Misplaced Pages

#92907

54-511: Graphic designer Paul Rand designed two covers for the March and April 1945 issues. The journal was published under various names throughout its history: For a time, the journal was branded with a subtitle, The Magazine of Building . 194X was a term first used in the October 1943 issue of Architectural Forum . The issue focused on post-war urban and city planning, with the 'X' standing for

108-442: A Madison Avenue -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

162-541: A combination of sign and emblem as a logo. As a result, only a few of the thousands of ideograms in circulation are recognizable without a name. An effective logo may consist of both an ideogram and the company name (logotype) to emphasize the name over the graphic, and employ a unique design via the use of letters, colors, and additional graphic elements. Ideograms and symbols may be more effective than written names (logotypes), especially for logos translated into many alphabets in increasingly globalized markets. For instance,

216-488: A company's logo is today often synonymous with its trademark or brand . Douglas Harper's Online Etymology Dictionary states that the term 'logo' used in 1937 "probably a shortening of logogram ". Numerous inventions and techniques have contributed to the contemporary logo, including cylinder seals ( c.  2300 BCE ), coins ( c.  600 BCE ), trans-cultural diffusion of logographic languages, coats of arms , watermarks , silver hallmarks , and

270-553: A design to give it protection at law. For example, in the UK, the Intellectual Property Office (United Kingdom) govern registered designs, patents, and trademarks. Ordinarily, the trademark registration will not 'make claim' to colors used, meaning it is the visual design that will be protected, even if it is reproduced in a variety of other colors or backgrounds. In some countries, especially civil law countries,

324-530: A greater interest in credit, leading to the creation of unique logos and marks. By the 1950s, Modernism had shed its roots as an avant-garde artistic movement in Europe to become an international, commercialized movement with adherents in the United States and elsewhere. The visual simplicity and conceptual clarity that were the hallmarks of Modernism as an artistic movement formed a powerful toolset for

378-404: A logo lock-up, so named because elements are "locked" together and should not be broken apart or resized individually. Because logos are meant to represent companies' brands or corporate identities and foster their immediate customer recognition, it is counterproductive to frequently redesign logos. The logo design profession has substantially increased in numbers over the years since the rise of

432-637: A logo that matches the firm's Internet address. For short logotypes consisting of two or three characters, multiple companies are found to employ the same letters. A "CA" logo, for example, is used by the French bank Credit Agricole , the Dutch clothing retailer C&A , and the US software corporation CA Technologies , but only one can have the Internet domain name CA.com. In today's digital interface adaptive world,

486-610: A logo will be formatted and re-formatted from large monitors to small handheld devices. With the constant size change and re-formatting, logo designers are shifting to a more bold and simple approach, with heavy lines and shapes, and solid colors. This reduces the confusion when mingled with other logos in tight spaces and when scaled between media. Social networks like Twitter , Facebook , LinkedIn , and Google+ use such logos. Logos and their design may be protected by copyright, via various intellectual property organisations worldwide which make available application procedures to register

540-749: A name written in Arabic script might have little resonance in most European markets. By contrast, ideograms keep the general proprietary nature of a product in both markets. In non-profit areas, the Red Cross (varied as the Red Crescent in Muslim countries and as the Red Star of David in Israel) exemplifies a well-known emblem that does not need an accompanying name. The red cross and red crescent are among

594-582: A new generation of graphic designers whose logos embodied Ludwig Mies van der Rohe 's dictum, "Less is more." Modernist-inspired logos proved successful in the era of mass visual communication ushered in by television, improvements in printing technology, and digital innovations. The current era of logo design began in the 1870s with the first abstract logo, the Bass red triangle. As of 2014 , many corporations, products, brands, services, agencies, and other entities use an ideogram (sign, icon) or an emblem (symbol) or

SECTION 10

#1732772879093

648-588: A part-time position creating stock images for a syndicate 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 Sachplakat (object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage the overtly Jewish identity conveyed by his name, Peretz Rosenbaum, shortening his forename to 'Paul' and taking 'Rand' from an uncle to form

702-402: A perfect union of the aggressive vertical (male) and the passive horizontal (female)." Rand's most widely known contributions to design are his corporate identities , many of which are still in use. IBM , ABC , Cummins Engine , UPS , and Enron , 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

756-487: 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 profession's development. The core ideology that drove Rand's career, and hence his lasting influence, was the modernist philosophy he so revered. He celebrated the works of artists from Paul Cézanne to Jan Tschichold , and constantly attempted to draw

810-557: A role in how we decipher and evaluate logo color. While color is considered important to brand recognition and logo design, it should not conflict with logo functionality, and it needs to be remembered that color connotations and associations are not consistent across all social and cultural groups. For example, in the United States, red, white, and blue are often used in logos for companies that want to project patriotic feelings but other countries will have different sets of colors that evoke national pride. Choosing an organisation's logo color

864-584: A sufficient livelihood, and so he required Paul to attend Manhattan's Haaren High School while taking night classes at the Pratt Institute . Rand was largely "self-taught" as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as Gebrauchsgraphik ." Rand also attended Parsons School of Design and the Art Students League of New York . His career began with humble assignments, starting with

918-697: 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." 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. Prior to his death, Rand asked his friend and fellow graphic designer Fred Troller to design his headstone. Graphic design author Steven Heller , 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

972-402: A visual identity system is one of the most difficult and important areas of graphic design. Logos fall into three classifications (which can be combined). Ideographs, such as Chase Bank , are completely abstract forms; pictographs are iconic, representational designs; logotypes (or wordmarks) depict the name or company initials. These elements can be combined in a set position and relative size in

1026-587: Is a key element in logo design and plays an important and potentially vital role in brand differentiation. Colors can have immense consequences on our moods. They are remarkably dominant to the point that they can psychologically manipulate perspectives, emotions, and reactions. The importance of color in this context is due to the mechanics of human visual perception wherein color and contrast play critical roles in visual detail detection. In addition, we tend to acquire various color connotations and color associations through social and cultural conditioning, and these play

1080-412: Is an important decision because of its long term implications and its role in creating differentiation among competitors' logos. A methodology for identifying potential logo colors within an industry sector is color mapping, whereby existing logo colors are systematically identified, mapped, and evaluated (O'Connor, 2011). Designing a good logo often requires involvement from a marketing team teaming with

1134-477: Is designed with the utmost simplicity and restraint." Rand remained vital as he aged, 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 Steve Jobs for the NeXT Computer corporate identity; Rand's simple black box breaks the company name into two lines, producing

SECTION 20

#1732772879093

1188-510: Is one of the best and most capable ... He is a painter, lecturer, industrial designer, [and] 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 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. The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through

1242-427: Is why it will take you one hundred years to read this book. Even today's philosophers talk about it[.] [E]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 open this up next year, that you read something new. Dewey is an important source for Rand's underlying sentiment in graphic design; on page one of Rand's groundbreaking Thoughts on Design ,

1296-632: The Library of Congress and the fashion brand Armani Exchange . Another pioneer of corporate identity design is Paul Rand , who was one of the originators of the Swiss Style of graphic design . He designed many posters and corporate identities, including the famous logos for IBM , UPS , and ABC . The third pioneer of corporate identity design is Saul Bass . Bass was responsible for several recognizable logos in North America, including both

1350-650: The Modernist movement in the United States in the 1950s. Three designers are widely considered the pioneers of that movement and of logo and corporate identity design: The first is Chermayeff & Geismar , which is the firm responsible for many iconic logos, such as Chase Bank (1964), Mobil Oil (1965), PBS (1984), NBC (1986), National Geographic (2003), and others. Due to the simplicity and boldness of their designs, many of their earlier logos are still in use today. The firm recently designed logos for

1404-805: The Swiss Style of graphic design. Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York Art Directors Club Hall of Fame in 1972. 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

1458-474: The Victorian decorative arts led to an expansion of typographic styles and methods of representing businesses. The Arts and Crafts Movement of late-19th century, partially in response to the excesses of Victorian typography, aimed to restore an honest sense of craftsmanship to the mass-produced goods of the era. A renewal of interest in craftsmanship and quality also provided the artists and companies with

1512-414: The threshold of originality required for copyright protection can be quite high, so a logo that contains simple geometric shapes or text might not be eligible for copyright protection although it can be protected as a trademark. For many teams, a logo or " crest " is an important way to recognize a team's history and can intimidate opponents. For certain teams, the logo and color scheme are synonymous with

1566-405: The 1960s to redesign their corporate logo, it refused to use his modernized design. Although the logos may be interpreted as simplistic, Rand was quick to point out in A Designer's Art 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

1620-486: The Bell Telephone logo (1969) and successor AT&T Corporation globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969), and United Way (1972). Later, he would produce logos for a number of Japanese companies as well. An important development in the documentation of logo design is the study of French trademarks by historian Edith Amiot and philosopher Jean Louis Azizollah. Color

1674-701: The Connecticut cemetery for its economical beauty, subtle ingenuity, and elegant typography." 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. László Moholy-Nagy 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." Steven Heller elaborates on this meeting's impact, noting; "from that moment on, Rand devoured books by

Architectural Forum - Misplaced Pages Continue

1728-487: The French tire manufacturer Michelin introduced the Michelin Man , a cartoon figure presented in many different contexts, such as eating, drinking, and playing sports. By the early 21st century, large corporations such as MTV , Nickelodeon , Google , Morton Salt , and Saks Fifth Avenue had adopted dynamic logos that change over time from setting to setting. A company that uses logotypes (wordmarks) may desire

1782-409: The article's talk page . Paul Rand Paul Rand (born Peretz Rosenbaum ; August 15, 1914 – November 26, 1996) was an American art director and graphic designer . He was best known for his corporate logo designs, including the logos for IBM , UPS , Enron , Morningstar, Inc. , Westinghouse , ABC , and NeXT . He was one of the first American commercial artists to embrace and practice

1836-401: The artist is to defamiliarize the ordinary. Logo A logo (abbreviation of logotype ; from Ancient Greek λόγος (lógos)  'word, speech' and τύπος (túpos)  'mark, imprint') is a graphic mark, emblem , or symbol used to aid and promote public identification and recognition. It may be of an abstract or figurative design or to include the text of

1890-588: The assumed end date of the war. The issue contained plans for shopping centers, housing, and schools based on the needs and size of a population. This was part of a larger shift in American culture, as many thought the end of the war would usher in a new era of architecture and urbanization that slowed down due to the war. This article relating to an architectural magazine is a stub . You can help Misplaced Pages by expanding it . See tips for writing articles about magazines . Further suggestions might be found on

1944-482: The author begins drawing lines from Dewey's philosophy to the need for "functional-aesthetic perfection" in modern art. Among the ideas Rand pushed in Thoughts on Design 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. During Rand's later career, he became increasingly agitated about

1998-629: The best-recognized symbols in the world. National Red Cross and Red Crescent Societies and their Federation as well as the International Committee of the Red Cross include these symbols in their logos. Branding can aim to facilitate cross-language marketing. Consumers and potential consumers can identify the Coca-Cola name written in different alphabets because of the standard color and "ribbon wave" design of its logo. The text

2052-528: The connections between their creative output and significant applications in graphic design. In A Designer's Art Rand clearly demonstrates his appreciation for the underlying connections: 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 grandiose concepts. The problem of

2106-485: The development of printing technology . As the Industrial Revolution converted western societies from agrarian to industrial in the 18th and 19th centuries, photography and lithography contributed to the boom of an advertising industry that integrated typography and imagery together on the page. Simultaneously, typography itself was undergoing a revolution of form and expression that expanded beyond

2160-430: The development of the "Paul Rand look" that was not as yet fully developed. The December 1940 cover, which uses barbed wire to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom Rand enjoyed at Direction ; in Thoughts on Design Rand notes that it "is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well ...

2214-423: The graphic design studio. Before a logo is designed, there must be a clear definition of the concept and values of the brand as well as understanding of the consumer or target group. Broad steps in the logo design process include research, conceptualization, investigation of alternative candidates, refinement of a chosen design, testing across products, and finally adoption and production of the chosen mark. In 1898,

Architectural Forum - Misplaced Pages Continue

2268-426: The leading philosophers on art, including Roger Fry , Alfred North Whitehead , and John Dewey ." 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 Art as Experience , Rand elaborates on Dewey's appeal: [... Art as Experience ] deals with everything — there is no subject he does not deal with. That

2322-718: The lithographic company, as opposed to the individual artists who usually performed less important jobs. Innovators in the visual arts and lithographic process—such as French printing firm Rouchon in the 1840s, Joseph Morse of New York in the 1850s, Frederick Walker of England in the 1870s, and Jules Chéret of France in the 1870s—developed an illustrative style that went beyond tonal, representational art to figurative imagery with sections of bright, flat colors. Playful children's books, authoritative newspapers, and conversational periodicals developed their own visual and editorial styles for unique, expanding audiences. As printing costs decreased, literacy rates increased, and visual styles changed,

2376-512: The modest, serif typefaces used in books, to bold, ornamental typefaces used on broadsheet posters . The arts were expanding in purpose—from expression and decoration of an artistic, storytelling nature, to a differentiation of brands and products that the growing middle classes were consuming. Consultancies and trades-groups in the commercial arts were growing and organizing; by 1890, the US had 700 lithographic printing firms employing more than 8,000 people. Artistic credit tended to be assigned to

2430-444: The most enduring." Indeed, Rand was rapidly moving into the forefront of his profession. In his early twenties, he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of László Moholy-Nagy : Among these young Americans, it seems to be that Paul Rand

2484-480: The name that it represents as in a wordmark . In the days of hot metal typesetting , a logotype was one word cast as a single piece of type (e.g. "The" in ATF Garamond ), as opposed to a ligature , which is two or more letters joined, but not forming a word. By extension, the term was also used for a uniquely set and arranged typeface or colophon . At the level of mass communication and in common usage,

2538-491: The needs his identities would address for the corporation. According to graphic designer Louis Danziger: 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 designers largely on his merits. Rand's defining corporate identity

2592-490: The page" earned Rand a full-time job, as well as an offer to take over as art director for the Esquire - Coronet 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. The cover art for Direction magazine proved to be an important step in

2646-421: The postmodern movement as "faddish and frivolous" and "harbor[ing] its own built-in boredom". Despite the importance graphic designers place on his book Thoughts on Design , subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being "reactionary and hostile to new ideas about design." Steven Heller defends Rand's later ideas, calling the designer "an enemy of mediocrity,

2700-459: The rise of postmodernist theory and aesthetic in design. In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern designer Sheila Levrant de Bretteville , and convinced his colleague Armin Hofmann 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

2754-532: The years as his influential works and writings firmly established him as the éminence grise of his profession. Although Rand was most famous for the corporate logos he created in the 1950s and 1960s, his early work in page design was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts (now GQ ) magazine anniversary issue. "His remarkable talent for transforming mundane photographs into dynamic compositions, which ... gave editorial weight to

SECTION 50

#1732772879093

2808-553: 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 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

2862-413: 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 Ford appointed Rand in

2916-564: Was written in Spencerian Script , which was a popular writing style when the Coca-Cola Logo was being designed. Since a logo is the visual entity signifying an organization, logo design is an important area of graphic design . A logo is the central element of a complex identification system that must be functionally extended to all communications of an organization. Therefore, the design of logos and their incorporation in

#92907