aula 02 bauhaus
TRANSCRIPT
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Profª Venise Melo/UFMS
AULA02BAUHAUS
OFICINA DE
DESIGN GRÁFICO
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O artista gráfico vai se distanciar dos processos industriais e vai se voltar para
a produção em estúdios.
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expressionismo-funcionalismo, artesanato-design de
reprodução.
Transição:
Escola de Artes e Ofícios fundada em 1919.
Bauhaus
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Os “fios” e a ausência de serifa marcaram a tipografia na época da Bauhaus.
A função deveria predominar à estética: a informação em primeiro plano.
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-aplicação da tipografia futurista, - sonoridade representada na escrita.
-Hibridismo de tipografias: leve e o pesado, tipos vitorianos
com ornamentos intercalados tipos mais leves e sem serifas.
-O espaço em branco era visto como o complemento da leitura.
Johannes Itten
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Na Bauhaus O PRINCÍPIO da boa comunicação era a leitura.
O uso de letras minúsculas como regra:
“ao nos limitarmos em usar minúsculas, nossos tipos não perdem nada, mas
torna-se mais legíveis, mais fáceis de serem apreendidos, e substancialmente
mais econômicos.”
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Qual a diferença entre A e a? para que dois desenhos para o mesmo som?
Parque dobras a quantidade de signos se apenas um já resolve?
A tipografia na Bauhaus era estritamente geométrica.
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Tipo Neuland (1924)
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Kabel -1927
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Futura
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Universal
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geométrica, pesada, sem serifa.A diagramação era seguida de fios negros
Nova tipografia:
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o maior divulgador da Nova tipografia;
Jan Tshishold
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1. A tipografia é moldada por princípios funcionais.
2.O objetivo do layout é a comunicação, que deverá ser simples, conciso e penetrante.
3. A tipografia deve ter um fim social: deve ser organizada interna e externamente.
4. A fotografia se faz importante para uma boa comunicação, como precisão de idéias e
valores.
Princípios Elementares:
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5. As áreas não impressas do papel podem ser organizados com linhas e fios
6. Os papéis deverão obedecer um formato padrão universal
7. Não deverá ser utilizado nenhum ornamento, para que não haja desvio do foco
principal do layout8. Poderá ser utilizados somente as formas
básicas (triângulo, quadrado, círculo)9. Poderá ser utilizados somente as cores
primárias (amarelo, vermelho e azul, e o preto)
Princípios Elementares:
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Taschichold
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Taschichold
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Taschichold
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MERZ PINTURA (arte total colagem, assemblage)
As palavras na folha impressa são vistas, não ouvidas.
Kurt Schwitters
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Ladislav Sutsnar
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Uso de tipos em maiúsculoWalter Dexel
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-Organização estética dos meios utilizados pela publicidade
-Contrastes: oposições, tensões e conflitos.-Claro-escuro, espaço vazio-objeto sólido,
estacionário-dinâmico, grande–pequeno, horizontal-vertical.
Max Burchartz
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A fotografia no design gráfico: tipofoto
Moholy-Nagy
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A tipografia é a comunicação através de tipos.A fotografia é a apresentação visual daquilo
que se pode ser observado opticamente.
A tipofoto é a maneira mais funcional de fazer comunicação
A fotografia á altamente eficaz quando aplicada como tipografia.
Como fototexto, substitui palavras, representa idéias com precisão e objetividade
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Fototexto
Werner Graeff
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fotografia como slogan“Para se votar em um partido é necessário votar na lista 5.
Vote 5.”
Hearttfield
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Hebert BayerBayer foi responsável pelo desenho de
cédulas de dinheiro para o governo local e também pela criação de papéis da
Bauhaus, uso de fios para direcionar a atenção e facilitar a leitura: método
construtivista de organizar elementos da página por meio da geometria, cor e
tipografia sem serifa.
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Início doDesign Informativo e dos Sistemas de Identidade Corporativa
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Quando o partido nazista tomou o poder em 1933, os designers
progrssistas perderam seus empregos. A Bauhaus foi
fechada. E o que restou foram as fotomontagem para trabalhar à
serviço do regime.
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O design agora estava voltado para os Estado Unidos com os designers
exilados, unindo-se com algumas idéias já iniciadas por artistas
gráficos europeus da época, como novamente
Lucian Benhard:Fez-se então as agências de
publicidade nos EUA e Europa.
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Países-Baixos:
De Stijl (O estilo)Movimento Holandês de vanguarda.
Retângulos e linhas.Piet Mondrian.
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Letras geométricas e linhas de Mondrian.Theo Van Doesburg
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Em encontro com designers como Lissitzki, percebeu novas possibilidades do design.
Utilizou a fotomontagem como recurso e ao invés dos retângulos, passou a
inserir círculos e ângulos.
Piet Zwart
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Forma arredondadaUtilização da tipografia como formas de
abstração“design não comercial”
Design artesanal
Henry Nicolas Werkman
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Niklaus StoecklinSuíça
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Ex-aluno da BauhausUtilização da caixa-baixa e toda a influencia para o
design atual.
Max Bill 1945
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