塑造运动的包豪斯平面设计实例

By Madeleine Morley

玛德琳·莫利(Madeleine Morley)

Bauhaus design’s impact on today’s graphics is hard to overestimate. Associated with primary colors, thick straight lines slashing across white space, and that emphatically modern trilogy of circle, triangle and square, the movement’s legacy has now become easier to trace due to an online tool via

包豪斯设计对当今图形的影响很难高估。 与原色相关联，在白色空间中横切的粗直线以及强调圆形，三角形和正方形的现代三部曲，由于采用了在线工具，该机芯的遗产现在变得更容易追踪

Harvard Art Museums. Thanks to the digital archive, exceptional and marginal objects from the period are more accessible, and so today we look at 5 examples of graphic design from the collection that might be of surprise or buck the cliché. 哈佛美术馆 。 由于有了数字档案，可以更轻松地访问该时期的特殊物品和边缘物品，因此今天我们来看一下该系列中的5个图形设计示例，这些示例可能会令人感到惊讶或破旧。

The museum is home to one of the largest collections devoted to the Bauhaus, and more than 32,000 Bauhaus-related objects of a variety of media are now searchable by keyword, title, artist, medium, and date. You can browse through the paintings and photographs of Lyonel Feininger, admire typographic experiments and stark magazine spreads by László Moholy-Nagy, or simply stumble across unexpected objects like this three-tier Bauhaus Dessau building cake made for the 80th birthday of the movement’s founder, Walter Gropius. There’s artworks, sketches, and prints by the masters of the school (Paul Klee, Wassily Kandinsky, Mies van der Rohe, etc.), and also extensive examples of student output that allows you to engage with lesser-known elements from the period.

该博物馆是致力于包豪斯活动的最大藏品之一的所在地，现在可以通过关键字，标题，艺术家，媒介和日期来搜索32,000多种与包豪斯有关的物品 。 您可以浏览Lyonel Feininger的画作和照片，欣赏LászlóMoholy-Nagy的版画实验和鲜明的杂志流传，或者偶然发现意想不到的物品， 例如为该运动创始人80周年诞辰的三层Bauhaus Dessau建筑蛋糕 ，沃尔特·格罗皮乌斯(Walter Gropius)。 这里有学校大师们的艺术品，素描和版画(Paul Klee，Wassily Kandinsky，Mies van der Rohe等)，还有大量的学生作品实例，可让您使用该时期鲜为人知的元素。

For those not familiar with the school’s history, a number of essays and a timeline with visual aids give a solid overview of the Bauhaus’ approach and developments, starting with its founding in 1919 to its dissolution in 1933. The online collection also traces the legacy of the school and its close ties with Harvard and Cambridge, MA, where Gropius settled in 1937 to teach at the Harvard Graduate School of Design.

对于那些不熟悉学校历史的人，大量的文章和带有视觉辅助工具的时间表 ，对包豪斯的方法和发展进行了全面的概述，从1919年成立到1933年解散。在线收藏也可以追溯到该遗产。这所学校及其与哈佛大学和马萨诸塞州剑桥市的紧密联系，格罗皮乌斯于1937年在这里定居，在哈佛大学设计研究生院任教。

Herbert Bayer, a key designer and typographer from the period, is known for developing the typeface Universal that was commissioned by Gropius in 1925. Its simplicity supported the ideals of functionalism and accessibility that the school famously championed, and its name underlined the idea of design as something that should be accessible to all. With the Harvard Art Museums archive, that spirit of accessibility lives on, as it engages new audiences with work that otherwise would be difficult to access.

赫伯特·拜耳(Herbert Bayer)是该时期的主要设计师和印刷术家，以开发格鲁皮乌斯(Gropius)在1925年委托的通用字体而著称。它的简洁性支持学校著名的功能主义和可及性的理想，其名称突出了设计理念作为所有人都应该可以使用的东西。 有了哈佛美术馆的档案，这种无障碍精神得以延续，因为它使新的观众参与到了原本难以获得的作品中。

The resource has emerged as part of the efforts of Robert Wiesenberger, the museum’s 2014–16 Stefan Engelhorn curatorial fellow and a specialist in graphic design from the period. We asked Wiesenberger to select five examples from the collection, some that might surprise and complicate what people normally imagine of when they think of Bauhaus. These picks strikingly exemplify the movement’s approach to typography, graphics, and poster design.

该资源的出现是罗伯特·维森伯格(Robert Wiesenberger)的工作的一部分，罗伯特·维森伯格(Robert Wiesenberger)是该博物馆2014-16年度斯蒂芬·恩格霍恩(Stefan Engelhorn)策展人，同时也是图形设计专家。 我们请维森伯格从该系列中选出五个例子，其中一些可能会让人们对鲍豪斯(Bauhaus)的构想感到惊讶和复杂。 这些精选鲜明地体现了机芯的版式，图形和海报设计方法。

1.赫伯特·拜耳(Herbert Bayer)的最后舞蹈邀请，1925年 (1. Last Dance invitation by Herbert Bayer, 1925)

‘Last Dance, Invitation’ by Herbert Bayer. Harvard Art Museums/Busch-Reisinger Museum, © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

赫伯特·拜耳(Herbert Bayer)的《最后的舞蹈，邀请》。 哈佛艺术博物馆/布希·赖辛格博物馆，©纽约艺术家权利协会(ARS)/波恩VG Bild-Kunst

“This invitation by Herbert Bayer for the Bauhaus’s last dance in Weimar, before its move to Gropius’s iconic building in Dessau, is also an ironic last gasp for Dadaistic disorder. With the move, the Austrian student graduated to the role of Bauhaus master, and the school rebranded along stricter, rationalist lines and a greater emphasis on typographic sobriety.

赫伯特·拜耳(Herbert Bayer)邀请鲍勃(Bauhaus)参加魏玛(Weimar)的最后一场舞蹈，然后才搬到德绍格罗皮乌斯(Dropsau)的标志性建筑，这也是达达主义障碍的最后讽刺。 通过这一举动，这位奥地利学生毕业于包豪斯大师的职位，学校以更严格，更理性的路线和对印刷清醒度的更名而更名。

“For the invitation, Bayer threw dingbats, Fraktur, and decorated script together, along with sans serif lettering that anticipates his signage on the Dessau building. The invitation promises fireworks, music from the Bauhaus band, and lottery prizes by masters Lyonel Feininger, Paul Klee, Wassily Kandinsky, ‘and others.’”

“为邀请，拜耳将装饰符号，Fraktur和装饰文字以及无衬线字体一起扔到了德绍大楼，这是他的招牌。” 邀请信中承诺放烟花，包豪斯乐队的音乐，以及大师莱昂内尔·费宁格，保罗·克利，瓦西里·康定斯基等人的彩票奖。”

2.约斯特·施密特(Joost Schmidt)的《德绍城市手册》，1930年 (2. ‘Pamphlet for City of Dessau’ by Joost Schmidt, 1930)

‘Pamphlet for City of Dessau’ by Joost Schmidt, 1930. Harvard Art Museums/Busch-Reisinger Museum.

Joost Schmidt撰写的《德绍城市手册》，1930年。哈佛美术馆/布希·雷辛格博物馆。

“This back cover of Schmidt’s brochure makes the industrial city of Dessau look like the center of the world, or at least Germany. Schmidt indicates travel distances to other cities via car, train, and — in a modern sign of the times — plane, with concentric circles radiating outward. (The front cover features a photomontage of local highlights floating over an aerial view of the city).

施密特手册的封底使德绍的工业城市看起来像世界中心，或者至少是德国。 施密特通过汽车，火车和飞机(以现代的标志)指示到其他城市的旅行距离，同心圆向外放射。 (封面的照片是在城市鸟瞰图上漂浮的局部亮点的蒙太奇)。

“Like Bayer, Schmidt studied at the Bauhaus in Weimar before becoming a master, in sculpture and in printing and advertising. As the inscription shows, this brochure belonged to Josef Albers, who gave it to Harvard in the founding years of its Bauhaus collection.”

“像拜耳一样，施密特在魏玛的包豪斯大学学习后，成为雕塑，印刷和广告学的大师。 如题字所示，这本小册子属于约瑟夫·阿尔伯斯(Josef Albers)，他在包豪斯(Bauhaus)创立的初期就将其赠予哈佛。”

3.赫伯特·拜耳(Herbert Bayer)的“通用型开发研究”，1927年 (3. ‘Research in Development of Universal Type’ by Herbert Bayer, 1927)

‘Research in Development of Universal Type’ by Herbert Bayer, 1927. Harvard Art Museums/Busch-Reisinger Museum, © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

赫伯特·拜耳(Herbert Bayer)于1927年提出的“研究通用类型的研究”。哈佛艺术博物馆/布希·赖辛格博物馆，©纽约艺术家权利协会(ARS)/波恩VG Bild-Kunst。

“You can see the working process in Bayer’s large (almost 15 x 24”) specimen of Universal, his famous single-case, geometrically derived typeface: there’s the indent of the compass used to construct the letterforms, the broad strokes in gouache, and the collaged corrections to the ‘g’ and ‘k’ (his handwritten legend indicates that these are ‘not yet finished’).

“您可以在拜耳环球公司的大型(近15 x 24”)标本中看到其工作过程，该标本是他著名的几何图形衍生的单例字体：罗盘的压痕用于构造字母，水粉笔中的宽笔画，以及对“ g”和“ k”进行的拼贴校正(他的手写图例表明这些校正尚未完成)。

“The oversize red ‘d,’ a readymade logo on its own, is called out for its ‘precise optical effects.’ Yet formal purity did not always produce legibility, as is clear from some of the more awkward letters. Bayer iterated on Universal for five years, though it was never put into a production.”

“大号红色'd'本身就是一个现成的徽标，因其'精确的光学效果而广受欢迎。” 然而，从一些较为尴尬的信件中可以明显看出，形式上的纯洁并不能总产生可读性。 拜耳在环球影业上反复了五年，尽管从未投入生产。”

4.伯特兰·戈德堡(Bertrand Goldberg)的“凹版印刷分析”，1932年-33年 (4. ‘Analysis of Rotogravure Page’ by Bertrand Goldberg, 1932–33)

‘Analysis of Rotogravure Page’ by Bertrand Goldberg, 1932–33.

伯特兰·戈德堡(Bertrand Goldberg)的“凹版印刷分析”，1932–33年。

“This text is illegible, even up close. What look like letters are just marks, made to mimic a page of newsprint. Artist and master Josef Albers assigned students in his preliminary course to analyze what he called ‘typofacture,’ or the surface treatment of ink on paper and the letter and word spacing, and overall composition, of a printed page. The assignment is consistent with Albers’s strategy of de-familiarization to help see the world anew. The student, Chicago-born Bertrand Goldberg who designed the page studied at Harvard before attending the Bauhaus in its final two years, under Mies van der Rohe, and he later led a successful architectural office in America (his work includes Chicago’s Marina City towers, nicknamed ‘the corncobs’.)”

“该文本难以辨认，甚至接近。 看起来像字母的字母只是模仿新闻纸的标记。 艺术家和大师约瑟夫·阿尔伯斯(Josef Albers)在他的预备课程中分配了学生，以分析他所谓的“典型面”或纸上油墨的表面处理以及印刷页面的字母和单词间距以及整体组成。 该任务与Albers的陌生化策略相一致，以帮助重新认识世界。 这位学生是芝加哥出生的贝特朗·戈德堡(Bertrand Goldberg)，他设计了该页面，然后在密斯·凡·德·罗(Mies van der Rohe)领导下的鲍豪斯学院(Bauhaus)入读了两年后在哈佛大学学习，后来他在美国成功领导了一家建筑事务所(他的作品包括芝加哥的滨海城市大厦，绰号“玉米芯”。)”

5.安道尔·温宁格(Andor Weininger)的“阿德勒汽车陈列室设计”，1933年 (5. ‘Design for Adler Automobile Showroom’ by Andor Weininger, 1933)

‘Design for Adler Automobile Showroom’ by Andor Weininger, 1933. Harvard Art Museums/Busch-Reisinger Museum, © Estate of Andor Weininger/Licensed by VAGA, New York, NY.

安德鲁·温宁格(Andor Weininger)的“阿德勒汽车陈列室设计”，1933年。哈佛艺术博物馆/布希·赖辛格博物馆，©安徒鲁·维宁格庄园/纽约州VAGA许可。

“Though not well known, the Hungarian-born Andor Weininger was a model student of the early Bauhaus, active in architecture, painting, and stage design, and a fixture of the school’s jazz band. Andor and his wife Eva later collaborated on the design of a showroom for Adler automobiles (the commission came through Gropius, who designed cars for Adler, and tapped Bayer to create a prospectus). Here Weininger stages an intersection of exquisitely rendered cars in an abstract, perspectival space, the flooring picked out by incised lines. The Adler name reads forward and backward, though faint markings show that Weininger had considered a different orientation.”

“虽然鲜为人知，但出生于匈牙利的安道尔·温宁格(Andor Weininger)是早期包豪斯大学的模范学生，活跃于建筑，绘画和舞台设计，同时还是学校爵士乐队的固定装置。 安多和他的妻子伊娃(Eva)随后合作设计了阿德勒(Adler)汽车陈列室(该委员会由格罗皮乌斯(Gropius)负责，后者为阿德勒(Adler)设计了汽车，并请拜耳(Bayer)创建了招股说明书)。 温宁格(Weininger)在一个抽象的透视空间内布置了精美渲染的汽车的交点，地板由切割的线条挑出。 阿德勒的名字前后都读着，尽管模糊的标记表明魏因宁格考虑了一个不同的方向。”

Madeleine writes about art and design from Berlin.

马德琳(Madeleine)从柏林撰写有关艺术和设计的文章。

翻译自: https://modus.medium.com/examples-of-bauhaus-graphic-design-that-shaped-the-movement-f797ba0d489b