Design Bites: The Bauhaus Movement (Art History)

1. Intro to Design Bites: The Bauhaus: Welcome to design bites. Hi, welcome to the design bites skill share for Siri's I'm era and I'm birth educator and creative in these courses will be getting a small bite of design history. In this course we delving into the Bauhaus movement. Bauhaus is considered one of the most important influences UN contemporary design. To get less, learn about the history of the bath house, the philosophy and the tenants of the movement. Graphic design, color and typography at the House and the Bauhaus legacy. Don't create Bauhaus inspired poster and illustrator that epitomizes the visual and conceptual spirit of that movement during the creation process will be guided through some of the tools and techniques and illustrator such as the Shapes, Pathfinder and online tools. So why you wanna learn a little more about design history? Well, knowing the history of what we design and the process of how we design is incredibly important to us both the designer and a consumer at the visual creator and consumer. If you investigate the past, we can see correlations and influences. Between the history of design is Maar expression. I understand in the past, both visually and conceptually allows us to have a more sophisticated, visual leathery anymore. Very two lakhs of visual vocabulary 2. The Bauhaus in Historical Context: welcome to design bites about house. So let's begin by looking at about house in historical context. The German design school, the Bauhaus, in 1919 to 1933 has influenced furniture, architecture, product design and modern design aesthetics. The design aspect of this movement is what we are mainly going to be exploring in this course. So let's put this design school in historical context before we explore it as a movement with the culmination of the first World War, or, ironically, called wart and all wars, which we know was not the case Germany laid defeated as a country. There is great strife on all fronts. Politically, economically, culturally, The Weimer Republic, or what we think of as Germany was the unofficial historical name of the German state between 1919 and 1933. It was a new democratic republic that rose after the abdication of the Kaiser that followed World War One. It was one of the most democratic countries the world at that time, and this freedom of communication liberalism are essential components the evolution of the Bauhaus. After World War One, there was a rise in the philosophical concept of universality and unity which you will find as a common threat throughout many art and political movements at this time. These concepts of equal and egalitarian society and of the common man are important ingredients to the foundational elements of the Bauhaus movement during the war years, the Weimer Arts and Crafts School and Weimer Art Academy, which later would be combined, you're named as dust. I like. The house was closed. It was only after the war it was reopened and combined and renamed by Walter Gropius. Walter Gropius was a German architect and he is who we considered to be the founder of the Bauhaus school. Establish AH house literally be in state home for building and was opened on April 12th 1919 with its first manifesto published in German newspapers, which established the philosophy of the new school to be one of unification of the fine and applied arts of unity. Of our in technology and form and function, the Bauhaus was a new type of art school. Historically, European art academies taught the different subjects separately, so if you're a painter, you started old masters and only painting. But the Bauhaus offered students courses in many disciplines because they believed in variety and it was about the unification of art and craft. So this combination of the multitude of mediums with a radical departure from the traditional or education this was also at the period we would call of the second Industrial Revolution. Products were mass produced by an increasingly urban and factory based society. This increased production of goods, which meant that there was a need for increased advertisement, which in turn led to the rise of graphic design profession, which in turn combined with the after mentioned cultural, political and ideological setting, gave rise to the bathhouse. 3. The History of the Bauhaus: the history of the Bauhaus, the Bauhaus movement helped shape what we consider as designed today. Graphic design, as defined by a. I. J. A. Is the art and practice of planning. Projecting ideas and experiences with visual and textual content is important to remember that the idea of graphic design as its own genre is a relatively new concept. The term graphic design wasn't even coined until 1922 by William Addison Wiggins, an American type designer, calligrapher and book designer. The Bauhaus and its revolutionary concepts radically changed not only what we designed, but how we design. So let's go back in history and find out about how the Bauhaus came to be what it waas. So the time of the conception, the Bauhaus. There are many concurrent and overlapping art movements. A lot of the philosophy of these different modernistic movements flow into and affect one another. Post war will one, and in reaction to the development of industrialization, people were both simultaneously disillusioned by the status quo and the traditional forms of art, rejecting the ideology of realism and at the same time, inspired by the progress of technology and the idea of the every day, man. These principles of universality embracing the 20th century machinations and technologies abolishing the latest conception of the divide between artists and designer, blurring the line between art and craft all helped birth the Bauhaus at its core. The idea was that design can make the world a better place. In this way, the Bauhaus was a place where previous art movements and styles came together. One example is how color and typography of the Dutch to still movement highly influenced. The Bauhaus aesthetic design is a reaction to the time and place that happens. And so in response to these cultural, technological and aesthetic changes that Bauhaus ideal was characterized by the utopian designer who created a new unity between arts and crafts, between form and function and between clarity and communication. Walter Gropius brought together renowned creatives, including Johannes It in Paul Klay, Josef Albers, Wassily Kandinsky, Laszlo Moholy Nagy and Herbert Bayer, to name a few thes creatives. All helps shape the groundbreaking curriculum for the school. Johannes, it and his name should be familiar to you if you studied color theory at all, as in in color, contrast the seven strategies for color combinations that he developed and thusly was named after him. He was a Swiss Expressionist painter, designer, teacher and writer and one of the first instructors who joined the Bauhaus. He helped develop the innovative preliminary course. It's beliefs about mysticism and personal expression became at odds with the concepts of university ality at the Bauhaus, and he left the school in 1923 where he was replaced by Lasso Mohali Nash, Pa. Klay was a Swiss German artist, and when he came to work at the Bauhaus, he was already established as one of the founding members of the German Expressionist movement known as Die Plowed either or the Blue writer. His courses on color theory concentrated on the movement of color, and he helped contribute to the modern conception of color theory and teaching. Josef Albers was a German artist and educator who later emigrated to America. With the closure of the Bauhaus, Albers focused on material studies and formal qualities. The course he developed highlighted the connection between material construction, function, production and technology. He emphasized that color and composition are inherent linked, which can later be seen in a Siri's homage to the square, which he produced from 1949 until his death and this series, he used a single geometric shape to systematically explore the vast range of visual effects that could be achieved through color and spatial relationships alone. Wassily Kandinsky was a Russian painter and art theorist. Kandinsky explored the interrelation between color and four minutes course, the basics of artistic design. He also taught a color class where he developed his own theories of color. He believed that design on Lee rose the collaboration of composition and color with red, blue and yellow as the most important components so we can see the idea of the core primary colors or universal colors, as a common strand in the color aesthetic. At the Bauhaus last Soma, Holly Nagy was a Hungarian painter photographer. He was especially influential with his focus on poster design and typography and that Inc exploration ah, photography into graphic communications. He is considered a design pioneer and, as he wrote in 1925 the typographical processes based on the effectiveness of visual relationships, every age has its own visual forms and accordingly its own typography, and the latter being a visual form has to take account of the complex cycles, physical effects upon our organ of vision. The I. Herbert Bear was an Austrian graphic designer, painter, photographer, etcetera. He also later emigrated to the United States. He explored reductive minimalism. He developed theories of design and typography and has become one of the most recognized designers to have spent time at the Bauhaus. He also developed the use of all lower case San Serif typefaces for most Bauhaus publications, as well as pioneered the Bauhaus style font called Universal. So these are just a few of the influential professors who grace the Bauhaus school of our house itself began at Weimer, but there was a few conflicts with the city. Inhabitants do the rather progressive and free nature of the students in 1925 but the house moved is a sow where Gropius had designed it. New buildings for the school in 1928 group is left about house to resume his private architectural practice, and a few other notable professors left as well the directorship of the Bauhaus transition to Hans Meyer, a Swiss architect. The rise of the Nazi Party saw the decline of the Bauhaus movement in 1931. The Nazi party had control over a de Sao city council, and they canceled the fact like contracts. In 1932 the remaining faculty attempted to run the school from empty telephone factory in Berlin's Douglas. But the Nazi harassment made this impossible, and the doors were officially closed in August 10th 1933. However, the effect of the Bauhaus can still be felt in the design of Germany today, and many of the former students and faculty went on to bring the ideas of the bows to other countries and in particular to America were quite a few ended up relocating to. 4. Philosophy & Tenets of the Bauhaus: philosophy and tenants of the Bauhaus. As I mentioned previously, the Bauhaus was unlike traditional fine arts education of that time, whereas the prevailing philosophy and our education at that time was that of the classical canon. And in that system, students would be expected to learn by copying the great Masters. This could be contrasted with about house, where the main goal was not about mimicking, but about stimulating a student's creativity. The Bauhaus rejected art for art's sake and embraced the coalescence of craft and skill as the basis of artistic endeavor. Gropius championed the machine and the unification of art and technology, and that at the bath house they should strive towards holding their skills as they push towards innovation. Design was do you part of the whole process, whether in textiles, architecture or in publications, and there was an emphasis on industry and technology. This advent of technology and mass production to the Bauhaus meant that there needed to be an elimination of Victorian excess thes visual culture. Montes were considered distractions and were to be eliminated in favor of harmony between design and function, so graphic design was to embrace simplicity, pure geometry, mathematics and logic. Students were to explore the laws of form and color about house embraced, the concept of the modern age where there should be, AH, harmony of craftsmanship and mass production, unity of function and form and an absence of ornamentation. Getting rid of what doesn't matter is minimalist. Vocabulary form can be best described by the quote. Less is more by Miles Monroe, the famous modernist German architect who is described in the goal of simplicity and democratic understatement. And so the bass principles of style and design are based on a minimalist approach which features clean lines with bold, simple coloration and geometric purity. The philosophy the Bauhaus was based on. These concepts of minimalism and simplicity, as well as exploration and ideation are in design, would be unified, and a designer should strive towards the highest quality with their craftsmanship. The machine, coupled with industrial civilization, was the way forward toward progress. Minimalism with key less was more, and ornamentation was not just a necessary but corrupt form should follow function and design should be functional, never decorative. And so these tenants of the Bauhaus created a style that would dominate the rest of the 20th century and are the central ideas of modernism. 5. Graphic Design, Typography, and Color at the Bauhaus: graphic design, typography and color at the Bauhaus graphic design of the Bauhaus focused on typography, form and color. This preference for simplicity and mathematical purity can be seen in the geometric shapes and highly refined typographic treatments. The Typography workshop was originally not the priority of the Bauhaus, but it grew increasingly important when Moholy Nagy, an alumni hermit, Bayer, became involved. Topography was to become one of the Bauhaus is greatest Legacies was bold and clear with simple sand. Sarah fonts Moholy Nagy described typography as a tool of communication that must have absolute clarity. Typography was to be an empirical means of communication and artistic expression, but visual clarity was stressed. Above all, typography should be shaped by its function, its ability to communicate and its simplicity. Topography should never be decorative. This was in line with the rejection of the typographic ornamentation of Victorian age typography. The Bauhaus was to relay information as efficiently as possible. There is no room for expressive and personal, the use of simple sans serif typefaces and photography rather than illustration as the key graphic elements for fundamental to design, typography and image should guide the viewer, provide information and communicate a message. Asymmetry rather than symmetrical layouts, were thought to create a dynamic rather than static visual. This, along with a strong visual hierarchy and maximum negative space that the tone for design at the Bauhaus there came to be a uniform typographic presence for the Bauhaus. They're designed a geometric son, Serra of Universal Typeface, which combined upper and lower case letter forms in egalitarian, typographic expression. San Serif typefaces such as Futura, based entirely on geometric forms, were held at ideal. Thes typhus is rejected What was seen as a D generation of previous letter forms. The ideal with the letter forms of typography was that they should be universal divorce from political or class distinctions and embracing a geometrical structures of letters the circle, square and rectangle. The use of the golden rectangle design was favored due to its mathematical perfection and harmony. With this, adoption of mathematical proportions into the design process meant that design choices were based on logic rather than arbitrary artistic influence. This can also be seen in the incorporation of the grid. Structure used by such artists is bare as well as in the creation of typographic letter forms. These concepts of typography were, for the most part, retained within the Bauhaus. But eventually they did spread to international audience by John Tissue Old, who was one of the many type biographers influenced by the Bauhaus. He created a book about the new approach of typography called minute typography, or the new typography I knew typography, promoted asymmetry, san serif fonts and repulsion of degenerate typefaces and arrangements of traditional typography, all of which are the fundamental principles of typography of the Bauhaus movement. Color. The Bauhaus followed the ideas of the dish still movement black, white and primary colors that were thought to be universal and not attached to any specific political party or nationality to steal or the style in touch. 1917 to 1931 rejected the traditions they believed calls war one. They wanted to rebuild the world with an approach that merged math and harmony. And so you can see the connection between this belief and that at the house the idea that color was an important element in the designers arsenal and continues to influence mood. A message of a design rose from the teachings of the Bauhaus. Johanna's in was influential color theorist who helped develop the foundation course that taught students material characteristics, composition and color ideas of color theory that are now commonplace. We're coming into ideation at this time In Created the Color Wheel, based on a primary triad of red, yellow and blue, and the 12 Hughes. He started color in terms of both design and science, as well as explored color relationships and the visual sex. He was also the first to characterize colors in terms of temperature, warm and cool. So caller typography inform all coalesced with ideals of simplicity, geometry, unity and logic to shape design at the Bauhaus. 6. The Bauhaus Legacy: about house legacy. So we have learned the Bauhaus was more than a school. It was a movement. Our modern concept of design has been influenced heavily by the core about house philosophies such as the unity of form and function. That design isn't merely how something looks, but how it works. The concepts and aesthetics of the house were spread with the publication of Die New Typography of the new Typography Ah, Jon Tisch, old and with the emigration of the many professors and students. With the closure of the school and the rising hostilities in Germany, many of these people ended up in the United States and other parts of Europe. And so the Bauhaus ideas of design, color typography entered into many art educational settings and the mainstream culture and practice of design. In terms of the education, the arts, the Bauhaus has had profound influence with the classical fine arts being re thought of as visual arts. Old academic traditions were changed, and today we can see in art schools Ah, courses provoked experimentation, problem solving rather than copying existing work as well as collaboration and solution making off fundamentals of the Bauhaus pioneering arts, educational model. The preliminary course that was initially established by Johannes in was incredibly vital to the educational pedagogy. Austin's began with a strict course and design fundamentals and form, color and shape. This idea of a foundation course to teach the fundamental principles of design and art is still very relevant today and is used by many art schools as the basis for the freshman foundations course. This is a starting off point where students explore the connection between theory and practice. This idea of a collaborative studio model, where students study different disciplines and approaches is still in use today. Instead of metal, glass and printmaking, students might instead study motion graphics, interaction, design and design for social innovation. But the principles of the house hold true form follows function, and there's an emphasis on mastering the principles of composition, color, theory and craftsmanship that has become the benchmark for modern arts education. Today we view good design is functional and aesthetically pleasing. We expect that ideas are meant to be explored, tested and validated. The idea of a design process with iterations and refinements and a connection to society are all established concepts, thanks in part to the Bauhaus. If we look close enough, we can see that the concepts of the Bauhaus permeated every aspect of the way things are made. The movement helped define what we consider good design, that less is more that form follows function and that there is beauty and simplicity. These ideas, and the premise given to us from about that everything is designed is more true today than ever before. 7. Illustrator Basics: The Text Tool: So before we actually begin going through making our poster, let's go over some tools and techniques that we might be using. So firstly, you want to make a new document. Now mine is just a four letter size that you want to make sure you save it. Because any time you do anything within illustrate or a photo shop or in design or whatever part you're working with, you want to be consistently saving it. And when there's a little start there, that means that it needs to be saved. So first, let's go over the type tool, which is right here on the left hand toolbar. It's you can click your it prophet T. I'm a really big fan of shortcuts. So with the text tool, you can do one of two things. One is you can just click on the art board, and now you can create point text, all right. And the other way of doing that is, instead of clicking, you could drag a text box. And this is how you create area text. Okay, so let me go over first. What's the difference between point text and area text now, with both of these you will have your character panel right here. But you can go to a window and character under the type tools in order to adjust the size, the type of electing a stuff. And you're gonna wanna be using both the character. And I like to show the options the character panel and also sometimes the future, the paragraph. But mostly we're going to use in character. And here I can make this a lot bigger. I can change the tracking or that turning between two letters. Um, I can make this small caps, large caps, whatever. Whatever, Whatever. So that's the same for both of these. So now what's difference between area text and point text? So area texts occurs inside a text frame, and it is scalable. So the text box itself is scalable. Okay? Meaning the text doesn't change. But the size of the object changes and how the text floats. Right? So here's Harry text. Now, the difference between this and point text is point Texas aligned to an anchor point. All right, so if you change the box, it will stretch out the text write. It has no tax frame, no constraints. One potential issue is that if you're aligning to the anchor point and when you're doing alignment, it changes the actual box itself. Um, and not the actual alignment within the box, because there is no box. So here, when there is an area text you can see within the box, this changes the alignment. Using alignment here changes the alignment to the anchor point. Another thing is like if you're going to rotate again, I have my bounding box on your Nazi use. The rotational is that you could just rotate the box That, you know, is that the letters themselves don't rotate in the area text, but with point text. They do now. If you're a little worried about what to do if you want to actually have your text, be it lines. One really great thing you can do is instead use the pen tool to create a path and then use your text tool to type on a path. And this way, your tool. You could always just rotate it enough to worry about. If it's in a area taxed or point. Text 8. Illustrator Basics: The Shape Tools: So now let's talk about the shape tool, which is right here. And if I click on, I can see the different options we have. The rectangle tool, which allows you draw rectangles of perfect squares. The rounded rectangle tool, which has rounded off corners of the rectangles. The Ellipse tool where you can draw standard. Vogel's or perfect circles like polygon pool, where you can draw polygons. Sides of the state length, such as Hoechst Gonzague calms and triangles. The star tool where you can draw stars and change the number of points and the flare tool. And then you can also pop out. This panel now shapes a really important that Bauhaus movement there, really, to the circle square and triangle, as you might think about using one of those in a your project. So with any of those, like the circle of square right, you can just click on it or use a short cut so the rectangle tools M and the lips tools the L, and with both of these, you can hold down the shift tool modifier, Keys air really, really important to make it a perfect square or perfect circle, and the Alz key on a Mac to be drawn from the center, where you're dragging so normally the anchor point as the left hand side. But if you hold down the Alz, you're drawing out from that area and the shift right here to make it perfect. So that's how you get a perfect square. And with the Ellipse tool, you can get the same thing where you can draw a perfect circle holding down the shift modifier key, and they ought to be drawing out from the center. If you want to draw a triangle to select the polygon tool, click on your art board and then stepped aside to three and you can change the radius, how you want and this will give you a triangle. Now with any of these, of course, you can go into the appearance panel and change Phil and change the stroke. And one thing that could be really cool is changing the transparency, which you can do here or through the transparency panel. And one thing we want to remember is that with the Bauhaus event, it was with the pure colors, was rad. It was yellow was blue and so I can take the circle and the square, and I can think about overlapping them and changing the transparency. So there are all sorts of things that I could dio with just using basic shapes, changing their appearance in changing the transparency. 9. Illustrator Basics: The Alignment Panel: So now let's talk about the alignment and distribution of your objects. So it's really important to make sure you have the alliance panel open. If you don't, you can goto window a line on. I also like to make sure the options are open because I like to have the option to show what I'm actually aligning to. Okay. So to align objects is arranged them into even rows and columns and to distribute objects is to space them apart equal distance from each other. So illustrator handles both operations in very much the same way as other graphic programs . Okay, so with two exceptions, one is if you want online, one object to some other objects in your selection. Without the first object moving, you need to make one of them a key object by clicking on it a second time. So say I selected all of these and I want them all to be aligned to this triangle. I would click on it again, and then it would be aligning to that key object, right, so it would be using the anchor center and drop anchor point there, and it also be using it to for the distribution. So that's really important to know OK and to you can distribute objects by a specified amount of space, which changes the positions of all selected objects. For example, here, if I make one of these mike core object, I can actually specify thes spacing values. 10. Illustrator Basics: The Pathfinder Panel: So the last thing we talk about is the 10 Pathfinder operations that are organized right here into four shape modes and six Pathfinder. And again, if this is an open, you can goto window and go to Pathfinder in order to open up the panel. So there is many different selections. You can see there's four shape moods and 6/2 finder moods, and some of these I don't ever really use in some I do actually use quite often. So first off, I'm just going to hold my all key to just duplicate some of these objects and to show you what they dio. So with these two objects, the united tool merges the shapes together, and then they just merge together. It resulted in a compound pack that has one group of fills and strokes, and it lift those fields and stroke afterwards from the farthest four J. And I'm just gonna undo that. Then we have the minus front shape mode, which is have Drax, all of the Ford shapes from a single rear shape in order to produce this effect. Next, we have Intersect shake mode, which I don't actually ever it use really, and that just has the intersection of those two shapes. Finally, within the shape modes, we have the excludes shape mode, which is the opposite of Intersect, where the shapes that are left are the non intercepting one. And so you can play with around with these. These could be somewhat cool TV using. Now we have the Pathfinder options down here, and the 1st 1 which I actually use quite often, is the divide, and you'll notice now. Freund group that these air now all separate objects, so Divide keeps the Fillon stroke after views that were originally assigned to the ships. But you divide them up according to how the shape for intersecting. I think it's one of the best tools available within the Pathfinder options. The next is trim, and again, it always groups some together. So you just have to un group them. If you want to separate them, right and this gets rid of the strokes of using the Ford shape to help from a hole in the shape below, and you can see here. That's what I did next. We have merge right here, and this gets rid of the stroke, which is kind of a lot like unite, except it merges the objects based on that the Phils. So if I don't do this and they had, say these two objects right here and also this object over here when I do merge and Andrew this this is still a separate object. But these two have been merged because they're the same thought and the next one we have is cropped and this uses the Ford shape to crop the shapes in the back. You can see it's cropped it right there with some of these. It is important to remember that you'll have a sort of extra space here That's just extra that it's using. Uh, the next one that we have is the outline, and basically it gets rid of the fills in terms of fills two strokes and set the line wait to zero. They all get turned to open half outlines. So the in group you can kind of see these are all open path. The shape tool itself is actually best use with close packs on, and this is one of the only tools that actually uses open paths. And the very last cool that we have and again remember, have to select the the two objects, or how any objects you're using is minus back, and this is the opposite of minus front. Instead of subtracting the Ford shape, it subtracts the real shape from the single Ford shape. And that is all the Pathfinder options shaped modes and Pathfinder's on and these air really fun to play with and can be really helpful in your poster making process. 11. The Project: did you start your poster? You might think about looking at Pinterest or on their resource is to get some ideas about the aesthetic of the Bauhaus. And you can see here here some good ideas that I see. I see again a lot of the alignment asymmetry, the geometric shapes, the colors of red, yellow and blue, the circle, square and triangle. So these are all things I can look at for inspiration. Then you might want to do some sketching and then you might say, OK, I'm ready, Have an idea and go into the process. And so I'm just gonna go ahead and create my poster. So now you can see this is my bathhouse poster and it went from vertical to horizontal. Andi played around a lot, and I really used the idea of, ah, strong stance there of typeface, the geometric shapes of circle square rectangle, um, other geometric objects sort of leading in and out of the poster right and transparency and a lot of the different ideas that you can actually see ideas that were actually used in civic outhouse posters. So again, have fun and explorer. And remember, the Bauhaus is a really fundamental movement that really impacted what we view as designed today. So I hope you enjoyed. And you learned a little bit something about the Bauhaus.