Serious Play

re: 20 22

SPECIAL EDITION

Parsons dedicates this publication to Paul Rand and Alex Steinweiss: two of our alumni who were founders of Mid-Century Modernism and who helped shape design.

TABLE O F CONT ENTS

03

MID-CENTURY MODERNISM

48

LESTER BEALL

06

PARSONS THE NEW SCHOOL

56

WILL BURTIN

08

NEW GRADUATE PROGRAMS

66

ERIC NITSCHE

11

MID - CENTURY ART EXHIBIT

76

ALVIN LUSTIG

17

INFLUENTIAL ALUMNI

84

WE ARE PARSONS

18

PAUL RAND

86

CATALOGUE

28

ALEX STEINWEISS

88

CREDITS

36

SAUL BASS

90

SOURCES

2 PARSONS re:D

MI D - CENTURY MODE R N I S M (re:D) OUR MISSION T hrough this publication , we hope to celebrate the

ten - year period post World War II f rom 1947 - 1957.

timeless work of mid - century modernists and their

It can be summarized by the phrase “form follows

aff iliation with Parsons The New School , as well as

function,” generally lacking ornamentation and solving

how their work has affected our institution. We will

design problems in minimal and clean, simple modes.

be providing an in- depth look at several Mid-Century Modernist designers and their work as well as offering

MID-CENTURY MODERNISM

a glimpse of what pieces we will be featuring at our

Mid-Century Modernism is a style that isn’t easily

exhibition in August of 2022.

def ined. One of the many reasons for this is because the works conceptually overlap other styles of the

TRANSFORMING DESIGN

time. It is often viewed as the American response to

Mid-Century Modern is a term often used to describe

European, South American, and other global types

the aesthetic of new products, particularly furniture.

of modernism like the International Style or Bauhaus

But using it that way is a misnomer. The term refers to

movements. Its post-war timeline was an important

a “golden age” of architecture and design; a generous

factor in design typology of Mid-Century Modernism

timeline places Mid- Century Modernism f rom 1933 to

as designers were racing to house and modernize

1965 or even beyond, but purists say it only lasted the

American suburbs. In terms of Mid-Century Modern

colors, the style allows for a variety of hues f rom

is much more than simply to as semble, to order or

neutral to bold, as well as the graphic use of black

even to edit: it is to add value and meaning, illuminate,

and white. Technological advances led to production

simplify, clarify, modify, dignify, dramatize, to persuade,

and development of a range of new materials making

and perhaps even to amuse. To design is to transform

it possible to explore new textures and effects, colors

prose into poetry.” Modernism was more than just the

and even new form.

name of a style. It was a philosophy, a view of life, and it a state of mind.

Many who are familiar with Mid-Century Modernism may believe that some of the below works do not f it

GRADUATE PROGRAM FUNDRAISER

the “criteria” of the style and may instead f it better as

Parsons The New School will be hosting an art gallery

International or Bauhaus style works of architecture

showcasing the work of Mid-Century Modernists to

or design. However, the names and design examples

raise money for the new graduate programs at our

on this list of graphic design works, furniture, and the

school. Go to page seven to see more about our new

architectural pieces are by no means exhaustive.

graduate programs! The Exhibit will be held f rom the f irst of August to f irst of September. The fundraiser

The master designer Paul Rand provided the best

will include a gift shop with many fun and exciting

Modernist def inition of graphic design: “To design

items! All of these items can be found in the catalogue.

4 PARSONS re:D

PARSONS THE NEW SCHOOL This issue of re:D is about Mid- Century Modernism

The courses offered by the New School reflected

and its affect on art and the world. It is also going to

the founders’ interest in emerging social sciences,

address how Mid Century Modernism affected Parsons

international af fairs , history, and in philosophy.

and take a look at which mid century modernists were

The f aculty members and visiting scholars included

aff iliated with Parsons.

Harold Lasky, Franz Boas, and John Maynard Keynes.

Soon, the New School added courses in drama as

NEW SCHOOL HISTORY

well as literature, followed by classes in performing

Parsons the New School was founded in New York

arts, writing, media studies, information processing,

City nearly one century ago by a small group of

f ine arts, and foreign languages.

prominent American intellectuals and educators.

Among them were Thorstein Veblen, John Dewey,

Some of the f inest minds of the 20th century

James Harvey Robinson, as well as Charles Beard.

developed pioneering courses at The New School.

Frustrated by the intellectual timidity of traditional

In 1948, W.E.B. DuBois taught the f irst course in

colleges, they envisioned a new kind of academic

Af rican- American history and culture ever taught

institution where faculty and students would be f ree

at a university. Margaret Mead, around the same

to address honestly and directly the problems that

time, taught courses in anthropology and Karen

societies faced in the 20th century. In the year 1919,

Horney and Erich Fromm introduced their different

they created a school of advanced adult education

approaches to psychoanalysis. The School’s courses

to bring creative scholars together with citizens who

attracted students around the world, including the

were interested in improving their understanding of

young Shimon Peres. In 1962, Gerda Lerner offered

the key issues of the day through active questioning,

the f irst university - level course in women’s history.

debate, and discussion. The founders named their

The New School became known internationally for

new school The New School for Social Research.

courses in the creative arts taught by some of the 20th century’s most innovative artists. Among them

The New School for Social Research, now formally

were Martha Graham, W.H. Auden, Aaron Copland,

named Parsons The New School, grew into an urban

and Frank Lloyd Wright . The New School was the

uni versity with seven colleges. The universi ty is

f irst American university to teach the history of f ilm,

enriched by the di versity of its students, who all

as well as one of the f irst to offer college-level courses

represent a range of ages and social backgrounds,

in photography and jazz.

aspirations, perspectives, interests, and talents.

6 PARSONS re:D

NEW GRADUATE PROGRAMS REDESIGNING THE FUTURE Parsons is part of The New School, a comprehensive

Our new programs include Fashion Design and the

university offering a range of studies, providing you

Arts (MFS), Lighting Design (MFS), Data Visualization

with a broad learning community and numerous

(MS), Design & Urban Ecologies (MS), Strategic Design

opportunities. You benef it f rom collaborative team

& Management (MS), and Fashion Management (MPS).

projects that bring together students f rom across

Parsons School of Design offers 19 master’s programs

the universi ty, minors enabling you to tailor your

that intend to equip students with the interdisciplinary

education, and partners who enrich your research

tools needed to redesign the future.

and guide your making.

Parsons is part of The New School, a university based Creative professionals in the 21st century navigate

in New York City. As part of the university as a whole,

a networked global culture. Our cross - disciplinary

Parsons students collaborate with a diverse range of

programs based in advanced studio practice and

academics, including social scientists, policy analysts,

research prepare you for a future that doesn’t yet

and artists. This enables them to develop projects that

exist. You benef it f rom small seminars and studios

draw on a wide range of subjects.

and work closely with faculty to plan individualized study paths.

The diversity of the collaborations aim to encourage students to explore and experiment across disciplines

Our labs and research institutes facilitate collaboration

with the intention of developing their creative abilities.

with peers throughout The New School, and our NYC setting connects you to unique learning opportunities

“Because art and design both reflect and shape the

outside the classroom.

concerns of the day, it’s not a surprise to f ind our community applying its skills, critical thinking and

Parsons School of Design has recently introduced

creativity to create a better world in time marked by

six brand new graduate programs to the curriculum,

climate change, social inequity, and faltering systems,”

offering a range of degrees in the masters of science,

said Rachel Schreiber, executive dean of Parsons.

the masters of professional studies, and masters of f ine arts programs.

8 PARSONS re:D

DATA VISUALIZATION

DESIGN & URBAN ECOLOGIES

This is a one-year program where students combine

In Parson's new Design and Urban Ecologies masters

their design computer science skills with statistical

program, students learn how to transform public spaces

analysis as well as insights to both social and ethical

by redesigning urban processes. The course aims for

consciousness. This program produces graduates

students to develop a deep understanding of urban space

who can analyze data and turn their f indings into

while creating projects that reconstruct and enhance

meaningful conclusions in order to shape p olicy

diverse communities. Integrate aspects of architecture,

across dif ferent sectors.

urban design, and landscape architecture in new ways.

Fashion management

FASHION DESIGN & THE ARTS

This is a one-year online program where students

Fashion Design and the Arts recently launched at the

develop insight and concepts for fashion businesses

Parson’s Paris campus. The two-year degree equips

and start-ups while challenging industry paradigms.

students with a sustainable approach to fashion design

The course aims to equip students with advanced

via real-life projects closely linked to the city’s fashion

skills in marketing, mechanising, ethical production

industry. Find out more about this new program and

and value chains. There is also the option to study

other masters program releases on our website today!

the course online.

LIGHTING DESIGN

DESIGN & MANAGEMENT

In Parson’s new Lighting Design masters program,

The Strategic Design and Management Masters

students develop a deep insight into light’s technical

program enables graduates to learn management,

and aesthetic dimensions through the exploration

strategy, and the business skills needed to develop

of lighting design and its relationship to social and

the 21st-century economy. Students also have the

environmental sustainability. Students are given the

opportunity to build their skills and understanding

open option to combine the programme with studies

of prototyping, leadership, environmental as well as

in Interior Design or Architecture.

social sustainability.

10 PARSONS re:D

SERIOUS PLAY JOHNSON DESIGN CENTER AUGUST - SEPTEMBER 2022

In honor of Parsons The New School’s new graduate programs, we will be hosting an art exhibit featuring mid-century modernist work.

All proceeds will be put towards raising funds for the development and establishment of these programs as well as aiding our students in their education. All alumni, current students, faculty, and staff are invited, as well as the general public. The exhbit will be held in the Johnson Design Center and will extend from August 1st to Sept. 1st of 2022. Keep reading for an inside look at the gallery, art work, and featured artists!

To see more of Paul Rands’ work and to get a sneak peak of what we will be showing at the exhibition, go to page 18.

To see more of Alex Steinweiss’ work and get a sneak peak of

To see more of Saul Bass’ work and get a sneak peak of what we

what we will be showing at the exhibit go to page 28.

will be showing at the exhibit go to page 36.

14 PARSONS re:D

To see more of Lester Beall’s work and get a sneak peak of what

To see more of Will Burtin’s work and get a sneak peak of what

we will be showing at the exhibit go to page 48.

we will be showing at the exhibit go to page 56.

To see more of Eric Nitsche’s work and get a sneak peak of what

To see more of Alvin Lustig’s work and get a sneak peak of what

we will be showing at the exhibit go to page 66.

we will be showing at the exhibit go to page 76.

16 PARSONS re:D

INFLUENTIAL FIGURES Two of Parsons most infuential alumni are Paul Rand and Alex Steinweiss. They revolutionized the design field and were two main cornerstones in the Mid-Century Modernist Movement.

We are proud to acknowledge them as Parsons alumni and feature them in this publication. Their work will be featured at the Mid-Century Modernist Art Exhibit in order to raise money and awareness for the new graduate programs and to honor their work and commitment to design.

18 PARSONS re:D

PAUL RAND 1914-1966

Laszlo Moholy - Nagy, describing Paul Rand: “Rand is a painter, lecturer, industrial designer, and advertising artist who draws his knowledge and creativeness from 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.” Paul Rand is one of the most famous and recognized American designers of the 20th Century. His ideas, philosophies and approach continue to be a large part of fundamentals of design taught in education programs across the world.

His early career was spent working for Apparel Arts and Esquire magazines and then joining the Weintraub agency. He was so successful that after a few years he demanded twice the pay for half the time, and got it. His relentless passion for corporate identity helped shape the American business landscape in the 1960s. The height of corporate identity design owed much to the unwavering pursuit of Paul Rand to make advertising more than just billboards. He worked in the field until the day that he died at the age of 82.

20 PARSONS re:D

CHILDLIKE. SIMPLE. EXPERIMENTAL. Peretz Rosenbaum, known as Paul Rand, was born in

he was not yet at the About Paul Rand Thoughts on

Brooklyn, New York in 1914. Growing up, Rand painted

Design Gallery Resources Shop News Search Submit

signs for his father’s grocery store as well as for school

The cover art for Direction magazine proved to be an

events at P.S. 109. Despite studying at Pratt and other

important step in the development of the “Paul Rand

institutions in the New York area (including the Parsons

look” that was not as yet fully developed.

School of Design and Art Students League), Rand was by-and-large “self-taught as a designer, learning about

Though Rand was a recluse in his process, doing the vast

the works of Cassandre and Moholy-Nagy from European

majority of the design load despite having a large staff

magazines such as [Gebrauchsgraphik].”

at varying points in his career, he was very interested in producing books of theory to illuminate his philosophies.

His career began with humble assignments. He started

The core ideology that drove Rand’s career, and hence

with a part-time position creating stock images for a

his lasting influence, was the modernist philosophy he

syndicate that supplied graphics to various newspapers

so strongly revered.

and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio,

He celebrated the works of artists from Paul Cezanne

which was largely influenced by the German advertising

to Jan Tschichold, and constantly attempted to draw

style Sachplakat as well as the works of Gustav Jensen.

the connections between their creative output and

It was around this time that he decided to camouflage

significant applications in graphic design. This idea of

his Jewish identity telegraphed by ‘Peretz Rosenbaum,’

“defamiliarizing the ordinary” played an important part

shortening his forename to ‘Paul’ and taking ‘Rand’ from

in Rand’s design choices. Working with manufacturers

an uncle to form his new surname. Morris Wyszogrod,

provided him the challenge of utilizing his corporate

a friend and associate of Rand, noted that “he figured

identities to create “lively and original” packaging for

that ‘Paul R and,’ four letters here and four letters there,

mundane items.

would create a nice symbol. So he became Paul Rand.”

Paul Rand strayed from the conventional standards of Although Rand was most famous for the corporate logos

typography and layout, and started incorporating Swiss

he created in the 1950s and 1960s, his early work in page

style of design into his creations. He merged American

design was the initial source of his reputation. In 1936,

visual culture to modern design, incorporating Cubism,

Rand was given the job of setting the page layout for an

Constructivism, the Bauhaus and De Stijl into his work.

Apparel Arts magazine anniversary issue. His remarkable

Rand’s contribution to modern graphic design theory

talent for transforming mundane photos into dynamic

in total is widely considered intrinsic to the profession’s

compositions earned Rand a full -time job, as well as an

development. His role in history continues to influence

offer to take over as art director for the Esquire-Coronet

the design world as we know it, and he will forever be

magazines. Initially, Rand refused this offer, claiming that

remembered for his impact.

22 PARSONS re:D

UPS LOGO 1961

ESQUIRE MAGAZINE LOGO 1938

ABC LOGO 1962

SERVADOR LOGO 1966

FORD LOGO 1966

NEXT LOGO 1977

IBM LOGO 1972

BORZOI LOGO 1945

24 PARSONS re:D

WESTINGHOUSE ANNUAL REPORT 1970

DEATH MASK 1969

OIL LAMP 1956

LEAVE CANCELLED 1945

AMERICAN INSTITUTE OF GRAPHIC ART 1968

SUBWAY POSTERS SCORE 1947

FORCES IN MODERN BRITISH LITERATURE 1956

POSTER FOR THE ASPEN DESIGN CONFERENCE 1966

26 PARSONS re:D

ALEX STEINWEISS 1917-2011

Alex Steinweiss has a massive body of design work that spans several different media. Some of his clients have included the U.S. Navy, PRINT, Fortune and Columbia Records. However, he is most recognized for inventing the modern album cover and much of his work lies in the poster-like images he created while he was an art director at Columbia records.

Before Steinweiss, the only album covers that existed were brown paper wrappers that served to protect the album you had just purchased. His idea to create artwork to entice the buyer to purchase the album was an instant success. From 1939 to 1945, he designed record covers for Columbia during which time he turned out hundreds of distinct designs. After 1945, he began working for other clients, including other record companies, and in 1974 he retired to Florida to paint and work on occasional commissioned pieces.

28 PARSONS re:D

ICONIC. SYMBOLIC. REVOLUTIONARY. Alex Steinweiss was born in Brooklyn, New York in

title appearing in lights. He designed images for

1917. His father loved music and instilled the passion

jazz recordings by Louis Armstrong and Earl Hines,

in him. In 1930, Steinweiss entered Abraham Lincoln

and numerous classical, folk, and pop recordings.

High School. His f irst artistic endeavors resulted in

Newsweek reported that sales of Brt/no Walter’s

beautifully articulated marionettes. These captured

recording of Beethoven’s “Eroica increased 95%

the attention of art department chair Leon Friend,

with its new Steinweiss cover.” His signature called

who was co-author of Graphic Design (1936), the f irst

the “ Steinweis s scrawl ,” became ubiquitous on

comprehensive American book on the subject.

album covers in the 1940s. “I tried to get into the subject,” he explains, “either through the music or

Steinweiss’s f irst day in Friend’s class was a magical

the life and times of the composer. For example,

experiencefor him. “To see these young men painting

with a Bartok piano concerto, I took the elements

letters with flat-tipped brushes was one of the great

such as the hammers, keys, and strings of a piano

inspirations of my life,” he says, “I had to get involved

and composed them in a contemporary setting

with that! ” He learned the principles of design and

through using appropriate color and rendering.

how to apply them t hrough daily contact with an

Since Bartok is Hungarian, I also put a suggestion

endless array of beautiful examples of poster design,

of a peasant f igure.”

typography, drawing, and calligraphy. Friend exposed Steinweiss to the works of great graphic designers of

He experimented with various styles (cubism for

the time, including Joseph Binder, A.M. Cassandre,

Stravinsky’s Firebird Suite) and typography which is

and Lucian Bernhard.

an ornamental circus -like typeface for La Bohème.

Many performing artists developed a love for and

Upon graduation f rom high school, the School Art

loyalty to Steinweiss. Leopold Stokowski requested

League awarded Steinweis s a one - year scholarship

that only Steinweiss do his covers. And Steinweiss

to Parsons School of Design in New York. He almost

of ten recei ved letters of praise f rom artists such

left after his very f irst year, in spite of the depression,

as Eddy Duchin and Rise Stevens for so exquisitely

convinced that he would be able to get a job instead.

interpreting their work.

Just before quitting school, however, he wrote to Boris Artz ybasheff, who, instead of offering employment,

Alex Steinweis s also designed many movie posters,

advised Steinweis s to f inish school. Steinweiss then

DeKuyper liquor bottles, and graphics for countless

followed Artz ybasheff advice.

other products. At age 55, noting the rise of Swiss Modernism and minimalism, and the increasing

At Columbia, Steinweiss evolved a unique cover

preference for photography in the f ield, Steinweiss

art style mingling musical and cultural symbols.

decided to retire f rom graphic design and start a

His f irst cover, for a collection of Rodgers and Hart

new career as a painter under the pseudonym

music, featured a theater marquee with the album’s

Piedra Blanca.

30 PARSONS re:D

JAZZ CORNUCOPIA 1941

SONATAS FOR VIOLIN AND HARPSICHORD 1943

MODERN PLASTICS 1955

DANCE LA CONGA 1940

BARBER SHOP MELODIES 1940

SYMPHONY IN D MINOR 1942

FAURÉ REQUIEM 1943

RHAPSODY IN BLUE 1941

32 PARSONS re:D

SMASH SONG HITS 1940

SONGS OF FREEMEN 1942

RHUMBA WITH CUGAT 1941

TURANDOT BY GIACOMO PUCCINI 1981

BARTOK-MARTIN 1950

34 PARSONS re:D

SAUL BASS 1920-1996

Saul ­­­­­Bass was an American designer whose 40+ year career spanned everything from print and identity development to movie title credits. He worked with major corporations to establish logos and branding guidelines, including AT&T, United Way and Continental Airlines. He designed titles for over 30 films and he won an acad emy award for his short film Why Man Creates.

Also proficient in typography, his “cut-paper” style is one of the most recognized styles of design f rom the 1950’s and 1960’s.

He revolutionized the way that people viewed movie titles by using the time to not just display the information but give a short visual metaphor or story that intrigued the viewer. Often times it wa s a synopsis or refe re nce to the movie itself. His list of title c re d its include famous films such as West Side S tory, Psycho, Goodfellas, Big, North by Northwe st and Spartacus.

He created four titles for Martin Scors ese, the last of which wa s for Casino.

36 PARSONS re:D

BOUNDLESS. DARING. CLEVER. How many famous graphic designers can you name?

sequence hardly existed; a series of names against

A harder question than it should be, but if you like

a static image while the waiting audience chatted.

f ilms, you should at least know one. For 50 years

Often projectionists wouldn’t bother to open the

until his death in 1997, Saul Bass, born in the Bronx,

curtains until after the lengthy credits had rolled.

New York, on 8 May 100 years ago, crafted company

Bass believed f ilms should begin with the very

logos, advertising campaigns, album covers, product

f irst f rame and that titles were not only a way to

packages, to such prolif ic and celebrated effect that

transport the audience f rom the real world to the

somewhere along the line, he became known as “the

f ilm but an “over ture” which set the mood and

Picasso of commercial artists”. Which at once sounds

foreshadowed the story itself: its tone, themes as

overblown and doesn’t quite do him justice.

well as ambiguous clues to how the f ilm might be read. As he honed his craft, working with directors

It’s as the reinventor of the f ilm poster and most

including Billy Wilder, Alf red Hitchcock, and Otto

signif icantly, the master — and effectively creator —

Preminger, and then later John Frankenheimer,

of the movie title sequence that he is most revered.

Stanley Kubrick and Martin Scorsese, these new

You can easily spot a Bass poster f rom a mile away,

sequences became short movies in their own right;

despite the legion of imitators who still try (and fail)

compared to the features that followed, they were

to replicate the modernist style he had honed via a

sometimes more clever, creative, and dramatic.

childhood obsession with drawing, a transformative period learning f rom his mentor György Kepes in his

For Scorsese, Bass “took us into the modern day

twenties (“he really just set me on f ire... it would take

sensibility,” calling him a “giant” in the foreword to

me hours to settle down after each class”), and later

the impressive 2011 tome Saul Bass: A Life in Film

through branding work on Madison Avenue.

and Design by Pat Kirkham and Bass’s daughter Jennifer Bass. It’s a sensibility we now take for

To see the imitations is to understand how good

granted, especially in prestige television where

he was. His use of colour, typography and negative

the sequences before big shows have become

space was daring in the Fifties. Combined with his

competitive calling cards: f rom the falling man in

clear ideas and bold symbols — the black teardrop

Mad Men, to the android workshop in Westworld.

for Bonjour Tristesse, the segmented corpse f rom Anatomy of a Murder — Bass’s work was to graphic

By this time he was offering studios a package

design what Charlie Parker’s was to jazz, in the same

that included main and credit titles, TV trailer,

time period. It was revolutionary.

trademark, screen trailer, posters, and trade ads, as well as album cover, newspaper ads, and subway

That was the posters. His influence on the title

card. From here on, he focused largely on corporate

sequence was seminal. Before Bass, the title

identity work, designing and redesigning logos.

38 PARSONS re:D

THE SHINING 1960

IN HARM’S WAY 1965

THE MAN WITH THE GOLDEN ARM 1955

ANATOMY OF A MURDER 1959

WEST SIDE STORY 1961

VERTIGO 1958

40 PARSONS re:D

TONE POEMS OF COLOR 1958

PABCO PAINT 1956

FILMEX 1995

OSCAR 1991

PABCO PAINT 1956

42 PARSONS re:D

NORTH BY NORTHWEST 1959

THE MAN WITH THE GOLDEN ARM 1955

PSYCHO 1960

EXODUS 1960

44 PARSONS re:D

QUAKER OATS 1969

AVERY 1975

UNITED WAY 1972

SECURITY PACIFIC BANK 1966

UNITED AIRLINES 1974

GIRL SCOUTS 1978

AT&T CORPORATION 1969

WARNER COMMUNICATIONS 1974

46 PARSONS re:D

LESTER BEALL 1903-1969

A man with a very technology-oriented background, Beall grew up playing with Ham radios and creating his own wireless sets.

He graduated with a Ph.D in the History of Fine Art, and the years following his graduation, he found him expressing an interest in modern art movements such as Surrealism, Constructivism and Dadaism. His work as an advertiser and graphic designer quickly gained international recognition, and the most productive years of his career during the 1930s and in the 1940s saw many successes in both of these fields.

His clear and concise use of typography was highly praised both in the United States and abroad. Throughout his career he used bold primary colors and illustrative arrows and lines in a graphic style that became easily recognizable as his own. He eventually moved to rural New York and set up an office, and home, at a premises that he and his family called “Dumbarton Farm”. He remained at the farm until his death.

48 PARSONS re:D

SIMPLE. ILLUSTRATIVE. CONCISE. Lester Beall was born in Kansas City, Missouri in 1903.

all his operation there. He had developed some of

Beall attended the Lane Technical School before

the farm’s out buildings into a professionally-praised

undertaking a secondary education at the University

off ice and studio space. During the 1950s and ‘60s

of Chicago, where he studied art history, as well as

Beall’s design of f ice expanded both in its staff and

the Art Institute of Chicago. He began his career in

scope, adding the associate designers and mounting

design in 1927 and moved to New York in September

the full-scale corporate identif ication campaigns for

of 1935. There he opened a studio/off ice in Manhattan,

large companies such as Connecticut General Life

which he still maintained after moving into Wilton,

Insurance Company, Catepillar Tractor, The New York

Connecticut, in 1936, where he remained until 1950.

Hilton and Merrill Lynch, Fenner Pierce and Smith Inc. His identity program for International Paper Company

Fine art and photography were essential to Beall’s

f rom 1960 was his most extensive identity program

output through his career. Early on, he was strongly

and is noteworthy for the graphics standards manual,

influenced by European avant-garde and Bauhaus

one of the f irst to be so fully articulated.

designers such as Lazlo Maholy-Nagy and Herbert Bayer, and he was very seldom without his personal

Beall maintained a core of sources which stimulated

camera. Through the 1930s and ‘40s, Beall produced

his perception, creativity and methods of making art

work for a number of notable clients, including the

and design. He was a highly visual person with a great

Chicago Tribune, TIME, The Art Directors Club of New

need to express himself. Always f irst and at the center

York, Sterling Engraving, Hiram Walker, and Abbott

of his ways of working were his form experimentation

Laboratories. For Colliers magazine, Beall created a

in the drawing and painting of the human f igure.

number of promotional covers related to World War

He was always at work in his studio, whether it was

II by using silhouetted photographs, dynamic angles

creating design, art or photography.

and shapes, and bold colors that characterized his work f rom this period. Between 1937 and 1941 Beall

The excellence of Beall’s life and work has made him

produced his famous posters for the US Government

into a near mythic f igure who, ev en a quarter of a

Rural Electrif ication Administration, which featured

century after his death, still dazzles the imagination

saturated colors, bold patterns, and photographic

of many students and professionals alike.

silhouettes of everyday Americans, to increase the awareness and acceptance of electricity.

He helped revolutionized the world of graphic design by introducing a variety of new, interesting designs

Beall moved his off ice around 1940. He worked at

that made people recognize the potential of the art

both this locaion as well as f rom his home in Wilton,

form. His work will live on forever and will hopefully

Connecticut. In 1949 he purchased Dumbarton Farm

inspire graphic designers forever.

in Brookf ield and, in 1950, he moved to consolidate

50 PARSONS re:D

FARM WORK RURAL ELECTRIFICATION ADMINISTRATION 1937

LIGHT RURAL ELECTRIFICATION ADMINISTRATION 1937

UNITED STATES LINES/EUROPE 1952

RADIO RURAL ELECTRIFICATION ADMINISTRATION 1937

HEAT COLD RURAL ELECTRIFICATION ADMINISTRATION 1937

52 PARSONS re:D

WHEN I THINK BACK 1939

COVER ARTWORK FOR PM MAGAZINE 1937

ITS FINE FOR US RURAL ELECTRIFICATION 1930

WASH DAY RURAL ELECTRIFICATION 1937

CROSS OUT SLUMS 1941

NOW I’M SATISFIED RURAL ELECTRIFICATION 1930

POWER ON THE FARM RURAL ELECTRIFICATION 1941

RURAL INDUSTRIES RURAL ELECTRIFICATION 1941

54 PARSONS re:D

WILL BURTIN 1908-1972

A pioneer of the f ield of information design, Will Burtin is known for traversing several f ields of design including the information design, magazine design and exhibition design.

Having a formal education in typesetting, Burtin started a design studio in Germany in 1927. By 1938 he had clients all over Europe but was forced to flee the country because his wife was Jewish and because he was unwilling to work for the Nazi party. Drafted into the US Army in 1943, he designed manuals and instructional pamphlets as reference material for soldiers. After the war, he taught for a while and then became art director of Fortune Magazine f rom 1945-49.

In 1949 he started his own design studio where he worked for a variety of clients including The Upjohn Company. At Upjohn, a pharmaceutical company, he designed trade publication, advertising and their packaging, Scope. He was so successful that they allowed him the creative latitude of exploring the presentation of several scientif ic subjects such as human blood cells and the brain as 3- dimensional exhibitions. At scales of up to 1,000,00:1 these exhibitions were impressive and became some of his most well recognized work.

56 PARSONS re:D

SCIENTIFIC. INFORMATIVE. ABSTRACT. Born in Cologne in 1908, Will Burtin was a German

to expert and novice audiences. He experimented

graphic designer, known for interrelating design

with various materials f rom transparent plastics,

and scientif ic concepts within his exhibits. He was

steel, and aluminum as well as some lightweight

an in fluential designer, educator, and theorist

new materials. These models aided in unraveling

in Germany and the United States. He worked for

the meaning of microscopic concepts and aspects

Fortune Magazine and as an educator at Pratt

of scientif ic theories. In this way the audience had

Institute and the Parsons School of Design.

access to learning processes, connections, textures, and components involved in science. His most

In 1927, Burtin opened his own design studio in

remarkable models were: the Cell (1958), the Brain

Cologne, in which he created booklets, posters,

(1960), the Atom (1961), and the Metabolism (1963).

type books, and exhibitions, as well as displays, adver tising, and movies for German and French

Furthermore, he integrated European design

audiences and other clients. Burtin’s challenge

styles to American design. Through his previous

was to create a single exhibit that highlighted all

connections with European designers and artists,

of the FWA’s accomplishments. The exhibit was

Burtin gained new insights to address information

intended to travel and tasked Burtin—who had

design challenges. For example, meeting Josef

previously typeset information for Dusseldorf ’s

Müller-Brockmann back in the 1950’s brought to

1926 GeSoLei exhibit dedicated to healthcare,

his repertoire Swiss alignment and visual order

social welfare, and physical exercise—with creating

including the Helvetica family of fonts.

a modular system that was easy to assemble and disassemble, crate, and transport. The World’s Fair

Burtin conceived initial options for many solutions,

exhibit introduced Burtin to a skill set that proved

but both designers and scientists worked together

useful throughout his later professional life as he

throughout the problem- solving process to make

went on to design major exhibits that circulated

science visible. As a result of learning the audience

both nationally and internationally.

and questioning unclear aspects of the whole story, his visualizations were well received and considered

His catalogue and print design, and 3D models

rigorous by both physicians and the general public.

and exhibitions are foundational contributions to

Burtin’s unique ability to visually express complex

information design, while his rationale and way of

concepts would emerge as a def ining characteristic

making sense of problems have greatly influenced

of his work. His legacy brings design ever closer

how information designers think and conceive

to science, and unites value and credibility with

ideas. Most of his work was devoted to facilitating

information design.

understanding of and “explaining advances in science, medicine and technology” in a visual way

58 PARSONS re:D

ARCHITECTURAL FORUM, “DESIGN DECADE 1930-1940,” PUBLISHED BY TIME, VOL. 73, NO. 4 (OCTOBER, 1940).

SCOPE MAGAZINE COVER, 1955

SCOPE MAGAZINE COVER, 1951

SCOPE MAGAZINE COVER, VOL. 1, NO. 1, 1941

SCOPE MAGAZINE COVER, 1952

60 PARSONS re:D

MANUAL COVER, GUNNERY IN THE A-26, AIR FORCE, ARMY AIR FORCES TRAINING AIDS DIVISION, OFFICE OF STRATEGIC SERVICES (OSS), MANUAL NO. 56, 1944.

MAGAZINE COVER, BETTER DESIGN. DEDICATED TO BETTER DESIGN IN HOME FURNISHINGS. JANUARY 1952

SCOPE MAGAZINE COVER, VOL. 4, NO. 3, 1954

HOUSE ORGAN COVER, INTERCOM, A QUARTERLY PUBLICATION OF UPJOHN INTERNATIONAL OPERATIONS, UPJOHN CO. 1959

FORTUNE MAGAZINE COVER, OCTOBER, 1946

62 PARSONS re:D

PRODUCT BROCHURE, FURNITURE FOR THE HOME, HERMAN MILLER, C. 1958

“THE CHROMOSOME” GENES IN ACTION EXHIBIT, 1960

“THE CELL” EXHIBIT, 1958

64 PARSONS re:D

ERIK NITSCHE 1908-1998

Erik Nitsche left an unmistakable mark on the world of design in his approximate 60 year career. Nitsche left almost no field untouched, as he worked as an art director, book designer, illustrator, typographer, packaging designer, photographer, advertiser, and a graphic designer. His graphic design work included magazine covers, signage, film, exhibitions, posters and many other advertising mediums. Before emigrating to the United States in 1934, Nitsche studied at the Collège Classique in Switzerland and the Kunstgewerbeschule in Munich. His work has a distinctly modernist aesthetic and although he never had the opportunity to attend Bauhaus, Laszlo Moholy-Nagy said, “Who is this guy that is doing the Bauhaus in New York?” Nitsche designed promotional and advertising campaigns for many different clients including department stores, feature films, music record companies and New York Transit Authority. Nitsche greatly influenced the young generation of designers in America in mid-20th century including the legendary designers Walter Bernard and Seymour Chwast.

66 PARSONS re:D

ELEGANT. CORPORATE. METICULOUS. Erik Nitsche was born in Lausanne, Switzerland in an

‘Dynamic America’, a 420- page b ook telling the

art- minded family. Both his father and grandfather

company’s history. Throughout the ten years he

were noted photographers and artists like Paul Klee

devoted to General Dynamics, Nitsche did every

were very close f riends of the family. Klee influenced

design task, including the interior and exterior

Nitsche to be an artist rather than a photographer.

design work of the Hopkins’ private airplane.

Despite this very close relationship, Nitsche did not

Nitsche’s crowning achievement came when

attend the Bauhaus school where Klee was a teacher.

he edited and designed the company’s history,

Instead, Nitsche studied at the Kunstgewerbeschule

Dynamic America. Making use of tip-ins and

in Munich, Germany.

foldouts (precursor to today’s interactive media), Dynamic America’s remarkable pictorial narrative

After graduating in the early 1930’s, Nitsche worked

told a story of the nation’s military and industrial

mainly on illustrations for various magazines and

development seen through the lens of General

newspapers. During his f irst decade in New York,

Dynamics as it traced itself back when it began

he worked as a f reelance graphic artist for major

in 1880 as Electro Dynamic.

American fashion and decoration magazines such as Life, Look, Harper’s Bazaar and Vanity Fair.

Nitsche founded ENI (Erik Nitsche International) and began a business that produced some of the

In 1947, he succeeded Herbert Bayer as art director

world’s f inest pictorial history books. The topics

at Dorland International in New York, and in 1948 he

included communication, transport, photography,

became art director of Mademoiselle magazine for

astronomy, etc. and followed the style that he had

a few issues (Bradbury Thompson later took over the

established with General Dynamics; pictures drove

job). Nitsche was restless, called himself a ‘nomad’

the text in it.

and never managed to remain at any one job for a long time. He had the feeling he was not an off ice

He later on moved back to Connecticut to work

person and in the early 1950’s he left New York and

with many other companies where he worked

moved to Ridgef ield, Connecticut.

with special effects, philatelic f irst day covers and stamps. In the late 1970s he returned to Ridgef ield

He got involved in The Gotham Agency which had the

to design children’s books, and worked on special

General Dynamics account. General Dynamics wanted

effects for a f ilm called ‘The Color of Man’ as well as

to be positioned as a purv eyor of peace rather than

produced proposals for something called Info-Card

a developer of weapons and destructiv e materials.

and Info-Map systems, a series of easy access flash

Between 1955 and 1960 Nitsche built a total corporate

cards that gave data and vital statistics on a wide

identity including countless advertisements, posters,

range of natural and man-made themes.

brochures, annual reports and the crowning piece

68 PARSONS re:D

GENERAL DYNAMICS, HYDRODYNAMICS POSTER, 1955

GENERAL DYNAMICS ANNUAL REPORT, 1955

GENERAL DYNAMICS, POSTER, N/A

GENERAL DYNAMICS, TRIGA, POSTER, 1958

GENERAL DYNAMICS, ELECTRONIC INTELLIGENCE POSTER, 1958

70 PARSONS re:D

GENERAL DYNAMICS, SOLAR DYNAMICS, ATOMS FOR PEACE POSTER, 1955

GENERAL DYNAMICS, ATOMS FOR PEACE POSTER, 1955

ADVERTISEMENT, “THE CONVAIR 880,” 1961

GENERAL DYNAMICS, THE MINERVA, 1960

GENERAL DYNAMICS, “EXPLORING THE UNIVERSE, THE ENERGETIC SEA,” 1958

72 PARSONS re:D

POSTCARD, AERODYNAMICS, ATOMS FOR PEACE, GENERAL DYNAMICS, 1955

MINI SUBWAY CAR CARD, NEW YORK SUBWAY ADVERTISING COMPANY, NO. 3, 1947

FORTUNE MAGAZINE, DECEMBER 1936

GENERAL DYNAMICS, “LIQUID CARBONIC, INDUSTRIAL GASES,” POSTER, 1960

FIRST EDITION, HAWTHORN BOOKS, VOL. 7, THE NEW ILLUSTRATED LIBRARY OF SCIENCE AND INVENTION. 1963

74 PARSONS re:D

Alvin lustig 1915-1955

A student of Frank Lloyd Wright, among others, Alvin Lustig had a very successful career in graphic design and in the art direction. Revolutionizing the approach to book cover design in the 1 940s, he would attempt to get a sense of the writers direction f rom reading the book and then translate it to his own graphic style (the previous trend was to summarize the book with an image). The combination of technology and creativity in his designs was reminiscent of the Bauhaus, as did his intellectual approach to problem-solving.

Lustig designed books for New Directions before moving to New York to become the Director of Visual Research for Look Magazine. He rose to success early in his career garnering work for all types of clients and working on a vast array of projects. He died much too early at the age of 40, in 1955.

His use of simplif ied shapes and flat colors, all while creating elaborate and intensely interesting compositions, are still imitated today by many graphic designers.

76 PARSONS re:D

PLAYFUL. INNOCENT. ACCESSIBLE. Born in 1915, Alvin Lustig grew up in Denver, Colorado.

Furthermore, his artwork was showcased on the

He received his formal art education f rom Los Angeles

covers of classic works of modernist literature.

City College, Art Center. He also went to study design

He illustrated the book covers of eminent literary

independently with American architect Frank Lloyd

f igures, for instance, James Joyce, Ezra Pound,

Wright at his Taliesin studio. In 1937, Lustig initiated

and Gertrude Stein. New Directions Publishing

his professional career designing book jackets in Los

published many of the Tennessee Williams plays,

Angeles, California. Subsequently, Look Magazine

and Alvin Lustig was the designer for the book

offered him a position as the Director of their Visual

jackets for the very f irst edition of Williams’ work.

Research department in 1944. Moreover, Lustig lent

His subsequent work evolved to adapt powerful,

his designing expertise to Girl Scouts of the United

visual language of cubism, constructivism, Dada,

States and Fortune. Lustig’s creativity was not just

Bauhaus, surrealism, biomorphism, and abstraction

limited to graphic design, but he was also known

to design for book jackets, interiors, record covers,

for his contribution as an interior and architectural

and identity programs.

designer. For Paramount Furniture in Beverly Hills in 1949, he designed a piece of furniture-cum-art that

Some of the works that feature Lustig’s artwork

famously came to be known as the “Lustig Chair.”

include, Orpheus Descending, Cat on Hot Tin Roof,

The original design of the chair has inspired all of

and A Streetcar Named Desire. As the fate would

the following generations of designers. The replica

have it, Lustig developed diabetes early on in life.

of the chair is still continued to be produced.

Consequently, he went virtually blind by the time he reached his forties. Lustig could not survive the

During mid 1940s, he was invited by Josef Albers to

complication that the disease entailed and passed

teach at Black Mountain College and was offered a

away at the age of 40, in New York. Posthumously,

teaching position at Yale. Lustig is recognized for his

Lustig was inducted into the Art Directors Club

many years of work at the New Directions Publishing.

Hall of Fame. Moreover, he was presented the AIGA

Lustig served the independent publishing company

medal by the American Institute of Graphic Arts in

for a decade developing some of the most innovative

1993. AIGA remembers him with the words that his

and ingenious designs. All the way f rom 1945 until

artwork will influence the practice of graphic design

his death in 1955, Lustig designed over seventy dust

in America. Besides, AIGA displayed Alvin Lustig and

jackets for the New Classics literary series. What set

Elaine Lustig Cohen’s artwork at a special exhibiton

Lustig’s book jackets apart f rom other designer’s was

at the AIGA National Design Center. The exhibition

his employment of a modern design sensibility along

titled The Lustigs: A Cover Story, for the f irst time

with the revolutionary approach to typeface design.

featured the collection of Alvin and Elaine Lustig’s

Lustig’s work has earned the respect of many and

artwork together.

become a hallmark of New Directions publications.

78 PARSONS re:D

ILLUSTRATION FROM A PAGE IN THE GHOST IN THE UNDERBLOWS 1940

COVER DESIGN FOR THE GREAT GATSBY 1947

COVER DESIGN FOR A SEASON IN HELL 1947

COVER DESIGN FOR ARTHUR RIMBAUD’S ILLUMINATIONS NEW DIRECTIONS 1946

COVER DESIGN FOR D. H. LAWRENCE: THE MAN WHO DIED 1950

80 PARSONS re:D

COVER DESIGN FOR THE LONGEST JOURNEY 1946

COVER DESIGN FOR THE GREEN CHILD 1945

COVER DEIGN FOR THREE TALES 1947

COVER DESIGN FOR METROPOLITAN LOS ANGELES ONE COMMUNITY 1949

COVER DESIGN FOR A STREET CAR NAMED DESIRE 1947

PROGRAM OF THE TWENTY-THIRD COMMENCEMENT 1939

PHILATELY IN EUROPE BROCHURE 1939

82 PARSONS re:D

WE ARE PARSONS DESIGNING A WORLD YOU WANT TO LIVE IN

DESIGNING A WORLD YOU WANT TO LIVE IN

OUR COMMUNITY AT A GLANCE

Here is a closer look at what our students are doing here

Parsons is the number one art and design school in the

at Parsons, as well as infomation on Mid-Century art and

U.S. We educate over 5,000 students, 44% of which are

artists and how it relates to our school!

international students. There are a total of 41,000 alumni students worldwide who graduated f rom Parsons.

Parsons School of Design - consistently named the best art and design school in the United States and ranked third in the world - has sent changemanking artists and designers

OUR MISSION

out into the world since its founding in 1896. Today we’re

Parsons students are designers, artists, and scholars who

part of The New School, a major university in New York City

apply the transformative capacity of design responsibly,

offering programs in subjects ranging f rom the liberal arts

creatively, and purposefully. Our diverse community of

and humanities to performing arts to media, management,

students and faculty explore the multiple sites and scales

and more. Here and at our Parsons Paris campus, a diverse

of engagement, f rom on - campus research initiatives to

community channels its creative and critical capacities into

partnerships that bring about a change not only in New

fostering a more equitable, sustainable, and beautiful world

York, but around the world.

through design and innovation.

84 PARSONS re:D

SERIOUS PLAY BLACK T-SHIRT

SERIOUS PLAY WHITE T-SHIRT

$35

$35

SERIOUS PLAY ILLUSTRATION T-SHIRT

SERIOUS PLAY RED T-SHIRT

$35

$35

SERIOUS PLAY RED TOTE BAG

SERIOUS PLAY ILLUSTRATION TOTE BAG

$25

$25

SERIOUS PLAY BLACK TOTE BAG

SERIOUS PLAY STICKERS

$25

$20

86 PARSONS re:D

REGARDING DESIGN EXECUTIVE BOARD:

ERIK NITSCHE:

Lydia Sutton, Trinity Hamic, Jennifer Hollifield, Abbie Vanasse.

Jennifer Hollifield was responsible for researching, collecting images, and designing all spreads related to Erik Nitche

COVER DESIGN: Lydia Sutton designed the cover page.

ALVIN LUSTIG: Abbie Vanasse was responsible for researching, collecting images,

TABLE OF CONTENTS:

and designing all spreads related to Alvin Lustig.

Lydia Sutton was responsible for the design of this spread.

IMAGE COLLECTING: HISTORY OF MID CENTURY MODERNISM:

Abbie Vanasse was responsible for collecting the images for pages 1, 7, 9,

Lydia Sutton and Jennifer Hollifield worked together to complete

as well as her corresponding artists pages.

this spread.

Jennifer Hollifield was respobnsible for collecting images for pages 3 and 4, as well as her corresponding artists pages.

NEW GRADUATE PROGRAMS:

Trinity Hamic was responsible for collectin images for pages 5, 9, 83, 87,

Abbie Vanasse designed and collected information for this spread.

as well as her corresponding artsits pages.

ART EXHIBIT:

IMAGE EDITING:

Lydia Sutton was responsible for the design of the art exhibit spreads.

Trinity Hamic was responsible for editing images on pages 3, 4, 5, 51, and 87.

However she recieved images and information about each aritst from

Jennifer Hollifield was responsible for editing images on page 33.

the designer that was assigned to them.

TYPESETTING: PAUL RAND:

Abbie Vanasse was responsible for typsetting pages 2, 3, 4, 6, 8, 18, 20, 22, 28,

Lydia Sutton was responsible for researching, collecting images,

30, 48, 50, 68, 78, 84, 88, 89, 90, and 91.

and designing all spreads related to Paul Rand.

Jennifer Hollifield was responsible for the typesetting on pages 56 and 66.

Trinty Hamic was responsible for the typesetting pages 10, 13, 36, 38, 58,

ALEX STEINWEISS:

and on the dedication page.

Trinity Hamic was responsible for researching, collecting images, and designing all spreads related to Alex Steinweiss.

MOCKUPS: Lydia was responsible for the mockups on pages 11, 12, 13, 14, 15, 16, 17, 18, 21,

SAUL BASS:

29, 37, 49, 57, 67, and 77.

Trinity Hamic was responsible for researching, collecting images,

Abbie was responsible for the mockups on pages 13, 14, 15, 16, 85, and 86.

and designing all spreads related to Saul Bass.

COPY WRITING: LESTER BEALL:

Lydia Sutton was responsible for the copy writing on pages 3, 4, 6, 8, 13,

Abbie Vanasse was responsible for researching, collecting images,

18, and 84.

and designing all spreads related to Lester Beall.

CLOSING SPREAD/CREDITS: Trinity Hamic designed the spread, and we WILL BURTIN:

worked together as a team to collect and format the sources.

Jennifer Hollifield was responsible for researching, collecting images, and designing all spreads related to Will Burtin.

PRINT TEAM: Trinity Hamic, Jennifer Hollifield, Lydia Sutton, Abbie Vanasse

88 PARSONS re:D

SOURCES Adams, Sean. “Will Burtin: Design Observer.” Design Observer, https://

resources/1012.

designobserver.com/feature/will-burtin/39476.

Dezeen Staff | 14 October 2021. “Parsons School of Design’s Degree “Alex Steinweiss.” ADC, http://adcglobal.org/hall-of-fame/alex-steinweiss/.

Programmes Aim to Redesign the Future.” Dezeen, 14 Oct. 2021, https://www. dezeen.com/2021/10/14/parsons-school-of-designs-masters-degree-programs-

“Alvin Lustig.” ADC, http://adcglobal.org/hall-of-fame/alvin-lustig/.

redesign-future/.

“Alvin Lustig: Biography, Designs and Facts.” Famous Graphic Designers,

Envato. “Famous Logos by Designer Paul Rand.” Envato, Envato, 21 Sept. 2020,

https://www.famousgraphicdesigners.org/alvin-lustig.

https://envato.com/blog/paul-rand-designing-famous-logos/.

Artist of the Day, September 8, 2020: Will Burtin, a German Graphic Designer

Flask, Dominic. “Alex Steinweiss.” Alex Steinweiss : Design Is History, Design Is

(#1088), 8 Sept. 2020, https://visualdiplomacyusa.blogspot.com/2020/09/artist-

History, http://www.designishistory.com/1940/alex-steinweiss/.

of-day-september-8-2020-will.html.

Flask, Dominic. “Erik Nitsche.” Erik Nitsche : Design Is History, http://www.

“Artists 101: Alex Steinweiss.” The Rikrak Studio, http://rikrakstudio.blogspot.

designishistory.com/1940/erik-nitsche/.

com/2012/02/artists-101-alex-steinweiss.html.

Flask, Dominic. “Lester Beall.” Lester Beall : Design Is History, http://www.

Bass, Jennifer, et al. Saul Bass a Life in Film & Design. Laurence King, 2011.

designishistory.com/1940/lester-beall/.

Biography by R. Roger Remington September 5. “1992 AIGA MEDALIST:

Flask, Dominic. Paul Rand : Design Is History, http://www.designishistory.

Lester Beall.” AIGA, https://epi.aiga.org/medalist-lesterbeall.

com/1960/paul-rand/.

Brand Guidelines - the New School. https://www.newschool.edu/edu-assets/

Flask, Dominic. “Saul Bass.” Saul Bass : Design Is History, Design Is History,

marketing-communication/brand-guidelines.pdf.

http://www.designishistory.com/1960/saul-bass/.

Brower, Steven. “How Columbia Records’ 23-Year-Old Art Director Alex

Flask, Dominic. “Saul Bass: Design Is History.” Saul Bass : Design Is History,

Steinweiss Changed the Way We Buy Music.” Eye on Design, 2 Oct. 2018,

http://designishistory.com/1960/saul-bass/.

https://eyeondesign.aiga.org/how-columbia-records-23-year-old-art-directoralex-steinweiss-changed-the-way-we-buy-music/.

Flask, Dominic. “Will Burtin.” Will Burtin : Design Is History, http://www. designishistory.com/1940/will-burtin/.

“Collection: Will Burtin Papers.” Collection: Will Burtin Papers | RIT’s

“General Dynamics, Générateur Triga Accessible Au Public Lors De La

Distinctive Collections, https://twcarchivesspace.rit.edu/repositories/3/

Conférence Internationale Sur L’utilisation De L’énergie Atomique à Des Fins

Pacifiques De 1958.” Vintage Poster – General Dynamics, Générateur Triga

posters/2018/02/erik-nitsche-modernist-vision/.

Accessible Au Public Lors De La Conférence Internationale Sur L’utilisation De L’énergie Atomique à Des Fins Pacifiques De 1958 – Galerie 1 2 3, https://

O’Reilly, Colleen. “Science, Politics, and Visual Design in Cold War America:

www.galerie123.com/en/original-vintage-poster/46185/general-dynamics-

Will Burtin’s ‘Cell.’” Taylor & Francis, https://www.tandfonline.com/doi/abs/10.108

generateur-triga-accessible-au-public-lors-de-la-conference-internationale-

0/01973762.2018.1499472.

sur-lutilisation-de-lenergie-atomique-a-des-fins-pacifiques-de-1958/.

“Original Vintage Poster General Dynamics, Atoms for Peace.” Vintage Heller, Steven. “Erik Nitsche: The Reluctant Modernist.” Typotheque, https://

Poster – General Dynamics, Atoms for Peace – Galerie 1 2 3, https://www.

www.typotheque.com/articles/erik_nitsche_the_reluctant_modernist.

galerie123.com/en/original-vintage-poster/36794/general-dynamics-atomsfor-peace/.

Heller, Steven. “Will Burtin’s Beauty.” PRINT Magazine, 30 May 2013, https:// www.printmag.com/print-design-articles/will-burtin/.

“Parsons Re.” D, https://www.newschool.edu/parsons/red/.

Hersey, Will. “Remembering Saul Bass: The Designer Who Changed Cinema.”

“Paul Rand.” Paul Rand | Parsons School of Design, https://www.newschool.

Esquire, 30 Sept. 2020, https://www.esquire.com/uk/culture/film/a34169582/

edu/parsons/profile/paul-rand/.

remembering-saul-bass-the-designer-who-changed-cinema/.

Paul Rand: A Brief Biography - Sessions College for ... https://documents.

Kidney, Kevin. “Will Burtin’s Incredible Six-Foot Cell.” Kevin Kidney, 1 Jan. 1970,

sessions.edu/eforms/courseware/coursedocuments/degreediscussion/images_

https://miehana.blogspot.com/2009/10/will-burtins-incredible-six-foot-cell.

discussion/logodesigni_paulrand1.pdf.

html?m=1.

Pires, Samantha. “Mid-Century Modern: How the Post-War Movement Lewandowski, Daniel. “Paul Rand - American Modernist.” Paul Rand -

Transformed Design.” My Modern Met, 16 Jan. 2021, https://mymodernmet.

American Modernist, 16 Sept. 2013, https://www.paulrand.design/.

com/mid-century-modern-design/.

Lewandowski, Daniel. “Sketches and Notes.” Paul Rand - American

“Pioneer: Lester Beall.” Communication Arts, 29 Sept. 2010, https://www.

Modernist, 16 Sept. 2013, https://www.paulrand.design/life/sketches-and-notes.

commarts.com/features/pioneer-lester-beall.

“Lester Beall.” Lester Beall | Biography | People | Collection of Cooper Hewitt, Smithsonian Design Museum, https://collection.cooperhewitt.org/

Pontis, Sheila. “Will Burtin’s Legacy to Information Design.” Bridging Theory

people/18048993/bio.

and Practice, 15 Jan. 2015, https://sheilapontis.com/2014/06/06/will-burtinslegacy-to-information-design/.

News, Author: Swann. “Erik Nitsche’s Modernist Vision.” Swann Auction Galleries, 10 Mar. 2018, https://www.swanngalleries.com/news/vintage-

Quito, Anne. “A German Designer Who Refused to Work for Hitler Became

90 PARSONS re:D

a Pioneer of American Infographics.” Quartz, Quartz, https://qz.com/

“The New School - Story.” Pentagram, https://www.pentagram.com/work/

quartzy/1259701/a-german-designer-who-refused-to-work-for-hitler-became-

the-new-school/story.

a-pioneer-of-american-infographics/.

“Re:D – Issuu Search.” Issuu, https://issuu.com/search?q=re%3AD.

Tucker, Emma. “Unit Editions Shines A Light on ‘Lost’ Designer Will Burtin.”

Re, Margaret. “Will Burtin (1908–1972).” Will Burtin, http://www.

Creative Review, 19 Mar. 2019, https://www.creativereview.co.uk/unit-editions-

transatlanticperspectives.org/entry.php?rec=161.

shines-light-lost-designer-will-burtin/.

Sadha, Aswin. “Thinking Will Burtin. 01 17 1930.” THINKINGFORM, https://

Uncrate. “Paul Rand’s Connecticut House.” Uncrate, Uncrate, 22 Aug. 2018,

thinkingform.nyc/2013/01/18/thinking-will-burtin-01-17-1930/.

https://uncrate.com/paul-rands-connecticut-house/.

“Saul Bass: Biography, Designs and Facts.” Famous Graphic Designers,

Wild, Lorraine. “Will Burtin: Design and Science.” Design Observer, https://

https://www.famousgraphicdesigners.org/saul-bass.

designobserver.com/feature/will-burtin-design-and-science/8337.

Sokullu, Deniz. “Project 2: Connecting History - Biography.” Medium, Medium, 21 Feb. 2016, https://medium.com/@denizsokullu/project-2-connecting-

“Will Burtin.” RIT, https://www.rit.edu/carycollection/will-burtin.

history-biography-b19c6081451.

“Will Burtin: Neglected Giant of Design.” Creative Review, 1 May 2018, https:// Steinweiss, Alex, and Kevin Reagan. Alex Steinweiss the Inventor of the

www.creativereview.co.uk/will-burtin-neglected-giant-design/.

Modern Album Cover. Taschen, 2011.

“1936 December Fortune Cover Christmas Erik Nitsche - Original FTC1.”

Thawley, Dan. “Thom Browne Stages His Latest Shoot at Philip Johnson’s

Period Paper Historic Art LLC, https://www.periodpaper.com/products/1936-

Glass House.” Architectural Digest, Architectural Digest, 2 Nov. 2018, https://

december-fortune-cover-christmas-erik-nitsche-original-050115-ftc1-001.

www.architecturaldigest.com/story/thom-browne-philip-johnson-glass-house.

“The General Dynamics Posters Designed by Erik Nitsche.” General Dynamics – Selections – Galerie 1 2 3 - Original Vintage Posters, https://www.galerie123. com/en/selections/4/general-dynamics/.

New School Alumni 79 Fifth Avenue, 17th floor New York, NY 10003

newschool.edu/parsons

Periodical Postage PAID