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were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the "striped" logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company's default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Although
259:-friendly surname. Morris Wyszogrod, a friend and associate of Rand, noted that "he figured that 'Paul Rand,' four letters here, four letters there, would create a nice symbol. So he became Paul Rand." Roy R. Behrens notes the importance of this new title: "Rand's new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring." Indeed, Rand was rapidly moving into the forefront of his profession.
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that "ideas do not need to be esoteric to be original or exciting." His
Westinghouse trademark, created in 1960, epitomizes that ideal of minimalism while proving Rand's point that a logo "cannot survive unless it is designed with the utmost simplicity and restraint." Rand remained vital as he aged,
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Paul Rand was born Peretz
Rosenbaum on August 15, 1914 in Brooklyn, New York. He embraced design at a very young age, painting signs for his father's grocery store as well as for school events at P.S. 109. Rand's father did not believe art could provide his son with a sufficient livelihood, and so
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deals with everything — there is no subject he does not deal with. That is why it will take you one hundred years to read this book. Even today's philosophers talk about it very time you open this book you find good things. I mean the philosophers say this, not just me. You read this, then when you
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Among these young
Americans, it seems to be that Paul Rand is one of the best and most capable ... He is a painter, lecturer, industrial designer, advertising artist who draws his knowledge and creativeness from the resources of this country. He is an idealist and a realist, using the language of
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From
Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artist's cauldron. What Cézanne did with apples, Picasso with guitars, Léger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon
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defends Rand's later ideas, calling the designer "an enemy of mediocrity, a radical modernist" while
Favermann considers the period one of "a reactionary, angry old man." Regardless of this dispute, Rand's contribution to modern graphic design theory in total is widely considered intrinsic to the
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Rand's defining corporate identity was his IBM logo in 1956, which as Mark
Favermann notes "was not just an identity but a basic design philosophy which permeated corporate consciousness and public awareness." The logo was modified by Rand in 1960. The striped logo was created in 1972. The stripes
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He almost singlehandedly convinced business that design was an effective tool. Anyone designing in the 1950s and 1960s owed much to Rand, who largely made it possible for us to work. He more than anyone else made the profession reputable. We went from being commercial artists to being graphic
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corporate identity; Rand's simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Jobs was pleased; just prior to Rand's death in 1996, his former client labeled him "the greatest living graphic designer."
472:, known for his insightful commentary on design principles, offered praise for Rand's memorial. Heller stated “The memorial stands out among rows of traditional tombstones in the Connecticut cemetery for its economical beauty, subtle ingenuity, and elegant typography."
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to do the same. In justification of his resignation, Rand penned the article "Confusion and Chaos: The
Seduction of Contemporary Graphic Design", in which he denounced the postmodern movement as "faddish and frivolous" and "harbor its own built-in boredom".
398:, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation. According to graphic designer Louis Danziger:
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magazine anniversary issue. "His remarkable talent for transforming mundane photographs into dynamic compositions, which ... gave editorial weight to the page" earned Rand a full-time job, as well as an offer to take over as art director for the
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magazines. Initially, Rand refused this offer, claiming that he was not yet at the level the job required, but a year later he decided to go ahead with it, taking over responsibility for
Esquire's fashion pages at the young age of twenty-three.
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Though Rand was a recluse in his creative process, doing the vast majority of the design load despite having a large staff at varying points in his career, he was very interested in producing books of theory to illuminate his philosophies.
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Rand notes that it "is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well ... a perfect union of the aggressive vertical (male) and the passive horizontal (female)."
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The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as his influential works and writings firmly established him as the
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that supplied graphics to various newspapers and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style
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continuing to produce important corporate identities into the eighties and nineties with a rumored $ 100,000 price per single design. The most notable of his later works was his collaboration with
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was the practice of creating graphic works capable of retaining recognizable quality even after being blurred or mutilated, a test Rand routinely performed on his corporate identities.
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may have incited Rand's zeal for knowledge when he asked his colleague, at their first meeting, if he read art criticism. Rand said no, prompting Moholy-Nagy to reply "Pity."
506:." These theoreticians would have a lasting impression on Rand's work; in a 1995 interview with Michael Kroeger discussing, among other topics, the importance of Dewey's
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magazine proved to be an important step in the development of the "Paul Rand look" that was not as yet fully developed. The
December 1940 cover, which uses
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Rand devoted his final years to design work and the writing of his memoirs. In 1996, he died of cancer at age 82 in
Norwalk, Connecticut.
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the poet and business man. He thinks in terms of need and function. He is able to analyze his problems but his fantasy is boundless.
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An early advertisement design by Paul Rand (featured in the Museum of the City of New York's Retrospective on his work in Spring 2015)
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elaborates on this meeting's impact, noting; "from that moment on, Rand devoured books by the leading philosophers on art, including
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theory and aesthetic in design. In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern designer
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magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of
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In his early twenties, he was producing work that began to garner international acclaim, notably his designs on the covers of
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identity conveyed by his name, Peretz Rosenbaum, shortening his forename to 'Paul' and taking 'Rand' from an uncle to form a
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251:(object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage the overtly
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Dewey is an important source for Rand's underlying sentiment in graphic design; on page one of Rand's groundbreaking
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880:. Hoboken: John Wiley & Sons Inc. pp. 374–375, 376, 377, 379, 382, 390, 404–405, 406, 407, 435, 477.
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was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an
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appointed Rand in the 1960s to redesign their corporate logo, it refused to use his modernized design.
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561:(1996), compounded accusations of Rand being "reactionary and hostile to new ideas about design."
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where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York
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His career began with humble assignments, starting with a part-time position creating
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The core ideology that drove Rand's career, and hence his lasting influence, was the
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to present the magazine as both a war-torn gift and a crucifix, is indicative of the
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Although the logos may be interpreted as simplistic, Rand was quick to point out in
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grandiose concepts. The problem of the artist is to defamiliarize the ordinary.
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During Rand's later career, he became increasingly agitated about the rise of
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210:. Rand was largely "self-taught" as a designer, learning about the works of
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Rand clearly demonstrates his appreciation for the underlying connections:
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138:; August 15, 1914 – November 26, 1996) was an American art director and
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Prior to his death, Rand asked his friend and fellow graphic designer
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1049:"Confusion and Chaos: The Seduction of Contemporary Graphic Design"
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philosophy he so revered. He celebrated the works of artists from
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1022:"Sheila Levrant de Bretteville: Dirty Design and Fuzzy Theory"
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994:(Interview). Interviewed by Michael Kroeger. Archived from
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Despite the importance graphic designers place on his book
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Rand's most widely known contributions to design are his
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he created in the 1950s and 1960s, his early work in
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open this up next year, that you read something new.
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923:Favermann, Mark. "Two Twentieth-Century Icons."
297:Although Rand was most famous for the corporate
19:Not to be confused with the American politician
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468:to design his headstone. Graphic design author
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202:he required Paul to attend Manhattan's
142:. He was best known for his corporate
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512:, Rand elaborates on Dewey's appeal:
16:American graphic designer (1914–1996)
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367:poster designed by Rand in 1981 for
854:. "Tribute: Paul Rand 1914–1996."
378:, many of which are still in use.
206:while taking night classes at the
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1238:Deaths from cancer in Connecticut
146:designs, including the logos for
878:Meggs' History of Graphic Design
415:designers largely on his merits.
218:from European magazines such as
1218:Parsons School of Design alumni
986:Rand, Paul (February 8, 1995).
228:Art Students League of New York
191:Art Directors Club Hall of Fame
732:"Paul Rand: A Brief Biography"
545:, and convinced his colleague
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1160:Guide to the Paul Rand Papers
792:Behrens, Roy R. "Paul Rand."
697:Princeton Architectural Press
543:Sheila Levrant de Bretteville
1151:Misawa Lecture by Paul Rand
1075:Paul Rand: A Designer's Art
911:New York: Wittenborn: 1947.
689:Paul Rand: A Designer's Art
608:Paul Rand: A Designer's Art
557:, subsequent works such as
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1248:20th-century American Jews
1188:American graphic designers
962:"Paul Rand – LIFE / DEATH"
566:profession's development.
476:Influences and other works
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1243:Haaren High School alumni
876:; Purvis, Alston (1983).
835:, May–June 1997: 106–109+
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662:From Lascaux to Brooklyn
559:From Lascaux to Brooklyn
224:Parsons School of Design
197:Early life and education
1203:Jewish American artists
1164:Yale University Library
1110:Heller, Steven (1999).
635:Design, Form, and Chaos
1213:Pratt Institute alumni
831:. "Thoughts on Rand."
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500:Alfred North Whitehead
428:
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222:." Rand also attended
187:New Haven, Connecticut
1223:Artists from Brooklyn
1083:Yale University Press
940:(November 28, 1996).
796:, Sept–Oct. 1999: 68+
757:"Obituary: Paul Rand"
670:Yale University Press
643:Yale University Press
616:Yale University Press
481:Development of theory
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1155:MIT Media Laboratory
570:Modernist influences
376:corporate identities
356:Corporate identities
87:Norwalk, Connecticut
1073:Rand, Paul (1985).
998:on February 8, 2012
909:Thoughts on Design.
858:, Jan–Feb. 1997: 34
687:Rand, Paul (2016).
660:Rand, Paul (1996).
633:Rand, Paul (1994).
606:Rand, Paul (1985).
294:of his profession.
178:of graphic design.
109:Art Students League
947:The New York Times
555:Thoughts on Design
527:Thoughts on Design
523:Thoughts on Design
488:László Moholy-Nagy
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425:Ford Motor Company
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349:Thoughts on Design
331:The cover art for
276:László Moholy-Nagy
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204:Haaren High School
1123:978-0-7148-3798-7
992:MK Graphic Design
927:Apr–May 1997: 15.
767:on April 15, 2015
509:Art as Experience
407:Westinghouse Sign
160:Morningstar, Inc.
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81:(1996-11-26)
44:Rand in 1942
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1198:1996 deaths
1193:1914 births
1116:. Phaidon.
1058:January 11,
1033:January 11,
1002:January 11,
771:October 22,
741:October 22,
457:Later years
337:barbed wire
303:page design
216:Moholy-Nagy
176:Swiss Style
1182:Categories
1132:1042102146
715:References
504:John Dewey
446:Steve Jobs
249:Sachplakat
60:1914-08-15
1113:Paul Rand
1079:New Haven
1053:Paul Rand
971:March 15,
666:New Haven
639:New Haven
612:New Haven
576:modernist
533:Criticism
496:Roger Fry
365:Eye Bee M
345:Direction
333:Direction
272:Direction
244:syndicate
212:Cassandre
193:in 1972.
132:Paul Rand
124:Professor
111:(1933–34)
106:(1932–33)
101:(1929–32)
32:Paul Rand
21:Rand Paul
1020:(1992).
693:New York
448:for the
409:and logo
226:and the
1146:Fansite
427:in 1966
405:Rand's
325:Coronet
321:Esquire
104:Parsons
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