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
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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
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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.
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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.
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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
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SMASH SONG HITS 1940
SONGS OF FREEMEN 1942
RHUMBA WITH CUGAT 1941
TURANDOT BY GIACOMO PUCCINI 1981
BARTOK-MARTIN 1950
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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.
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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.
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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
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TONE POEMS OF COLOR 1958
PABCO PAINT 1956
FILMEX 1995
OSCAR 1991
PABCO PAINT 1956
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NORTH BY NORTHWEST 1959
THE MAN WITH THE GOLDEN ARM 1955
PSYCHO 1960
EXODUS 1960
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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
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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
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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
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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
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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.
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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
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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
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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
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PRODUCT BROCHURE, FURNITURE FOR THE HOME, HERMAN MILLER, C. 1958
“THE CHROMOSOME” GENES IN ACTION EXHIBIT, 1960
“THE CELL” EXHIBIT, 1958
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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.
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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
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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
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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
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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
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a Pioneer of American Infographics.” Quartz, Quartz, https://qz.com/
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