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Paul RandCoversAdvertismentsBrands
P       aul Rand, born in 1914, was raised                                         ads. Rand brought ideas and intelligenc...
Paul Rand, having been art director                                                 Though covers and ads are an important...
remained the same for 42 years, still 2003.                                                                               ...
result was solid and balanced, this thanks to                                         letter that remains the same is the ...
BibliographySergio Polano, Pierpaolo Vetta, «Abecedario. La graficadel 900», Mondadori, 2002.Baroni Daniele, Vitta Maurizi...
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Paul rand (libro articolo designer)


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Paul rand (libro articolo designer)

  1. 1. Paul RandCoversAdvertismentsBrands
  2. 2. P aul Rand, born in 1914, was raised ads. Rand brought ideas and intelligence to in a strict Orthodox Jewish home in advertising, but kept in mind that whatever Brooklyn, New York. Orthodox Jewish he was doing, should communicate. Forlaw forbids the creation of images that can be every product he defined the problem andworshiped as idols, but already at a young age, costumized a solution. His advertising wasRand copied pictures of the models shown conceptually sharp and visually smart. Everyon advertising displays in his father’s grocery detail was meant to attract the eye. He oftenstore, and violated the rules. Rand is known for divided designs into two components; a largebeing a self-taught-designer, father warmed mass that drew the attention and a smallerhim that art was no way to live. Spending time mass that needed closer bookshops, he discovered ‘Commercial Art’ “Ideas do not Rand started doing a thing that was quiteand ‘Gebrauchsgrafik’, two leading european need to be unusual at that time. He always signed hisgraphic arts magazines which introduced esoteric to be work as a way to publicize himself, even thoughhim to Bauhaus-ideas. So wasn-t the school, original or Rand’s work could easily be identified withoutbut his desire to make Rand one of the most exciting.” his signature. Signing ads was common inimportant designer. Europe, but very rare in America. Rand’s ads In 1936 Rand was hired as a freelance doing “The real often contained sketchy drawing with visualcovers for magazines. Although his methods difference puns, which at that time was unique andwere unconventional, for they relied on the between alluring. In his ads, as well as in his bookintelligence of the viewer, it was never too modernism cover design he combined shapes, coloursextreme. He gained the trust of his editors and and objects. Rand loved the use of foundand they gave him a long leash. Rand earned traditional objects, cut papers and minimal typography.a full-time job and an offer to become art- design lies He used only the most functional serif anddirector for the Esquire magazine and in the in the way sans-serif typefaces, combined with his ownsame time he can make other covers mainly for an image is handwriting. Using his own handwriting was“Direction”, where is visible his homage to the placed on not only economical, but also contributed tobauhaus ideas. Three years at Esquire was just a sheet of the ‘friendliness’. Rand, more than others inabout enough for Rand, so when Weintraub paper.” advertising business, believed a brand identityasked him to join him as chief art-director was more important than a billboard. Infactat his new agency, he accepted the job. In his his best works are corporate identity. And hisadvertising work Rand frequently used futura period was perfect to do it.instead of the more common calligraphicfonts. His advertising was simpler lookingand in turn more eye-catching that the typical
  3. 3. Paul Rand, having been art director Though covers and ads are an important partof some magazines, made also covers of his work, is Corporate design that becameand advertisments, as employee and as the key aspect of his career. Rand said that “Afreelance . In his career as a freelance logo is more important in a certain sense thanhe composed many magazine covers for a painting because a zillion people see the logoDirection (40s) in wich Rand produced and it affects what they do, it affects their taste,for no fee in exchange for full artistic it affects the appearance of where they live, itfreedom. In These covers he made ​​ a affects everything.”lot of collages using photos placed The project who make really famouson top of colored shapes that make Rand in Corporate Identy design islighted covers. In these collage photos that for Westinghouse Electric, oneare broken, turn and placed in the of the most powerful corporations inbackground. Combines very logo with the United States for elettric products.written manuals, its main characteristic. The basis of their success was originallyAn other cover, this time for a book, is Direction the sale of energy. The Westinghousethat for “American Son” in which Rand march 1939 logo as Rand redesigned it in 1960 islooked for simplicity in shapes, in colors, cover a great simplification and updating ofin text. He created a user-friendly design, the previous logo, which if you lookimpactant. Play with the color overlap, at historical advertising is somewhatcreating additional shapes and objects. similar. Simplicity and immediacy are theThe text was handwrote by Rand same, basis of Rand’s design.inherently the contents of the book: anovel about friendship. Logo is a W in a circle. A the top of the W there are three circle, in this way As advertisment we can take as it is not only a letters but also in a simbolexample the one made for Dubonet in American Son 1954 representing the energy currents. So changing1948. Between overlapping planes and book cover a type Rand can represent both the first lettersimple forms the poster is composed of Alfred A. Knop of Westinghous and its products.It’s absolutelya hand drawing of a natural landscape. brilliant in it’s simplicity and execution. AsIn the upper part the text follows typeface is used the Westinghouse Gothicthe background shape, instead in the Book, a quite condensed sans-serif .bottom there are two columns of text,quite separate from the top, infact the Dubonnet The kerning and letter-spacing is negativeattention is taken by the draw and the 1948 advertisement to make the letters closest. It’s particular thebottles foreground. ligature between S and T that is a unique
  4. 4. remained the same for 42 years, still 2003. Another logo made in 1961 is that for ABC. The American Broadcasting Company is a leading American television network. So Paul Rand designed a new logo which was introduced in the fall of 1962, This is the current logo, now used for 50 years.feature of the Westinghouse logotype.and Westinghouseconnecting two letters the result is more brand This logo is one of the mostunified, moreover this contact is another link 1960 iconic and memorable logoto elettric energy. designs ever created. The message is clear and beaty, moreover it In 1961 Paul Rand was called by UPS to conveys to the wide and diverseremake the corporate identity thanks to his audience of the network. Theearlier great works. UPS is a package delivery logo consisted of a simple blackcompany. His challenge, in this case, was to circle with the lowercase letterstransform the out-of-date shield into “abc”. The use of negative space,a modern image. The old one was and simplicity, combined in alike Roman coats, old style. So he circle, provided a clear and consistent messagestreamlined the contours, used a lower American to the audience. The curves of the circle eracase letter and placed a simple drawing Broadcasting stressed by the rounded type. This is a projectof a package on the top of the shield. Corporation clearly influeced by Bauhaus; for this logo,He made the more simplified version of (ABC) intended for media, is used the Bauhaus fontUPS logo. The bow-tied package above 1962 family, with simple lines, using white on black.the familiar shield express the mission the result is elegant and really recognizable.of the company: secure package delivery.The lines and overall shape create a The best known Rand’s project is IBMcomposition that’s well-balanced and logo, infact, this company is one of the mostwell proportioned. Another aspects is important in informatic area and whilethe color; he used only the brown, color entering the electronic era, there was somethat is the trademark of the company, without United Parcel questioning about the image this companyother shades, like in the other versions of the Service (UPS) presented to the public. Rand decided to cleanlogo, so he made a good job balancing white logo the old logo (a globe atop a simple line of tipe)spaces and the brown one. His UPM logo 1961 using as brand only the three letters IBM. The
  5. 5. result was solid and balanced, this thanks to letter that remains the same is the striped M,the position of the letters and the choose of as a link to original logo, his structure andtype: the City Medium. color. The background color (black) help to make all much more unitary and the drawn In 1972, the logo was improved. The solid elements are stylized, easy to understand so toletters were replaced by horizontal stripes, stimulate mind and curiosity of people readingsuggesting speed and dynamism. The IBM it. Although Rand’s logos may be interpretedlogo so looks like it was made by machine, as simplistic, he was quick to point out that.instead of by hand and moreover it’s like thethin parallel lines to protect the signatureagaint counterfeiting. In this way logo is an International Internationalimage of expertise, innovation, service and Business Businesstrust, thereby reinforcing the strength of IBM Machines (IBM) Machines (IBM)in the industry. If observed closely, the striped logo advertisment,logo generates a message of “Equality” with its 1972 1972color, the lower right parallel lines, highlightsin the shape of an “equals” sign. Rand designed also packaging andmarcketing materials for IBM among whichthere’s the “Eye-Bee-poster”. It is a easy rebusto discover the name of the industry. In placeof the letter I there is a drawn eye that has asimilar pronunciation. In place of the B thereis a bee, for the same reason of I. The only
  6. 6. BibliographySergio Polano, Pierpaolo Vetta, «Abecedario. La graficadel 900», Mondadori, 2002.Baroni Daniele, Vitta Maurizio, «Storia del design grafico»,Longanesi, 2003.Sitographyhttp://www.iconofgraphics.comhttp://www.iconofgraphics.comhttp://stocklogos.comhttp://www.westinghouse.comhttp://www.wikipedia.com