leben der Volker (1927)
Anton Stankowski, Berlin-Layout cover (1971)
o vs Untitled (1994)
Anton Stankowski calendar covers
o water heating up
Univers: Adrian Frutiger
o Color-coded diagram has numbered weights on vertical axis and widths on
horizontal. It was an attempt to standardize categories used for type
o Bruno Pluffli composition with ‘u’
Max Huber, Monza-Gran premio dell’ Autodromo (1948)
Max Huber, First Gran Premio Bergamo (1958)
Armin Hoffman, poster for Giselle (1959)
o Objective photography
o Movement of ballet
o Image/text work with each other, not in contrast
Armin Hoffman for Herman Miller furniture (1962)
Armin Hoffman logotype for Basil Civic Theater
Richard Eckersely: “deconstructivist style” computer-aided page layout for Avital
Ronell’s Telephone Book
o mirrored pages
o blocked quotes
o disregards the margins
Jason Munn
o Music work/posters
Rudolph de Harak
o Nine book jackets for McGraw-Hill
o Vivaldi Gloria cover
INTERNATIONAL TYPOGRAPHIC STYLE IN AMERICA
Jacqueline C. Casey, director of MIT Design
o Services office, open house posters
Ralph Coburn, MIT jazz band poster, Dietmar Winkler poster
Alvin Lustig
WILL BRADLEY WILL BE ON EXAM
America: The Modern Movement
o Walker Evans, photograph of Atlanta (1936)
Alexey Brodovch, cover for Harper’s Bazaar (1951)
Alexander Liberman, cover for Vogue (1945)
Post-War American Design: How to be a girl (1950)
Slattery’s Hurricane,” American (1949)
Cipe Pineles, pages from Charm (1950), layout sketches for Glamour (1941)
Alvin Lustig, cover Paul Valery, “Monsieur Teste”
o Fabric design “Incantation” for Laverne Originals
o Compare Lustig’s cover for “A Season in Hell” with Cheret’s “Orphee”
Lustig’s cover for Fortune magazine (1946)
Lustig’s cover for Look in-house newsletter, cover for Lorca: 3 Tragedies
Lustig’s book jackets for New Directions
Compare Alvin Lustig’s cover for Exiles with Aaron Siskind’s Providence 95
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