Paul Rand in El Paso

N RA D

PU A L

Paul Rand in El Paso

El Paso Museum of Art September 11–October 14, 2015

END PAPERS: Logos designed by Paul Rand1938-1996

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aul

was born Peretz Rosenbaum to a strict Orthodox Jewish family in Brooklyn, New York on August 15, 1914. At the age of three, Rand began copying Palmolive ads from his father’s grocery store displays. He continued to embrace his interest in design painting signs for the family’s store as well as by doing small projects for his school. Even though his father could not support his interest in design fully during the Great Depression, he did pay the $25 entrance fee to the Pratt Institute for his son to attend night school. He eventually received diplomas from both his high school and Pratt.

His time at Pratt was not as fulfilling as he thought it would be. Instead of learning modern design, the faculty taught techniques of the old masters like Michelangelo and Raphael. Rand lamented, “I literally learned nothing at Pratt; or whatever little I learned, I learned by doing myself”. Since school did not offer much variation or new aesthetics, Rand took matters into his own hands. He searched through European magazines and books from overseas to find artists that

Rand

were new and innovative. Some of his greatest influences were Picasso, John Dewey, and László Moholy-Nagy. Paul Rand’s designs created throughout his decades-long career have been experienced by many through his magazine covers, advertisements, books, and logos—all of which continue to inspire today.

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EARLY CAREER Rand’s first professional part-time job was as an illus-

working for the Esquire Company, Rand took on his

trator for Metro Associated Service. Although his duties

most important and experimental work. He was com-

were not very exciting or groundbreaking he did learn

missioned to produce covers for the radical magazine,

essential graphic techniques and various tricks of the

Direction, where he was given full artistic freedom.

trade. During this time (1930s–1940s) there were obvi-

Rand’s first cover was a very political comment on

ous political tensions from World War II that translated

World War II. It was the 1940 Christmas issue depict-

back to the United States. Usually, if you had an overtly

ing a present wrapped in barbed wire with red dots

Jewish-sounding name, prospective employers might

to represent blood. Along with the present was a note

have discriminated against you. Rand remembered that

that read “Merry Christmas.” Each cover represented

an uncle in his family was named Rand. So he figured

a specific idea. Rand said he was trying to compete

that “Paul Rand,” was a nice symbol. So that is what

with the Bauhaus, not with Norman Rockwell. Rand

he became. This was his first branding achievement.

also ventured out from editorial to work on

A short while after getting his feet wet in the industry, Rand was offered a freelance job producing layouts for Apparel Arts, a men’s fashion magazine owned by the Esquire/Coronet Co. This temporary job eventually led to a full-time position as Art Director for the magazine. His styling of the covers was not something that could typically be seen in the mass market. They were praised for having a more cut-and-paste style versus covers with strictly representational design. While still FACING PAGE: Direction and Apparel Arts, magazine covers, 1936-45.

THIS PAGE: Coronet advertisement, 1945.

book covers and countless memorable advertising campaigns like those for El Producto, Coronet, and Dubonnet.

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E T A R O CORP

BRAND

ING

THIS PAGE: IBM packaging, 1957.

Company advertising: Cummins, 1979, and The Limited, 1998.

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ABC, Enron, Ford, NeXT Computers, Westinghouse, and

corporate world. He started by making a personalized

UPS were a few of the many trademark logos that Paul

slab serif typeface for the company that was assertive and

Rand designed throughout his life. His corporate achieve-

strong. Then, in 1972, the logo went through the final stages

ments were some of the most influential of his entire body of

with a major, minor detail—stripes. It was designed in two

work, not only for their aesthetic qualities but for how they

variations, an eight-striped logo for regular purposes, and

changed the way companies view design. These

a thirteen-striped version for stationery and

logos stressed the power of graphic design as a

things of delicate nature. The infamous striped

visual tool for corporate Ameri-

logo is recognized worldwide and still in

ca. His logo for IBM was one

use to this day. Rand’s work in the corporate

of his most famous. It showed

world revolutionized graphic

his desire for simplicity in the

and packaging design.

FACING PAGE: IBM logo, 1957.

AUTHOR & EDUCATOR 6

Rand worked not only on designing book covers, but also

on Design (1947), one of the most revered books on the

on writing and illustrating books himself. He strayed away

subject. Design, Form, and Chaos (1993) served almost as

from his serious tendencies and tried something a bit more

a design manual, featuring works from his portfolio while

playful with his children’s literature. These works were

explaining the process behind his work, and the decisions

especially great because of

that were ultimately made.

his collaboration with his

It is a useful resource for

wife, Ann. She wrote the

any designer. Since Rand

books while he filled the

was so well rounded and

pages with his witty graph-

had much experience in all

ics. Together the couple

aspects of the design field,

collaborated on four books,

it is only natural that he

Sparkle & Spin (1957),

progressed into the world of

Little 1 (1962), Listen!

teaching. He was offered a

Listen! (1970), and I Know a Lot of Things (1973). Instead

position at Yale University where he taught from 1956 to

of focusing on heavy symbolism, his illustrations were just

1985 as a Professor of Graphic Design. He was an advo-

plain fun. For adults, Rand also wrote about graphic de-

cate of modern design and reflected that in his teachings.

sign, about his process, practice, and beliefs in Thoughts

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Books by Paul Rand, 1947-93.

LEGACY people all over the world. Traces of his design philoso-

as it was twenty years ago, almost everyone in Ameri-

phies can still be seen today in a wide range of fields,

ca has seen his brilliant work. From books, to editorial

in particularly in logos, like Rob Janoff’s 1977 design

work, to some of the aforementioned

for Apple. The resemblance is obvious

logos, most people have all experi-

with similar color schemes, and also

enced a bit of Paul Rand’s design.

the use of stripes for an electronics

Many would argue that he is easily

company. This humble trailblazer is

one of the most influential designers

the icon for visual communication

of the twentieth century; he defined

because of his simple and beautiful

modern graphic design. After his

quality of work. Rand said it best with,

retirement from Yale, Rand decided

“Design can be art. Design can be

to continue with his work at his home

aesthetics. Design is so simple, that’s

in Norwalk, Connecticut until his death at the age of

why it is so complicated.” Rand managed to be sim-

82 in 1996. With designs spanning over six decades,

ple, yet groundbreaking at the same time.

there is no doubt that Paul Rand has inspired many

“

Design can be art.

Design can be aesthetics.

Design is so simple, that’s why it is so complicated.

“

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Even though Rand’s name is not as well known today

Paul Rand

LEFT: IBM logo and poster, 1972. Columbus Indiana Visitors’ Center logo, 1973.

RIGHT: Apple logo, 1977. Silistra logo by Stefan Kanchev, 2000. Poster by Aron Jancso, 2010.

Design Today

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