Mosaics

Mosaic is an art form that dates back thousands of years (Locktov, Glagett, 1998, 6). It is an artistic decorative medium that is applied into various surfaces. It has been used throughout many cultures and societies and the techniques of making it haven’t change much throughout the years (Locktov, Glagett, 1998, 6). The Muslims used it to create geometrical patterns to decorate the walls and domes of mosques, Christians used it to portray religious scenes and bible stories in churches, the Romans made mosaics about myths and gods, and lastly mosaics today are used to create large art pieces to decorate walls and floors. This essay will discuss the mosaic techniques and the works of Antony Gaudi.

Mosaics uses small pieces of pebbles, stones, glass or other materials laid on a bed of cement, plaster or adhesive to create huge uniform artworks (Locktov,Glagett,1998,6).The art form started off with small stone pebbles placed close together to form geometric designs and patterns (Harris, 2003, 6). Pebble mosaics are usually used for outdoor setting to decorate floors, gardens and so on (Harris, 2003, 6). Later the pebbles were cut into smaller and flat units which allowed the mosaicist to create more detailed designs and figures; the refined pebbles were called tesserae (Baldry, 2009,51). The tesserae were also made of glass, ceramics, stones and mixed media; the tesserea were produced in various colors which gave the art more diversity and options (Harris, 2003, 6).

Glass, ceramics, and stones have a similar factor for their use, they are more traditional based compositions and the purpose is decorative, those techniques use small units to create a whole unified composition (Locktov, Glagett, 1998, 6). While the mixed media mosaics have an additional purpose which is to emphasize on the parts used rather than the whole (Locktov, Glagett, 1998, 84).
The characteristics that make this art form remarkable are the process the mosaicist goes through, the brilliant colors of the mosaic and its sturdiness and long lasting effect (Harris, 2003, 6). The process of creating the mosaic is more mechanical then gestural; the mosaicist chooses the colors, creates the patterns, and then follows up the pattern to press the tesserea pieces one by one into the cement or adhesive surface (Harris, 2003, 6).The mosaic art form is very convenient for architectural schemes where many architects apply it onto their designs and decorations for decorative and artistic factors (Locktov, Glagett, 1998, 84).


Fig1. Antoni Gaudi

Antony Gaudi a magnificent architect and designer applied mosaic techniques onto his buildings and designs. Gaudi was known for his use of color, shapes and asymmetry that he applied into his work (Crippa,2007,12) fig 1. A large amount of Gaudi's mosaics were mixed media. He mainly used ceramics, broken plates and glass. His inspirations came mostly from nature as he quotes "Do you want to know where I found my model? An upright tree; it bears its branches and these, in turn, their twigs, and these, in turn, the leaves. And every individual part has been growing harmoniously, magnificently, ever since God the artist created it (Crippa, 2007, coverpage)


Fig2. Park Güell by Antoni Gaudi, Spain


Fig3. Wardens building by Antoni Gaudi, Spain


Fig4. Serpentine seats by Antoni Gaudi, Spain

First example where Gaudi used mosaics is in Park Güell; an impressive garden in Barcelona which in a way is any mosaicists dream world (Harris, 2003, 49) fig 2. Gaudi's structures, sculptures, buildings and the curving benches were covered in free form colorful broken tile, glass, and recyclable material mosaics creating a dreamy world (Harris, 2003, 49). The warden's building is located at the entrance of the park, the roof of the building is laid out with ceramic and tile mosaics in addition to small cups at the very top of the small dome (Crippa, 2007, 60) fig 3. The serpentine seat bench was covered by fragments of colored tiles and ceramics (Crippa, 2007, 59). Under the serpentine seats there is the columned hall with white and crystal colored mosaics on the ceiling (Laguerta, 2003, 146) fig4. There are also ceramic medallions on the walls of the park saying the name of the park "Park Güell"(Laguerta, 2003, 120) .The simple color combinations of the mosaics, the details of the mosaics, the smooth flow of architecture and the bizarre imagination of Gaudi make the park a remarkable place.


Fig 5. Casa Batlló by Antoni Gaudi, Spain

Second example is the Casa Batlló fig 5. The Casa Batlló had a huge facade laid out with tiles of mosaic that hint to animal shapes, leaves, and nature aspects (Watkin, 2005, 562). The colors of the tiles and broken ceramics lean toward a shiny blue-green that suggest colors of nature (Watkin, 2005, 562) (Laguerta,2003,47). Above the broken tiles there are about 200 hundred ceramic discs of different sizes that imply the texture of scales (Crippa, 2007, 65). The building suggests the shape of a dragon especially with the reptilian texture roof and the hump back shape (Crippa, 2007, 65). The integration of mosaic into Gaudi's work makes it exceptional and fairy tale like.



Fig 6. Hundertwasser
Another architect that works in a similar style as Gaudi is Friedensreich Hundertwasser fig 6. Hundertwasser was known for the bright colors he uses, organic forms, mosaics and the dismissal of straight lines. Hundertwasser was also inspired by the organic forms of nature (Landry, 2008, 30).


Fig 7. Hundertwasser House, Vienna

One example of his use of mosaic is in the Hundertwasser House that is located in Vienna (Landry,2008,30) fig 7. The use of mosaics can be seen on the facades of the buildings. He used broken tiles and ceramics of various harmonious colors giving the building a bizarre yet a beautiful natural organic aspect to it; He also used ceramic and mixed media mosaics on the staircases (Mackinnon,2008,280).

Mosaic art continues to be a fascinating art where smaller pieces are gathered to create a complete harmonious whole. The art has went through different processes ,stages and cultures. It will continue to appear into different surfaces, buildings, interiors by artists that embrace it like Gaudi and Hundertwasser. Their work is more or less permanent and has made the dream of fairy tale worlds come true.


Bibliography

Crippa,M.A.(2007).Gaudi. Koln: Taschen.

Harris,N.(2008).Mosaics. NewYork: The Rosen Publishing Group Inc.

King,S.(2003). Mosaic techniques & traditions: Projects & Designs from around the world. United States:Sterling Publishing Company, Inc. (King,2003,)

Laguerta,J.J.(2003).Antoni Gaudi. Milano: Electaarchitecture.

Ligtelijn,V., Saariste, R.(1996). Josep M. Jujol. Koln: Taschen.

Locktov,J.,Clagett,L.P.(1998). Mosaic Design: A collection of contemporary artists. United States: Rockport Publishers,inc.

Watkin, D.(2005). A history of Western architecture. London: Laurence King Publishing.

Landry,C.(2008). The creative city: a toolkit for urban innovators. Uk:Earthscan.

Mackinnon,A.J.(2008). The unlikely Voyage of Jack de Crow. Australia:Black Inc.

Photo's References

Fig 1, (Antoni Guadi, Retrieved December 18, 2010, from: http://www.gaudidesigner.com/uk/index.html).

Fig2, (Park Güell, Retrieved December 18, 2010, from: http://www.perfecttravelblog.com/2010/10/park_guell_barcelona.html).

Fig3, (Wardens building, Retrieved December 18, 2010, from: http://barcelonatravel.goedbegin.nl/ ).

Fig4, (Serpentine seats, Retrieved December 18, 2010, from: http://www.istockphoto.com/stock-photo-10308007-parc-guell-bench-detail-barcelona.php ).

Fig5, (Casa Batlló, Retrieved December 18, 2010, from: http://www.concierge.com/travelguide/barcelona/photos/photoview/57981 ).

Fig6, (Hundertwasser, Retrieved December 18, 2010, from: http://www.aeiou.at/aeiou.encyclop.h/h964948.htm%3Binternal&action=_setlanguage.action?LANGUAGE=en ).

Fig7, (Hundertwasser House, Retrieved December 18, 2010, from: http://www.wayfaring.info/2008/05/24/the-hundertwasser-house/ )

The Logo and Poster design of Paul Rand in the 1980's and 1990's (VERSION 2)

Fig1, Paul Rand URL

Paul Rand, one of the most influential graphic designers of our time (fig 1). He started of by self teaching himself, learning from magazines, and taking night classes at different institutes (Heller, 1999, pg). His work has influenced corporate designs, book design, magazines design, poster design, and graphic design overall (Eskilson, 2007, 240). Rand was known for his modern approach to design and Swiss style (Eskilson, 2007, 240).

Paul Rand was famous for his logo designs and logo language that he has interpreted. According to Rand for the logo to work effectively it should be memorable, clear, distinctive, makes a statement, provides the joy of discovery and the pleasure of participating (Paul Rand,1993, 111). In addition to that he also said that whether the logo will work or not depends on how big the company is, how exposed the logo is and how well it's used (Paul Rand,1993, 111).


Fig 2. International Business Machines (IBM), 8-bar variation 1972, URL


Fig 3. International Business Machines (IBM), 13-bar variation 1967, URL


Fig 4. International Business Machines (IBM), 1956 , URL

The IBM logo was one his most famous logotype that he designed by the 1960's and went into further modification throughout the years (fig 2,3,4)(Heller, 1999, 154). Rand based the logo on only on serif 3 letter typeface in which at the beginning it was only the type itself and then later on broken down into 13 line and then 8 line logo of the same type (Paul Rand, 1993, 121). Rand added split the logo into lines to make the logo lighter in the visual sense and more applicable on different mediums (eskilson, 2007, 326). The IBM logo does not explain the business it incorporates except for the viewer reads into it but yet when the viewer see's the logo they immediately associate it with computer company (Paul Rand,1993, 80).


Fig.5 IBM ,Golden Circle ,1981, URL


Fig.6,IBM, Customer Support Center, 1980, URL.


Fig 7. , Eye-Bee-M (IBM), Golden Circle Award announcement ,1981, URL.

Rand also created numerous posters for the same company IBM advertising inside events, motivational posters, advertising the company itself etc… (Heller, 1999, 157). One of his most memorable posters was the phonetic-visual key I (eye) B (bee) M (for the letter m); This poster was an announcement for an in house event that occurred in 1981(fig.5)(Heller, 1999, 157).


Fig 8. Paul Rand, Art Director's Club exhibit, 1988, URL




Fig 9. Paul Rand, Tokyo Communication Arts, 1990, URL


Notably through Rand’s posters and work there is a lot of abstraction as presented in the IBM Customer Support Center (Fig 7), the Art Director's Club exhibit (fig 8) and the Tokyo Communication Arts (fig 9). The use of abstraction, cutouts, and different contrasting colors is similar to one of Henri Matisse’s work “The Snail 1953” (fig 10)(tate website). The cutouts that they both used lead the viewer’s eye from one place on the page to the next giving more interest and making the viewer interact with the work (tate website). Rand and Matisse agree on the fact that abstraction gives the total meaning of an art work (eskilson, 2007, 325, tate website).



Fig 10. Henri Mattise ,The Snail 1953, URL


By the late 1980’s Steve Jobs hired Rand to design a computer logo called “Next” (Paul Rand, 1999, 194). It’s the most expensive logotype in history for a computer that was too advanced for the market (Polano, 2003, pg). Rand used the cube because it symbolizes the product itself (Heller,1999, 195). The typeface has 3 uppercases and 1 lower case “e” to add more contrast, interest, and because the word next is very similar to the word exit and having it all uppercase can make one confused and misinterpret the meaning (Heller,1999,196)(Paul Rand, 1993, 83).



Paul Rand, NeXT Computers, 1986, URL


Paul Rand was and still is one of the most inspiring graphic designers of this time and the time to come. He has contributed into the design field giving guidelines to all future graphic designers to innovate and be creative. Rand was able to keep his work more simple and to the point where less is more and made it to the top creating all different kinds of design work to many big companies that still use his logo’s and ideas. Every graphic designer strives to follow Rand’s footsteps for he is both a model and a master.








Bibliography

Eskilson, S. (2007). Graphic Design A New History. North America: Yale University Press.

Heller, S. (1999). Paul Rand. New York: Phaidon Press.

Rand, P. (1996). From Lascaux to Brooklyn. New Haven & London: Yale University.

Rand, P. (1993). Design Form and Chaos. New Haven & London: Yale University.

Polano, S. (2003). abc: of the 20th-century graphics. Milano: Phaidon Press.
http://www.tate.org.uk/servlet/ViewWork?workid=9396

The Logo and Poster design of Paul Rand in the 1980's and 1990's

The Logo and Poster design of Paul Rand in the 1980's and 1990's


URL

Paul Rand, one of the most influential graphic designers of our time. He started of by self teaching himself, learning from magazines, and taking night classes at different institutes (Heller, 1999, pg). His work has influenced corporate designs, book design, magazines design, poster design, and graphic design overall (Eskilson, 2007, 240). Rand was known for his modern approach to design and Swiss style (Eskilson, 2007, 240).

Paul Rand was famous for his logo designs and logo language that he has interpreted. According to Rand for the logo to work effectively it should be memorable, clear, distinctive, makes a statement, provides the joy of discovery and the pleasure of participating (Paul Rand, 111). In addition to that he also said that whether the logo will work or not depends on how big the company is, how exposed the logo is and how well it's used (Paul Rand, 111).




URL

The IBM logo was one his most famous logotype that he designed by the 1960's and went into further modification throughout the years (Paul Rand, 1999, 154). Rand based the logo on only on serif 3 letter typeface in which at the beginning it was only the type itself and then later on broken down into 13 line and then 8 line logo of the same type ( Paul Rand, 121). Rand added split the logo into lines to make the logo lighter in the visual sense and more applicable on different mediums (eskilson, 2007, 326). The IBM logo does not explain the business it incorporates except for the viewer reads into it but yet when the viewer see's the logo they immediately associate it with computer company (Paul Rand, 80).






Rand also created numerous posters for the same company IBM advertising inside events, motivational posters, advertising the company itself etc… (Paul Rand, 1999, 157). One of his most memorable posters was the phonetic-visual key I (eye) B (bee) M (for the letter m); This poster was an announcement for an in house event that occurred in 1981( Paul Rand, 1999, 157).




Bibliography:-

Eskilson, S. (2007). Graphic Design A New History. North America: Yale University Press.
(Eskilson, 2007, 240)

Heller, S. (1999). Paul Rand. New York: Phaidon Press.
(Heller, 1999, pg)

Rand, P. (1996). From Lascaux to Brooklyn. New Haven & London: Yale University.
(Rand, 1996, pg)

Rand, P. (1993). Design Form and Chaos. New Haven & London: Yale University.

Typography, Poster and Magazine Design At the Bauhaus through the works of Herbert Bayer Version 3

Typography, Poster and Magazine Design
At the Bauhaus through the works of Herbert Bayer


Fig 1. Haag 1900 - Montecito/USA 1985 URL

The Bauhaus was first established in the twentieth century; it is an art education school which has altered the way art and design is looked at and the understanding of arts to many of its offspring's that came to learn in it (Aynsley 2001,60). It has changed the way art is educated throughout the world; The Bauhaus tried to interpret the idea of total work of art (Gesamtkunstwerk) into its concept of teaching where all art forms are brought up together (Worldwide art resources. (2009)). Work like architecture, art, graphic design, interior design, industrial design and typography were taught at the Bauhaus (Whitford, 1984, 7). The Bauhaus style was known as the international style where the art works didn’t have an origin from where it is brought from. The ideas at the Bauhaus were more modernist in style and wanted to unify the arts, crafts and machinery (Worldwide art resources. (2009)). Bauhaus brought up revolutionary artists and designers in which among them was Herbert Bayer (Whitford 1984,8). In this essay I will be discussing the works of Herbert Bayer through typography, poster and magazine design mentioning his most influences, teachers and examples of work at the Bauhaus period.

Herbert Bayer was an Australian graphic designer, typographer, painter and photographer of his time (Aensley 2001,66). Herbert Bayer was amongst these who integrated the total work of art into all of his work. Prior to joining the Bauhaus Bayer had some design knowledge which he got through working with an architect in Darmstadt (Whitford 1984,166). His work at that time was very balanced and central symmetrical (Cohen ,1984, 191). At 1921 Bayer first joined the Bauhaus where throughout the workshops and education in the school Bayer changed the way his work was executed.

Graphic designs by Herbert Bayer went through many stages before during and after the Bauhaus. Before the Bauhaus Bayer's work was very influenced by Ludwig Hohlwein's design work (Aeynsly , 2001, 60). At the Bauhaus Bayer has formed a strategy to solving the design problem; as Cohen said in the book 'Herbert Bayer the complete work', " The solution must be rigorously proportioned; a balance and internal harmony must be established among otherwise diverse and incompatible elements; form must be thoroughly investigated, colors direct and evocative; the text must be situated within the composition as a typographic element no less definitely positioned and balanced than are other more explicitly visual elements"(Cohen , 1984, 191).


Fig 2. 1927, universal type, URL.

Typography was amongst Bayer's premier interests where he was influenced by Moholy and De Stijl (Whitford ,1984, 167). In addition to those teachers Bayer also applied Kandinsky's teaching on color and Klee's teaching on forms to his typography designs (Aeynsly ,2001,66). Bayer has suggested in the Bauhaus period to use the Klienschreibung which means writing all letters with small letters and all capital letters for display design (Aeynsly ,2001,66)(Cohen ,1984, 215). He said that doing that saves space and money; since the printers had to only have one range of typeface (Cohen 1984, ,215). In addition to that Bayer also illuminated the san serif which goes back to the roman type that was simple and direct he considered serifs redundant (Cohen ,1984, 215) ( Whitford ,1984, 167). Not long after his suggestion; publication at the Bauhaus started to use only small letters minuscule's (Cohen ,1984, 215). In 1925 Bayer become one of the young staff masters in the Bauhaus where he taught modern typography (Aeynsly ,2001,66). The Universal Type (single alphabet type) was one of the most known types of Bayer in which he made a type design based on a circle where he used only few arcs, angels and vertical and horizontal lines (fig 2) (Cohen ,1984, 215). The universal type was used in his posters, post cards and magazines. The fashion magazine die neue linie is an example where he used the universal type (fig 3) (Aeynsly ,2001, 60).





Fig 3. Cover for magazine die neue linie, 1938. (Aeynsly ,2001, 60)


Fig 4. (Cohen , 1984, 199).


Fig 5. (Cohen , 1984, 199).

In 1923 Herbert designed two posters for Bauhaus Ausstellung that demonstrate the use of different type weights and color areas. The simplification of the posters and the organization reduces the language of the message to clear the essentials of the posters ( Fig 4,5)(Cohen ,1984, 194). The vertical placement of the word Ausstellung balances the red square or runs the length of the posters (Cohen ,1984, 194).


Fig 6. Herbert Bayer, Kandinsky, 1926. Poster. Bauhaus Archive, Berlin. URL

Kandinsky's poster of the exhibition and birthday celebration shows Bayer's simplistic motives and constructivist style(fig 6). In this poster Bayer includes a bust photo of Kandinsky in black and white with a red rectangle on the left bordering the image from the left and other diagonal and vertical rectangles around the composition to create eye movement and interest ((Cohen ,1984 ,202). Bayer used majuscule San serif type slightly titled to the left giving a kinetic element (Eskilson 2007, 238).


Fig 7. Herbert bayer, Bauhaus, 1928, magazine, Bauhaus-archiv, berlin. URL

A photo collage for the cover magazine of Bauhaus zeitschrift is another example of bayer's known work in which he interpreted different elements to show the educational program in Bauhaus without having to include any word descriptions (fig 7)(Cohen, 1984, 202) (Eskilson, 2007, 240). The composition included the Bauhaus title on a folded periodical and the geometric forms that create a visual motion in the collage (Eskilson, 2007, 240).


Fig 8. Staatliches Bauhaus, Weimar, 1919–1923, 1923 , Walter Gropius (German, 1883–1969) URL

A famous cover by Bayer is the Staatliches Bauhaus; its one of his works that has been most praised and attacked by the media at the same time(fig 8)(Cohen ,1984, 200). In this design Bayer used hand drawn alphabet, majuscules and san serif letters that have a block like effect (Cohen ,1984, 194)(Polsky, B. & Polsky, H. 2001). The arrangement of the letters and spacing was manipulated in a way that the text looks like a unified block of text. The four lines of letters are very architectural in style, rough and crude (Polsky, B. & Polsky, H. 2001).

In 1928 Herbert Bayer left the Bauhaus and became the art director of the die neue linie and Vogue magazines; He with other Bauhaus members have made modernist ideas and art broader and more acceptable to the public (fig 9 , 10, 11)(Aeynsly , 2001, 60).. The die neue linie (the new line) magazine included fashion, literature, graphic design and art subjects ( Rössler, P. (n.d)). The magazine was one of the first magazines that used dramatic photomontages and simple typographic designs (Cohen , 1984 220). Bayers designs at those times were clarified as surreal; the compisitions that he made were to establish calirity, attraction and communication with the audience(Cohen ,1984, 220).


Fig 9 . Photomontage cover for the monthly periodical die neue linie( 1935). (Cohen , 1984 224)

Fig 10. Magazine cover (1940).(Cohen , 1984, 230)


Fig 11. Photomontage with classical head for die neue linie (1936)

A later example of bayers work is the Adrianol nose drops poster in which bayer makes the message sent to the audience clear and simplified (fig 12)(Cohen ,1984 ,229). It shows the process of dripping the adrionol nose drops in a cold rainy day. The poster become a tool of clarifying the meaning and the application of the medical anatomy (Cohen ,1984 ,229).

Fig 12. Poster for adrianol nose drops (1935) (Cohen , 1984 , 227)

In conclusion Herbert Bayer's work was one of the revolutionary works that affected all kinds of design fields and his impact exists to the current day for people to learn and get inspired from.





Bibliography:-
Cohen, A. (1984). Herbert Bayer: The Complete Work. United States of America: Book Bindery, Inc.

Whitford, F. (1984). Bauhaus. London: Thames & Hudson Ltd.

Eskilson, S. (2007). Graphic Design A New History. North America: Yale University Press.

Aeynsly, J . (2001). A Century of Graphic Design. United States of America: Barron's Educational Series, Inc.

Polsky, C.H., Polsky, L.B.(2001). Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved February, 15, 2010, from http://www.metmuseum.org/toah/hd/dsgn2/ho_2001.392.htm.

Rossier, P. (n.d). Artbook: The Bauhaus at the Newsstand. Retrieved February, 15, 2010, from http://www.artbook.com/9783866782822.html.

Worldwide art resources. (2009). Retrieved February 22, 2010, from http://wwar.com/masters/movements/bauhaus_school.html.

Typography, Poster and Magazine Design At the Bauhaus through the works of Herbert Bayer (version 2)

Typography, Poster and Magazine Design
At the Bauhaus through the works of Herbert Bayer


Fig 1. Haag 1900 - Montecito/USA 1985 URL

The Bauhaus was first established in the twentieth century; it is an art education school which has altered the way art and design is looked at and the understanding of arts to many of its offspring's that came to learn in it (Aynsley 2001,60). It has changed the way art is educated throughout the world (Whitford 1984,7). Bauhaus brought up revolutionary artists and designers in which among them was Herbert Bayer (Whitford 1984,8). In this essay I will be discussing the works of Herbert Bayer through typography, poster and magazine design mentioning his most influences, teachers and examples of work at the Bauhaus period.

Herbert Bayer was an Australian graphic designer, typographer, painter and photographer of his time (Aensley 2001,66). Prior to joining the Bauhaus Bayer had some design knowledge which he got through working with an architect in Darmstadt (Whitford 1984,166). His work at that time was very balanced and central symmetrical (Cohen ,1984, 191). At 1921 Bayer first joined the Bauhaus where throughout the workshops and education in the school Bayer changed the way his work was executed.


Fig 2. 1927, universal type, URL.

Typography was amongst Bayer's premier interests where he was influenced by Moholy and De Stijl (Whitford ,1984, 167). In addition to those teachers Bayer also applied Kandinsky's teaching on color and Klee's teaching on forms to his typography designs (Aeynsly ,2001,66). Bayer has suggested in the Bauhaus period to use the Klienschreibung which means writing all letters with small letters and all capital letters for display design (Aeynsly ,2001,66)(Cohen ,1984, 215). He said that doing that saves space and money; since the printers had to only have one range of typeface (Cohen 1984, ,215). In addition to that Bayer also illuminated the san serif which goes back to the roman type that was simple and direct he considered serifs redundant (Cohen ,1984, 215) ( Whitford ,1984, 167). Not long after his suggestion; publication at the Bauhaus started to use only small letters minuscule's (Cohen ,1984, 215). In 1925 Bayer become one of the young staff masters in the Bauhaus where he taught modern typography (Aeynsly ,2001,66). The Universal Type (single alphabet type) was one of the most known types of Bayer in which he made a type design based on a circle where he used only few arcs, angels and vertical and horizontal lines (fig 2) (Cohen ,1984, 215). The universal type was used in his posters, post cards and magazines. The fashion magazine die neue linie is an example where he used the universal type (fig 3) (Aeynsly ,2001, 60).



Fig 3. Cover for magazine die neue linie, 1938. (Aeynsly ,2001, 60)


Graphic designs by Herbert Bayer went through many stages before during and after the Bauhaus. Before the Bauhaus Bayer's work was very influenced by Ludwig Hohlwein's design work (Aeynsly , 2001, 60). At the Bauhaus Bayer has formed a strategy to solving the design problem; as Cohen said in the book 'Herbert Bayer the complete work', " The solution must be rigorously proportioned; a balance and internal harmony must be established among otherwise diverse and incompatible elements; form must be thoroughly investigated, colors direct and evocative; the text must be situated within the composition as a typographic element no less definitely positioned and balanced than are other
more explicitly visual elements"(Cohen , 1984, 191).


Fig 4. (Cohen , 1984, 199).


Fig 5. (Cohen , 1984, 199).

In 1923 Herbert designed two posters for Bauhaus Ausstellung that demonstrate the use of different type weights and color areas. The simplification of the posters and the organization reduces the language of the message to clear the essentials of the posters ( Fig 4,5)(Cohen ,1984, 194). The vertical placement of the word Ausstellung balances the red square or runs the length of the posters (Cohen ,1984, 194).


Fig 6. Herbert Bayer, Kandinsky, 1926. Poster. Bauhaus Archive, Berlin. URL

Kandinsky's poster of the exhibition and birthday celebration shows Bayer's simplistic motives and constructivist style(fig 6). In this poster Bayer includes a bust photo of Kandinsky in black and white with a red rectangle on the left bordering the image from the left and other diagonal and vertical rectangles around the composition to create eye movement and interest ((Cohen ,1984 ,202). Bayer used majuscule San serif type slightly titled to the left giving a kinetic element (Eskilson 2007, 238).


Fig 7. Herbert bayer, Bauhaus, 1928, magazine, Bauhaus-archiv, berlin. URL

A photo collage for the cover magazine of Bauhaus zeitschrift is another example of bayer's known work in which he interpreted different elements to show the educational program in Bauhaus without having to include any word descriptions (fig 7)(Cohen, 1984, 202) (Eskilson, 2007, 240). The composition included the Bauhaus title on a folded periodical and the geometric forms that create a visual motion in the collage (Eskilson, 2007, 240).


Fig 8. Staatliches Bauhaus, Weimar, 1919–1923, 1923 , Walter Gropius (German, 1883–1969) URL

A famous cover by Bayer is the Staatliches Bauhaus; its one of his works that has been most praised and attacked by the media at the same time(fig 8)(Cohen ,1984, 200). In this design Bayer used hand drawn alphabet, majuscules and san serif letters that have a block like effect (Cohen ,1984, 194)(Polsky, B. & Polsky, H. 2001). The arrangement of the letters and spacing was manipulated in a way that the text looks like a unified block of text. The four lines of letters are very architectural in style, rough and crude (Polsky, B. & Polsky, H. 2001).

In 1928 Herbert Bayer left the Bauhaus and became the art director of the die neue linie and Vogue magazines; He with other Bauhaus members have made modernist ideas and art broader and more acceptable to the public (fig 9 , 10, 11)(Aeynsly , 2001, 60).. The die neue linie (the new line) magazine included fashion, literature, graphic design and art subjects ( Rössler, P. (n.d)). The magazine was one of the first magazines that used dramatic photomontages and simple typographic designs (Cohen , 1984 220). Bayers designs at those times were clarified as surreal; the compisitions that he made were to establish calirity, attraction and communication with the audience(Cohen ,1984, 220).


Fig 9 . Photomontage cover for the monthly periodical die neue linie( 1935). (Cohen , 1984 224)

Fig 10. Magazine cover (1940).(Cohen , 1984, 230)


Fig 11. Photomontage with classical head for die neue linie (1936)

A later example of bayers work is the Adrianol nose drops poster in which bayer makes the message sent to the audience clear and simplified (fig 12)(Cohen ,1984 ,229). It shows the process of dripping the adrionol nose drops in a cold rainy day. The poster become a tool of clarifying the meaning and the application of the medical anatomy (Cohen ,1984 ,229).

Fig 12. Poster for adrianol nose drops (1935) (Cohen , 1984 , 227)

In conclusion Herbert Bayer's work was one of the revolutionary works that affected all kinds of design fields and his impact exists to the current day for people to learn and get inspired from.





Bibliography:-
Cohen, A. (1984). Herbert Bayer: The Complete Work. United States of America: Book Bindery, Inc.

Whitford, F. (1984). Bauhaus. London: Thames & Hudson Ltd.

Eskilson, S. (2007). Graphic Design A New History. North America: Yale University Press.

Aeynsly, J . (2001). A Century of Graphic Design. United States of America: Barron's Educational Series, Inc.

Polsky, C.H., Polsky, L.B.(2001). Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Retrieved February, 15, 2010, from http://www.metmuseum.org/toah/hd/dsgn2/ho_2001.392.htm.

Rossier, P. (n.d). Artbook: The Bauhaus at the Newsstand. Retrieved February, 15, 2010, from http://www.artbook.com/9783866782822.html.

Typography, Poster and Magazine Design At the Bauhaus through the works of Herbert Bayer

Typography, Poster and Magazine Design
At the Bauhaus through the works of Herbert Bayer

The Bauhaus was first established in the twentieth century; it is an art education school which has altered the way art and design is looked at and the understanding of arts to many its offspring's that came to learn in it (Aynsley 2001,60). It has changed the way art is educated throughout the world (Whitford 1984,7). Bauhaus brought up revolutionary artists and designers in which among them was Herbert Bayer (Whitford 1984,8). In this essay I will be discussing the works of Herbert Bayer through typography, poster and magazine design mentioning his most influences, teachers and examples of work at the Bauhaus period.
Herbert Bayer was an Australian graphic designer, typographer, painter and photographer of his time (Aensley 2001,66). Prior to joining the Bauhaus Bayer had some design knowledge which he got through working with an architect in Darmstadt (Whitford 1984,166). His work at that time was very balanced and central symmetrical (191, Cohen). At 1921 Bayer first joined the Bauhaus where throughout the workshops and education in the school Bayer changed the way his work was executed.
Typography was amongst Bayer's premier interests where he was influenced by Moholy and De Stijl (Whitford 1984, 167). In addition to those teachers Bayer also applied Kendisky's teaching on color and Klee's teaching on forms to his typography designs (Aeynsly 2001,66). Bayer has suggested in the Bauhaus period to use the Klienschreibung which means writing all letters with small letters and all capital letters for display design (Aeynsly 2001,66)(Cohen 1984, 215). He said that doing that saves space and money; since the printers had to only have one range of typeface (Cohen 1984, 215). In addition to that Bayer also illuminated the san serif which goes back to the roman type that was simple and direct (Cohen 1984, 215). Not long after his suggestion; publication at the Bauhaus started to use only small letters minuscule's (Cohen 1984, 215). The Universal Type (single alphabet type) was one of the most known types of Bayer in which he made a type design based on a circle where he used only few arcs, angels and vertical and horizontal lines(Cohen 1984, 215). The universal type was used in his posters, post cards and magazines. The fashion magazine die neue linie is an example where he used the universal type (Aeynsly 2001, 60).
Poster design by Herbert Bayer went through many stages before during and after the Bauhaus. Before the Bauhaus Bayer's posters were very influenced by Ludwig Hohlwein's. At the Bauhaus Bayer has formed a strategy to solving the design problem; as Cohen said in the book 'Herbert Bayer the complete work' " The solution must be rigorously proportioned; a balance and internal harmony must be established among otherwise diverse and incompatible elements; form must be thoroughly investigated, colors direct and evocative; the text must be situated within the composition as a typographic element no less definitely positioned and balanced than are other more explicitly visual elements"(Cohen 1984, 191).
Herbert Bayer became the art director of the die neue linie magazine in 1928; He has made modernist ideas and art broader and more acceptable to the public (Aeynsly 2001, 60).