The Work Collection of Paul Rand
Joanne Pun
T H B O O K D E D
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Text Š 2013 by Quarry Books First published in the United States of America in 2013 by Quarry Books, a member of Quayside Publishing Group 100 Cummings Center Suite 406-L Beverly,Massachusetts 01915-6101 Telephone: 978.282.9590 Fax: 978.282.2742 www.quarrybooks.com Visit www.craftside.typepad.com for a behind-the-scenes peek at our crafty world! All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images i this book have been reproduced with the knowlwdge and prior consent of the artist concerned, and no responsibility is accepted by the producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occured and will resolve inaccurate or missing information in a subsequent reprinting of the book. 10987654321 ISBN-13: 978-1-59253-694-8 ISBN-10: 1-59253-694-8 Digital edition published in 2013 e-ISBN-13: 978-1-61058-023-6 Library of Congress Cataloging-in0Publication Data available DESIGN: JOANNE PUN CHUNG YAN
PAUL RAND
The American graphic designer Paul Rand was born vvvvvbv vv Rosenbaum in New York in 1914. Paul Rand was a true pioneer of American graphic design, developing numerous memorable logs for distinguished firms such as Westinghouse, NeXT Computer, IBM, United Parcel Service (UPS), and the American Broadcasting Company (abc) as well as Yale University. From 1929 until 1934, Paul Rand studied in New York at Pratt Institute, the Parsons School of Design, and the Art Students League. Paul Rand’s early works reveal the influence of the European avant-garde of the day, Cubism and Constructivism as well as the Bauhaus and Rand also applied their design principles to graphic design. From 1936 until 1941 Paul Rand was art director of “Esquire” and “Apparel Arts”magazines. Between 1938 and 1945 Rand designed the much admired covers of “Direction” magazine. From 1941 until 1954 Paul Rand worked for the New York advertizing agency William H. Weintraub, where he collaborated with the copywriter Bill Bernbach. From 1956 Paul Rand freelanced as a graphic designer and consultant for Westinghouse and IBM. In addition, Paul Rand was a professor of graphic design at Yale University in New Haven, Connecticut. Paul Rand wrote several important books on design, including “Thoughts on Design” (1947), “Design and the Play Instinct” (1955), “A designer’s Art” (1985), and “Design, Form and Chaos” (1993).
PAUL RAND 美國平面設計師保羅
蘭德於1914年出生在紐約佩雷茨羅森鮑姆
正的美國平面設計的先驅 聯合包裹服務公司
傑出的企業
UPS
如西屋公司
美國廣播公司
ABC
保羅
NeXT電腦公司
蘭德是一個真 IBM公司
美國
以及耶魯大學開發了許多令人難
忘的日誌 從1929年直到1934年 生聯盟
保羅
保羅
蘭德研究在紐約Pratt學院
帕森設計學院
蘭德的早期作品揭示了歐洲前衛前衛的一天
豪斯和蘭德也適用於他們的設計原則 從1936年直到1941年
保羅
蘭德是“時尚先生”和“服裝藝術”雜誌藝術總監
保羅
蘭德曾紐約advertizing機構威廉
巴克
從1956年
此外
保蘭德是在康涅狄格州紐黑文
H
溫特勞布
在那裡他與撰稿人比爾伯恩
1985
美國耶魯大學教授平面設計
1947年
和“設計表”
蘭德自由職業者 保蘭德寫幾個重要
“設計和的遊戲本能” “混沌”
在
從1941年直到1954年
西屋公司和IBM作為一個平面設計師和顧問保羅
包括“設計思想”
個設計師的藝術”
以及包
以圖形設計的影響
1938年和1945年之間蘭特設計備受尊敬的“方向”雜誌封面
的書籍設計
紐約藝術學
立體主義和建構
1993年
1955
“一
“DON’T TRY TO BE ORIGANAL JUST TRY TO BE GOOD”
Paul Rand
Steve worki
Jobs on ing with Rand:
First version of IBM Logo crested in 1947.
Version two designed in 1956
1972 8-bar variation
1967 13-bar variation
Color hue with IBM's products use the same style black, reflecting IBM's product image and professionalism; orange circle symbol "Energy". By contrast screen color complementary color theory, the formation of visual contrast effect, so that the audience generated a strong visual impression. Painting expression eclectic, varied, and embodies the spirit of IBM's expertise and products thick texture, demonstrates IBM's philosophy and corporate culture, to the corporate image and product promotion purposes. 色相與IBM產品色彩風格相同採用黑色 產品形象與專業精神 種活力 果
體現了IBM的
橙色的圓象徵“能源”體現了一
畫面通過色彩補色對比原理
讓受眾生成強烈的視覺印象
形成視覺對比效
這幅作品表達形式不
拘一格
富於變化
的質感
彰顯了IBM的理念與企業文化
體現著IBM的專業精神與產品厚重 達到了宣傳企
業形象和產品的目的
Ribbons packages Version 2
Quality (1990)
World’s Fair Brochure (1964)
IBM Folder (1970)
advertising
The Advertisement of The Architectural Forum
y i c i t l. l p “ S i m the goa rod ot is n he by-p and t ea It is good id ectafa exp uct o st e mod s.” tion
The Architectural Forum
Most contemporary designers are aware of Paul Rand’s highly successful and often compelling contributions to advertising design. What is not well-known is the significant role he played in setting the pattern for future approaches to the advertising concept. Paul was probably the first of a long and distinguished line of art directors to work with and appreciate the unique talent of William Bernbach. It was shortly after Bernbach’s stint with the New York World’s Fair and several years before he was to become the principal creative force at Doyle Dane Bernbach that he worked briefly with the recently formed Weintraub agency. Paul described his first meeting with Bill Bernbach as “akin to Columbus discovering America,” and went on to say, “This was my first encounter with a copywriter who understood visual ideas and who didn’t come in with a yellow copy pad and a preconceived notion of what the layout should look like.” 大多數當代設計師是了解保蘭德廣告設計的非常成功 往往引人注目的貢獻 作用
什麼是不熟知的是他發揮的重大
設置模式為未來的廣告概念的方法
保羅可能是
第一個長期和傑出的藝術總監和欣賞威廉
伯恩巴克的
獨特的天賦
是
伯恩巴克的限制與紐約世界博覽會和
幾年後不久之前
他是成為主要創作力量在多伊爾戴恩
伯恩巴克
他曾短暫與最近成立的溫特勞布機構
描述了他的第一次會議上與比爾 布發現美洲” 理解視覺的想法
並接著說
保羅
伯恩巴克“就像哥倫
“這是我第一次接觸撰稿人
誰沒來的黃色副本墊和先入為主的觀
念的佈局應該是什麼樣子
“
蘭德的人氣真的長大擔任藝術總監威廉
Paul Rand’s popularity really grew as an art director for the William H. Weintraub Advertising agency in New York, where he worked from 1941-1954. Some clients include: Coronet Brandy, El Producto Cigar Company, Disney Hats, Dubonnet, Stafford Fabrics, Ohrbach’s Department Store, Dunhill Clothiers, Kaufman Department Store, Olivetti and Architectural Forum.
Ancient Age Whiskey
在紐約
在那裡
戶包括
皇冠白蘭地
斯尼帽子 貨 壇
Dubonnet
登喜路服裝店
H
溫特勞布
他從1941-1954的廣告代理
一些客
薩爾瓦多商品商品雪茄公司 斯塔福德面料
考夫曼百貨
迪
Ohrbach的百
Olivetti公司和建築論
Dunhill
Airwick
Disney Hats
Paul spent fourteen years in advertising and left a mark that would last for many more. He was a primary mover in the fusing of visual ideas and persuasive communication. He demonstrated the importance of the art director in advertising and helped break the isolation that once surrounded the art department. He played a key role in establishing the art and copy team as the base for the advertising concept. But perhaps his overriding contribution was the inspiration that his brilliant approach to design brought to a generation of future advertising art directors. 保羅花了十四年的廣告
並留下了印記
將持續多
他
是一個主要的推動者思路直觀和有說服力的溝通融合 他展示廣告藝術總監的重要性 旦包圍的藝術部門
並有助於打破隔離
他發揮了關鍵作用
作為基礎建立的藝術和副本團隊
一
在廣告的概念
但也許是他重要的貢
獻是他輝煌的方法來設計的靈感帶到了一代未來的廣告 藝術總監
Trademark Design (1951) Unpublished cover to an article pamphlet.
book
out “ Wi t h ere h t t n e cont nd a , m r fo ere is no h t m r t fo u o ork h t i w w A . tent n en o h c w o n d is alize e r s are i t t r n a e t of d con le” n a form hab s i u g n indisti
Harcourt, Brace & World (1956)
Ann and Paul Rand's first foray into children's books began with "I Know a Lot of Things", for legendary children's book editor Margaret McEldery.Illustrated in Rand's now iconic graphic cut paper style, the story is fun and helps children realize that they really do know a lot of things. It's rhythm and rhyme reflect the Rands' short and direct writing for their future books, as well as Paul's future design volumes.
“I Know a lot of things” 是安和蘭德首次進軍兒童讀物 的作品
傳說中的兒童讀物編輯Margaret McEldery
畫報裡蘭特展現了標誌性的圖形剪紙風格 和幫助孩子們意識到
故事的樂趣
他們真的知道了很多東西
它的
節奏和韻律反映蘭特的短期和直接的寫作為他們未來的 書籍
以及保羅的未來設計卷
Sparkle and Spin Harcourt, Brace & World (1957)
“Paul Rand did not set out to create classic children’s books, he simply wanted to make pictures that were playful. Like the alchemist of old, he transformed unlikely abstract forms into icons that inspired children and adults and laid the foundation for two books that have indeed become children’s classics.” “保蘭德沒有創造經典兒童讀物 照片俏皮
像古時的煉金術士
形式轉化成圖標
啟發兒童和成人兩本書已經真
正成為孩子們的經典奠定了基礎
He also created the first book jacket: The Cubist Painters by Guillaume Apollinaire. In 1941 Rand worked on 16 letter pressed pages of articles for AD Magazine, written by Laszlo Moholy-Nagy. Rand designed the perfect-bound 5.5 x 7.75 soft cover book decorated in stiff wrappers with an original two-color offset wraparound cover design. It stands out as a true icon of Modern American Graphic Design. The Rand section features an original foreword by Laszlo Moholy Nagy of Chicago’s Institute of Design. This was the first cross referencing of these two modern masters. The cover in my eyes is just simply beautiful, it is plain looking but the way the Rand has formatted the letters in a typographical way makes the piece look interesting. It look very modern and fresh, this is a piece that I would like to own just because the cover is so fascinating. 他還創建了第一本書外套
立體派畫家紀堯姆阿波利奈
爾
1941年蘭德公司工作了16個字母的按頁面AD雜
誌文章
寫由拉斯洛莫霍利 - 納吉
蘭德設計的完美結
合為5.5 x7.75軟封皮的本子裝飾的生硬與原來的雙色膠 印機環繞封面設計的包裝 代美國平面設計圖標
芝加哥設計學院設有原序 個交叉參考 原
它代表了作為一個真正的現
蘭德部分拉茲洛
莫霍利
納吉
這是這兩個現代大師的第一
只是簡單地蓋在我眼裡是美麗的
它是平
但蘭德格式化方式中的字母印刷的方式使這塊看起
來很有意思
它看起來非常現代和新鮮的
我想自己只是因為封面是如此迷人
他只是想以使 他不可能抽象的
這是一塊
“
The Cubist Painters: Aesthetic Meditations Cover design and typography by Paul Rand
Rand's jacket for THE CUBIST PAINTERS was his first attempt at pure abstraction, and his first dust jacket design to book.Covers and interior design/typography by Paul Rand. An excellent meeting of two of the giants of 20th Century modernism. Remember: Form follows function! 蘭德的立體派畫家的外套是他第一次嘗試在純粹的 抽 象
和他的第一防塵套設計.封面
由保羅 巨頭
蘭德
請記住
內頁設計和排版都是
一個優秀的會議20世紀現代主義的兩個 形式追隨功能
This is quite possibly the most desireable Graphic Design book ever published. After a decade of establishing himself as the wunderkind of the emerging field of Graphic Design, Paul Rand sat down to codify his beliefs and working methodolgy into a single volume. Thoughts on Design was the result. “Paul Rand is aware of the complexity of the designer’s function: he stresses this again and again. He has no patience with slickness, with facility; he is a severe critic of the hackneyed and the insincere. All this is dead wood to be cleared away.” Thoughts on Design
這很可能是最可取的平面設計書出版過 自己的平面設計領域的新興神童
經過十年建立
保蘭德坐下來編纂他
的信仰和工作methodolgy成一個單一的量
設計構想
是結果 “保蘭德知道設計師的功能的複雜性 一遍
他有沒有耐心與光滑性
評陳腐和言不由衷
他強調這一遍又
設施;他是一個嚴厲的批
這一切都是枯木被清除掉
”
co
lla
ter
al
Cummins Annual Report (1976)
Except the logo design, Paul Rand also design the annual reports, manuals and guides, packaging, posters and some collateral. 除了標誌設計 包裝
保蘭德設計的年度報告
海報和一些附屬品
Irwin Financial Annual Report (1992)
Westinghouse Annual Report (1970)
手冊和指南
Columbus, Indiana Visitors Center Collateral pieces (1973)
e gn can b i s e D . t r ’s can be a ple, that m i s o s “Design s ni cs. Desig i t e .” h t s e a plicated m o c o s s why it i
Westinghouse Annual Report (1974)
Irwin-Sweeney-Miller Foundation Annual Report (1973)
Westinghouse Annual Report (1971)
Isaac Goldman Printers Calendar (January 1942)
Rand usually very focused on the methods of the European artists, he put himself in this creative method is applied to the design of experiments. Rand collage diversity is reflected in the colors, textures and rich picture of the restructuring constitutes a change, on the screen of his business often also filled with fun games and irony. Rand the photo collage graphics, illustrations or drawings simple and clear text title, active and arranged in an orderly manner between layout, representing the United States at that time the highest level of similar design. Rand design house filled with the general design of the complementary color contrast can not adopt a mixed use of simple geometric shapes and complex mix of organic graphics, photos, collages and large color gamut combination. 蘭德平時很注重對歐洲藝術家創作方法的研究 一創作的方法運用於自己的設計實驗 多元化
體現在對色彩
變化上
在他經營的畫面中往往還充滿著遊戲和反諷的
趣味
質感及畫面的重組構成的豐富
蘭德把照片拼貼的圖形
文字標題
繪畫插圖或簡單明確的
活躍而井然有序地排列於版面之間
當時美國同類設計的最高水平
圖形和複雜的有機圖形的混合使用 域的結合使用
代表著
蘭德的設計中充滿著一
般設計家不敢採用的補色對比的混合使用
Yale Summer Program Flyer (1985)
他把這
蘭德的拼貼手法
簡單的幾何
照片的拼貼和大色
editorial Direction Magazine Cover Design April (1940)
March (1939)
December (1940)
October/November (1939)
“You w ill lea by loo king, b rn most thin ut rea under ding g gs standi ives ng. Re make ading you fr will ee.”
The main reason for the formation collage, from Picasso anxious to break through the space limitations God to a product, the first field of design is used in some European designers. In Rhythm, special design concept and taste, etc., have fully demonstrated Rand Paul ‧ profound understanding of the design and the ability to control the visual psychology. Through the use of collage technique, Rand creates a visual attraction to build, multiple connotations and visual interest of the visual world, to build up their senses a bridge between the world and the audience. 拼貼藝術形成的主因 而神來一筆的產物 洲設計家 面
源於畢加索急欲突破空間的限制 最早運用於設計領域的是一些歐
在節奏的把握
心理的控制能力
通過對拼貼藝術手法的運用
造出一個以集結視覺引力 世界 Summer Interior page (1936)
特殊的設計概念與品位等方
都充分顯示了保羅 蘭德對設計的深刻認識及對視覺 蘭德創
多重內涵與視覺趣味的視覺
搭建起自己的感官世界與受眾間的橋梁
International Advertising Art Idea magazine (March 1955)
Holiday Magazine (March 1956)
Jazzways (January 1946)
Summer Interior page (1939)
Westinghouse Logo design process (1960) NeXT Computers Logo Design (1986)
identity
Paul Rand was arguably the most influential. His principles continue to inspire today. Some of them may surprise you. Paul was artistically inclined and studied design in three different institutions, though he never cared much for them and always considered himself selftaught. Soon he was earning praise for his magazine covers which he designed for free. Then, onward to logo. Here is the four principles of designing logo by Paul Rand that may surprise you.
保羅
蘭德是可以說是最有影響力的
續鼓舞
他的原則今天繼
他們中的一些可能會讓你大吃一驚
他藝術傾向
在三個不同的機構和研究設計
來不喜歡他們總是認為自己是自學成才 讚譽為他的雜誌的封面上 LOGO
這裡是由保羅
他設計的免費 蘭德設計的標誌
雖然他從
不久 然後
他贏得 輾轉
可能會讓你
大吃一驚的四項原則
Esquire Magazine (1938)
“A logo derives meaning from the quality of the thing it symbolizes, not the other way around.”
Borzoi Books Alfred A Knopf Inc. (1945)
Designers sometimes talk about logos as if they were responsible for conveying meaning by themselves and, hence, the success or failure of a logo is a factor of the design. Paul Rand never assigned such importance or responsibility to a logo. “It is only by association with a product, a service, a business, or a corporation that a logo takes on any real meaning,” he said. “If a company is second rate, the logo will eventually be perceived as second rate. It is foolhardy to believe that a logo will do its job immediately, before an audience has been properly conditioned.” 有時設計師談談標誌 義
因此
(1996)
好像他們是負責輸送自己的意
成功或失敗的一個標誌的設計是一個因素
保羅蘭德從未分配的如此重要的一個標誌或責任 “只有通過與一個產品
一個服務
標誌採取任何真正意義上的 是二流的
Enron
”他說
標誌將最終被視為二流
信標誌會立刻做它的工作
一個企業
或公司
“如果一家公司 這是有勇無謀
已在觀眾面前空調
“
相
“A l sell ogo do , it e ide s not ntifi es.”
“The subject matter of a logo need not match the subject matter of the business it represents. “The only mandate in logo design is that they be distinctive, memorable and clear.” In other words, logos can look like whatever they want. They don’t have to directly depict anything about the company they represent. In fact, sometimes it’s better when they don’t! As Rand puts it,Surprising to many, the subject matter of a logo is of relatively little importance, and even appropriateness of content does not always play a significant role.This does not imply that appropriateness is undesirable. It merely indicates that a one-to-one relationship between a symbol and what it symbolized is very often impossible to achieve and, under certain conditions, objectionable. Ultimately, the only mandate in the design of logos, it seems, is that they be distinctive, memorable, and clear. 換句話說
標誌可以像為所欲為
們所代表的公司的任何有關 當他們不這樣做 的
許多令人驚訝 甚至合適
的內容並不總是發揮了重大role.This並不意味著 往是不可能實現的 的任務 忘的
“Presentation is the key”
恰當
它象徵一對一的關係往
在一定條件下
它似乎是在設計標誌
Westinghouse (1960)
有時它的更好
正如蘭德所說的那樣
它只是一個符號
Monell Chemical Senses Center (1989)
他們沒有直接描繪他
事實上
標的物的一個標誌是相對較少的重要性
是不可取的
United Parcel Service (UPS) (1961)
反感
最終
他們是獨特的
唯一 令人難
明確的
Ford Motor Company (1966) (not used)
Paul Rand placed great importance on the act of presenting a design to a client. For each design, a designer must tell a unique story that is tailored to the client. “How to present a new idea is, perhaps, one of the designer’s most difficult tasks,” Rand said. “Everything a designer does involves presentation of some kind–not only how to explain (present) a particular design to an interested listener (client, reader, spectator), but how the design may explain itself in the marketplace” 保羅
蘭德設計呈現給客戶端的行為高度重視
一個設計
對於每
設計師必須告訴客戶量身定做一個獨特的故
事 “如何提出一個新的想法 務之一
”蘭德說
也許是設計師的最困難的任
“設計師做的一切涉及某種不僅演
示如何解釋一個特定的設計 Gentry Living Color (1993)
American Broadcasting Corporation (ABC) (1962)
客戶端 釋”
讀者
觀眾
目前
有興趣的偵聽器
但如何設計自己在市場上的解
Creative Media Center (1994)
“Simplicity is not the goal. It is the by-product of a good idea and modest expectations.” If you truly understand what a logo is and is not capable of doing, then your designs will always have the simplicity that we all celebrate. 如果你真正了解一個標誌是什麼 麼你的設計將始終具有簡單
Okasan Securities Company (1991)
是不能夠這樣做
我們都慶祝
Kaiser-Frazer Service Station (Pre-1965) Yale University Press (1985)
Doug Evans + Partners (1996)
Servador (1996)
than t t n orta what i n p m si es; t tha s fi e i l n go is t it sig portan o l “A roduc re im o p the s is m like.” s n mea t it look wha
Colorforms (1959)
那
This practice was frequently criticized by one of graphic design’s most legendary
gures, Paul
Rand, who wrote, “The designer who voluntarily presents his client with a batch of layouts does so not out proli cacy, but out of uncertainty or fear. He thus encourages the client to assume the role of referee.” Paul Rand’s idea that the expert chooses the best solution was seen rsthand by Steve Jobs when he hired Rand to create the corporate identity for his company NeXT. 這種做法經常被批評圖形設計的最富有傳奇色彩的人物 之一
保蘭德
他寫道
樣做不是出於繁殖力 計師
因此
他鼓勵客戶承擔裁判員的角色
親眼看到保羅 案時
“誰自願提出了他的客戶
由史蒂夫
蘭德的想法 喬布斯
為他的公司NeXT的
這
但不確定性或恐懼的佈局一批設 “
專家的選擇最佳的解決方 他聘請蘭特創建企業的身份
ND
LOGOS
DESIG
L RA Y PAU B D E N
packaging
Product of El Producto
“I am not so concerned with the art or graphics of package design as I am with new developments in packaging technique new materials, new construction and new applications.” This statement was made some years ago by a specialist in package design. Today any grocer or druggist’s shelf is testimony to the fervent enthusiasm with which such views have been endorsed. “我不這麼關心我與封裝技術 用的新發展
新材料
包裝設計與藝術或圖形
新建築和新應
”
以上的言論若干年前是一家專門從事包裝設計
今天
任何雜貨商或藥劑師的貨架是火熱的熱情
這樣
的觀點已得到見證
cess sign pro rt e d e h t Sta t is “So tha ative process. e r t the or the c roblem, forge p reveals m e l with a b o r , the p veals problem he solution re r t aulate itself o ou reev y n e h t d oing itself an what you are d is it. This ime. ” all the t
Product of El Producto
Package design of Westinghouse
The other examples shown, both simple and complex, demonstrate that the package designer’s problem is not essentially one of looking for new materials, but of understanding the importance of the artist’s hand in relation to those materials, whether they be old or new. A good package of yesterday, today, or tomorrow as well, expresses the respect of the artist for his materials in that he neither overwhelms them with meaningless or contrived ornament nor strips them of all interest and excitement out of a kind of engineering fetish. This appreciation should promote a wider view of the designer’s job-he does not seek merely to convenience the hand nor to please the eye, but he may also, however lightly, touch the emotions and gratify the human spirit. 其他的例子表明
既簡單又複雜
是沒有本質的尋找新的材料之一 就這些材料的重要性
Rand was mentioned for doing packaging design, that is very important to focus on the following few points, such as outshout the competition, dignity, respect, guides, label should enrich shape and the last but not least is respect for material.
天
明天
的材料
下幾點
這是非常重要的是要集中在以
如要比競爭對手出色
了解品牌的核心價值
擁有品牌尊嚴
尊重
標籤應充實形狀和最後但並非最
不重要的是對材料的尊重
Product of Westinghouse
但理解藝術家的手
無論是新的或舊的
以及一個很好的包
昨天
今
表示尊重的藝術家
他
他既沒有壓垮他們無意義或做作的裝飾
剝奪他們所有的興趣和興奮工程神物一種
也不
這個升值
應該促進更廣泛地認為設計師的工作他並不僅僅 追求方便的手 能
也不討好眼睛
但他也可
但是輕輕觸摸情緒
放縱人類
精神 蘭德被提及做包裝設計
表明包設計師的問題
IBM Packaging
Coronet Brandy bottle
IBM Packaging
Colorforms (1951)
Jacqueline Cochran powder box (1942)
poster Poster of AIGA (1968)
Montage, the film constitutes a form and composition methods, collectively, is French "montage" transliteration, originally a French architectural term, meaning the composition and assembly. After being borrowed, the idea is used in the film clips and mix, which means that the lens group then. Paul Rand montage artistic expression on mastery learning and applied graphic design, is another of its achievements in the visual psychologically.
蒙太奇
是電影構成形式和構成方法的總稱
語“montage”的譯音 語
意為構成和裝配
就是剪輯和組合
後被借用過來
表示鏡頭的組接
藝術表現手法的掌握
是法
原是法語建築學上的一個術 引申用在電影上
保羅 蘭德對蒙太奇
借鑒並運用於平面設計中
是其
在視覺心理上的又一成就
The 79th Ginza Graphic Gallery Exhibition (1992)
Not only was Paul Rand a phenomenal designer, he was also an accomplished painter. This selection of paintings was reproduced in the books “Paul Rand: His Works from 1948 to 1956” by Yusaku Kamekura, “Design, Form and Chaos” by Paul Rand, and “Paul Rand: Modernist Design” by Franc Nunoo-Quarcoo. Rand has stated that even though these may be paintings, the problems of form and content, light and shade, color and space still remains. Anyone of these could easily have been turned into a poster, ad or other promotional piece. This shows that Rand not just a designer, but a true artist in any medium. 這不僅是一個驚人的設計師保羅 才多藝的畫家
蘭德
他也是一個多
這種選擇繪畫轉載於1948年至1956年的
書“保蘭德
他的作品”龜倉雄策
式與混沌”
“保蘭德
保蘭德“設計
形
現代主義設計”由法郎Nunoo
Quarcoo 蘭德表示 明暗 張海報 個設計師 Tri Arts Press (1980)
即使這些可能是繪畫
色彩
空間仍然
形式和內容的問題
這些的人可以很容易地變成一
廣告或其他宣傳材料
這表明
蘭特不只是一
而是一個真正的藝術家在任何媒介
"Providin g, meanin g to a ma of unrel ss ated ne eds, ide words an as, d picture s - it is designer's the job to sel ect and fi this mater t ial togethe r and mak it interest e ing." Banner (1980)
IBM's poster design, but also masterpieces of Rand, poster design and typeface design in the field of exploration to develop his design career has brought profound impact. As a "functionalist" and "pragmatist," he drawn between the content and form of the strict boundaries, he believes good design should succinctly express content without ornate statement; works just bad a mere formality, is superficial. He always tried to guide the audience in the ad works actively explore and interpret advertising convey. An eye, a bee and a M instead of IBM's traditional logo: "I" is designed to eye on the person's care; "B" is designed to bee graphics, represents hard work; "M" Information and technology, is for technology innovation. Rand is not used in the creation of the English alphabet to design a simple piece of poster, but the significance of these symbols on the decomposition of the elements, and then reassemble various symbolic information. IBM has been reflected in the innovation, hard work and entrepreneurial spirit. Tokyo Communication Arts (1990) IBM公司的招貼設計
也是蘭德的傳世之作
在招貼設
計和字體設計領域的開拓探索給他的設計職業帶來了深 刻的影響
作為一名“功能主義者”和“實用主義者”
他在內容和形式之間划出了嚴格的界限 設計應該簡潔地表達內容 品只是流於形式
是膚淺的
一隻蜜蜂和一個M代替了IBM傳統logo 是對人的關愛
勤勞動
一個眼睛
“I”設計成眼
“B”設計成蜜蜂圖形
“M”信息與科技
不好的作
他總是試圖在廣告作品中
引導受眾主動探索和詮釋廣告傳達的內容 睛
他認為好的
無須華麗的語句
代表的是辛
是對技術的不斷創新
在
創作時蘭德並不用簡單的英文字母來設計這幅招貼
而
是把這些符號元素進行意義上的分解 號信息重新組合
然後再將各種符
體現了IBM一直在銳意創新
動並積極進取的精神
辛勤勞
RM is Resource Management acronym, hue with IBM's products use the same black color style, reflects IBM's product image and professionalism; orange circle symbol "Energy" embodies a vitality; recycling arrows symbol "Resource protection" using red, showing a flow and widely recognized; "steering wheel" is a "ride" using the color blue near the ocean, which means that the share of this theme; trees are environmental protection use of natural original color green, reflecting the value of life and health significance. By contrast screen color complementary color theory, the formation of visual contrast effect, so that the audience generated a strong visual impression. Painting expression eclectic, varied, and embodies the spirit of IBM's expertise and products thick texture, demonstrates IBM's philosophy and corporate culture, to the corporate image and product promotion purposes. RM是資源管理 Resource Management (1980)
Resource Management
色相與IBM產品色彩風格相同採用黑色 品形象與專業精神
橙色的圓象徵“能源”
體現了一種活力
強烈的視覺印象
形成視覺對比效果
綠樹是
使用自然最初 畫面通
讓受眾生成
這幅作品表達形式不拘一格
富於變
體現著IBM的專業精神與產品厚重的質感
彰顯了
IBM的理念與企業文化 目的
New York Subways Advertising Co. Car card (1946)
U.S. Department of the Interior (1975)
Protection
反映了生命的價值和健康的意義
過色彩補色對比原理 化
表現了一種流 Ridesharing
表示了共享這一主題
Environment
的色彩綠色
採用赤色
“方向盤”是“共乘”
採用接近海洋顏色的藍 環境保護
Energy
循環箭頭象徵著“資源保護”
Materials Conservation 動和廣泛認可
的縮寫
體現了IBM的產
達到了宣傳企業形象和產品的
A poster must attract as quickly and boldly as a banner and excite sensations of pleasure and interest in the observer. This the standardized poster cannot do but it can and does succeed in boring the observer with its triteness and vacuous design. A good poster is, however, only half the battle for the best post er if badly displayed cannot only be revitalized but can actually become a visual irritation if it interrupts architectural forms or obtrudes rudely into the landscape. It is unnecessary to remind the reader of the r avages done to city and countryside by the wanton plastering of post ers on every available space. But apparently it is necessary to remind the advertiser who defeats his own purpose by rendering his advertising obnoxious rather than pleasurable. 一張海報必須吸引盡可能迅速和大膽作為旗幟和興奮的 感覺的愉悅和觀察者的興趣 做
但它可以
的觀察者
這是標準化的海報不能
並成功地在其陳腐和空洞的設計與無聊
是一個很好的海報
只是成功的一半
如果急需顯示
但是
最好的帖子呃
Yale Eye Chart
(1985)
不僅可以得到振興
但實際上可以成為一種視覺刺激如果它中斷建築形式或 obtrudes粗暴地到景觀
提醒城市和農村的每個可用空
間後ERS肆意抹灰的R avages的讀者 但很顯然
這是不必要的
它是必要的提醒廣告誰擊敗自己的目的
他討厭的廣告
使
而不是愉悅
Yale University School of Art (1982)
Interfaith Day (1953) Pastore Depamphilis, Rampone (PDR) (1987)
Subway advertising (1947)
person
al desig
n
PAUL RAND
n betwee e c n e r e y no diff s i st. The e i r t e r a n “Th a ner and form and con g i s e d a hether k with w r , o t r w a h e bot o creat t up to me, t y r t I tent. ot is no n r o t i I make God.” o it's up t
Rand Paul extremely wide field of design practice, but its work was eclectic design style, full of changes, and has a strong contemporary feel. In the design of the creative process, Rand will have a starting point and destination point to ponder a human perspective, adhere to simple and succinct, free and meaningful artistic expression of the road. The use of vivid colors and intense, fresh and witty sense of humor unique works, making Rand's works Meaning rich and ideological endless charm. Rand breakthrough in the design field, to the consumer to develop a new design and cultural features. 保羅 蘭德的設計實踐領域極其廣泛 貌卻不拘一格
富於變化
計的創作過程中 度加以思考 之路 感
但其作品設計風
且具有強烈的現代感
堅持簡潔洗練
色彩運用鮮明且強烈
自由和雋永的藝術表現 作品獨具清新詼諧的幽默
使得蘭德的作品思想蘊意豐富且韻味無窮
設計領域的突破
在設
蘭德將出發點和歸宿點都以人性的角
蘭德在
給消費者開拓了新的設計文化風貌
47
Rand design its rigorous composition, line and plane simple geometry rejected unnecessary form of graphic art seeking the true meaning of independence, inherited the modernist advocated by the Bauhaus design philosophy and aesthetics and principles. For the first half of the 20th century Bauhaus design philosophy advocated by the beauty and reason, and effectively applied to the commercial art in the past, he paid a lifetime of effort. Hair design art history at Rand's contribution is not only created a web with a strong modern graphic works, but to a new design culture increased to a theoretical height of his achievements in the visual design and avant-garde spirit the entire field of graphic design, the great and far-reaching impact. 蘭德的設計以其嚴謹的構圖
線面簡潔的幾何圖形
拒
絕了無謂的形式而獨求平面藝術的真諦
承襲著由包豪
斯倡導的現代派設計理念和和美學原則
為了將20世紀
上半葉包豪斯倡導的設計哲學和理性之美 商業美術中來
他付出了畢生的精力
切實應用到
在設計藝術發歷
史上蘭德的貢獻不單是創作了一幅幅具有強烈現代感的 平面作品 高度
而是把一個新的設計文化提高到了理論上的
他在視覺設計方面的建樹和前衛精神對整個平面
設計領域而言
L
side of ive on the
Life
影響巨大而深遠
The designs in this chapter are for The Coca Cola Company, it is a redesign project of existing brand on the promotional graphics. I have try to use or to imitate the graphic style of Paul Rand on doing the logos and posters design. 在本章的設計是為可口可樂公司 現有品牌的宣傳圖形
它是一個設計項目的
我已經嘗試使用或模仿保蘭德的
圖形樣式上做的標誌和海報設計
C
C L