By Madeleine Morley

瑪德琳·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

包豪斯設計對當今圖形的影響很難高估。 與原色相關聯，在白色空間中橫切的粗直線以及強調圓形，三角形和正方形的現代三部曲，由于采用了在線工具，該機芯的遺產現在變得更容易追蹤

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.哈佛美術館 。 由于有了數字檔案，可以更輕松地訪問該時期的特殊物品和邊緣物品，因此今天我們來看一下該系列中的5個圖形設計示例，這些示例可能會令人感到驚訝或破舊。

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.

該博物館是致力于包豪斯活動的最大藏品之一的所在地，現在可以通過關鍵字，標題，藝術家，媒介和日期來搜索32,000多種與包豪斯有關的物品 。 您可以瀏覽Lyonel Feininger的畫作和照片，欣賞LászlóMoholy-Nagy的版畫實驗和鮮明的雜志流傳，或者偶然發現意想不到的物品， 例如為該運動創始人80周年誕辰的三層Bauhaus Dessau建筑蛋糕 ，沃爾特·格羅皮烏斯(Walter Gropius)。 這里有學校大師們的藝術品，素描和版畫(Paul Klee，Wassily Kandinsky，Mies van der Rohe等)，還有大量的學生作品實例，可讓您使用該時期鮮為人知的元素。

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.

對于那些不熟悉學校歷史的人，大量的文章和帶有視覺輔助工具的時間表 ，對包豪斯的方法和發展進行了全面的概述，從1919年成立到1933年解散。在線收藏也可以追溯到該遺產。這所學校及其與哈佛大學和馬薩諸塞州劍橋市的緊密聯系，格羅皮烏斯于1937年在這里定居，在哈佛大學設計研究生院任教。

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)是該時期的主要設計師和印刷術家，以開發格魯皮烏斯(Gropius)在1925年委托的通用字體而著稱。它的簡潔性支持學校著名的功能主義和可及性的理想，其名稱突出了設計理念作為所有人都應該可以使用的東西。 有了哈佛美術館的檔案，這種無障礙精神得以延續，因為它使新的觀眾參與到了原本難以獲得的作品中。

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.

該資源的出現是羅伯特·維森伯格(Robert Wiesenberger)的工作的一部分，羅伯特·維森伯格(Robert Wiesenberger)是該博物館2014-16年度斯蒂芬·恩格霍恩(Stefan Engelhorn)策展人，同時也是圖形設計專家。 我們請維森伯格從該系列中選出五個例子，其中一些可能會讓人們對鮑豪斯(Bauhaus)的構想感到驚訝和復雜。 這些精選鮮明地體現了機芯的版式，圖形和海報設計方法。

1.赫伯特·拜耳(Herbert Bayer)的最后舞蹈邀請，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，邀請》。 哈佛藝術博物館/布希·賴辛格博物館，?紐約藝術家權利協會(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)邀請鮑勃(Bauhaus)參加魏瑪(Weimar)的最后一場舞蹈，然后才搬到德紹格羅皮烏斯(Dropsau)的標志性建筑，這也是達達主義障礙的最后諷刺。 通過這一舉動，這位奧地利學生畢業于包豪斯大師的職位，學校以更嚴格，更理性的路線和對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.’”

“為邀請，拜耳將裝飾符號，Fraktur和裝飾文字以及無襯線字體一起扔到了德紹大樓，這是他的招牌。” 邀請信中承諾放煙花，包豪斯樂隊的音樂，以及大師萊昂內爾·費寧格，保羅·克利，瓦西里·康定斯基等人的彩票獎。”

2.約斯特·施密特(Joost Schmidt)的《德紹城市手冊》，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撰寫的《德紹城市手冊》，1930年。哈佛美術館/布希·雷辛格博物館。

“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).

施密特手冊的封底使德紹的工業城市看起來像世界中心，或者至少是德國。 施密特通過汽車，火車和飛機(以現代的標志)指示到其他城市的旅行距離，同心圓向外放射。 (封面的照片是在城市鳥瞰圖上漂浮的局部亮點的蒙太奇)。

“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.”

“像拜耳一樣，施密特在魏瑪的包豪斯大學學習后，成為雕塑，印刷和廣告學的大師。 如題字所示，這本小冊子屬于約瑟夫·阿爾伯斯(Josef Albers)，他在包豪斯(Bauhaus)創立的初期就將其贈予哈佛。”

3.赫伯特·拜耳(Herbert Bayer)的“通用型開發研究”，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“研究通用類型的研究”。哈佛藝術博物館/布希·賴辛格博物館，?紐約藝術家權利協會(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’).

“您可以在拜耳環球公司的大型(近15 x 24”)標本中看到其工作過程，該標本是他著名的幾何圖形衍生的單例字體：羅盤的壓痕用于構造字母，水粉筆中的寬筆畫，以及對“ g”和“ k”進行的拼貼校正(他的手寫圖例表明這些校正尚未完成)。

“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.”

“大號紅色'd'本身就是一個現成的徽標，因其'精確的光學效果而廣受歡迎。” 然而，從一些較為尷尬的信件中可以明顯看出，形式上的純潔并不能總產生可讀性。 拜耳在環球影業上反復了五年，盡管從未投入生產。”

4.伯特蘭·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.伯特蘭·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’.)”

“該文本難以辨認，甚至接近。 看起來像字母的字母只是模仿新聞紙的標記。 藝術家和大師約瑟夫·阿爾伯斯(Josef Albers)在他的預備課程中分配了學生，以分析他所謂的“典型面”或紙上油墨的表面處理以及印刷頁面的字母和單詞間距以及整體組成。 該任務與Albers的陌生化策略相一致，以幫助重新認識世界。 這位學生是芝加哥出生的貝特朗·戈德堡(Bertrand Goldberg)，他設計了該頁面，然后在密斯·凡·德·羅(Mies van der Rohe)領導下的鮑豪斯學院(Bauhaus)入讀了兩年后在哈佛大學學習，后來他在美國成功領導了一家建筑事務所(他的作品包括芝加哥的濱海城市大廈，綽號“玉米芯”。)”

5.安道爾·溫寧格(Andor Weininger)的“阿德勒汽車陳列室設計”，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.安德魯·溫寧格(Andor Weininger)的“阿德勒汽車陳列室設計”，1933年。哈佛藝術博物館/布希·賴辛格博物館，?安徒魯·維寧格莊園/紐約州VAGA許可。

“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.”

“雖然鮮為人知，但出生于匈牙利的安道爾·溫寧格(Andor Weininger)是早期包豪斯大學的模范學生，活躍于建筑，繪畫和舞臺設計，同時還是學校爵士樂隊的固定裝置。 安多和他的妻子伊娃(Eva)隨后合作設計了阿德勒(Adler)汽車陳列室(該委員會由格羅皮烏斯(Gropius)負責，后者為阿德勒(Adler)設計了汽車，并請拜耳(Bayer)創建了招股說明書)。 溫寧格(Weininger)在一個抽象的透視空間內布置了精美渲染的汽車的交點，地板由切割的線條挑出。 阿德勒的名字前后都讀著，盡管模糊的標記表明魏因寧格考慮了一個不同的方向。”

Madeleine writes about art and design from Berlin.

馬德琳(Madeleine)從柏林撰寫有關藝術和設計的文章。

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

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