æ ED BENGUIAT A man of letters
Paul Rand — the visionary who showed us design matters 30 under 30 — top young designers to look out for Typefaces or Fonts?
PARUALN The Visionary Who Showed Us Design Matters
IN 1986, STEVE Jobs was a guy trying to launch a start-up. Having been ousted from Apple the year before, he and a small band of employees were in the early stages of building a new computer company called Next. Jobs had invested millions in the venture, and his reputation as a visionary business leader was staked on its success. The group was still working out key details about its products. But Jobs was certain about one thing: He needed a logo from Paul Rand.
Eye-Bee-M (IBM) (1981) created for IBM’s marketing campaign
Paul Rand, 82, Creator of Sleek Graphic Designs, Dies Paul Rand, a seminal figure in graphic design who made innovative visual identities for some of America’s major corporations and book and magazine publishers, died on Tuesday in Norwalk, Conn. He was 82. The cause was cancer, said his wife, Marion Swannie Rand.
Perhaps more than any other single designer, Paul Rand was responsible for defining visual culture in America in the decades following World War
Logo for Esquire magazine (1938) and Paul Rand before he died. U.S. Department of the Interior (1975)
Germany. These influences reflected in his work, which variously used— and often combined— collage, montage, hand-lettering, drawing and photography to bracing effect. In 1941, at the age of 27, Rand was named chief art director of the newly-formed ad agency William H. Weintraub & Co. American advertising at the time had changed little since the late 19th Century, especially in terms of how the ads were conceived. “Before Paul Rand, the copywriter was the lead,” says Donald Albrecht, the curator of the new exhibition. The copywriter would supply the words—often times a great many of them—and the words would dictate the layout of the ad, often drawn from one of several templates or formats. The visuals would be filled in later by commercial artists, who typically just illustrated whatever the copy was describing. Creativity was in short supply.
A New Look for Business Rand’s experience as an ad man— his uncanny skill for marrying art and commerce—was the foundation for the next big phase in his career. By the mid-1950s, American corporations were taking notice of their counterparts in Europe, who in the previous few decades had embraced a cleaner, more unified approach to branding. Thomas Watson Jr., who had inherited the reins of IBM from his father, was especially envious of Olivetti, the stylish Italian typewriter company. Watson hired Elliot Noyes, a designer and curator for the Museum of Modern Art, to overhaul IBM’s design company-wide. One of Noyes’
Graphic Art of Paul Rand (1957) and logo designed for ABC (1962) Advertising Typographers Association (1965) logos designed for IBM (1967) No Way Out (1950)- All workes created by Rand for corporate identity branding.
modern approach to selling products. He helped convince some of nation’s biggest corporations that good design was good business, crafting indelible logos for the likes of IBM, UPS, and ABC.
conception of good design, one which seems utterly obvious today but was largely
Everything Is Design, an exhibition at the Museum of the City of New York on display through July, collects over a hundred examples of Rand’s work, including magazine spreads, book covers, and product packages in addition to advertisements and logos. In every form, the work reflects Rand’s
Born in Brooklyn in 1914, Rand was creative from a young age. He studied art at Pratt Institute in Manhattan and practiced drawing constantly. One of his first jobs was laying out product spreads for Apparel Arts, a popular men’s fashion magazine owned by Esquire. Soon after that he
A New Type of Ad Man
started doing magazine covers. His work was instantly noticed. By his early 20s, Rand was considered one of the most important designers of his generation. Rand’s cover for Jazzways magazine. Note the shadows that give the simple composition an engaging depth. Click to Open Overlay Gallery Rand’s cover for Jazzways magazine. Note the shadows that give the simple composition an engaging depth. COURTESY
Read More At: https://www.wired.com/2015/04/paul-rand-visionary-showed-us-design-matters/
OF MUSEUM OF CITY OF NY/PRIVATE COLLECTION As art director and critic Steven Heller points out in his definitive monograph on the designer, Rand was one of the first American graphic designers to look to Europe for inspiration. As a student, he became obsessed
A.M. Cassandre. Rand became a devotee of Swiss Expressionist Paul Klee. He absorbed new typographic theory from Switzerland and drank in the Modernist thinking on form and function coming out of the Bauhaus in Germany. These influences reflected in his
with commercial arts journals from Britain and Germany, which featured cutting-edge work by graphic designers like
work, which variously used—and often combined—collage, montage, hand-lettering, drawing and
“Rand’s ads have words and pictures, but they’re all fused into one symbol,”
photography to bracing effect. In 1941, at the age of 27, Rand was named chief art director of the newly-formed ad agency William H. Weintraub & Co. American advertising at the time had changed little since the late 19th Century, especially in terms of how the ads were conceived. “Before Paul Rand, the copywriter was the lead,” says Donald
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– a man of letters
Master of Letters
Ed Benguiat is an American typographer. He has crafted over 600 typefaces including Tiffany, Bookman, Panache, Edwardian Script, and the self-titled typefaces Benguiat and Benguiat Gothic. He is also known for his designs or redesigns of the logotypes for Esquire, The New York Times, Coke, McCall’s, Ford, Reader’s Digest, Photography, Look, Sports Illustrated, The Star Ledger, The San Diego Tribune, AT&T, A&E, Estee Lauder, ... the list goes on and on. You name it, he’s done it. Other notable examples of Benguiat’s work are the logotypes for Playboy, the original Planet of the Apes film, and Super Fly. Benguiat grew up in Brooklyn, NY. He was once a very prominent jazz percussionist playing in several big bands with the likes of Stan Kenton and Woody Herman. In an interview Benguait stated this of his chosen career as a designer: “I’m really a musician, a jazz percussionist. One day I went to the musician’s union to pay dues and I saw all these old people who were playing bar mitzvahs and Greek weddings. It occurred to me that one day that’s going to be me, so I decided to become an illustrator.” Benguait is an avid pilot and enjoys flying his personal plane. Benguiat teaches at the School of Visual Arts in his native New York.
The Ed Benguiat Font Collection The Ed Benguiat Font Collection is a casual font family named after the designer. Designed by Ed Benguiat and House Industries, the CD includes 5 Benguiat-inspired typefaces and a series of whimsical icons, dubbed “bengbats,” an exclusive interview by the House Industries staff, and Benguiat’s own jazz percussion in the background.
Career Ed Benguiat was one of the most prolific lettering artists and became typographic design director at Photo-Lettering, affectionately known as PLINC. He designed logotypes for publications like “Esquire and New York Times and for movies like Superfly and The Guns of Navarrone”. He had drawn thousands of alphabets and typefaces including Souvenir,
A&E Logo by Ed Benguiat - Famous Type Designer Type Poster by Ed Benguiat showing his and Herb Lubalins typeface
America’s most prolific typographer and lettering artist, Benguiat has crafted over 600 typeface designs. Here are a few of his gems.
Uni Neue Picadilly Gilroy Light Bradley Hand Ganymede 3D Rockeby Gorey ITC Caslon ITC Bookman ITC Garamond
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FONT DESIGNER – EDWARD BENGUIAT
Ed (Ephram Edward) Benguiat, born 27. 10. 1927 in New York, USA, type designer, calligrapher. Studied at Columbia University, New York and the Workshop School of Advertising Art, New York. 1953: associate director of “Esquire” magazine. Opens his own design studio in New York. 1962: joins Photo-Lettering Inc. as typographic design director, a position he still holds today. 1970: joins the International Typeface Corporation and is made vice-president; he works on the in-house magazine “U&lc” with Herb Lubalin. Member of the Alliance Graphique Internationale. He has produced logotypes for the “New York Times”, “Playboy”, “Reader`s Digest”, “Sports Illustrated”, “Esquire” and “Look”. He has taught at the School of Visual Arts in New York since 1961.
Picture of Ed Benguiat and the typeface Tiffny - created by Ed Benguiat
Top young designers to watch for
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Not everyone is as lucky as Dan is when it comes to bullshitting designs. I’m gonna be real with y’all, he’s pretty damn good at it. Like right now. This is being done at 2am. What the hell is wrong with this kid? Has he ever heard of sleeping? Not lately, no. Must be the spring weather. Anyway, enough of that garbage. We gotta talk about me. Hi, I’m Dan. I’m a flaming skeleton from the depths of hell. I’ve made several pacts with the devil and I want to go back to the grave. I’m really fucking tired. Lately, I’ve been staying up late to do my work because I’ve been mad procrastinating. It’s honestly god awful and I have no clue why I keep doing it. So, in order to combat this bout of laziness, I’m going to try to do my work on time and before Sunday night. That’s a pretty big thing for me to do, but I’m gonna try. First, I have to do some mad cool shit for Graphic Design. And now I have to write one more sentence or else I’m gonna have a widow.
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Daniel Schumacher Typographer – Illustrator – Problematic
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Typography Poster #1 & #2, along with Typographic Sha rk i n Com icSa ns, both created by Daniel Schumacher
typefaces or fonts? Some new designs with an old twist
UNICASE font
ransom note my monospace unicase typeface
abcdefgh ijklmnop qrstvwxyz
12345678 90!"?., by daniel schumacher
A unicase font is one that has no case, the glyphs from upper and lower case are combined to form one alphabet. It is believed that all alphabets were once unicase. Bradbury Thompson’s plan for simplifying and improving our alphabet was, “Alphabet 26”, his project to combine upper and lowercase letters into one consistent set of letters, eradicated most of the lowercases, except for a, e, m and n.
Monospaced font A monospaced font, also called a fxed-pitch width or non-proportional font, is a font whose letters and characters each occupy the same amount of horizontal space. This contrasts to variable-width fonts, where the letters differ in size to one another. The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed.
Featured Type RANSOMNOTE Designed by - daniel schumacher An unrefined typeface made to emulate the harshness of a ransom note made from magazine scraps.
Featured Type Lead Designed by - taylor schumacher Inspired by art deco and de stijl themes, the LEAD typeface directly references Piet Mondrain.
MODERN CLASSIC MY MONOCASE UNICASE Typeface AND font
ABbCDEFGHIJKLM NOPQRSTtUVWXYZ 0123456789 “.,!?~'” By Savannah Spinelli
Featured Type Modern Classic Designed by - savannah spinelli Was inspired by her love of art nouveau.