Design is born when individuals revolt against the norms and rules placed on them by history, artist, and the want and needs of society in any given time period. Learning about these limitations and their origins in an attempt to change what is already set in stone, this is the life style of a designer; to think outside of the box while considering the parameters onto which one feels comfortable, able, and ready. Often going against rules on purpose to express freedom and demand change, which turn the design world upside down. This is the natural progression of design in history and the process which gave birth to graphic designs as we know today; because of the many designers that experimented, mingled, struggled and fought. In the progression
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“Bayer responded to Kandinsky’s teaching on color and Klee’s on form by applying their ideas to some of the earliest examples of the “new typography” …He was simultaneously interested in two-dimensional arrangement of abstract motifs and type on the page and in the three-dimensional extension of these ideas in temporary structures such as exhibitions pavilions” (p. 66 Curl). Photography was a new medium that was being repurposed for the use of design and the interpretation of different information as subjective or objective forms; this encouraged Bayer to experimented with photos and shadows to mold reality at his will in a three-dimensional playground. “I got started in the early twenties while I was studying at the Bauhaus. We were working in many different media and I became interested in photography as a new and fascinating art medium.”(pg.1 Bultman) His reaction was to the past, looking at designs created during the Vienna succession and Art Deco and prior, he looked at the earlier treatments of typography and set out to revolutionize the way typography was used by creating the Universal alphabet, “(it) reduced the alphabet to clear, simple and rationally constructed forms...Bayer omitted capital letters, arguing that the two alphabets (capitals and lowercase) are incompatible in design, with two totally different signs” (pg.351 Meggs). In addition, he proceeded to challenge text alignment introducing justification which square the text by experimenting with tracking and aligning both sides of text vertically. He also introduced extreme contrast of type sizes and weights, to create hierarchy directing the readers and the compositions flow to certain locations of the design, although not the first to experiment with these rules he was one of if not the most successful at arranging text,
“Bayer responded to Kandinsky’s teaching on color and Klee’s on form by applying their ideas to some of the earliest examples of the “new typography” …He was simultaneously interested in two-dimensional arrangement of abstract motifs and type on the page and in the three-dimensional extension of these ideas in temporary structures such as exhibitions pavilions” (p. 66 Curl). Photography was a new medium that was being repurposed for the use of design and the interpretation of different information as subjective or objective forms; this encouraged Bayer to experimented with photos and shadows to mold reality at his will in a three-dimensional playground. “I got started in the early twenties while I was studying at the Bauhaus. We were working in many different media and I became interested in photography as a new and fascinating art medium.”(pg.1 Bultman) His reaction was to the past, looking at designs created during the Vienna succession and Art Deco and prior, he looked at the earlier treatments of typography and set out to revolutionize the way typography was used by creating the Universal alphabet, “(it) reduced the alphabet to clear, simple and rationally constructed forms...Bayer omitted capital letters, arguing that the two alphabets (capitals and lowercase) are incompatible in design, with two totally different signs” (pg.351 Meggs). In addition, he proceeded to challenge text alignment introducing justification which square the text by experimenting with tracking and aligning both sides of text vertically. He also introduced extreme contrast of type sizes and weights, to create hierarchy directing the readers and the compositions flow to certain locations of the design, although not the first to experiment with these rules he was one of if not the most successful at arranging text,