Professional Documents
Culture Documents
I. LRI CONTRIBUTIONS:
1. Discuss and analyze Laszlo Moholy-Nagy philosophy about the integration of type
and photo- which he called ÔtypophotoÕ. Utilize Bauhaus publications Fourteen
Bauhaus Books, Bauhaus Book 12, and Bauhaus Book 14 as sources for discussion &
analysis.
2. Highlight Herbert BayerÕs role & contributions at the Bauhaus, and discuss his design
First Bauhaus Seal, 1919-22
philosophy for the Universal Alphabet of 1925.
Designed Karl-Peter Ršhl
3. Brief background on Jan Tschichold and discuss the turnabout in his life from typo-
graphic revolutionary to guardian of traditional typography.
4. Compare/contrast Anderson UniversityÕs department of Art & Design foundation
curriculum to that of the Bauhaus.
II. Introduction:
After W.W. I, unemployment, inflation, political chaos, and war debt took its toll on Germany. However it was
at this time that graphic design began to play a larger and more important role in the modern industrialized cities of
Northern Europe. Not just in posters, but in advertising leaflets, corporate brochures, logo and letterhead design, cata-
logues for industrial products and trade show displays.
Richard Hollis in his book Graphic Design: A Concise History states that Futurism and Italy, Constructivism from
the Soviet Union, deStijl from the Netherlands and the Bauhaus from Germany represent the origins of modernism in
20 century the graphic design. Germany found itself between two powerful and influential avant-garde: Communism
and Constructivism in the U.S.S.R. from the East, and the Dutch and the deStijl from the West. Germany had its own
proud history of excellent design in Ludwig Hohlwein and Lucian Bernhard, but what was now to emerge from
Germany was to become the most influential school of design education in the 20th century. Today, students studying
in an art and design program with a Òfoundation programÓ, a ÒreviewÓ period, 3-dimensional design, color theory course-
work, and professional internship experiences can find a link to the Bauhaus school some seven decades ago. Industrial
and graphic designers share an indebtedness to the Bauhaus for its thinking on materials use, typography, page struc-
ture, and the rational form follows function dictum. Although the Bauhaus was to only last in Germany for some 14
years, and undergo many changes during that time, its influence was continued and experienced through the immigra-
tion of many of its teachers and students throughout the world-especially in the United States. This assured the influ-
ence of European modernism on American art and design then, and a ripple effect that is still experienced today.
VI. BIBLIOGRAPHY :
Cohen, Arthur A.
(Cambridge, Massachusetts: The MIT Press, 1984)
Droste, Magdalena.
(Germany: Bauhaus-Archive Museum, 1990)
Hollis, Richard.
(New York: Thames & Hudson. 1994) Chapter 6,
Humphries, Lund.
(London: Lund Humphries Publishers Limited, 1975)
Whitford, Frank.
(New York: Thames & Hudson. 1984)
Jan Tschichold
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Jan Tschichold
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plate page 3 ¥ rudynski ¥ spring 01 ¥ bauhaus
1 2
Laszlo Moholy-Nagy 6
1. Bauhaus Book 14
2. Bauhaus Book 12
4. Light Modulator
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page 6 ¥ rudynski ¥ spring 01 ¥ bauhaus