Herbert Bayer

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Ideas from the History of Graphic Design

976 calificaciones

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California Institute of the Arts

Ideas from the History of Graphic Design

976 calificaciones

Curso 4 de 5 en SpecializationGraphic Design

This condensed survey course focuses on four key periods or themes from the history of design. Together we’ll trace the emergence of design as a recognized practice, why things look the way they do, and how designers approached specific design problems in their work. Each week, a short quiz will test your knowledge of concepts, and a short reflective assignment will give you the opportunity to analyze the questions designers ask themselves today. This is an essential course for emerging designers entering the field, or for students interested in learning more about visual culture and analysis. No previous experience is required.

De la lección

The Bauhaus

This week, we'll look at how the work and teachings of The Bauhaus (1919-1933), and how design emerged as a recognized practice.

Klee, Schlemmer & Albers5:02

László Moholy-Nagy1:57

Herbert Bayer5:25

Conoce a los instructores

Louise Sandhaus
Faculty, Program in Graphic Design
School of Art
Lorraine Wild
Faculty, Program in Graphic Design
School of Art

If you look at a lot of Bauhaus projects, sort of with x-ray eyes,

what you see are things that are beautiful abstract compositions

like this is Herbert Bayer's design for a newspaper kiosk.

And if you just look at it, you see a cube with a sign on top, and

it's two rectangular shapes that integrate, that have that white

arrow that kind of curves around and points down to the kiosk.

And then the kiosk has almost a Dada kind of collage

advertisement on one side and the window to buy the magazine on the other.

The design of the kiosk itself

is this kind of very constructed architectural space.

That bright primary color again is meant to attract your attention.

And then the application of the words on it

turn it into a piece of three-dimensional graphic design.

Bayer was really interested in, again, these kind of modern spaces,

like this design for the lobby of a cinema.

That movie theater screen that you see in the upper right hand corner,

is applying the same idea of a color pallet, basic graphic design space and

then this dynamic use of lettering that's linked to the architectural space.

The graphic design that Bayer produced at the Bauhaus, this is for

a lecture by a visiting architect,

has the same sense of the space of the poster

having a kind of architectural structure, and

then the lettering helps you perceive just what that space is.

Like the way the word Poelzig in those giant, sans-serif letters,

hugs the bottom of the poster, and the date on the upper right hand corner,

the big February 26, the way that grabs your attention to that corner.

And then the way that the dynamic of the red circle

in the center kind of connects those two.

This very, like considered placement of typography in a space practically gets us

close to an architectural rendering of space as you can get in two dimensions.

Here's another Herbert Bayer poster,

celebrating the 60th birthday of another faculty, Wassily Kandinsky.

And while everything appears to be more in motion because of that slight angle,

you still have this sense of a room being created literally,

by the way that the words are placed on the page and

that structure that's endemic to his design at that time has great clarity.

Here is an interesting, it's a catalog for the Bauhaus that Herbert Bayer

designed where he uses what I'm pretty sure is probably a Moholy-Nagy photograph

against simply rendering a most abstract view of that building and

using it as an iconic form.

Or this interesting first volume of a Bauhaus magazine

where he takes a set of tools that a design student might use,

like the pencil and the clear drafting triangle and

then these kind of white sculptural forms of a cone,

a cube and a ball as symbolic renderings of the basic tools and

the basic forms that were the obsessions at the Bauhaus during that time.

While Bayer was most well known for typography and publication design and

advertising posters that he did when he wasn't teaching at the Bauhaus,

He too, like Moholy-Nagy, was interested in multimedia and

expanded ideas of spaces that design and

especially graphic designers would work in.

So, this is a really interesting diagram that he made of

an exhibition of how one might think of the design of an exhibition

that incorporated many panels or points of views

so that you were thinking not only of what the viewer of an exhibition might see

right in front of them, but what they might see in the periphery of their vision

and how they might imagine an environment that's filled with graphic design.

There are other renderings of this diagram that exist, but what is so

important about it is, again, this kind of connection of the idea of maybe

a more immersive media, which could have come from thinking about film or

even those light-space experiments of Moholy-Nagy.

And thinking about applying Bayer's work and

thinking about applying those ideas to the design of exhibitions.

Where with print in a space you emulated this

more environmentally expansive point of view.

This sketch clearly indicates a space that you can imagine walking through and

seeing things from different points of view.

And it speaks to this area of work that Bayer was so

interested in about turning two dimensions into three and

thinking about how the audience might interact with that.

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