Wednesday, October 14, 2009

Bauhaus/New Typography and Plakastil

look at page 115 of book. Kandinsky-

also the violin one on page 119 could use clocks instead....

Plakastil use one of his works for background and have type interact with it. or use blank background and use a symbol in the design sort of like the opel one orthe pelkan one to the left.

Bernhard, Lucian Breisgau-Perle, 1914
Bernhard, Lucian.
Breisgau-Perle, 1914

vintage poster
Cardinaux, Emil.
PKZ - Confection Kehl, 1908.

Diem, Carl. Gordon Bennett, 1912
Diem, Carl.
Gordon-Bennett-Fahren Stuttgart, 1912

The Poster Style, or "Plakatstil", was begun in 1905 by Lucian Bernhard in Berlin. For a poster competition sponsored by Preister matches he took the novel approach of drawing two large matches and writing the brand name above them in clean, bold letters. The stark simplicity of the design won him the competition, and marked a departure from the fussy and decorative Art Nouveau style, which was beginning to lose its vitality.

With its reduction of naturalism and emphasis on flat colors and shapes, the new style was the next step beyond Toulouse-Lautrec in creating an abstract visual language. Bernhard's style spread throughout Germany, and became the foundation for a revolution in commercial advertising in pre-war Berlin.

An equally powerful Plakatstil artist named Ludwig Hohlwein arose in Munich who would also have a profound influence on early Swiss poster design and Art Deco.

Steglitz, Lehmann I. F. Reiser, circa 1910
Steglitz. Lehmann. I.F. Reiser, circa 1910


Design Movements in the twentieth century. It took place in Germany of the 1920s and early 1930s, the period of the Weimar Republic, an area considered one of the birthplaces of the Modern Movement in architecture and design.

The impact of the horrible experiences in the First World War, poverty and inflation created a new consciousness, which influenced strongly Design, Architecture and Art. This was the age of the Bauhaus, a movement which was a reaction to social change and which aspired an aesthetic relevance.

The "New Man" became the ideal, a concept that also expressed itself in living. The Bauhaus Design showed a purism with emphasis on straight edges and smooth, slim forms. The rooms were sparsely furnished, but filled with hygienic freshness. Superfluous features were taboo. Shining steel was discovered as a material for furniture.