Paul Rand
Encyclopedia
Paul Rand
Paul Rand (born Peretz Rosenbaum, (August 15, 1914 — November 26, 1996) was an American graphic design
er, best known for his corporate logo designs, including the logos for IBM
, UPS
, Enron
, Westinghouse
, ABC
, and Steve Jobs
’ NeXT
. He was one of the originators of the Swiss Style
of graphic design.
Rand was educated at the Pratt Institute
(1929–1932), Parsons The New School for Design
(1932–33), and the Art Students League
(1933–1934). From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University
in New Haven, Connecticut
. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. Rand died of cancer in 1996. He is buried in Beth El Cemetery.
. He embraced design at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute
, Rand was largely “self-taught as a designer, learning about the works of Cassandre and Moholy-Nagy
from European magazines such as [Gebrauchsgraphik].”
for a syndicate that supplied graphics to various newspapers and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage (and abbreviate) the overtly Jewish identity telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new surname. Morris Wyszogrod, a friend and associate of Rand, noted that “he figured that ‘Paul Rand,’ four letters here, four letters there, would create a nice symbol. So he became Paul Rand." Roy R. Behrens notes the importance of this new title: “Rand’s new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring." Indeed, Rand was rapidly moving into the forefront of his profession. In his early twenties he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of Laszlo Moholy-Nagy
:
The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as the designer’s influential works and writings firmly established him as the éminence grise of his profession.
Although Rand was most famous for the corporate logo
s he created in the 1950s and 1960s, his early work in page design
was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts magazine anniversary issue. “His remarkable talent for transforming mundane photographs into dynamic compositions, which [. . .] gave editorial weight to the page” earned Rand a full-time job, as well as an offer to take over as art director for the Esquire
-Coronet
magazines. Initially, Rand refused this offer, claiming that he was not yet at the level the job required, but a year later he decided to go ahead with it, taking over responsibility for Esquire’s fashion pages at the young age of twenty-three.
The cover art for Direction magazine proved to be an important step in the development of the “Paul Rand look” that was not as yet fully developed. The December 1940 cover, which uses barbed wire
to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom
Rand enjoyed at Direction; in Thoughts on Design Rand notes that it “is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well . . . a perfect union of the aggressive vertical (male) and the passive horizontal (female)."
Rand’s most widely known contributions to design are his corporate identities
, many of which are still in use. IBM
, ABC
, Cummins Engine, UPS
, and the now-infamous Enron
, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation. According to graphic designer Louis Danziger:
Rand’s defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes “was not just an identity but a basic design philosophy that permeated corporate consciousness and public awareness." The logo was modified by Rand in 1960. The striped logo was created in 1972. The stripes were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the "striped" logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company's default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Ford appointed Rand in the 1960s to redesign their corporate logo, but afterwards chose not to use his modernized design.
Although his logos may be interpreted as simplistic, Rand was quick to point out in A Designer’s Art that “ideas do not need to be esoteric to be original or exciting." His American Broadcasting Company trademark, created in 1961, then used by ABC-TV in the fall of 1962, epitomizes that ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Rand remained vital as he aged, continuing to produce important corporate identities into the eighties and nineties with a rumoured $100,000 price per single solution. The most notable of his later works was his collaboration with Steve Jobs
for the NeXT Computer
corporate identity; Rand’s simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Steve Jobs was pleased: just prior to Rand’s death in 1996, his former client labelled him, simply, “the greatest living graphic designer.”
may have incited Rand’s zeal for knowledge when he asked his colleague if he read art criticism at their first meeting. Rand said no, prompting Moholy-Nagy to reply “Pity.” Heller elaborates on this meeting's impact, noting that, “from that moment on, Rand devoured books by the leading philosophers on art, including Roger Fry
, Alfred North Whitehead
, and John Dewey
." These theoreticians would have a lasting impression on Rand’s work; in a 1995 interview with Michael Kroeger discussing, among other topics, the importance of Dewey’s Art as Experience
, Rand elaborates on Dewey’s appeal:
Dewey is an important source for Rand’s underlying sentiment in graphic design; on page one of Rand’s groundbreaking Thoughts on Design, the author begins drawing lines from Dewey’s philosophy to the need for “functional-aesthetic perfection” in modern art. Among the ideas Rand pushed in Thoughts on Design was the practice of creating graphic works capable of retaining but face recognizable quality even after being blurred or mutilated, a test Rand routinely performed on his corporate identities.
, and convinced his colleague, Armin Hofmann
to do the same. In justification of his resignation, Rand penned the article Confusion and Chaos: The Seduction of Contemporary Graphic Design where he denounced the postmodern movement as "faddish and frivolous" and "harbor[ing] its own built-in boredom".
Despite the importance graphic designers place on his book Thoughts on Design, subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being “reactionary and hostile to new ideas about design.” Steven Heller
defends Rand’s later ideas, calling the designer “an enemy of mediocrity, a radical modernist” while Favermann considers the period one of “a reactionary, angry old man.” Regardless of this dispute, Rand’s contribution to modern graphic design theory in total is widely considered intrinsic to the profession’s development.
to Jan Tschichold
, and constantly attempted to draw the connections between their creative output and significant applications in graphic design. In A Designer’s Art Rand clearly demonstrates his appreciation for the underlying connections:
This idea of “defamiliarizing the ordinary” (or "making the familiar strange," a strategy commonly credited to Russian Formalist critic Viktor Shklovsky
) played an important part in Rand’s design choices. Working with manufacturers provided him the challenge of utilizing his corporate identities to create “lively and original” packaging for mundane items, such as light bulbs for Westinghouse
.
Paul Rand (born Peretz Rosenbaum, (August 15, 1914 — November 26, 1996) was an American graphic design
Graphic design
Graphic design is a creative process – most often involving a client and a designer and usually completed in conjunction with producers of form – undertaken in order to convey a specific message to a targeted audience...
er, best known for his corporate logo designs, including the logos for IBM
IBM
International Business Machines Corporation or IBM is an American multinational technology and consulting corporation headquartered in Armonk, New York, United States. IBM manufactures and sells computer hardware and software, and it offers infrastructure, hosting and consulting services in areas...
, UPS
United Parcel Service
United Parcel Service, Inc. , typically referred to by the acronym UPS, is a package delivery company. Headquartered in Sandy Springs, Georgia, United States, UPS delivers more than 15 million packages a day to 6.1 million customers in more than 220 countries and territories around the...
, Enron
Enron
Enron Corporation was an American energy, commodities, and services company based in Houston, Texas. Before its bankruptcy on December 2, 2001, Enron employed approximately 22,000 staff and was one of the world's leading electricity, natural gas, communications, and pulp and paper companies, with...
, Westinghouse
Westinghouse Electric (1886)
Westinghouse Electric was an American manufacturing company. It was founded in 1886 as Westinghouse Electric Company and later renamed Westinghouse Electric Corporation by George Westinghouse. The company purchased CBS in 1995 and became CBS Corporation in 1997...
, ABC
American Broadcasting Company
The American Broadcasting Company is an American commercial broadcasting television network. Created in 1943 from the former NBC Blue radio network, ABC is owned by The Walt Disney Company and is part of Disney-ABC Television Group. Its first broadcast on television was in 1948...
, and Steve Jobs
Steve Jobs
Steven Paul Jobs was an American businessman and inventor widely recognized as a charismatic pioneer of the personal computer revolution. He was co-founder, chairman, and chief executive officer of Apple Inc...
’ NeXT
NeXT
Next, Inc. was an American computer company headquartered in Redwood City, California, that developed and manufactured a series of computer workstations intended for the higher education and business markets...
. He was one of the originators of the Swiss Style
International Typographic Style
The International Typographic Style, also known as the Swiss Style, is a graphic design style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. Hallmarks of the style are asymmetric layouts, use of a grid, sans-serif typefaces like Akzidenz Grotesk, and...
of graphic design.
Rand was educated at the Pratt Institute
Pratt Institute
Pratt Institute is a private art college in New York City located in Brooklyn, New York, with satellite campuses in Manhattan and Utica. Pratt is one of the leading undergraduate art schools in the United States and offers programs in Architecture, Graphic Design, History of Art and Design,...
(1929–1932), Parsons The New School for Design
Parsons The New School for Design
Parsons The New School For Design, known colloquially as Parsons, is the art and design college of The New School university. It is located in New York City's Greenwich Village, and has produced artists and designers such as Marc Jacobs, Dean and Dan Caten, Norman Rockwell, Donna Karan, Jane...
(1932–33), and the Art Students League
Art Students League of New York
The Art Students League of New York is an art school located on West 57th Street in New York City. The League has historically been known for its broad appeal to both amateurs and professional artists, and has maintained for over 130 years a tradition of offering reasonably priced classes on a...
(1933–1934). From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University
Yale University
Yale University is a private, Ivy League university located in New Haven, Connecticut, United States. Founded in 1701 in the Colony of Connecticut, the university is the third-oldest institution of higher education in the United States...
in New Haven, Connecticut
New Haven, Connecticut
New Haven is the second-largest city in Connecticut and the sixth-largest in New England. According to the 2010 Census, New Haven's population increased by 5.0% between 2000 and 2010, a rate higher than that of the State of Connecticut, and higher than that of the state's five largest cities, and...
. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. Rand died of cancer in 1996. He is buried in Beth El Cemetery.
Early life and education
Paul Rand was born on August 15, 1914 in Brooklyn, New YorkBrooklyn
Brooklyn is the most populous of New York City's five boroughs, with nearly 2.6 million residents, and the second-largest in area. Since 1896, Brooklyn has had the same boundaries as Kings County, which is now the most populous county in New York State and the second-most densely populated...
. He embraced design at a very young age, painting signs for his father’s grocery store as well as for school events at P.S. 109. Rand’s father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan’s Harren High School while taking night classes at the Pratt Institute
Pratt Institute
Pratt Institute is a private art college in New York City located in Brooklyn, New York, with satellite campuses in Manhattan and Utica. Pratt is one of the leading undergraduate art schools in the United States and offers programs in Architecture, Graphic Design, History of Art and Design,...
, Rand was largely “self-taught as a designer, learning about the works of Cassandre and Moholy-Nagy
László Moholy-Nagy
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.-Early life:...
from European magazines such as [Gebrauchsgraphik].”
Early career
His career began with humble assignments, starting with a part-time position creating stock imagesStock photography
Stock photography is the supply of photographs licensed for specific uses. It is used to fulfill the needs of creative assignments instead of hiring a photographer. Today, stock images can be presented in searchable online databases. They can be purchased and delivered online...
for a syndicate that supplied graphics to various newspapers and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage (and abbreviate) the overtly Jewish identity telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new surname. Morris Wyszogrod, a friend and associate of Rand, noted that “he figured that ‘Paul Rand,’ four letters here, four letters there, would create a nice symbol. So he became Paul Rand." Roy R. Behrens notes the importance of this new title: “Rand’s new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring." Indeed, Rand was rapidly moving into the forefront of his profession. In his early twenties he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of Laszlo Moholy-Nagy
László Moholy-Nagy
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.-Early life:...
:
The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as the designer’s influential works and writings firmly established him as the éminence grise of his profession.
Although Rand was most famous for the corporate logo
Logo
A logo is a graphic mark or emblem commonly used by commercial enterprises, organizations and even individuals to aid and promote instant public recognition...
s he created in the 1950s and 1960s, his early work in page design
Typesetting
Typesetting is the composition of text by means of types.Typesetting requires the prior process of designing a font and storing it in some manner...
was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts magazine anniversary issue. “His remarkable talent for transforming mundane photographs into dynamic compositions, which [. . .] gave editorial weight to the page” earned Rand a full-time job, as well as an offer to take over as art director for the Esquire
Esquire (magazine)
Esquire is a men's magazine, published in the U.S. by the Hearst Corporation. Founded in 1932, it flourished during the Great Depression under the guidance of founder and editor Arnold Gingrich.-History:...
-Coronet
Coronet (magazine)
Coronet was a general interest digest magazine published from October 13, 1936, to March 1971 and ran for 299 issues. The magazine was owned by Esquire and published by David A. Smart from 1936 to 1961.-Typical issue:...
magazines. Initially, Rand refused this offer, claiming that he was not yet at the level the job required, but a year later he decided to go ahead with it, taking over responsibility for Esquire’s fashion pages at the young age of twenty-three.
The cover art for Direction magazine proved to be an important step in the development of the “Paul Rand look” that was not as yet fully developed. The December 1940 cover, which uses barbed wire
Barbed wire
Barbed wire, also known as barb wire , is a type of fencing wire constructed with sharp edges or points arranged at intervals along the strand. It is used to construct inexpensive fences and is used atop walls surrounding secured property...
to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom
Artistic freedom
Artistic freedom is the extent of freedom of an artist to produce art to his/her own insight. The extent can deviate to customs in a certain school of art, directives of the assigner, etc....
Rand enjoyed at Direction; in Thoughts on Design Rand notes that it “is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well . . . a perfect union of the aggressive vertical (male) and the passive horizontal (female)."
Corporate identities
Corporate identity
In Corporate Communications, a corporate identity is the "persona" of a corporation which is designed to accord with and facilitate the attainment of business objectives...
, many of which are still in use. IBM
IBM
International Business Machines Corporation or IBM is an American multinational technology and consulting corporation headquartered in Armonk, New York, United States. IBM manufactures and sells computer hardware and software, and it offers infrastructure, hosting and consulting services in areas...
, ABC
American Broadcasting Company
The American Broadcasting Company is an American commercial broadcasting television network. Created in 1943 from the former NBC Blue radio network, ABC is owned by The Walt Disney Company and is part of Disney-ABC Television Group. Its first broadcast on television was in 1948...
, Cummins Engine, UPS
United Parcel Service
United Parcel Service, Inc. , typically referred to by the acronym UPS, is a package delivery company. Headquartered in Sandy Springs, Georgia, United States, UPS delivers more than 15 million packages a day to 6.1 million customers in more than 220 countries and territories around the...
, and the now-infamous Enron
Enron
Enron Corporation was an American energy, commodities, and services company based in Houston, Texas. Before its bankruptcy on December 2, 2001, Enron employed approximately 22,000 staff and was one of the world's leading electricity, natural gas, communications, and pulp and paper companies, with...
, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation. According to graphic designer Louis Danziger:
Rand’s defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes “was not just an identity but a basic design philosophy that permeated corporate consciousness and public awareness." The logo was modified by Rand in 1960. The striped logo was created in 1972. The stripes were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the "striped" logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company's default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Ford appointed Rand in the 1960s to redesign their corporate logo, but afterwards chose not to use his modernized design.
Although his logos may be interpreted as simplistic, Rand was quick to point out in A Designer’s Art that “ideas do not need to be esoteric to be original or exciting." His American Broadcasting Company trademark, created in 1961, then used by ABC-TV in the fall of 1962, epitomizes that ideal of minimalism while proving Rand’s point that a logo “cannot survive unless it is designed with the utmost simplicity and restraint.” Rand remained vital as he aged, continuing to produce important corporate identities into the eighties and nineties with a rumoured $100,000 price per single solution. The most notable of his later works was his collaboration with Steve Jobs
Steve Jobs
Steven Paul Jobs was an American businessman and inventor widely recognized as a charismatic pioneer of the personal computer revolution. He was co-founder, chairman, and chief executive officer of Apple Inc...
for the NeXT Computer
NeXT
Next, Inc. was an American computer company headquartered in Redwood City, California, that developed and manufactured a series of computer workstations intended for the higher education and business markets...
corporate identity; Rand’s simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Steve Jobs was pleased: just prior to Rand’s death in 1996, his former client labelled him, simply, “the greatest living graphic designer.”
Development of theory
Though Rand was a recluse in his creative process, doing the vast majority of the design load despite having a large staff at varying points in his career, he was very interested in producing books of theory to illuminate his philosophies. László Moholy-NagyLászló Moholy-Nagy
László Moholy-Nagy was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.-Early life:...
may have incited Rand’s zeal for knowledge when he asked his colleague if he read art criticism at their first meeting. Rand said no, prompting Moholy-Nagy to reply “Pity.” Heller elaborates on this meeting's impact, noting that, “from that moment on, Rand devoured books by the leading philosophers on art, including Roger Fry
Roger Fry
Roger Eliot Fry was an English artist and art critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism...
, Alfred North Whitehead
Alfred North Whitehead
Alfred North Whitehead, OM FRS was an English mathematician who became a philosopher. He wrote on algebra, logic, foundations of mathematics, philosophy of science, physics, metaphysics, and education...
, and John Dewey
John Dewey
John Dewey was an American philosopher, psychologist and educational reformer whose ideas have been influential in education and social reform. Dewey was an important early developer of the philosophy of pragmatism and one of the founders of functional psychology...
." These theoreticians would have a lasting impression on Rand’s work; in a 1995 interview with Michael Kroeger discussing, among other topics, the importance of Dewey’s Art as Experience
Art as Experience
Art as Experience is John Dewey's major writing on aesthetics, originally delivered as the first William James Lecturer at Harvard . Dewey's aesthetics have been found useful in a number of disciplines, including the new media....
, Rand elaborates on Dewey’s appeal:
Dewey is an important source for Rand’s underlying sentiment in graphic design; on page one of Rand’s groundbreaking Thoughts on Design, the author begins drawing lines from Dewey’s philosophy to the need for “functional-aesthetic perfection” in modern art. Among the ideas Rand pushed in Thoughts on Design was the practice of creating graphic works capable of retaining but face recognizable quality even after being blurred or mutilated, a test Rand routinely performed on his corporate identities.
Criticism
During Rand's later career, he became increasingly agitated about the rise of postmodernist theory and aesthetic in design. In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern and feminist designer Sheila Levrant de BrettevilleSheila Levrant de Bretteville
Sheila Levrant de Bretteville is a graphic designer, artist and educator whose work reflects her belief in the importance of feminist principles and user participation in graphic design...
, and convinced his colleague, Armin Hofmann
Armin Hofmann
Armin Hofmann is a Swiss graphic designer. Hofmann followed Emil Ruder as head of the graphic design department at the Schule für Gestaltung Basel and was instrumental in developing the graphic design style known as the Swiss Style...
to do the same. In justification of his resignation, Rand penned the article Confusion and Chaos: The Seduction of Contemporary Graphic Design where he denounced the postmodern movement as "faddish and frivolous" and "harbor[ing] its own built-in boredom".
Despite the importance graphic designers place on his book Thoughts on Design, subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being “reactionary and hostile to new ideas about design.” Steven Heller
Steven Heller (graphic design)
Steven Heller is an American art director, journalist, critic, author, and editor who specializes on topics related to graphic design....
defends Rand’s later ideas, calling the designer “an enemy of mediocrity, a radical modernist” while Favermann considers the period one of “a reactionary, angry old man.” Regardless of this dispute, Rand’s contribution to modern graphic design theory in total is widely considered intrinsic to the profession’s development.
Modernist influences
The core ideology that drove Rand’s career, and hence his lasting influence, was the modernist philosophy he so revered. He celebrated the works of artists from Paul CézannePaul Cézanne
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th...
to Jan Tschichold
Jan Tschichold
Jan Tschichold was a typographer, book designer, teacher and writer.-Life:Tschichold was the son of a provincial signwriter, and he was trained in calligraphy...
, and constantly attempted to draw the connections between their creative output and significant applications in graphic design. In A Designer’s Art Rand clearly demonstrates his appreciation for the underlying connections:
This idea of “defamiliarizing the ordinary” (or "making the familiar strange," a strategy commonly credited to Russian Formalist critic Viktor Shklovsky
Viktor Shklovsky
Viktor Borisovich Shklovsky was a Russian and Soviet critic, writer, and pamphleteer.-Life:...
) played an important part in Rand’s design choices. Working with manufacturers provided him the challenge of utilizing his corporate identities to create “lively and original” packaging for mundane items, such as light bulbs for Westinghouse
Westinghouse Electric (1886)
Westinghouse Electric was an American manufacturing company. It was founded in 1886 as Westinghouse Electric Company and later renamed Westinghouse Electric Corporation by George Westinghouse. The company purchased CBS in 1995 and became CBS Corporation in 1997...
.
External links
- Paul-Rand.com
- Paul Rand Bio from Iconofgraphics.com
- Misawa Lecture by Paul Rand from MIT Media LabMIT Media LabThe MIT Media Lab is a laboratory of MIT School of Architecture and Planning. Devoted to research projects at the convergence of design, multimedia and technology, the Media Lab has been widely popularized since the 1990s by business and technology publications such as Wired and Red Herring for a...
oratory - Paul Rand Biography from The Art Directors Club
- Paul Rand Article from LogoMojo.com
- Paul Rand Papers, the archives of Paul Rand, held by Yale University's *Manuscripts and Archives