In Germany, during the 1930s there existed a lifestyle magazine called die neue linie that every young German girl wanted to have. One of the first fashion and lifestyle outlets to ever exist and a revolutionary and sensationalist magazine, designed by various notable designers of that time, including the Bauhaus designer Söre Popitz.
Graduate of the Bauhaus school, Popitz is the only known woman to come out of this movement and start a career of her own, and one of the only women permitted to enroll in the school to begin with. While there, she studied under the prominent designer Jan Tschichold.
Despite the fact that the very few women who were allowed to enroll to the school were encouraged to learn weaving and other “female-orientated” subjects, Popitz managed to barge through the doors of the painting, architecture, and typography departments which were considered “male-oriented” subjects. As such, it comes as no surprise that Popitz ended up becoming one of the most successful women designers of the 20th century.
The Bauhaus inspiration was clearly evident in the striped-black, linear ads that Popitz produced for a household appliance company named Thüngia. This ad depicts different stick figures standing beside the company’s sinks or stoves – a stick-figure doctor, a husband and wife, and a group of girls. The poster’s concise lettering on a geometric grid showcasing the vehement Tschicholdian influence in Popitz’s approach to typography. Moreover, the household appliances on each poster are meticulously drawn in thin black lines and lack detailing which, in the language of design, signifies cleanliness and efficiency. Also, Popitz displayed stylish stick- women, rendered abstract yet wearing very detailed clothes, ranging from the traditional to the modern, revolutionarily displaying all types of women – housewives and women alike.
Considering the zeitgeist that Popitz operated in, these designs conveyed innovative forms perception and design styles, and were a turning point in the German and European shift toward modernization of graphic design and typography.
"Mwaka wa 1930 gazeti la ""Die neue Linie"" lilichapishwa nchini Ujerumani na kila msichana alitaka kuwa na gazeti hilo." Mfumo wa mtindo wa maisha wa Bauhaus ulibuniwa na mtengenezaji wa wakati huo, Söhre Popitz. Baada ya kuhitimu kutoka Bauhaus, Popitz alikuwa mwanamke pekee aliyejulikana kutoka kwa harakati hii na kuanza kazi yake mwenyewe, na mmoja wa wanawake tu walioruhusiwa kujiandikisha katika shule hiyo. Alipokuwa huko, alisomea chini ya mbuni mashuhuri Jan Tschichold. Ingawa wanawake wachache walioruhusiwa kujiandikisha katika shule hiyo walihimizwa kujifunza ufundi wa kushona na masomo mengine ya "wanawake", Popitz alifaulu kuingia katika idara za uchoraji, usanifu, na uchapaji, ambazo zilionwa kuwa masomo ya "wanaume". Kwa hivyo, haishangazi kwamba Popovich alikuwa mmoja wa wasanii wa wanawake wa karne ya 20. Msukumo wa Bauhaus ulikuwa wazi wazi katika matangazo ya mstari mweusi, ya mstari ambayo Popitz alitengeneza kwa kampuni ya vifaa vya nyumbani inayoitwa Thüngia. Tangazo hili linaonyesha sanamu tofauti za fimbo zikiwa ziko kando ya sinki au jiko la kampuni - daktari wa fimbo, mume na mke, na kikundi cha wasichana. Poster's maandishi mafupi juu ya gridi ya kijiometri kuonyesha ushawishi mkali wa Tschicholdian katika mbinu ya Popitz ya typography. Zaidi ya hayo, vifaa vya nyumbani kwenye kila bango vimechorwa kwa uangalifu katika mistari nyembamba nyeusi na kukosa maelezo ambayo, katika lugha ya kubuni, inaonyesha usafi na ufanisi. Pia, Popitz alionyesha wanawake wenye mtindo wa fimbo, waliofanywa kuwa abstract lakini wakiwa wamevaa nguo za kina sana, kuanzia za jadi hadi za kisasa, kwa mapinduzi kuonesha aina zote za wanawake - wakazi wa nyumbani na wanawake sawa. Kwa kuzingatia zeitgeist ambayo Popitz alifanya kazi, miundo hii ilitoa maono ya aina za ubunifu na mitindo ya muundo, na ilikuwa hatua ya kugeuka katika mabadiliko ya Ujerumani na Ulaya kuelekea kisasa cha muundo wa picha na uchapaji.