The typography workshop, while not initially a priority of the Bauhaus, became increasingly important under figures like Moholy-Nagy and the graphic designer Herbert Bayer. At the Bauhaus, typography was conceived as both an empirical means of communication and an artistic expression, with visual clarity stressed above all. Concurrently, typography became increasingly connected to corporate identity and advertising. The promotional materials prepared for the Bauhaus at the workshop, with their use of sans serif typefaces and the incorporation of photography as a key graphic element, served as visual symbols of the avant-garde institution.
It wasn’t until the summer of 1923 when a poster was made for the school that intrigued others to notice the unique typeset and design. Effective visual communication was a main focus when designing. You will see a balanced layout, vibrant colors, harmony, geometric shapes strong bars, bold and universal type. Using upper case or lower case fonts, but not a combination of the two, the typeset was clear and concise. The type was laid out in various ways. In addition to being horizontal and vertical orientation, Bauhaus is well-known for placing text at angles and also wrapping text around objects.
As the legacy continues, Bauhaus style typography is still used in modern day designs and posters. You will find their style on album covers, posters for movies, events, and signage. One of the most notable was a print designed for the Obama Presidential Campaign, a rally which was held in Berlin.
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