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Paul Rand is one of the lucky fews to be both a modernist and an American. Other artists are often refugees and can be accused at any time of being Reds. Rand is therefore in a very good position to be the man of the moment.
Modernist influences
For the short story, the cube of the logo was first placed straight on the surface, without an oblique axis. In his file, Rand had added what would now look like an envelope mock-up, with a sticker of the logo placed at an angle. During the printing of the report, someone asked him "Why don't you make them all like the one on the envelope?" This simple modification is the key element that convinced Steve Jobs, so admiring of Rand's work that he reprinted the booklet for distribution. For some companies, Rand continued to monitor the evolution of his creations for several decades, to adjust them to changes and trends. [Numbers] impart to a printed piece a sense of rhythm and immediacy.
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I love modern retro design style and Paul Rand's simplicity and geometry form the biggest influence in my own vintage style interior design ideas and apparel lines. For this reason, for me at least, Paul Rand deserves his place in history as one of the giants of timeless graphic design. Most contemporary designers are aware of Paul Rand’s successful and compelling contributions to advertising design.
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If the visual at first sight did not appear appropriate to the message of the composition, this was secondary to what it represented as an abstraction of the element. He is able to analyze his problems, but his fantasy is boundless”. Across the industry, Rand helped initiate a crucial shift in creative power from copywriters to art directors.
Since a very early age, he had a keen interest in painting and designing which reflected through his painting signs for his father’s grocery store and for his school events. As his father was of the view that art alone would be insufficient to provide a satisfying lifestyle for his son, so he enrolled him at Manhattan’s Harren High School. While studying there, Paul also attended night classes at the Pratt Institute from 1929 to 1932. He attended several art schools in succession such as The New School for Design, the Art Students League and Yale University in Connecticut.
To achieve an effective solution to his problem, the designer must necessarily go through some sort of mental process. He is aware of the scientific and technological developments in his own and kindred fields. He improvises, invents, or discovers new techniques and combinations. He co-ordinates and integrates his material so that he may restate his problem in terms of ideas, signs, symbols, pictures. He symbolizes — abstracts from his material by association and analogy. He intensifies and reinforces his symbol with appropriate accessories to achieve clarity and interest.
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In the Lost Steps, the criss-cross design hints at steps that are essentially lost within confusion. In American Son, the blue and red angular geometric shapes suggests an awkward, American flag and the green with the leaf suggests fertility. In Perspectives upon Science, the abstract eye on top of the church weathervane with rectangular shapes fanning out, as well as bird feathers, suggest perspective. The church, symbolised by the weathervane shape is, of course, a polar opposite to science. Rand promoted the idea of a consistent memorable brand identity that provided the consumer with an immediate sense of what the company was about.
The brief life of this designer left an indelible mark on the history of graphic design.
During Post War America there was a huge fear of Communism but also of the persecution of apparent Communism. Companies as well as individuals wanted to avoid at all costs the possibility of being accused of having Communist sympathies. Like artists, who tended to avoid any suspicious figurative representation in art and moved more towards Abstract Expressionism, so too did big business want to be perceived as modern, global looking and "all American". In 1954, when Paul Rand decided that for him Madison Avenue was no longer a two-way street and he resigned from the Weintraub agency, he was cited as one of the ten best art directors by the Museum of Modern Art.
You are only allowed to leave one flower per day for any given memorial. As manager of this memorial you can add or update the memorial using the Edit button below. He wanted to do away with his prominent Jewish identity and for the same he changed his name and surname. The new name sounded more American thus helping him in the process.
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For Rand it was not a case of providing a few options to the client. He would provide a single design, not in concept but in completion. It is worth noting that it was Rand's philosophy that the corporate logo should not be the entity responsible for devising the company ethos and meaning. Rather it should be the opposite and that a successful logo is one that reflects distinctly, memorably and clearly the meaning of the company, not the other way round. IBM's new identity is thus conceived as a global, moving, immediately recognizable work of art delivering a strong message. Charles Eames pointed out, "design is a plan for arranging elements in such a way as best to accomplish a particular purpose.".
The design is full of humor and metaphor that stops the reader in their tracks. Born Peretz Rosenbaum in Brooklyn 1914, Paul Rand found himself in the right place at the right time. Heavily influenced by new avant-garde ideas coming out of Europe, he realised the importance of visual communication when it came to commercial design. This is what I find inspiring in Paul Rand and is something that I try to incorporate in my own retro style designs and patterns.
For Rand, the essential elements to visual communication were simplicity and geometry. Remove all sense of nostalgia, sentimentality and figurative representation and get right back to the bare shapes and colors of the artwork. Like a lot of modernist designers of his time, Rand leant heavily on Swiss Style that allowed him visual clarity in his graphic design. For Rand the key to visual communication was to develop a "universal language" of design without weighing upon the need to communicate so much with words as with pictures.
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