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Expressed in the three Masters’ words, key elements of their approaches to the course, during and after the Bauhaus, were selected from self¬authored and ancillary texts and sorted according to C. S. Peirce’s three classifications of signs. A coherent “growing” of the sign, basic design—from thirdness, expressionism; to secondness, applying ///craft/// to media; to firstness, form for its own sake—emerged. A finer modeling of the Masters’ arguments was rendered individually and comparatively via the Semiotic Nonagon, an operative matrix derived from Peirce.

Preliminary design was taught at the Bauhaus (1919-1933) under only three Masters, Johannes Itten, László Moholy-Nagy, and Josef Albers. It went by the name Vorkurs—literally “Forecourse.” The three acts, rendered by the three Vorkurs Masters, are intriguing—particularly in consideration of the remarkable fortuity of the very pattern that attends their specific differences.
The student’s acquisition of a ////craft/// was a major founding precept of the Bauhaus. Each of the three Vorkurs Masters adhered, in one way or another, to this. Itten, nonetheless, overburdened that imperative with expressionism. Moholy-Nagy roused interest in new industrial materials and tools, through which he gave shape—in his predisposed Constructivist’s approach—to the formal issues of design