He called this the "New Vision" and it centered on the concept of playing with captured light. For example, one of the works he is most known for, the Light Prop for an Electric Stage (now more often called the Light Space Modulator) created shortly after he left the Bauhaus School, is considered a pioneer kinetic sculpture but can also be seen as an example of light art. Perhaps his greatest influence on future designers was bringing the ideas of the Bauhaus, primarily its practical, experimental and technological focus, to the United States through his role in founding the Institute of Design in Chicago. Herbert Bayer Herbert Bayer's first introduction to the Bauhaus was through its intriguing manifesto, a manifesto intriguing enough for him to go to study there starting in 1921. After four years as a student, Bayer became director of printing and advertising for the school and taught classes in typography for another three years (Cohen). Bayer's involvement with the school was focused to a great extent upon advertising and typography, fields he mostly had to make up himself along with a few other classmates as they didn't yet exist at the school. He chose most often to work with a lowercase sans serif font for the school's publications, but developed a number of typefaces that remain popular today. These include Universal, ITC Bauhaus and Archetype Bayer. Universal, at the time, was an experimental type that attempted to combine uppercase and lowercase letters within a single character set. His contribution to today's graphic arts world is the degree to which we now understand the communicative powers of a great letterform and how it interacts with the rest of the presentation to create a suggested meaning. His work remains a key element in graphic arts education because of its unity of design and typeface. Paul Klee Paul Klee established his reputation as a painted heavily influenced by Wassily Kandinsky and Franz Marc prior to being invited to join the staff of the Bauhaus School in 1921. At the Bauhaus School, he became a form master, working with bookbinding, stained glass and mural painting while he continued to work on his own projects as he further developed his relationship with color (Jardi). Throughout his career, he worked in a number of different styles including Expressionism, Cubism, Futurism, Surrealism, and Abstraction, always developing his own approach from what he saw in others. He also worked in a number of different mediums including oils, watercolor, ink, chalk, and pastel, creating his works on a variety of different surfaces. Not surprisingly, a man interested in experimentation to the degree that Klee was welcomed this diversity among his students and his fellow teachers at the Bauhaus. Although well-remembered for his large collection of works, Klee's biggest contribution to art education was his understanding of color theory which he published in the Paul Klee Notebooks. His approach was to place the colors in the traditional color wheel we use today, but his teaching techniques were constantly changing, challenging students to solve problems he set for them (Droste). Josef Albers Josef Albers, like Herbert Bayer, started his experience of the Bauhaus School as a student in 1920 in Johannes Itten's basic art course. By 1923, Walter Gropius had asked him to join the staff teaching new students the principles ...
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(“Bauhaus technology essay Example | Topics and Well Written Essays - 750 words”, n.d.)
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(Bauhaus Technology Essay Example | Topics and Well Written Essays - 750 Words)
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