Reverbstorm: Bauhaus Horror

reverbstorm1.jpg

Lord Horror (after Klaus Barthelmess).

(No, not Pete Murphy and co.) Now that the Reverbstorm book is at the printers I have an excuse to discuss a few of the art and design appropriations that run through the narrative. I wanted to use some Bauhaus-style design back in the early 1990s when we were putting the first of the comic issues together but that idea got buried under conflicting demands and the need to actually finish all the drawing. It was only when I started designing the opening pages in 2008 that I was able to return to some of the original intentions. There were two reasons for this choice: one was that the minimalist graphics of the Bauhaus style worked well in black-and-white, and also provided an effective counterpoint to the very dense and detailed drawings that followed. The second was that the Bauhaus design school found itself in the early 1930s in opposition to the fascist forces which the figure of Lord Horror represents. (Many of the Bauhaus architects and designers eventually fled Germany for Britain and the United States.) This combination of antagonistic elements yielded another of Reverbstorm‘s collisions of counterposed philosophies and aesthetics.

reverbstorm2.jpg

Reverbstorm title page.

The title page is the most flagrant Bauhaus appropriation, a swipe worthy of Peter Saville at his plundering height. Joost Schmidt’s famous Bauhaus-Ausstellung poster is reworked with a Neville Brody typeface (Industria) and with Oskar Schlemmer’s face logo turned into a scowling profile.

On a typographic note, Industria was used right from the start with Reverbstorm since Brody designed it in the Thatcherite 1980s as a deliberate harking back to the authoritarian 1930s. It also has a very appropriate name. The other typefaces used in the book—Morris Fuller Benton’s Empire and Eric Gill’s Perpetua—date from 1937 and 1928 respectively.

reverbstorm3.jpg

Joost Schmidt (1923).

reverbstorm4.jpg

The reworked Oskar Schlemmer face/logo as it appears on the Appendix page. The lightning flash in Reverbstorm has multiple associations: adapted initially from the symbol used by Oswald Mosley’s British Union of Fascists (a symbol also appropriated at various times by David Bowie and Throbbing Gristle) it can also relate to storms, radio broadcasts and electricity in general. Here it becomes a minimal cipher representing Horror’s outrageous plume of hair.

reverbstorm5.jpg

Oskar Schlemmer (1923).

reverbstorm6.jpg

Reverbstorm, part 8.

In part 8 of Reverbstorm Horror ends up naked inside “a Soul” (don’t ask), and we see his figure juxtaposed against a series of backgrounds that recapitulate earlier aspects of the narrative. It was always the intention to end the series with a change of style so I did this by creating a kind of digital maquette figure using vector shapes that could be posed in a variety of ways. The origin of the figure was a sketch by Klaus Barthelmess, one of the students in Oskar Schlemmer’s drawing class. The sketch below appeared in a slightly altered form in issue 5 of the original publications but I always felt more could have been done with it: a posable figure turned out to be the perfect solution. By coincidence, while I was working on the final pages, Clive Hicks-Jenkins had been running a maquette exhibition on his blog. I was tempted to offer my example but a combination of too much work and a reluctance to throw Lord Horror’s obscene and reprehensible presence into the mix put paid to that. Besides which, my figure is a digital creation, not a bona fide paper cut-out.

reverbstorm7.jpg

Drawing by Klaus Barthelmess (1922).

For those who want more Bauhaus design, the Barbican in London is currently staging a major exhibition, Bauhaus: Art as Life, that will run throughout the summer.

Previously on { feuilleton }
Reverbstorm: an introduction and preview

Weekend links 106

oshiro.jpg

Gold Head 2 (2011) by Kouji Oshiro.

Josef Hartwig’s 1922 Bauhaus chess set. Contemporary copies can be bought from Naef Spiele but they’re not cheap. Related: Bauhaus: Art as Life, a major exhibition at the Barbican, London. Related, related: Art as life by Fiona MacCarthy.

• Rattera is a new font by Barnbrook Design for Fuse 1–20, Taschen’s collection of the experimental typography publication. Related: The Fuse poster explained.

Genesis (1981), video feedback and computer animation by Ron Hays with an electronic score by Ragnar Grippe.

Deadly Doris, a recording by Malcolm Mooney-era Can from the forthcoming Lost Tapes collection.

• “How did a pop band end up in a museum” Sasha Frere-Jones on Kraftwerk.

Philip Glass & Robert Wilson on how they made Einstein on the Beach.

• An astonishing aerial photo of post-quake San Francisco in 1906.

• More electronic music: Buddha Machine’s SoundCloud page.

My Baby, music and video from Julia Holter & Jib Kidder.

Homotography‘s photos can now be browsed at Pinterest.

Deviates, Inc., a Tumblr.

• Raoul Björkenheim live: Apocalypso pt. 1 | Apocalypso pt. 2 | 1-2-11 DMG, NYC