Gropius believed that only studying would have not produced art but that instead art could have been created only by a combination of knowledge and practice. He accused the academy of schooling ordinary drawers and painters giving them false hopes and didn’t train them to succeed in the real world. He also underlined the importance of a good balance between ego, soul, mind and body to be aware of space and we can give form and meaning to it using the brain and the hands. The brain in fact can calculate the dimension of the space while the hand can craft with tools or machines. In addition, a truly creative artist must know the physical laws of statics, dynamics, acoustics to create something that express also his inner vision. A creative artwork should include the laws of physical, intellectual and spirit world. The Bauhaus at Weinmar school was founded to offer a theoretical and practical program to gifted students. The main principle of the Bauhaus teaching was the collective work of art that comes from the union of all the arts and movements. The practical and theoretical studies would have helped the student to release the creative powers and to understand the physical nature of materials. The students were pushed to break down conventional patters through observation and creation to personal discoveries and experiences to understand their own potentialities and limitations 

Moholy-Nagy introduced the idea of typophoto as the most effective way of communication. It is a combination of typography and photography in which letters and signs established a connection with the modern life. In fact he enlightened that the linear typography was the mediation between communication and the audience. Photography comes in help to the typography as an illustration behind the words or as phototext instead of words. With the use of the picture the personal interpretation would be avoided. He defines it as the new visual literature. 

Bayer focused mostly on typography and its future possible development. He recognized, as also the typographers of the 1920 affirmed, the possibility of a deeper visual experience that typographical material could bring. Infact, with the introduction of the television, film, photo and picture symbol typography wasn’t an isolated discipline anymore. However, he was surprised that since the Gutenberg invention there weren’t progresses about writing and printing. Typographical materials needed to adjust to the new technology and inventions. As the manual skill of the calligrapher had been replaced by the mechanical techniques, the typography needed a new alphabet, not only a new style that chances as fashion does. He also complained that typography was still recognized as a minor art, as commercial and not fine arts. Typographers needed to be prized for keeping the aesthetic standards from falling and because they keep the taste high even though the writing-printing methods were antiquated.  Furthermore, he underlined the importance of founding a more universal visual medium to help communication between different languages (for a universal communication) exactly as the book evolved in magazines with text and pictures. In the end, he anticipated the future evolution of the writing-printing method with the introduction of computing machines and the substitution of books with microfilms. It seems like he lost all his hopes in an evolution in the typography techniques.