Form, Function and the Enduring Power of Simplicity

The first quarter of the twentieth century witnessed an artistic revolution without equal in the history of visual culture. In the few years leading up to the First World War, the founding principles of modern art, architecture, and design were laid down—principles that continue to shape how we perceive, navigate, and interpret the world today.

Shortly after the war, in 1923, Wassily Kandinsky distributed a curious questionnaire at the Bauhaus. Participants were asked to assign a primary colour to each of three basic shapes: triangle, square, and circle. This seemingly simple experiment helped shape modern colour theory and opened up new ways of thinking across design disciplines – from fashion and graphic communication to architecture.

These three elemental shapes have recurred throughout human history, etched into our earliest artefacts: ceramics, textiles, buildings, and city plans. Geometry has long been a tool not only of decoration but of communication and structure – an ancient language we still intuitively understand.

Later, Joseph Albers, both student and teacher at the Bauhaus, developed Kombinationschrift, a modular lettering system based on ten shapes derived from a circle and a square. Though not the most legible typeface, it reflected the Bauhaus ethos: design that is efficient, elegant, and made for mass production.

Fast-forward to today. Technology has expanded exponentially – CAD software enables the creation of extraordinary forms and systems. And yet, even in the most cutting-edge design environments, the triangle, square, and circle remain central. Their clarity, adaptability, and visual strength continue to inspire and ground contemporary design practice.

In typography especially, we’ve seen designers either embrace complexity or radically reduce forms. The latter is increasingly favoured, particularly in brand identity, where minimalism cuts through digital noise with deliberate calm. Stripped-back logos composed of basic forms aren’t just stylish—they’re purposeful, readable, and scalable across print, motion, and interactive platforms.

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This minimal aesthetic can be seen in three example projects:

Hello is a design and communication studio based in Somerset. Their logotype removes horizontal letterform elements, creating a form marque that is abstract yet recognisable. Punctuation anchors the brand visually, making the initial ambiguity part of its charm.

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Shape uses geometric components to construct letterforms – a powerful concept for shorter words or initials, though less practical for a full alphabet. Still, its visual clarity makes it an arresting identity.

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Host is a cultural venue and workshop space. The brand I developed balances structure and play, functioning in solid colour, outline, and when laser-cut for signage and wayfinding.

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Each identity draws from the same Bauhaus-inspired design roots – reductive forms, clear purpose, and a desire to communicate meaningfully through shape and space. As design continues to evolve, it’s no surprise that we keep returning to these foundations.

Does this minimalist shift signal a new direction in branding and identity? Perhaps. But complexity still has its place – especially in motion graphics and digital platforms. Great design doesn’t rely on one approach, but rather responds to context, audience, and cultural moment.

Living brands aren’t static. They evolve, anticipate trends, and adapt across media. My work draws on the legacy of modernist design while staying alert to what’s next – social, cultural, and technological. After all, we too are navigating periods of rapid change and uncertainty. Good design can help us make sense of it all.

If you’re developing a brand, logo or identity – and want to create something that resonates now and endures into the future – I’d love to collaborate. Let’s shape something together: carlmiddleton@neatdesign.org / 01823 401 302

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Reference

• James Beighton / Annie O’Donnell / Christian Wolsdorff / Godrey Worsdale: Bauhaus 1919-1933 – Mima – 2007
• Gyorgy Kepes: Module – Symmentry – Proportion – Studio Vista – 1966
• Gyorgy Kepes: The Man-made Object – Studio Vista – 1966
• Willi Kuntz: Typography: Macro + Micro Aesthetics – Niggi – 2000
• Willi Kuntz: Typography: Formation + Transformation – Niggi – 2003
• Kurt Rowland: A History of the Modern Movement – Van Nostrand Reinhold Co – 1973

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To discuss a brand, identity, logo or ident project –

contact Carl directly by email at carlmiddleton@neatdesign.org or telephone on: 01823 401 302

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© Carl Middleton – April 2025

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