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The Bauhaus and the New Typography Terms: •Weimar, Germany (Pg GD 135 HISTORY OF GRAPHIC DESIGN Chapter 16 The Bauhaus and The New Typography Terms: •Weimar, Germany (pg. 345) •The Bauhaus (pg. 345) •Dessau, Germany (pg. 349) •Photogram (pgs. 348-349) •Walter Gropius (pg. 345) •Photoplastic (pgs. 348-349) •László Moholy-Nagy (pg. 347) •Universal Type (pg. 351) •Herbert Bayer (pg. 351) •Die Neue Typographie (pgs. 353-255) •Jan Tschichold (pg. 353) •Isotype (pgs. 359-361) •Eric Gill (pg. 357) •Piet Zwart (pgs. 361-363) •Herbert Matter (pgs. 366, 368-369) People and Places: Chapter 16 Study Questions 1. Beginning in 1919, what is the name of the 3. The Bauhaus school of design was located in German design school that sought a unity of art two different places in Germany. They were: and technology? A. Weimar & Dessau A. Weimar Academy B. Italy & Germany B. The Bauhaus C. Paris & Munich C. The New Typography D. Hungary & France D. Apple Computer 4. The Bauhaus combined ideas from all the art 2. Identify the designer(s) associated with this and design movements and applied them to school of design: problems of design and production. Workshops A. Walter Gropius were taught by both ____ who focused on form, _____ who focused on production. B. László Moholy-Nagy A. an artist ...and the Nazis C. Herbert Bayer B. Suprematists ...and Constructivists D. All of the above C. an artist ...and a craftsman D. a professor ...and students 5. Much of the creative innovation in graphic 8. The Bauhaus school tried to bring art into a design during the first decades of the century close relationship with life by way of design, occurred as part of modern art movements and which was seen as a vehicle for social change at the Bauhaus. These approaches were seen by and cultural revitalization. The ______________, a limited audience however, until Jan Tschichold which dominated the city council, canceled explained them to wide audiences of: faculty contracts in 1932. The faculty voted to dissolve the school, and on August 10, 1933, it A. printers closed. C. designers B. typesetters A. Thuringian government D. A, B, and C C. Catholic Church B. Nazi Party D. Bolsheviks 6. László Moholy-Nagy’s passion for typography and photography inspired a Bauhaus interest 9. Jan Tschichold was heavily influenced by the in visual communications. He believed that Bauhaus and Russian constructivism. After the __________ represented the essence of designing the 24-page insert “Elementare photography because it allowed an artist to Typographie” and book “Die neue Typographie” capture a patterned interplay of light and dark he can be identified as a practitioner of on a sheet of light-sensitive paper without a ____________. camera. A. The New Typography A. photomontage C. Suprematism C. photogram B. WWI propaganda B. calligramme D. Postcubist pictorial modernism D. instagram 10. The essence of Tschichold’s new typography 7. Tension between the Bauhaus school and the was clarity, not simply beauty; its goal was to Weimar government forced the school to develop form from the functions of the text. The relocate to Dessau in 1925. Herbert Bayer, a following demonstrates its design concepts: former student at Weimar, became professor of A. asymmetrical headlines, flush-left type, white the newly added typography and graphic design space and contrasting elements workshop. Sans-serif fonts were used almost B. exclusively, and Bayer designed a __________ rules, bars and boxes used for structure, balance and emphasis that reduced the alphabet to clear, simple, and rationally constructed forms. C. sans-serif type in a range of weights: light, medium, bold, extra bold, italic A. universal type D. A, B, and C C. handwritten script B. roman type D. gothic type 11. British designer Eric Gill created typefaces such 13. Dutch designer Piet Zwart synthesized the as Gill Sans and Perpetua. He also argued that design elements of Dada and De Stijl, but did the uneven word spacing in justified columns of without DeStijl’s ____________. With no formal type looked worse than designs of equal word training in typography, Zwart rejected the spacing in ___________________. grayness of conventional typography and instead manipulated words, rules and symbols to create A. sans serif typography dynamic and arresting layouts. B. fat faces A. brief slogans in large type and diagonal lines C. unequal line lengths (ragged right text) B. strict use of vertical and horizontal lines D. abstract wedge shapes on an angled grid C. rhythmic compositions, contrasts of size, weights, and direction D. 12. Originally called the Vienna Method, the collage technique with a conscious concern for functional communication _______ movement is associated with developing “a world language without words” involving the statistical use of pictographs. 14. Herbert Matter created travel posters for the Swiss National Tourist Office. He applied A. Sezessionstil modernism’s new approaches to visual C. Isotype organization, such as________________. B. Pictorial modernism A. collage and montage D. Photomontage B. strict use of vertical and horizontal lines C. symmetrical layouts D. the Isotype movement.
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