paul rand
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My lecture note on Paul RandTRANSCRIPT
Paul RandGreat Designer
Paul Rand Biography
Born:
Peretz Rosenbaum
August 15, 1914
Education:
Pratt Institute
Parsons School of Design
The Art Students League
Paul Rand’s Career
1st Career (1937 - 1941)
Media Promotion
Cover Design
Esquire, Apparel Arts, Directors
Cover Design / Editorial
Paul Rand’s Career
2nd Career (1941 - 1954)
Advertising Design
Advertising Design
Paul Rand’s Career
3rd Career (1954 - 1996)
Trademark Design
Corporate Identity Design
Paul Rand’s Career
4th Career
Educator / Professor of Graphic Design
Cooper Union 1942
Pratt Institue 1946
Yale University Graduate School of Design 1956
Here’s what a logo is and does:
A logo is a flag, a signature, an escutcheon.
A logo doesn’t sell (directly), it identifies.
A logo is rarely a description of a business.
A logo derives its meaning from the quality of the thing it symbolizes, not the other way around.
A logo is less important than the product it signifies; what it means is more important that what it looks like.
Originally published in 1991 by AIGA, the professional association for design.Also available in “Looking Closer: Critical Writings on Graphic Design” from Allworth Press.
Here’s what a logo is and does:
A logo appears in many guises: a signature is a kind of logo, so is a flag. The French flag, for example, or the flag of Saudi Arabia, are aesthetically pleasing symbols. One happens to be pure geometry, the other a combination of Arabic script, together with an elegant saber-two diametrically opposed visual concepts; yet both function effectively. Their appeal, however, is more than a matter of aesthetics. In battle, a flag can be a friend or foe. The ugliest flag is beautiful if it happens to be on your side. “Beauty,” they say, “is in the eye of the beholder,” in peace or in war, in flags or in logos. We all believe our flag the most beautiful; this tells us something about logos.
Originally published in 1991 by AIGA, the professional association for design.Also available in “Looking Closer: Critical Writings on Graphic Design” from Allworth Press.
Paul Rand’s Identity Design
Esquire Magazine 1938
Paul Rand’s Identity Design
IBM 1956 (8 Bars Variation in 1972)
Paul Rand’s Identity Design
Colorforms 1959
Paul Rand’s Identity Design
Westinghouse 1960
Paul Rand’s Identity Design
United Parcels Service 1961
Paul Rand’s Identity Design
American Broadcast Corporation 1962
Paul Rand’s Identity Design
Cummins 1962
Paul Rand’s Identity Design
Ford Motor Company 1966 (not used)
Paul Rand’s Identity Design
Next Computer 1986
Paul Rand’s Identity Design
English First 1993
Paul Rand’s Identity Design
Enron 1996
The effectiveness of a good logo depends on:
a. distinctiveness
b. visibility
c. usability
d. memorability
e. universality
f. durability
g. timelessness
Paul Rand’s Style
Pre-requisites of modernity
Simplicity
Ease of recognition
What is design?
Design in the method of putting form and content together. Design, just as art, has multiple definitions, there is no single definition. Design can be art, Design can be aesthetics. Design is so simple, that’s why it is so complicated.
Paul Rand to MIT Media Laboratory audience
Good Design
The roots of good design lie in aesthetics: painting, drawing, and architecture, while those of business and market research are in demographics and statistics; aesthetics and business are traditionally incompatible disciplines.
- Design Forms and Chaos
Originality & Imitation
Mies van der Rohe once said that being good is more important than being original. Originality is a product, not an intention.
- Graphic Wit “Paul Rand: The Play Instinct”
Work SamplesCover Design
Work SamplesCover Design
Work SamplesPoster Design
Work SamplesCover Design
Work SamplesCover Design
Work SamplesCover Design