VCD101 Week 2 Design Periods & Posters

 Bauhaus

Joost Schmidt’s 1923 poster for the Bauhaus exhibition in Weimar is an iconic example of early 20th-century avant-garde design, embodying the principles of the Bauhaus movement. Schmidt’s poster uses several compositional strategies that reflect the Bauhaus ethos of uniting art, craft, and technology.

A main compositional strategy in Schmidt’s poster is the use of geometric abstraction. The design is dominated by a bold interplay of shapes, lines, and colours. Circles, rectangles, and lines are arranged in a dynamic, balanced composition that guides the viewer’s eye across the poster. This geometric approach not only creates visual interest but also reflects the Bauhaus emphasis on fundamental shapes and forms in design.

Typography plays a vital role in Schmidt’s composition. The text is integrated into the overall design, rather than being a separate element. He uses sans-serif typefaces, which are clean and modern, aligning with the Bauhaus preference for functional, unadorned typography. The arrangement of the text follows a clear hierarchy, with the most important information, such as the exhibition's name and location, prominently displayed. The text is often aligned with the geometric shapes, enhancing the sense of order and structure.

Colour is used strategically to create contrast and focus. Schmidt employs a limited colour palette, primarily using black, white, red, and yellow. These colours are not merely decorative but serve to highlight key elements and create a sense of harmony. The use of primary colours is a hallmark of the Bauhaus style, reflecting the movement’s interest in universality.

The use of asymmetry is another significant compositional strategy. The poster does not rely on traditional symmetrical balance but instead uses an asymmetrical layout that creates a dynamic, energetic feel. This approach challenges conventional design norms and reflects the Bauhaus commitment to innovation and experimentation.

The 1923 Bauhaus exhibition was a pivotal event aimed at showcasing the achievements and philosophy of the Bauhaus school, which had been founded by Walter Gropius in 1919. The exhibition sought to demonstrate the school’s revolutionary approach to art, design, and architecture, emphasising the integration of artistic disciplines with industrial techniques.

Schmidt’s poster had multiple purposes. Functionally, it served as an advertisement for the exhibition, aiming to attract visitors and generate interest. Visually, it exemplified the Bauhaus principles of combining artistic creativity with functional design. The poster was both a visual manifesto of the Bauhaus ideals and a demonstration of the school’s innovative approach to graphic design.

Swiss Modernism

Swiss modernism, born in the early 20th century, emphasises simplicity, functionality, and clarity in design. It champions clean lines, sans-serif typefaces, and grid-based layouts, prioritising usability and legibility. Pioneered by designers like Max Bill and Josef Müller-Brockmann, it profoundly influences architecture, graphic design, and typography worldwide.

Josef Müller-Brockmann's "Swiss Design schützt das Kind" (Swiss Design Protects the Child) employs several compositional strategies typical of Swiss modernism. These include a grid-based layout, asymmetrical balance, sans-serif typography, and a restrained colour palette. Müller-Brockmann emphasises clarity and hierarchy, directing attention to the message while maintaining visual harmony.

"Swiss Design schützt das Kind" was created in 1960 as part of a series of posters advocating for child safety in Switzerland. The context was a national campaign to raise awareness about protecting children from accidents and dangers. Müller-Brockmann's purpose was to use his design skills to communicate this important message effectively with the principles of Swiss modernism to create a clear, impactful visual statement that would resonate with viewers and encourage action towards child safety.

A primary compositional strategy in "Swiss Design schützt das Kind" is the use of a grid system. Müller-Brockmann was a staunch advocate of using grids to create order and coherence in design. In this poster, the grid ensures a balanced and structured layout, with elements aligned precisely. This underlying structure brings harmony and legibility, making the poster easy to navigate and understand at a glance. 

Typography is another crucial element. Müller-Brockmann employs sans-serif typefaces, likely Akzidenz-Grotesk or Helvetica, which are hallmarks of Swiss Design. The type is set in a clear, straightforward manner for readability and neutrality. The use of a single typeface or a harmonious combination of type sizes and weights helps maintain visual consistency and reinforces the message without distracting decorative elements. 

The poster's visual hierarchy is meticulously crafted. Müller-Brockmann directs the viewer’s attention using size, contrast, and placement. The most critical information, such as the title and key message, is prominently displayed in larger, bolder type. This ensures that the viewer immediately grasps the main point – the importance of protecting children. Secondary information is presented in smaller, less prominent text, maintaining a clear distinction between different levels of importance. 

The use of imagery is minimal and highly functional. In "Swiss Design schützt das Kind," a powerful, simple visual element, a photograph of a child, is used to evoke an emotional response and underscore the message. This approach aligns with Müller-Brockmann's belief that images should complement the text and support the communication goal rather than serve as mere decoration. 

This poster was created during the post-World War II era, a period marked by a push for social responsibility and public welfare. The Swiss Style emerged in this context, emphasising clarity and universality in communication, which was deemed essential for effective public information and education. Müller-Brockmann’s work exemplifies these ideals, striving to convey critical messages efficiently and aesthetically. 

The purpose of “Swiss Design schützt das Kind” is dual. It aims to raise awareness about child safety, delivering a clear, urgent message to the public. Aesthetically, it embodies the principles of Swiss Design, showcasing how functional design can also achieve visual elegance. The poster exemplifies how design can be both an art form and a tool for social good, embodying Müller-Brockmann's philosophy that effective design should be clear, direct, and accessible.

Reflection

Something unexpected that I uncovered was the amount of recognisable letter forms in everyday things, although more complex or intricate letters like G where difficult to isolate.

I found this typography technique very interesting and enjoyable. I would like to return to and expand on it, perhaps try to use mainly organic forms to create a different font?

Whist I was wandering around searching for letters, I became aware about how strange I must look staring around at random objects. By the end of the exercise I also felt like I had a 6th sense for deciphering symbols out of nonsense.

“Joost Schmidt. Staatliches Bauhaus Ausstellung. 1923 | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/6235. Accessed 23 Mar. 2024.

“Poster for the 1923 Bauhaus Exhibition in Weimar.” Bauhauskooperation.com, bauhauskooperation.com/knowledge/the-bauhaus/works/graphic-printshop/poster-for-the-1923-bauhaus-exhibition-in-weimar. Accessed 23 Mar. 2024.

Wikipedia Contributors. “Bauhaus.” Wikipedia, Wikimedia Foundation, 4 Mar. 2019, en.wikipedia.org/wiki/Bauhaus. Accessed 24 Mar. 2024.