Painting over the cracks with Paul Haywood: Believing that we should empower collective networks in response to conditions or demanding change. We should employ creative methods as a tool for social stimulation. Paul Haywood demonstrated this by sharing some social creative projects he was involved in that conveyed his message.
Gun crime was a huge problem in Mosside, Manchester impacting a great negative energy. An answer to combat this problem was a project conducted based on reusing gunmetal that was otherwise sat in police custody being useless, draining money from the economy to simply leave it there. The project allowed for the gunmetal to be transferred from being a negative source of material to a commodity essentially connecting people’s creativity, and converting it to community positivity and developing a social enterprise.
This ingot is made from 100% recycled gun metal, it is designed as a keepsake or reminder of their campaign message to remove guns from the streets (Gunstogoods.org) Another project like this is showmetal whereby clothing is created and when purchased you receive a keepsake made solely from recycled gun metal. (www.showmetal.co.uk) These projects are extremely inspiring as it uses creative talent as artists to evoke positive change one step at a time. Every little helps.
Another of his projects to involve a community was that of associating colour to the local landscape essentially producing a colour range. The idea being that in a community you don’t have to be an artist to have an opinion on colour it is an abstract concept that everyone can have an opinion on and it can be valued. www.coloredge.co.uk
How not to be a designer with Robert Wall! With an abundance of experience in a branding background, describes the essence of branding to be “having more than one style as the same style cannot be applied to every situation.” He famously worked in a design team whom created the rebranding of The National Gallery in London, who’s advertising strategy prior to was to use their most famous painting such as Van Gogh’s sunflowers on all their products, rather than showing what they stood for and why they have this painting in the first place. The National gallery offers edgy subject matters such as war, triumph, darkness, guilt and remorse to name a few. It is these words that are at the center of the rebrand and can be found on all merchandise and throughout the building. The typographic element is simple but powerful, just one of the chosen words can be featured individually and provoke a thought, but completing a whole image when featured together.
Advertisement of the project led to taking the paintings out of the gallery and placing them in random hot spots throughout London featuring a small plaque with a phone number of which you could ring to get an automated message about the artwork. Although people are aware the pieces can be viewed for free in the gallery this brings an element of the unexpected when viewed from the streets. The innovation in this project excited me creating a real impact by seeing the paintings in real context not just online or in a printed brochure like had been done before. The paintings were in the best place that is with the people.
Another interesting design was that of a brochure needed for a client that produced toilet blocks for schools. The brochure was created from actual schoolbooks featuring all the products. As well as being ironic they are colorful and inviting to pick up after all everyone loves school don’t they??
Design and Illustration in illustrated publishing by Yasia Williams Leedham: A deputy art director for Octupus Publishing Group based in London. Yasia explained that she especially loved book design as she enjoyed having a physical product to take away at the end of all your hard work and enjoyed the challenge of getting the consumer to pick that certain book off the shelf, stressing that “it is the jacket that sells the book” Octopus has 9 imprint companies that sit beneath octopus working on a range of books from high end expensive books reaching a £40 plus price point such as fender and tribe to the lower end market such as Levis Roots cookbook, applying book design to a huge range of genres.
Some of the books discussed that stood out for me are as follows:
Food glorious Food was produced in only 2 weeks. Due to being based on a tv series essentially gave the book great promotion and free advertising.
Levis Roots cookbook could be seen as easy design as it is the name people want to buy. The cover is purely designed to sell him featuring a large vivid photograph. This stresses that it is important to know your market and what the consumer is looking for.
Designed for an upmarket butchers in London. The book oozes high end style due to being printed on specialist paper and featuring the thick black binder. I particularly like this cover as i love the use of both fonts and simple illustration.
Ginger monkey by Tom lane was inspiration for the book design who when approached was more than happy to take on the project. A spot varnish was applied to the cover to make it special, leading to it selling in 5 countries. The jacket has a luxurious cutting edge finish. I absolutely love the intricate patterns featured in this cover and the use of one simple colour against the pale background is a look i am currently inspired to achieve. This emphasises the need to use the correct tools for the job, in this case, the researched illustrator that was used.
The Vintage tea party proved very difficult to try and place vintage with food. It all became clear when they came across Adele Ildred whom was used to illustrate the book who is highly influenced by Edward Gofrey which can be detected in this book design. The theme of Alice and wonderland was used to create the element of fun and mystery that it potrays. A dye cut was used so the consumer could essentially see something else lying beneath the cover.
Candy Kittens (Jamie Long) has a target audience of 13-21 aswell as having a fuscia pink glittery cover it has a unique trick which demonstrates moving with the modern industry. You are able to scan the front cover with your mobile with an app named Laya which then informs a message to pop up to the consumer from Jamie Long himself about how to have your own Candy Kitten party. This works for the market age audience the book has. This stresses the age old question that exists not only in publishing but in design as a whole. Who are you aiming your design at? The jacket of the book must stand out to your desired audience on the shelf in front of the others.
An important point to touch on is that of Ebooks. At the end of Aug 2010 Ebook sales only amounted to 9% of book sales but his is set to increase rapidly over the next few years. Therefore when producing a book and jacet the designer now has to think of designing it for not only print but for online use also. Although this is always kept in mind as 30% of published books are sold to amazon therefore the cover appears very small on screen so a too complex jacket would be ruined in transition from print to web.
Product Design: How chickens helped me!! (Peter Hathaway) Currently working for Omlet creating new innovative functional ways to keep pets showed a few of his iconic designs and processes.
One of his experiments that stood out for me was that of running a marathon whilst drawing. He explained that the best design thoughts came to him whilst out running due to all the natural endorphins released when excersisng. Along with a friend they developed a handmade sketch pad on a scroll to be attached to the back whilst the other drew what was on their mind. The scroll allowed for a narrative to be seen like a map of thoughts on the run. This interested me in particular as I find my head clears and I come up with good design ideas whilst out walking therefore it is always important to have a sketch pad to hand to jot down random thoughts. It is now in my interest to develop a project such as this in the future.
Peter Hathaway gave us as design beginners a few tips to remember, which i plan on putting into practice:
- Make it count, give 100% effort.
- Work hard, Work smart, think in the most efficient way, think flexibly and strategically.
- Make friends, it is not what you know but who you know.
- Make media, you have to demonstrate that you can do it in different styles. Show innovation and remember practice makes perfect. Experimentation adds to your skill book.
- Make your own look, Put yourself in the right lace at the right time, see opportunity and capture it. Clients must know you exist.
- Determination. Learn from your mistakes, refine your ideas and return to previous works to make improvements.
Design Studio overview and insight. (fashion with Jane Davis) An interesting point made by Jane was that during becoming a new famous designer while attending a vogue design competition was asked to produce and stock a whole collection for House of Fraser and Ungaro, Jane made the decision to turn down the offers for these major contracts and still insists it was the correct decision to make. It may well be easy to get greedy when you think you have made you big break but more thought needs to go into your decisions. Being at the correct time and place in your career is essential in order for the move to be successful.
Arguably her best collection was that of the welsh dragon. After gate crashing the BBC roadshow in Cardiff 1999 with the world cup being the feature of interest with clothing featuring the welsh dragon motif lead to the BBC wanting her to produce all of the world cup clothing featuring flags of all the countries.
I found her Peacock collection inspiring, it was launched in Dubai and Kuwait made after finding a peacock feather whilst out walking with her toddler son. Again our inspiration really can be right under our noses for new projects.
More interestingly she explained how as a designer everyone will hit a “burn out period” A period in which all energy and inspirationis lost causing it to be literally impossible to create anything new and innovative. Jane Davis solved this period by expirienceing nature in a climb up Snowdon. The natural environment led to her creating a magnificent dress which was exhibited in Paris, MOMA and Sanfransisco. Stripping our thoughts back to nature and what is naturally here created great things.
Three key points to consider:
- Believe in yourself and your ideas.
- Stay positive and stay strong, you can achieve anything you would like to achieve.
- Any opportunity, take it, experience is key.
We are to believe and be confident in our own minds and our own ideas. Any idea can be a great idea if worked with correctly to produce something unique.
Gareth Lawn, Me Me Me: Now a creative lead at view creative informed us of the reasons he achieved his job position. He aimed high made and effort and said “hello” He physically sent a box containing a huge poster with a half tone image of his face, business cards, leafltes etc. He stood out out and looked different when up against other deigners who possess the skills and experience required. He stresses the importance of physically sending something in the post. A routeI feel I would always take as it has a completely different effect than simply viewing a website or online portfolio.
“I take briefs, research and generate moodboards, work ideas up from early stages through to final designs”
“IDEAS are what agencies are after and your ability to generate and pitch them to clients will be your biggest skill.”
He went on to explain and admit that “he knew nothing” when thrown into a job managing up to 18 projects at one time evokes a whole knew meaning of time keeping and multi tasking. You have to be enthusiastic about your work therefore making the correct choice with regards to choosing the right job for you is essential. You have to specialise in what interest you else you are bounding yourself to failure. I had never thought in this manner before just assuming that at some point you may have to just do what is available to you, but realistically is there any point embarking on such, just to produce bad work and confidence in your design ability. We all have different design skills and have to be utilized correctly in order to get the best results. Therefore selecting the correct path for you is essential.
Ffresh festival: The student moving image festival of wales was hosted by Glyndwr University February 2013.
Dream: Was the first hour session I attended consisting of 5 very different short films and animations, all of which were executed in very different ways. However the first film shown was called momentum by Borris seewald was of most interest to me. A short description of the film causes great curiosity.
“For some it is just an ordinary party snack, but for Patrick, a tortilla chip started a moment of self-discovery. With exuberant dancing and magical passion he shares his inspiration and invites everyone to participate. Even his mother” (ffresh.com)
A male actor is situated in what can be described as a derelict building with rough un plastered textured walls and the floor covered in an array of scattered orange and brown leaves. A set by which might sound dull and uninspiring but the simplicity of the environment allowed for the connection between the visual dynamics and the audio to stand strong. The use of lighting in the piece upon the surroundings and the character when stood speaking to the camera was pretty much perfect, creating a natural warming effect.
The act of dancing is described by the example of picking up a tortilla chip at a party and simply dancing with it in your hand. The narrative is spoken over the amazing powerful soundtrack, It is the soundtrack that makes the piece so exciting. The deep loud beat provides the energy needed to tell the story. As stated in the piece “Any good relationship creates energy” Demonstrated by inviting you to feel the energy with him and showing that even his mother can create this feeling. The story was clear and coherent which allowing you to make your own connection with the piece.
The second short film in which interested me was one titled “ You got beautiful” which attempts to show the relationship that any women regardless of age, size or confidence can have with their own body. The film was made from simple stock motion creating female bodies and features out of a range of female attributes from the exterior of the body. The piece was thought provoking asking questions such as “what is beauty” questioning why we as women go through life caring so dearly about looks and weight loss. Do we have any other choice but to care when the ideal women in the media surround us?? This was a piece in which every female could relate.
Tomato Mastercalss with Dylan Kendle
Tomato is a studio based in London that contains a collective of artists working upon a range of disciplines and has no artistic hierarchy such as junior designer or director. All members work on the same level, they describe this as “WE / ME / US” The studio itself does not run at a profit and members actually pay a monthly fee to be a part of this unique collective. However some may beg to differ that a studio could not run appropriately with such an employment model. It is an art hierarchy that sets the boundaries that are sometimes needed. I feel a junior designer would learn more from others with great experience than being put straight into the process to run freely, where would you start?? This made me question my own work ethic in that I often require direction and guidance to get the best results.
Tomato utilises there skills and energy on exploring a range of techniques to discover creative possibilities and bespoke work, creating design by collaboration of all types of art and media. A point was stressed that everyone in the studio “has to make things everyday regardless if they have no clients, this is what keeps us inspired” He spoke of making things with you hands essentially experimenting from scratch and nature as it is here inspiration is found. Good design comes from experimentation. There was a day when computers were found in offices not design studios and yet great works were produced. I love the thought of stripping the process of design back to basics as I find myself doing this quite regularly in my own work in order for me to think of a good direction to take certain projects in.
A few of Dylans works I appreciated the most.
This was based on the typeface Futura who worked on the idea of deconstruction of the typeface and bringing it all back together in form of an animation
These are a range of typography works using poetic structures such as haiku to play with the typefaces. The handmade layouts inspired me greatly proving that great typographic layout can be created with the human eye, experimenting with weights and size.
A commercial made for BBC radio 4 created by the splitting of ink and liquid. After hours of experimentation they discovered that using wicks in the center of the ink created the best splitting affect. This shows why play is so important within the studio allowing the forms to conduct themselves. I especially like the use of the camera shot panning slowly across the works.
Kendle’s inspirational pointers:
- Don’t do it for the money.
- Do it like you mean it.
- Do it regardless.
- Most importantly KEEP PLAYING!!!
He also stated that he believes that you should have one idea and do it really well as he does not believe in complications. This idea was interesting to me as I struggle to stick to one idea, I like to experiment but my skills would be better valued experimenting with one idea not all of them.
Society has begun to loose confidence in life and new technology that was to create beneficial change. “The new big idea was no longer impressive” (www.visual-arts.com) art was now under pressure not to fail to attract to the masses. However McCoy states “ we are witnessing the end of an era of mass communication and the beginning of another. Subculture instead of mass culture and tailored products instead of mass production” The postmodern era was now a time to design for a specialist audience tailoring it on factors such as culture, taste, and fashion. Postmodernists accept that art is subject to change depending on time and place also.
Skills were now more of an asset than knowledge. It was now more useful for the artist to apply mastered production techniques as opposed to “learning tradition of their skill” (www.visual-arts.com) Individual creativity and interpretation being key. Consumerist power ever growing means artists could now utilize the invention of new image based technology the television, computers, and the Internet, generating a huge influx of film and photographic imagery of places, sites and events.
“It seemed as if everything that made me curious was forbidden: to question established typographic practice, change the rules, and to reevaluate its potential. I was motivated to provoke this stodgy profession and to stretch the typeshop’s capabilities to the breaking point, and finally, to prove once again that typography is an art” (Wolff, 2000, 112)
He would experiment witch stacking of images, text, and textural effects but maintain that typography should have a hidden structure and visual order. Weingart produced a new wave of typography questioning the before known formal way type appeared on the page. He introduced the use of the indent in the paragraph and wide letter spacing successfully expanding typographic communication with his experimentation.
Big self portrait, in black and white
The invention of photorealism, the new method of representation of an image. Close’s method was to use a grid technique in order to enlarge a photograph, each section of the grid becoming its own piece of art. close used accryllic and airbriush t gain every detail. He pays accute attention to detail with regard to shadow and highlight he also became fascinated by “how a photograph shows some parts of the image in focus, or sharp, and some out-of-focus, or blurry.”(www.artsconnected.org) and having to potray this in his enlarged image.
Close had to adapt his style after 1988 where he began to paint tight shapes within the gridded squares creating a unified image when viewed from afar. A style “similar to technique used by the Impressionists and Pointillists.” (www.artsconnected.org)
Warhol Dollar bill 1981
One of his signature silk screen paintings to grace the postmodernist era. the designer decade the time for individual goods. postmodernism “became the preferred style of consumerism and corporate culture”(www.vam.ac.uk) Societies fatal encounter with money could it last? do we still live in a postmodern time? We still have the need for commodity and individual taste it is now good to stand out and embrace something different and that stands out. We now still aim to upset established thinking and embrace history and fight for the decorative.
- K.Wolff Wolfgang Weingart, My Way to Typography, lars miller publications, 2000
“Art Deco’s ultimate aim was to end the old conflict between art and industry, the old snobbish distinction between artist and artisan, partly by making artists adept at crafts, but still more by adapting design to the requirements of mass-production.”(http://www.allaboutdeco.com/).
Art deco famously named following an exhibition entitled Les Années ’25, in Paris. The exhibiition was said to be distinctive from previous international exhibitions for two reasons. “For the first time, the decorative and applied arts held center stage.” And “ The criteria for inclusion in the Exposition also emphasised the modern,” (www.vam.ac.uk, 2012)
The architecture and decorative arts were influenced by a range of styles including “a modern interpretation of the 18th-century style of Louis XVI (reigned 1643–1715), seen as the golden era of the French decorative arts” (www.vam.ac.uk) aswell as influence from Cubism, expressionism, futurism and vorticism and ancient Egyptian art” (Hillier 1968, 26).
Unlike the other art movements based on social philosophies and manifestos, Art Deco was purely decorative Another new modern style, responding to the machine and new materials but this was a luxury style, producing luxury goods for wealthy consumers.
Art deco also had a huge affect on the decorative arts in America introducing curves and streamlines “Art Deco began as a “smart” urban style in the United States, the latest fashion among a small contingent of upper-middle class sophisticates” (Gebhard, 1996, 8). However progressively the new found decorative style was said to be applied to the design of “cars, architecture, furniture and mass-produced goods such as refrigerators and radios.” (www.vam.ac.uk) Reaching the 1930s this was to reach new consumers on different wealth levels leading to mass consumption of affordable goods.
The Chicago Board of Trade – 1930 by Holabird and Root
Chrysler Building, New York: Manhattan – 1930 by William Van Alen
The Guggemheim Museum, New York: Manhattan – 1942-1959 by Frank Llloyd Wright
Art deco architecture is recognisable thanks to its distinct geometric and decorative look. “Art Deco is characterized by a linear, hard edge or angular composition, often with a vertical emphasis, and highlighted with stylized decoration” (Blumenson 1977). While being decorative, it remains simple with emphasis upon symmetry and clean lines and no complicated shapes.
Art deco represented something for everyone and “reflected the human need for pleasure and escape” and succeeded in”creating a mass style of permanence.” (www.vam.ac.uk) permanent to this current day. A society now excited by the ability to purchase for social purpose and for individual taste. The era allowed for exclusive work being produced affordably allowing all levels of society to purchase. Art deco “celebrated the fantasies, fears and desires of people all over the world.”(www.vam.ac.uk)
- Blumenson, John J. G. Identifying American Architecture: A Pictorial Guide to Styles and Terms, 1600 – 1945. Nashville: American Association for State and Local History, 1977.
- Gebhard, David. The National Trust Guide to Art Deco in America. New York: John Wiley & Sons, Ic., 1996.
- Hillier, Bevis. Art Deco. New York: Schocken Books, 1968
- McGuinness, Beryl.2000. http://www.allaboutdeco.com. (accessed 10/1/13)
- http://www.vam.ac.uk/content/articles/a/study-guide-art-deco/ (accessed 14/1/13)
- Exhibition “Art Deco: 1910-1939″ March – July 2003 http://www.vam.ac.uk/content/articles/a/art-deco/ (accessed 14/1/13)
The 50’s and 60’s witnessed the growth of the need for advertising due to the natural rise in consumption. Socially speaking commerce allowed for individuals to create an identity for themselves and advertising allowed society to foster the idea of an “imaginary state of well being” defined by income.
Within Europe and America there was a philosophical debate about old and new ideas and the nature of human experience. Artists had to now take on the role that their art could respond to the social progress that was being made. Advertising was of the most obvious response. David Klein demonstrates this point with some of his work.
The American illustrator created a number of travel posters for “Howard Hughes” Transworld airlines in the 50’s and 60’s. Klein uses Iconic landmarks and scenic images to advertise global travel. The wild color schemes and abstract lines makes you want to travel through the happy space, shape and colors.
It is also easy to see that Hockney demonstrated the use of bright vibrant block colour and expressed his huge interes in California in a lot of his work.
Designers now influenced by European immigrants between he wars saw the rise of asymmetrical compositions, mechanically produced images and new typographic systems and eh use of white space.
David Hockney: Pearblossom Highway.
This photographic collage “using over 700 photographs” is a unique interpretation of a California road. The perspective allows the viewer to have an insight into the driving experience he wants to communicate both driver and passenger eye view. On the drivers side the road signs and stop keeping the driver alert and on the left the passenger can see the desert a relaxing calming view. Getty museum director stated “Hockney has manipulated scale to make the picture work better, to make it more real. It’s more real than any view you can have standing there in the desert. That’s what hits you in the stomach.” (article, L.A Times)
Alexander Brodovitch: His design career said to of flourished in 1924 after his poster design for Le Bal Banal.
Widely known for his contribution to contemporary magazine design while art director of Harpers Bazar. Some may say he is a pinnacle in the Graphic arts who belived in “visual vitality and immediacy” (history of visual communication 2013) His fascination with photography and layout and his new approach “became the dominant photographic style of the 1950’s”
During the 50’s Brodovitch now possessed a style of combining text and photography with large amounts of white space. Although his style is so distinctive he never formulated a layout theory he merely stated “there is no recipe for good layout” instead you should “change and contrast. A laout should be simple with good photographs” (Raimes and Bhaskaran 2007)
- L.A. Times’ article entitled “Hockney Makes an Inroad with Pearblossom Hwy” written by Suzanne Muchnic. Found at http://www.aaronartprints.org/hockney-pearblossomhighway (Accessed 20/1/13)
- http://www.citrinitas.com/history_of_viscom/modernists.html (Accessed 21/1/13)
- Retro Graphics, a visual source book to 100years of design, Johnatan Raimes and Lakshmi Bhaskaran United kiNGDOM 2007 Ilex Press ltd
Years of political and economic conflict along side military tension between the communist world (the soviet union) and the western Capitalism. Each side seeing themselves as self determined rational and peaceful and their opposition as agenda led manipulative and dehumanizing. This gave modern artists a need for revolt. They responded by searching for ways to build a new and hopeful future. searching for Utopia.
The Soviet Union was keen to promote a positive image of itself throughout the early 1970s due to the Vietnam war and tensions with America. Posters such as these helped keep Lenins political ideologies alive. There are no slogans or foreign type on the poster therefore you could assume it has been designed for a foreign audience such as american and European aswell as the main aim of the image is to encourage his constituents to remain optimistic and hold out hope for the future.
In the late 1960s, architects and designers came to reflect on the impact of the political battle on the planet. They asked themselves how can they exploit new technology for the benefit of humanity without producing inhuman effects? Coming to terms with the fact that it is merely impossible to live modern lives without spoiling out planet. Designers had to now strive to correct this.
In 1976 Dieter Rams delivered a speech “design by vistoe” when he asserted his commitment to design. We are now to take responsibility for the world around us as we have irreversible shortage of resources. Rams (1976) states “good design can only come from an understanding of people” It is said that he has almost “single-handedly directed the evolution of objective functionalism” (www.wallpaper.com) the idea that design should be innovative, functional and durable while aesthetically looking good. Ken graland would agree with Rams objective by stating we don not “ want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more uselful and more lasting forms of communication.”
Alot of Rams well know work is that of what he has done for braun.
“Experimentation with new materials and minimalist styling brought grace and dignity to common household appliances” (www.fastcodesign.com) His objective was to design useful products which would be easy to operate. His design looks effortless and real sense of simplicity aesthetically which covers a confusing electronic design inside. He was only able to achieve this look from “rigorous tests and experiments with new materials and an obsessive attention to detail to ensure that each piece appeared flawlessly coherent.” (designmuseum.org)
Rams design existed in the post-war consumer electronics market, a time of rapid technological change. the need for development of electrical goods was at a high. Taste and style also changing vigorously “television sets had been hidden inside wooden cabinets to resemble traditional furniture” (designmuseum.org) The market was extravagant and Rams fitted in perfectly with his unique design ideas, a pinacle of the cold war.
This cold war ideologies still haunt us. The threat of nuclear warfare and power never seem distant. The intense industrialisation are more than evident in terms of our global environment. The questions that the cold war make are still apparent today. Design technology is based on the marketplace and has to keep being innovative but how can this be done without producing strain on our environment.
- http://www.wallpaper.com/design/dieter-rams-exhibition-osaka/2818, 17 November 2008 (accessed 16/1/13)
- http://designmuseum.org/design/dieter-rams (accessed 16/1/13
Manifesto of the Staatliches Bauhaus in Weimar
“The ultimate goal of all art is the building! The ornamentation of the building was once the main purpose of the visual arts, and they were considered indispensable parts of the great building. Today, they exist in complacent isolation, from which they can only be salvaged by the purposeful and cooperative endeavours of all artisans. Architects, painters and sculptors must learn a new way of seeing and understanding the composite character of the building, both as a totality and in terms of its parts. Their work will then re-imbue itself with the spirit of architecture, which it lost in salon art.
The art schools of old were incapable of producing this unity – and how could they, for art may not be taught. They must return to the workshop. This world of mere drawing and painting of draughtsmen and applied artists must at long last become a world that builds. When a young person who senses within himself a love for creative endeavour begins his career, as in the past, by learning a trade, the unproductive “artist” will no longer be condemned to the imperfect practice of art because his skill is now preserved in craftsmanship, where he may achieve excellence.
Architects, sculptors, painters – we all must return to craftsmanship! For there is no such thing as “art by profession”. There is no essential difference between the artist and the artisan. The artist is an exalted artisan. Merciful heaven, in rare moments of illumination beyond man’s will, may allow art to blossom from the work of his hand, but the foundations of proficiency are indispensable to every artist. This is the original source of creative design.
So let us therefore create a new guild of craftsmen, free of the divisive class pretensions that endeavoured to raise a prideful barrier between craftsmen and artists! Let us strive for, conceive and create the new building of the future that will unite every discipline, architecture and sculpture and painting, and which will one day rise heavenwards from the million hands of craftsmen as a clear symbol of a new belief to come.” (bauhaus-online)
Josef Albers - Purposely avoided symmetry and achieved aesthetic balance by the use of opposition.
The bauhaus stood out in its values and interests in commerce, industry and striving to improve the lives of german citizens. It brought together all the arts under one roof making them a strong a structure for the modernist movements, a school and collective of practice. The Bauhaus disregarded separation between the fine arts and the applies arts. The ideology is of something great but can we fight against categorisation. Even in the modern day there is separation in the way we learn and produce art. It is apparent that the future will always involve mass production rather than individual craftsmanship which is a view agreed by the bauhaus, however today individual craftsmanship shows some what importance. bauhaus sought contact with industry and their teaching of the craft would prepare for the designing of mass production.
Walter Gropius claimed “art cannot be taught, for art is not a profession”