In 2014, "Decoration" magazine conducted the first annual selection of "Excellent Contributed Papers" and exchange activities for outstanding authors, and held it as an annual standing event.
Recently, the list of "Excellent Contributed Papers" for "Decoration" in 2019 has been released. The 2020 "Decoration" Academic Annual Meeting will commend outstanding authors and hold academic exchange activities.
We will successively push the "Excellent Contributed Papers" of 2019 on our WeChat official account, and attach editorial comments for the benefit of readers.
What I want to share today is an excellent paper from the "Historical Space" column
Column host: Zhou Zhi
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2019 marks the 100th anniversary of the birth of the Bauhaus school. Commemorative activities continue in various places and relevant papers are published one after another. The starting point of this article is very small. It only focuses on a typeface course in the basic courses of the late Bauhaus. However, it does not limit its vision because of this. Instead, it analyzes its teachers, The syllabus, content and results, combined with the practical background of its course creation, triggered the analysis and thinking of the Bauhaus's comprehensive plastic education concept that transcended media and professional boundaries, and further proposed that this "comprehensive plastic concept" has an important role in the foundation of today's design. Educational inspiration. The emphasis on "small" in the topic selection of the paper is not for the sake of being small, but to hope that researchers can "find depth in the small" and "see the big in the small" and "deeply" dig out each selected "small" The “big” question behind the topic selection. (Zhou Zhi)
original:
From "font design" to "words as comprehensive styling elements" - Research on font classes in the later basic courses of the Bauhaus
Cao Yong
School of Design, Nanjing University of the Arts
Content summary: Font class is an important course in the later stage of the Bauhaus basic curriculum system. Its appearance originated from the educational reforms of the second principal Hannas Meyer. By sorting out the founding background, teacher characteristics, teaching content and typical homework results of the font class, this article traces the design practice background and ideological basis of its production, and reflects the experimental modeling education concept that crosses professional boundaries in the Bauhaus era, as well as this " The inspiration of "Comprehensive Modeling Concept" to today's design education.
Keywords: Bauhaus, basic course, typeface course, Juster Schmidt, comprehensive view of shape
Font classes appeared in the later stages of the Bauhaus Basic Course (Vorkurs) and were first a professional course in the printing workshop. After taking office in 1928, the second director of the Bauhaus, Hannes Meyer, required that more achievements in professional practice be introduced into the basic courses, so the font course was established. From 1928 onwards, it was officially included as a compulsory subject in basic courses and was arranged in the second semester. In the history of the Bauhaus Basic Course, it is somewhat unconventional. Most basic courses are oriented towards general modeling training, but they are directed towards specific objects. But to Chinese design educators, it seems so familiar, reminiscent of the "font practice" that existed in the 1980s and 1990s, but people have gradually forgotten its original purpose. Through combing historical materials, this article provides a preliminary description of the teaching content, concepts and homework results of the font class in the later basic courses of the Bauhaus, thinking about its original intention and professional practice background, and revealing the comprehensive plastic education concept that transcended media and professional boundaries in the Bauhaus era. , and the inspiration of this "comprehensive view of modeling" on today's basic design education.
Teacher and background: Juster Schmidt hidden behind the stars
Font class teacher Joost Schmidt (1893-1948, Figure 1a) is not well-known among young Bauhaus teachers in the contemporary era, but he is an important and active figure in the history of the basic courses of the Bauhaus in the middle and late period. . He graduated from the Academy of Fine Arts in Weimar and re-entered the Bauhaus in 1919, where he studied under Oscar Schlemmer (
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