The Bauhaus Movement: Characteristics and History

The Bauhaus Movement Characteristics and HistoryIntroductionFrom the expression Bauhaus we s public treasury ol eventory sensation some(a)thing fresh. In e very(prenominal)(prenominal) twenty-four hour period speech it is associated with the beginning of the modernism and it is invoking in us association with elementary trunks (square, triangle and circle), basic influence (red, lily-livered and good-for-nothing), furniture from the metal, white architecture and functionalism. History of the sm entirely told naturalise that Bauhaus was, is a mixture of facts and interpretation from variant sources. hardly Bauhaus was the phoenix that every(prenominal) contemporaries on a lower floorstands diametricly.For us, Bauhaus is a symbol of rationalization and modernity of lifestyle, where we washstand non find any extra comfort. At the same eon, it is an enemy for the conservative culture.We by and by take time off say that Bauhaus has been connected with left field w ing all the duration. For Nazi Germany Bauhaus was culturally Bolshevik, international and Jewish. exclusively Nazis white plagued the modern widgets of the Bauhaus very often. Al roughly all members of the Bauhaus emigrated and standoff of Jewish relatives were kil direct. In German Democratic republic, where the principal(prenominal) take aim (Weimar and Dessau) was established, Bauhaus was denied till sixties. subsequently that, they st r intented to integrate it to their cultural heritage. On former(a) hand, for the Federal Republic of Germany, Bauhaus was the main(prenominal) part of modernism.A pictural role of Bauhaus acknowledges this historical concept and invites readers to ingest a fresh look at the facts about topic and ad and feeling shop at the Bauhaus shallow. It is for the send-off time in 90 age after establishment of the about successful art honorary society of twentieth century, the Graphic externalise of Bauhaus, which brings together ta kes of written design from three different schools of Bauhaus located in Weimar, Dessau and Berlin. The team has brought the numerous treasures of the collections of the get the hang such as Laszlo Moholy-Nagy, Joost Schmidt and Herbert Bayer.We wish that the readers will enjoy A Graphic design of Bauhaus and they will focus and concentrate on the creativity of the Bauhaus.historic evolutionWhen the Germany was established in 1871 it experienced transmit from the agrarian nominate into industrial. The tame artificers of secession from Darmstadt, Munich and Dresden brought to Germany strawman of Arts and Crafts from England, which was actually an opposition to industrialization. The unfermented school that was tick up in that period was characterised by different break downshops, the just about famous schools were Art school in Munich and Art and artifice school in Weimar set up by Henry train de Velde in 1908. In 1907 Deutcher Werkbund (Union of German art), which conci liated surrounded by capitalism and culture was set up in Munich.In 1910, Walter Gropius became a member of Deutcher Werkbund, where he nonionic an army of industrial works and during that time he gained a lot of experience for spending Bauhaus school.During the war, Gropius was very good leader and during that four- social class period he was very quickly promoted to embarkation officer. later the war, in 1919, he keep his watchword with Velde about his succession. When he returned to Saxony, the School of art was closed and the entirely school that existed there was School of arts and crafts. He wanted to conjoin both schools and both schools fancyed it. This was his first step for the Bauhaus school.Architects, lynxs, sculptors, we must all return to crafts For there is no such thing as sea captain art. There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of rapture whi ch transc hold back the will, art may unconsciously blossom from the labour of his hand, further a melodic theme in handicrafts is essential to every artist. It is there that the archetype source of creativity lies. allow us therefore wee-wee a revolutionary guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists Let us desire, conceive, and create the new framinging of the forthcoming together. It will flow architecture, sculpt, and painting in a single form, and will iodine day rise towards the heavens from the hands of a million workers as the vaporous symbol of a new and coming faith. Walter GropiusWeimar (1919 1925)Walter Gropius wanted to create an architecture school that will reflect the time after the World fight I. In 1919 he published manifesto of Bauhaus, which was foc utilise against academic reform for art school. Main idea of the manifest was co-operation between craftsmen and artists.According to t he other universities, Gropius reached back to the old model of craftsmans guilds.At the early age of Bauhaus was founded presidency so exact that was base of Bauhaus the successful admissions examenination, all pupils had to attend angiotensin converting enzyme(a) course of instruction of preparation line of descent called Vorkurs (primary course) a sort of trial semester, where they intentional the sense for colors, materials, structures and they developed certain skills. After this preparation they were divided into stores to elucidate a certificate of apprenticeship and simultaneously down the stairswent artistic rearing. Between years 1919 and 1923 Bauhaus was potently influenced by expressionism. After that, when Gropius talked about the school, he did non want to accept similarity of the De Stijl, the school he was very much against. In 1923, Bauhaus changed the cerebrate and ideas. At that time, they were influenced by functionalism (they co-operated with Neue Sachlichkeit movement). In February 1924, social-democratic governing body, which has been supportive of Bauhaus, lost the main realize in parliament to Nationalists. As the school was dependent on the government grants, and in 1925 Gropius signed little financing than was necessary for the schools budget, at the end of same year Bauhaus had to be closed in Weimar.Dessau (1925 1932)When the Bauhaus had to move out, under the pressure of conservatives and rightists, some(prenominal) cities offered to take it over. simply the Bauhaus decided to move to Dessau, because they offered them to build a new school. At that time, school was entering a new era. The lessons officially started on April 1st 1925. The Bauhaus program was changed what was important at that time, was tie-in between creativity and industry. In 1927 Walter Gropius called for Hannes Meyer, who became a leader of architecture department. In 1928 when Gropius resigned, Meyer became a handler of the Bauhaus. This change was very important for Bauhaus because Meyer introduced the extension of the scientific basis of teaching methods and ar iirks became more than scientific. For teaching the lectures at the school leading experts across the entire field of philosophy, psychology, and physics were invited.Now in the workshops, students began to get under sensations skin standard products that became available for majority of population.Meyer raised the number of students to 200, what was not very good for school, because it has lost the elite character. Bauhaus had to be accessible to the proletariat.In 1930 Meyer was replaced by new handler Mies a wagon traint-garde der Rohe, who kept the distance from any semipolitical stance. He wanted students to be in the main educated technically, artistically and in the crafts, so the rearing looked back to the Weimar basis. As music film director of Bauhaus, he had to look to lot of problems, school did not receive public construction c ontracts, and the city had reduced the its funding. He to a fault had to calculate to the growing hostility towards Bauhaus in Dessau.Berlin (1932 1933)When the Nazi Party was becoming to the power, many of the members labelled the Bauhaus un-German and they accused the school from the Bolshevik subversive activities.Bauhaus was forced to move to Berlin in 1932, since when it was a clubby school entirely, solely circumstances forced the director to close the school in April 1933.Political tensionAs the director of Bauhaus, Mies van der Rohe, had to face a lot of difficulties, which mainly occurred during financial crisis in 1929 and as well the enemies to Bauhaus in Dessau. City reduced financial funding dedicated to Bauhaus. Budgets in years 1931 and 1932 were lower than spending appraised by Meyer. The similar public contracts, that Gropius and Meyer received did not come. The space in Bauhaus create had to cleared for technical school that had more than 1400 students (mean while Bauhaus had notwithstanding around 170 students), so the Bauhaus could use only angiotensin converting enzyme floor with seven ateliers.Strong student communistic ships confederacy also existed at Bauhas. The last issue of their magazine was printed in Berlin in 1932, which was hardly supported by many students. Groups of students orientated to the right also existed there. In 1933, after school was closed, they do a petition for re-opening it.Mies van der Rohe aid also the spiritual sight of Bauhaus with lot of seminars. He invited philosophers such as Helmuth Plessner and Hans Freyer, who taught by anthropologies regularity.Preliminary courseOne of the most important innovations in teaching at Bauhaus was preliminary exam course. At the beginning, this course was only one semester long. provided later it changed into two semesters and what was important about this course was the fact, that every student had to pass it. After that it had to be decided, if the student is able to chew over further or not. From 1919, the course was lead by Johannes Itten, who made some specific rules that were irrational, hardly from the winter semester 1920/21 they were obligatory.As Itten became the big obstructer for Gropiuss new orientation for industry and productivity, in 1923 he decided to moderate school. After that Gropius made a big revision of preliminary course. From 1924 the courses first semester was lead by Josef Albers and more practical than the hour one lead by Laszlo Moholy-Nagy that had more theoretical aspects. Josef Albers lead the course as preparation of crafts and it was understood as creators education. Moholy-Nagy preliminary course was well known by its three major areas that it was focused on. The first one consisted on training how to combine elements. The second one was focused on exercises to distinguish man from construction. And the last one, probably the most famous, was focused on three dimensional study designs. The cou rse was mainly about how to create objects from elementary elements and materials.Hannes Meyer, the director of Bauhaus from the year 1928, the necessity of the preliminary course confirmed. From 1930 the course was changed into courses of Gestapsychology (psychology of form), sociology and social economy. In the same year the communistic students asked for (total) discontinuation of the preliminary course.In 1930, director Mies van der Rohe declared the preliminary course as voluntary. He introduced the exam at the end of all semesters, that declared who is able to continue study further or not. According to these exams, the preliminary course lost the inwardness of choosing talented students, homogenization of students and education to creativity. But the Mies van der Rohe enlarged the preliminary course for the architects of free drawings without instruments, because he wanted to develop their visual abilities. Albers led this course as well. In 1938, the preliminary course was changed into visual training course that had to prepare students to vision in context. From todays point of view, the preliminary course was missing historical, nature and economic context.WorkshopsFor Walter Gropius, the workshops were the most important part of education in Bauhaus. The first concept was, that after the freeing preliminary course, the student should start studying to be an architect. This idea has never changed into reality, because at the time when Gropius was director on Bauhaus, the architect department existed just for one year from 1927 to 1928. So we stick out say, that during his time, Bauhaus had to reform education system of art and crafts.In Weimar Bauhaus these workshops existed the ceramics, the weaving, the metal, joinery, the wall painting, the wood machineving and stone sculpture. Besides the workshops, theater group, bright editions and printing workshop also existed there. In Dessau, some of the workshops were put together into one workshop, or the name had been changed, or it was discontinued. Finally, only seven workshops existed the metal, joinery, woodcarving, wall painting, the printing and advertising, sculpture and the theatre.The teaching of architecture on Bauhaus existed from the year 1927, when three other workshops were formed. After that, it was easier to get the architecture education the students needed just one year of experience in of the workshops. Lot of students abandoned Bauhaus with journeyman certificate or diploma and they never studied architecture. It mostly happened during the time when Hannes Mayer was the director of the Bauhaus.Hannes Mayer, as a new director, started with some of the changes. He grouped some of the workshops he totally discontinued the woodcarving workshops, because the main instructor, Oskar Schlemmer, left the school in 1929. He set up a new workshop for photography, merely he wanted to group this workshop with the printing and advertising workshop. So we can say, tha t during the period when he was in charge, Bauhaus was mainly education institution for designers and architectures.Everything changed when Mies van den Rohe became the director. After that it was mathematical to study architecture also without passing the preliminary course. At that time, Bauhaus was mainly orientated to the architecture. The biggest problem of workshops at that time was, that on one hand the workshop represented pedagogic rule just on other hand students had to gain some bullion by their works.From expressionism to constructivismThe first years of Bauhaus, 1919 1921, were very expressionistic but Walter Gropius was self-coloredly against De Stijl that was very similar to Bauhaus. In year 1923 Bauhaus was ruled by adage art and technique new unity that was characteristic till 1928. But the big change came in 1922, with the first sign being the change of the logo expressionistic cachet of Bauhaus with star man from Karl Peter Rohl changed into constructivism channelise of man intentional by Oskar Schlemmer.Expressionism, that was politicized after 1918 such as cathedral of socialism was now out and De Stijl movement became very popular, mainly because of painter and theoretic Theo van Doesburg.From April 1921, Doesburg lived in Weimar and intensively cooperated with Bauhaus. He strongly influenced not only students but also teachers. He talked about De Stijl mostly and he abhorred craft that was studied on Bauhaus and he asked to use modern technologies to create a modern life. He thought that artists shouldnt present their spiritual life or emotions but they should know their responsibility for creating the unity of the world. He did not allow all of the materials and he used just basic colours (red, blue and yellow(a)ness) combining with no-colours ( dark, white and grey) but they could be combined in unharmed, rectangular areas. The creativity was balancing opposite subject matter of the expressing tools black and white, yell ow and blue, horizontal with vertical, vacuum and matter. He attributed the creativity of space to the colour, that was popular in wall painting workshop.Doesburg theory was combination of variety of knowledge. Countervailing of opposites had to come to the feat of true and beauty of universe. It was followed by belief in machines.The change from expressionism to constructivism started by group of Hungarian students. For them constructivism meant constrictive, utilitarian, rational and international. Not only students changed their style but also teachers e.g. Kandinsky made geometrical their expressionistic art language. Composition of capital of Minnesota Klee became more rationalistic stroke of the brush and coating of colours was less personal, technical look. Schlemmer developed the theory of art, where he connected the basic valet movements such as standing, swimming and walking with elementary ideas combining the basic ideas of De Stijl and constructivism. When Hungarian pa inter Laszlo Moholy-Nagy entered to Bauhaus in 1923, he changed his expressionistic past into constructivism art language. Until the year 1928 Bauhaus was influenced by different influence, that was not only from his own teacher but also from outside architects and designer suggestions.Alter Adolph Gropius (* 18. may, 1883, Berlin, German pudding stone 5. July, 1969, Boston, USA)He was born into the architect family. He started studies to be an architect in 1903 in Munich and he finished in 1907 in Berlin. He cooperated with Mies van der Rohe, Dietrich, Le Corbusier, Arcks and Adolf Meyer. But his biggest carrier started when he became a director of Grand-Ducal Saxon School of Arts and Crafts in 1919. He transformed whole school into world famous Bauhaus. But under the pressure from conservative party he had to move from Weimar to Dessau in 1924, where he started to teach in more modern way. In Dessau he create the building for school, houses for masters and himself, everything built in a functionalism style. He also built habitation Torten in Dessau, where he created new urban concept, where houses were built in parallel and the main communication was connected to them perpendicular. He left the school in 1928, but he continued working as an architect. Between years 1929 and 1956 he was vice-president of CIAM (Congres International dArchitecture Moderne). In 1934 he had to immigrate to London but indeed he moved to the USA, where he became a professor at Harvard University, where he modernized education system. He built lot of famous building worldwide such as John. F Kennedy Federal Office edifice in Boston Pan Am build in impertinently York University of Bagdad, etc.Ludwig Mies van den Rohe (* 27. march, 1886, Aachen 19. august, 1969, Chicago)He got his first experience from his scram who had his own stone-carving shop. In 1905 he moved to Berlin, where he got job by architect and furniture designer Bruno Paul. He designed his first work when he was just 21 years old. He set up his own office in 1912. We can watch that he try and true to connect architecture with techniques in his work. He was the first one to use flat roof and cubistic material. Between 1930 and 1933 he became director of Bauhaus, but he had to face very intricate situation, so in 1938 he immigrated to the USA. He was famous because of his sentence less is more and his Brno chair is so famous that is still produced nowadays. We can find his buildings worldwide e.g. villa Tugendhat in Brno, Seagram Building in New York, National Gallery in Berlin, etc.Laszlo Moholy-Nagy(July 20, 1895 November 24, 1946), chyba hviezdicka a krizikHe was born into Jewish Hungarian family but he changed his German surname into Hungarian surname after his aunt and he added his second name after the city where he grew up. He studied faithfulness in Budapest and he met with constructivism in Vienna for the first time.In 1923 he came to Bauhaus where he started to teach prel iminary course because Johannes Itten left the school. We can say, that it was the end of his expressionism carrier and as we know, the Bauhaus was well known school, because of versatility of artists and he was no exception. Later at the Bauhaus he focused on photography and typography, but his main passion was preliminary course, where he gave students very complicated tasks to solve. From 1925 to 1928 he cooperated with Herbert Bayer in printing workshop and his responsibility was graphic edition of almost all books printed by Bauhaus.Moholy-Nagy was against the typic photography and he tried to teach his students to nab and present world by different purview and he taught students to use the modernist techniques. He used different techniques such as montage, inversion of unhorse values, double illumination, etc.Officially, the photography was learnt at the Bauhaus since 1929, but at that time, he was not more in school. In 1928 he moved to Berlin and after that he travelled through Europe and in the long run he moved in 1937 to Chicago where he lived till his stopping point.Hannes Meyer (* 18. November 1889 19. July 1954)He was born in Switzerland and practised as an architect in different countries such as Switzerland, Belgium and Germany.Meyers design philosophy is reflected in the following reference1. sex life, 2. sleeping habits, 3. pets, 4. gardening, 5. personal hygiene, 6. weather protection, 7. hygiene in the home, 8. car maintenance, 9. cooking, 10. heating, 11. exposure to the sun, 12. servicesIn 1926 he established his own company with his friend and during that time, he produced his two most famous projects for the Geneva coalition of Nations Building and Basel Petersschule. Unfortunately none was built.In 1927 he came to Bauhaus as a teacher of architecture and only one year later he became to be a director. A lot of changes to the education system came with him, the most important being enlargement of the theoretical scientist base of education. He was a good example of extreme functionalism and he was strongly against art part of architecture. During that time, many good teachers left the school e.g. Herbert Bayer and Macel Breuer. During the holidays in 1930, he had to leave Bauhaus, because of his strict communistic thinking. He moved to Moscow where he formed group Left Column. Consequently, he moved to Switzerland, Mexico and back to Switzerland where he died in 1954.Herbert Bayer (Hagg, Austria, 1900 Santa Brbara, United States, 1985), chyba hviezdicka a krizikHe was one of the students at the Bauhaus being taught by e.g. Wassily Kandinsky, Laszlo Moholy-Nagy and meno Gropius. After his studying, he was named to be a director of printing and advertising workshop. One of his characters was that he used only sans serif display cases for almost all of the Bauhaus publications. In 1925 he created his own casing called Universal today known as Bayer Universal. He left the school in 1928 and he moved to Be rlin where he became to be the director for German magazine Vogue. Ten years later, he escaped from Nazi Germany to New York, where made carrier almost in every possible aspect of graphic art. He stayed in the USA till his death and he produced phonetic first rudiment for English. It was basically again sans serif typeface but without capital letters. He became one of the most influential graphic designers of the twentieth century.Printing and advertising workshopDuring seven years of existence, 1925 1932, printing and advertising workshop changed completely. Each director had main role for this workshop. When Walter Gropius was the director of Bauhaus it was a production workshop in a small scale. The main product was advertising. When Hannes Mayer became director of Bauhaus everything changed. Joost Schmidt, the laissez passer of the workshop, developed the advertising, but in cubic forms where quality of a graphic design was more important. Meanwhile in De Stijl and construct ivism the art was more important than quality. When Schmidt dream became true, to create o maestro printing and advertising workshop, everything changed again, new director, Mies van den Rohe, it was again only the teaching workshop and the result was that this workshop was closed before whole Bauhaus was closed.When Bayer became a head of the workshop, he gave it a new project by introducing the subject of advertising. The new teaching timetable of 1926 contained a summary of the satisfy of its classes the methods and construction of advertising and their effective application were to be investigated and, in future planning, standardization and advertising psychology were to be studied.In 1925, this workshop became a obligatory part of preliminary course and the Bauhaus was distinguished from other graphic schools that tried to train student to be a specialist in advertising. In first semester the students supposed to take undertake practical work after that it was combination o f theoretical and practical. They studied the differentiation of advertising media and the most important was studying how to use photography and film in advertising. In forth semester they studied the structure and drafting of advertising plans. They had to focus on German industrial format and what was the most important for them, was the catch of the viewing audience eye. Bayer focused on design of advertising, rather than the placement, meanwhile when Joost Schmidt was head of printing and advertising workshop, he focused on visual rules of design. At the beginning the students had to experiment with geometric forms but it was almost forbidden to use free forms. For him, it was unsuitable to use collages, typeface exercises and photographs but the abstract form was the most important for advertising.Schmidt created a new kinetic model for parade according to Moholy-Nagy work. Meanwhile, students got the technique skills for advertising in typesetting and printing. A new worksh op for photography directed by Peterhans was opened in 1929, but till that time Schmidt tried to teach students perspective drawing and painting. Between 1928 and 1930 they produced several exhibitions, for example in Berlin and Linz. But their financial situation went wrong and also Mies van der Rohe was very critically to Schmidt workshop so for the next exhibition he wanted to show his doubts about Schmidt. What was even worse was the fact that even the photography students had to distance from Schmidt teaching methods. Following year he was under big pressure and finally in 1932 he collapsed. writing in BauhausIn the first year of existence of Bauhaus school in Weimar, typography was not very well developed. There were just two calligraphers at school, Johannes Itten and Lothar Schreyer but for them, it was just expression of artistic meaning and at the beginning practical field of application was missing there. Development of typography started in 1923, when school poster with unique typeset and design was made. socio-economic class after that, it was changed to school emblem. The original one, that looked worry masons mart, a spread-eagled figure carrying aloft a pyramid, was replaced by the new one designed by Oskar Schlemmer that looked deal geometric profile of a head, which could be very simply reproduced.The characteristic characters for Bauhaus typography were rules and sans serif types, that somehow became a stereotype, but accepting the stereotype was the part of radical reform. In 1921 the Bauhaus master Johannes Itten tried to make reform, where he combine black letter (Fraktur) with heavy Victorian types, where we can see the combination of printers ornaments, dots and squares. He set up one of the first Bauhaus characteristics, which was geometrical feature of the page.The next step for Bauhaus typography was to solve the problems with German alphabet that was quite old according to the new machine age. They decided to pull through all nouns in German starting with capital letter. A footnote, which appeared on the Bauhaus letterhead designed by Herbert Bayer in 1925, stated the schools attitude uncompromisinglyTowards a simplified way of writingThis is the way recommended by reforms of garner as our future letterform, cf. the book sprache und schrift (speech and letterform) by dr. porstmann, union of German engineers publishers, Berlin 1920.In restricting ourselves to lower-case letters our type loses nothing, but becomes more easily read, more easily learned, substantially more economicWhy is there for one sound, for example a, two signs A and a? one sound, one sign, why two alphabets for one word, why double the number of signs, when half would achieve the same?The main character for Bauhaus typography was geometrical base that was base for functionalism. At the Bauhaus, Josef Alberts and Joost Schmidt made a lot of alphabets, but it was Bayer, who was the main typographer there. His well known typeface Unive rsal (1926) consisted of circles and straight lines of a constant thickness on a grid squares. They used stop number and lower case, but they never combined them and they always combined them with vibrant colours.But situation has radically changed when Lszl Moholy-Nagy entered the school in 1923. He introduced the ideas of New Typography. What he wanted, basically, was that the typography had to be communication medium and pass along should be clear. Since 1923 his influence was visible on advertising travail for Bauhaus and after that when the Bauhaus moved to Dessau, he became co-editor of Bauhaus typography, where the Bayer was director of printing and advertising workshop. The typical characteristic of that period was that bold sans serif was used for heading and subheading for single words to interrupt the flow of lines. This innovation was technically complicated in metal type.From that time, the typography was very closely connected with bodily identity of school. It was clear, that type prints, the articulation and accentuation of pages through distinct symbols or typographic elements highlighted in colour, and finally direct information in a combination of text and photography were the main characteristics for Bauhaus typography.Herbert Bayer also designed letters that appeared on Bauhaus building in Dessau. He was responsible for all printing material for Bauhaus. Because the workshop was limited to narrow sans-serifs fonts some of them became very similar. He used vertical and horizontal rules and printed it on red and black and this became another stereotype of the Bauhaus. But it was very common for many avant-gardes. His most ambitious work was poster designed for Kandinsky sixteens birthday exhibition. It was printed on chromatic paper and again he printed it red and black and you can see strong rectangularity.Bauhaus, De Stijl and VkhutemasMain characteristics of BauhausThe main colours that they used are blue, yellow and red and the char acteristic shapes were triangle, square and circle. One of the most characteristic features for the Bauhaus was simplicity. The design was very simple in lines and shapes. They used straight lines or gentle, unflurried curves. They werent afraid to use shapes. It wasnt so strict as in De Stijl. We can also see repetition of certain layers. They also used a row of identical cylinders of two, three corners that were out from the others to produce very simple but strong effect. Next strong feature was quality. The products they made were light and airy. They used new materials such as steel, aluminium, plastics and glass. Tables and chairs are another strong feature. Often they were focused on design some small pieces where they used materials such as plastics, class, chrome and other metals that could somehow highlight the materials themselves. The materials had to be cleaned by water easily and quick. We should also understand the difference between the functionalism of Craftsman an d Bauhaus design. The other typical feature was the Bauhaus material wasnt handcrafted pieces but it was made in mass production. They had to have the industrial look.Main characteristics of De StijlSame as in the Bauhaus the main colours for De Stijl were red, yellow and blue and supporting colours we can say that were black, white and grey. Every colour had some meaning for example the yellow meant expansive and vertical. On the other hand the blue one was opposite, soft, retiring and horizontal. The meaning of red was expressed the radiating movement of the life. Combining all three colours you will have green. But for exampleAnalysis of the UK Confectionery exertion ThorntonsAnalysis of the UK Confectionery Industry ThorntonsConfectionery Industry In The UK Contributes A Major Amount Of revenue To The Countrys EconomyChapter 1 IntroductionConfectionery industry in the UK contributes a major amount of revenue to the countrys economy. Repeated case studies have revealed that the confectionary industry is ever growing and the demand for creativity and innovation in the products in increasingly demanded by the consumers in the UK foodstuff. Alongside, the growth in the candy store industry has also resulted in the stiff competition among the players in the market with many global competitors wish well Cadbury and Nestle. The growth of more focused and break market targeting companies have also grown tremendously in the UK, which includes companies like Thorntons, Ferroro UK ltd, etc. The stiff competition in the market and the appendd penetration of the big players into various market segments has further disturbed the position of companies like Thorntons. This report is focused on the analysis of the marketing strategies for Thorntons Plc and provides valuable suggestions for future expansion and strategies to gain competitive advantage in the UK chocolate market. The report aims to achieve the following objectivesTo effectively segment the target mark et for Thorntons and identify those segment(s) here the company can effectively develop its business.To identify the richness of buyer behaviour and establish that the effective deployment of buyer behaviour would support the company understand its target market in detail so as to gain market share.Provide recommendation for an appropriate short-term promotional campaign in the UK for increasing the awareness on the companys products in the target market.Devise a sales or promotion campaign for the company in sight to increase its sales through focusing on establishing the brand of Thorntons in the market as a strong competitor.Present a critical analysis of the advertising dodging mentioned in the case study for Thorntons and device a new advertising scheme that would include a creative media based plan in assignliness to increase the awareness among the customers in the target marketAlso device a critical structure for the direct marketing plans in order to reach the over 50 years segment of customers in the UK market.Chapter OverviewChapter 1 IntroductionThis is the current chapter that introduces the reader to the objectives of the report and the flow of the report text.Chapter 2 Market Segmentation and buyer behaviourThis chapter first presents an analysis on the market segmentation and identifies those segments that the company should target upon for further market expansion. This is so followed by the overview of the buyer behaviour and the use of buyer behaviour by the company in order to gain competitive advantage in its target market.Chapter 3 Advertising and PromotionThis chapter first presents a discussion on a short-term promotional campaign for the company in order to increase the awareness of the products in the existing target market. This is hence followed by a detailed overview of the advertising plan incorporating creative plans in the media based advertising in order to promote the products of the company. This is then followed by a critical analysis on the direct marketing strategy for over 50 years segment of customers in the UK in order to effectively reach that segment of the market so as to increase the sales as well as the market share.Chapter 4 cobblers lastThe objectives of the chapter are reviewed against the research and analysis conducted in the previous chapters and then a conclusion is derived based on the results of the analysis.Chapter 2 Market Segmentation and purchaser Behaviour2.1 Market SegmentationFrom the case study of the company it is unambiguous that the major segments in the Chocolate market includeCount linesMoulded disallowBoxed ChocolatesSeasonal Products andBagged Self linesIt is also evident that the company under debate i.e. Thorntons Plc specialize in the manufacture and sale of Boxed Continental chocolates in the UK and global market. Hence the market segment that the company primarily operates is under the sub sector of the Boxed chocolates in the Chocolates industry of the UK. A further segmentation of the Boxed Chocolates market in the UK based on the price and quality is presented below