A couple of years after
when the Bauhaus was moved to Dessau, he was appointed head of new department
of typography and advertising. He influence was immediately noticed as he used
the Bauhaus publications as a vehicle to drive his typographic ideas. In 1925
he advocated the use of sans serif typefaces as the typographic expression of
the age and with his geometric universal alphabet.
He was one of the first generation of the Bauhaus students
studying under lazlo, moholy-nagy and Kandinsky, he replaced the tendency
towards decorative components in design, and championed the exclusive use of
lowercase types, all giving the Bauhaus publications their distinct characters.
His graphic designs of the late 1920’s and 30’s were also inspiring due to his
integration of photography and typography. Bayer was the leading advocate of
the sans serif typefaces, which had become the typographic expression of
modernity.
For the cover of the school exhibition, Herbert bayer (an
advaced student of moholy-nagy and Kandinsky) used rough, hand drawn letters,
dividing words into blocks of red and blue while condensing and stretching some
forms and sapacing to make the lines equal in length. In bayer’s division of
colored letters he contracted hard line principles of uniformity by making the
division of red and blue to appear random, so drawing our eye even further to
the words.
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