BAUHAUS

TYPOGRAPHY. DESIGN. ADEVERTISING

1.   CONTEXT

Bauhaus was a modern institute that it was established in the twenty century and it had special artists like Walter Gropius, Le Corbusier and Mies Van De Rohe.

.Bauhaus.-A-Conceptual-Model-Berlin-Moma-NY-Todos

 

Bauhaus masters: Josef Albers, Hinnerk Scheper, Geoerg Muche, László, Moholy Nagy, Herbert Bayer, Joost Schimdt, Walter Gropius, Marcel Breuer, Wassily Kandinsky, Paul Klee, Lyonel Feininger, Gunta Stolz y Oscar Schlemmer.

artcayuso.blogspot.com.es/ Bauhaus

 

Walter Gropius was the attendant of final step in the formal definition in this new architecture with headquarters in Dessau. Gropius accepted the position such as principal of the German design institute y he preferred  cubic and glassed estetique where the traditional constructing values will be disappeared.

In 1925, Bauhaus moved from Weimar to Dessau. Walter Gropius leaved the institute and Hannes Meyer promote as principal in 1928. Adding the new location, Bauhaus was divided into four different structures or departments: architecture, advertisement, final ornamental (timber and metal) and tissue.

Charles-Edouard Jeanneret, knowled “Le Corbusier” represents the process that culminates the modern movement. The most important idea is the need of adapting the design to the modern society. To get it, a formal revival is not enough. It’s necessary to catch the spirit of the context, according with his point of view; it will be realized with machines, with a special dynamism. The idea of expressing the modern industry. It was based in the moment’s rationalism.

2.   ARTS INTEGRATION INTO A SOCIETY NEED

They wanted to become different, and the difference will be marked in the resume of conducting forms into a life’s way.

“Architects, sculptors, painters, we have to return to manual labour …] establish, therefore, a new guild of craftsmen, free of the arrogance that divides a class from another and seeks to erect a barrier between artisans and artists. Yearn, conceive and together build the new building of the future, which will bring all-in architecture, sculpture and painting, into a single entity and that will rise to heaven from the hands of a million craftsmen, crystalline symbol of a new faith that it comes” Walter Gropius.

3.   NEW DESIGN ESTETIQUE

It’s believed that the shapes and basic colours represented industrially a cheaper price, so that the shapes of circle, square and triangle were taken as starting points. In the classes form began to work with these basic figures and each was credited with a certain character. That’s the reason that they used to believe that circle centre as’ fluid ‘, the square was’ serene’ and triangle, ‘diagonal ‘.”

Gerrit-Rietveld-Silla-Red-Blue sillon_wassily www.decollagedesign.com                       www.lambdatres.com

Gropius’s philosophy was based on integrating the arts with modern technology and connects them to obtain a design available to all socio-economic levels. The resulting products are far away from the classical excessive ornamentation.

The influence of the Bauhaus is still present in the current design. Thanks to its industrial design there also exists even the idea of ​​combining aesthetics and functionality.

4.   BAUHAUS TYPOGRAPHY IS BEING USED BY ADVERTISERS

The prototype of this typeface was designed by Herbert Bayer, professor of Bauhaus institute in Dessau, Germany, in 1925 in its efforts to create a universal typeface. The design responds to the beliefs and style of the school, looking for functionality, eliminating typography elements leaving a basic appearance. The Universal, designed in 1925 by Herbert Bayer at the Bauhaus in Dessau, consists only of lower-case letters built on the basis of essential geometry, orthogonal lines, four circles of different diameters, three angles. Bayer says it has made ​​a punctilious “cleansing” in the field of printing in favour f speed and savings, it still requires two different signs to indicate a single sound.

Bauhaus93

labauhausuab.blogspot.com

The result was a letter composed of geometric shapes, very simple and monotonous, reflecting the style of the time but did not pass the test of time losing the universality and objectivity intend. It can be used in designs reminiscent of the 20’s and in the era of Art Deco with simple, clean lines and counter blocks unlocked.

images

blog.xn--diseograficoonline-q0b.es

 

The future was the most successful typeface Bauhaus era and one of the most famous of the twentieth century. Although there was no direct relationship between Paul Renner and the Bauhaus, its typography, Bauer designed for casting, it is based on simple geometric shapes like circle, square and triangle are the norm about this typography.

Not only that easy reading that offers this type is due to a completely rational by its author, looking natural rhythm.

His later inspired design all new geometric typefaces of the twentieth century, especially the Avant Garde, Herb Lubalin. It has long ascenders and descenders, and a clean, clear, giving large doses of readability and objectivity. Its very suitable for use in advertisements, posters, magazines or books.

Many companies have used this font in your corporate design. Companies like Volkswagen, Swissair, Union Pacific, Boeing, RAI, Hewlett Packard, Home Depot, CNN International, among others. Several universities and political parties around the world have used it in their logos. We must emphasize the IKEA skid to remove it from their catalogues and replace the other typography.

Is There Bauhaus in IKEA

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Moreover, the director Stanley Kubrick was a fan of this font and used in most of his films in the opening credits, as well as promotional posters. In addition, commemorative plaque left Armstrong and Aldrin on the moon was written with Futura.

 

Ignacio Vela

 

Bibliografía

 

Ignacio Martínez Buenaga, J. M. (2003). Historia del Arte. España: ECIR

historiadeldisseny2012-13.blogspot.com. (10 de Noviembre de 2012). Recuperado el 17 de Abril de 2013, de Historia del disseny: http://historiadeldisseny2012-13.blogspot.com.es/2012/11/hannes-meyer-eva-vesikansa-la.html

Caruso, V. (2012). http://www.letrag.com. Recuperado el 15 de Marzo de 2013, de Tipografías: http://es.letrag.com/tipografia.php?id=43

Costas, C. (11 de Junio de 2008). http://www.wordpress.com. Recuperado el 15 de Abril de 2013, de Arts and Crafts: http://historialdedisenio.wordpress.com/2008/06/11/arts-and-crafts/

Decoration2. (10 de Enero de 2012). http://www.decoracion2.com. Recuperado el 14 de Abril de 2013, de Grandes Maestros: http://decoracion2.com/search/bauhaus

Fontscape. (s.f.). http://www.fontscape.com/. Recuperado el 2013 de Abril de 15, de Tipografías: http://www.fontscape.com/

Maocho, F. (30 de 03 de 2012). http://www.wordpress.com. Recuperado el 12 de Abril de 2013, de Arte Popular – La escalera de la Bauhaus, la maravillosa tierra de nadie: http://felixmaocho.wordpress.com/2012/03/30/arte-popular-la-escalera-de-la-bauhaus-la-maravillosa-tierra-de-nadie/

Neira, J. G. (03 de Noviembre de 2012). http://www.slideshare.net. Recuperado el 13 de Abril de 2013, de Tipografía elemental de la Bauhaus: http://www.slideshare.net/los120diasdesodomia/tipografa-elemental-de-la-bauhaus

Pascual, M. (2012 de Enero de 10). http://www.Blogspot.es. Recuperado el 15 de Abril de 2013, de Labauhausuab: http://labauhausuab.blogspot.com.es/

http://www.youtube.com. (s.f.). Recuperado el 5 de Abril de 2013, de Historia del la escuela de artesanía, diseño, arte y arquitectura BAUHAUS: http://www.youtube.com/watch?v=JFrbVh4RMSQ

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