Herbert Bayer

Herbert Bayer is most well-known for his design of the typeface Universal. It "represents an attempt to construct a sans serif typeface on consistent principles." (Rowland, Anna, Bauhaus Source Book, p. 14) These principles were to construct the entire typeface out of circles and straight lines. This was very much in line with the Bauhaus ideals of modernism and simplicity. The ideals of the Bauhaus stayed with Bayer long after he left the Bauhaus, and travelled to the USA. His later works still had a modernist feel, despite the many years since his Bauhaus enrolment.

Herbert Bayer. One Reversed, 1969, colour screen print on paper

Bayer’s One Reversed, is a colour screen print. Although one of his later works, it still references his work at the Bauhaus, particularly in the use of the circle shape and the choice of colours. The combination of the chromatic colour change and the circular shapes give this print the impression that it could be seen as a colour study or an investigation into colour and shape. Despite being a flat piece of work, there is a sense of movement in the concentric circles and somewhat competing colours. There is a tension in the centre of the composition as the blue cross appears to be on top of the bright white yellow circles, however, the yellow circles move forward in the visual plane as they are warmer than the blue.  This tension gives the print a focal point, from which the eye can continue to explore the composition.

Herbert Bayer. Articulated Wall, 1986

Bayer was commissioned by the Denver Design Centre to design and build the Articulated Wall in Denver, exactly like the original (Bayer designed and built for the 1968 Mexico City Olympics), only taller. The original stood at 60 feet, the new one stands at 85 feet. It was constructed of “32 pieces of pre-fabricated elements each measuring 41' x 5'2" x 2'7".” Two million pounds of concrete were used to create this sculpture. Whilst the sculpture is the one pure, bright yellow colour, this actually adds interest as the shadows of the blocks above create many tonal differences on the blocks below. Because of the inherent nature of shadows this means that the tonalities are constantly changing and creating new designs on the wall.