This is probably where his interest in abstraction began. Our editors will review what you’ve submitted and determine whether to revise the article. In 1986, for example, he worked for Steve Jobs who commissioned him to create a visual identity for his computer company, for the coquettish sum of $100,000. White House coronavirus advisor Dr. Anthony Fauci pushed back against Republican Sen. Rand Paul's claim that New York has overcome the coronavirus pandemic because it achieved herd immunity. Fauci spars with Rand Paul over Covid-19 response. Born in Brooklyn from Orthodox Jewish parents, Paul Rand started practicing his art as early as 3 when he recopied commercials in his parents' shop. Throughout his 60-years long career, he changed America's opinion on visual communication.
"Among all these young Americans, he writes, it seems that Paul Rand is one of the best and most competent. Progettata nei primi anni ’50 insieme alla prima moglie Ann Binkley, allieva di Mies Van der Rohe al Illinois Institute of Technology, la Rand House è un esempio gioioso di architettura Mid-Century, una costruzione senza facciata, intima e accogliente, dove pareti in pietra e vetrate a tutt’altezza dialogano con la natura circostante. After the war, from 1955 onwards, he distinguished himself with progressive graphic identities that served companies' interests. This simple modification is the key element that convinced Steve Jobs, so admiring of Rand's work that he reprinted the booklet for distribution. After studying in New York City, Rand worked as an art director for Esquire and Apparel Arts magazines from 1937 to 1941. Sebbene negli anni successivi non avesse rinunciato ad un’educazione formale, frequentando il Pratt Institute e la Parsons senza mai laurearsi, Rand si è sempre definito soprattutto un autodidatta in virtù della gavetta attraverso la quale, tra piccoli clienti occasionali e il lavoro per i giornali, si era fatto le ossa fin da giovanissimo. It should be noted that even today, NeXT is still written in common text, as if it was an acronym: Rand's concept has gone beyond graphics. Sempre per IBM, di cui è stato consulente per decenni peraltro insieme ad un parterre di designer d’eccezione tra cui Charles e Ray Eames e Eero Saarineen, Rand realizzerà nel 1981 quello che è considerato il suo poster più un iconico e longevo, forse uno dei più celebri della grafica del ‘900.
As he then pointed out, "the trademark is created by the graphic designer, but it is the company that makes it".
We love Paul Rand. For the short story, the cube of the logo was first placed straight on the surface, without an oblique axis. You don't have to use the solution. While this is only a fraction of his work, his achievements for ABC, UPS, Westinghouse, Cummins or Enron become visible and ubiquitous in the United States and abroad. Smithsonian American Art Museum - Biography of Paul Rand. A good brand image does not stand alone, do not judge a book by its cover.... ! In 1934, after taking lessons at New York's Pratt Institute and the Art Students League, Rand began his career by making illustrations for a union that sold them to newspapers and magazines for advertising and articles. Leave us your email and receive your monthly dose of Graphéine in your mailbox. The idea was to break with a conservative image and look towards the future, to illustrate IBM's renewed growth. Reinterpretato come un rebus, il logotipo vede la propria I sostituita dal disegno stilizzato di un occhio, e la B da un’ape: la pronuncia “EYE-BEE-M” coincide con l’acronimo dell’azienda. To go further and find daily inspiration, here's a pdf with quotations by Mr Rand. Brand New Conference, brand new every year! Rand was undoubtedly an pioneer, both in style and in vision. His advertisements, especially for Orbach’s department store, pointed toward a new stripped-down approach to advertising copy and design. A way to elevate them as works of art and to display his artistic authority and creative decision-making to the client. His major writings include Thoughts on Design (1947), A Designer’s Art (1985), Design, Form, and Chaos (1993), and From Lascaux to Brooklyn (1996). For some companies, Rand continued to monitor the evolution of his creations for several decades, to adjust them to changes and trends. His work is available on his website. ». In his magazine covers, since the late 1930s, Rand adopted both European modernism and American spirit and functionalism in his graphic style.
During this period, concerned that his Jewish identity might hinder his progression in the professional world, especially in advertising, he changed his name from Peretz Rosenbaum to Paul Rand - a name that since became iconic, foreshadowing his genius in brand identity. Rand's work was regularly featured in the daily lives of Americans in advertising posters and logos for consumption brands, from alcohol to make-up. Paul Rand, born Peretz Rosenbaum on august 15, 1914, was raised in a strict Orthodox Jewish home in Brooklyn, New York. Il lavoro di Rand rimarrà ineludibilmente legato alla progettazione delle più grandi identità di marca americane, a cui conferirà un indelebile gusto per l’astrazione mutuato dai grandi riferimenti artistici – in primis De Stijl, il costruttivismo russo, il Bauhaus, e quindi l’opera di artisti quali Paul Klee, Alexander Calder, Joan Miró – a cui ha sempre dichiarato di ispirarsi.
He thus said: "one quickly realizes that simplicity and geometry are the language of timelessness and universality". He once stated: "It is integrity, honesty, absence of sentimentality and absence of nostalgia, it is simplicity, clarity. His distinctive signature was praised by László Moholy-Nagy, a master of the Bauhaus and one of Europe's most famous modernist designers, who had recently immigrated to Chicago. Rand’s career spanned seven decades, and in that time his graphic designs, teaching (he joined the faculty of Yale University in 1956), and ideas broadly influenced several generations of American designers. Uncompromising on THE solution he offered on paper, he was supported by Noyes who rounded off the angles orally, and finished persuading the reticent bosses. Stubborn, but rightly so. During the printing of the report, someone asked him "Why don't you make them all like the one on the envelope?" Tra le sue corporate identity più note, tutte estremamente longeve, la più celebre resta probabilmente il logo dell’IBM. Leggenda della grafica americana del secolo scorso, Paul Rand è stato il più strenuo difensore della atemporalità del modernismo: una tesi che ha sostenuto tutta la vita, anche quando l’avvento del post-modernismo e della computer grafica hanno reso la sua posizione più attaccata e attaccabile. By changing others' look upon brand identity, he shook up the whole history of graphic design. Orthodox Jewish law forbids the creation of images that can be worshiped as idols, but already at a young age, Rand copied pictures of the models shown on advertising displays in his father’s grocery store, and violated the rules. In his explanatory guide for the client, Paul Rand explained the origin of the change from Next to NeXT: it sounded too much like "Exit". By including an "e" in lower-case, close to upper-case characters, the word gains a new rhythm and requires another form of concentration from the reader, who then reads the word as it is really written. Rand first made his mark in the 1930s with a bold and modernist style, designing magazine and book covers a few years later. His tenacity gave the world of graphic design more credibility: Rand proposed an abstract and universal language aimed at supporting a company's growth, restoring a bad image, or deterring anti-communist detractors. They are the symbol of a post-war global culture crowning the political, military and commercial success of the United States. The following year, yearning for more control over his work, Rand went solo, creating layouts and ads for a small group of clients. La sua politica, che non prevedeva la progettazione di molteplici opzioni alternative quanto di un’unica possibile soluzione grafica, conquisterà senza mezze misure Jobs, che resterà uno strenuo ammiratore della sua visione. IBM's new identity is thus conceived as a global, moving, immediately recognizable work of art delivering a strong message.