The designer’s agency possesses great force in terms of how people see and interact with the environment, yet their moods of communication is rarely a topic for historians of science or the environment. This paper will serve as a remedy by discussing the work of Herbert Bayer. As a former faculty member of the Bauhaus school, he introduced modernist imagery in relation to globalization, conservation values, and maps dealing with environmental concerns in the United States. His graphic work represented a neo-Romantic attempt to reconcile managerial capitalism with humanistic values and protection of the environment as a whole. The three dominating themes in Bayer’s environmental design were images of globalization, designs with nature, and cartography. This paper will proceed in the same sequence, arguing that Bayer’s visual representation of the global environment rested on a Bauhaus vision of a new kind of industrial humanism, that his designs with nature came to inspire a whole generation of earthworks artists, architects, and landscape designers, and finally that his World Geo-Graphic Atlas of 1953 established a Bauhaus iconography in atlases addressing environmental issues.