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Bauhaus: Herbert Bayer, Josef Albers, Jan Tschichold

The document discusses the history and evolution of graphic design through the Bauhaus school and some of its notable designers such as Herbert Bayer, Josef Albers, and Jan Tschichold. It then covers the development of the International Typographic Style and its spread to America. Some of the major figures it mentions include László Moholy-Nagy, El Lissitzky, Max Huber, Armin Hoffman, Alvin Lustig, Saul Bass, and Paul Rand. It analyzes the stylistic elements of their work and how it helped establish principles of layout, grid systems, and objective photography that came to define mid-century modern design.

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181 views9 pages

Bauhaus: Herbert Bayer, Josef Albers, Jan Tschichold

The document discusses the history and evolution of graphic design through the Bauhaus school and some of its notable designers such as Herbert Bayer, Josef Albers, and Jan Tschichold. It then covers the development of the International Typographic Style and its spread to America. Some of the major figures it mentions include László Moholy-Nagy, El Lissitzky, Max Huber, Armin Hoffman, Alvin Lustig, Saul Bass, and Paul Rand. It analyzes the stylistic elements of their work and how it helped establish principles of layout, grid systems, and objective photography that came to define mid-century modern design.

Uploaded by

minipele8
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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“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

 Saul Bass, billboard for Pabco Paints (1950s)


 Saul Bass poster Man with the Golden Arm

 Paul Rand
o poster for No Way Out (1950)
o cover for Thoughts on Design (1946)
o poster for AIGA (1968)

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