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Neue Arbeiten der Bauhauswerkstätten. München: Albert Langen, 1925 (Bauhausbücher; 7)
“While acknowledging 'the purity of visual effect' that could be achieved by the use of conventional type-faces and type-setting, Moholy believed that books could be designed to acknowledge the 'new dimension of life' and that 'the grey text will change into a coloured picture book and will be understood as a continuous visual design'. The design and lay-out of the Bauhaus Books, which were planned in 1924 and published between 1925 and 1931, demonstrate Moholy's theories, with their assymetrical layout, and the use of bold type, horizontal and verical lines, circles and arrows (point and line and plane) for emphasis as well as visual continuity.”
Gillian Naylor. The Bauhaus reassessed: sources and design theory. London: Herbert Press, 1985 (p. 158)
“Although Walter Gropius and László Moholy-Nagy served as editors on all fourteen of the Bauhaus books published between 1924 and 1929, Moholy-Nagy assumed almost sole responsibility not only for the supervision of the authors and the correspondence with the printers but also for the entire thematic and organizational production of the book. In this he profited enormously from the experience of Lucia, his wife of the time, who had worked for the Kurt Wolff and Ernst Rowohlt presses and was thus familiar with the essentials of publishing.”
Ingrid Pfeiffer, Max Hollein (eds.). László Moholy-Nagy retrospective, Schirn Kunsthalle Frankfurt. Munich: Prestel, 2009 (p. 112)