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Paul Rand: A Designer's Art

4.27  ·  Rating details ·  266 ratings  ·  10 reviews

Graphic Design which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups is not good design if it is irrelevant.

Graphic design which evokes the symmetria of Vituvius, the dyn

Paperback, 253 pages
Published September 10th 2000 by Yale University Press (first published September 10th 1985)
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4.27  · 
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 ·  266 ratings  ·  10 reviews

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Jul 03, 2012 rated it it was amazing
Shelves: art-design, 2012
Paul Rand has surprised me in this book. I've had it sitting on transient shelves for almost ten years, and it seems I've never read through the whole thing until now. His criticisms, now over fifty years old, remain relevant. Graphic designers today are still just as susceptible to "designing ads in which the only aesthetic criteria are the use of fashionable illustrations and 'in' typefaces." And elsewhere: "Stubbornness may be one of the designer's admirable or notorious qualities (depending ...more
Aug 28, 2013 rated it it was amazing
Shelves: design
Paul Rand was a self-taught designer. That is what the core of this book is about. Learning through analyzing your own work and thoughts.
Lorenzo Diaz campos
Mar 14, 2018 rated it it was amazing
Shelves: diseño
Considerado uno de los diseñadores gráficos y de la comunicación más trascendental del Siglo XX, sin duda Rand estableció las bases para la comunicación moderna.
Rand fue sin duda un visionario, un adelantado a su tiempo. A lo largo de su fructífera carrera creo icónicas campañas publicitarias y magníficas imágenes gráficas de empresas de gran envergadura como Westinghouse, IBM, Olivetti, y la televisora ABC. Sus propuestas rompieron paradigmas y crearon nuevos arquetipos.
Este volumen reúne escr
Oct 01, 2016 rated it liked it
Shelves: design
Far be it for me to criticize Paul Rand—but I can't say I enjoyed this book very much. Maybe a third of it was interesting or at the very least informative, the rest was bogged down with a defensive stance against the way the world misinterprets designers and their differences from artists. I could understand one or two sections about this, but to repeat it over and over didn't come across as very valuable to me.

I've always enjoyed his work—but if you are going to read one of Paul Rands books, g
Jan 12, 2010 rated it it was ok
Shelves: art
very self-aggrandizing.
Dec 11, 2013 rated it really liked it
I just opened this, but it may become my bible. The first chapter is "the beautiful and the useful" and there is a section on art for art's sake.
Manas Saloi
Mar 11, 2019 rated it it was amazing
Loved this one. I always loved symmetry, consistency in design.

But this book has led me to realise that graphic design is all about being whimsical. Standing out.

Rand plays with fonts, color, space , humour and creates stuff which can be recognized from a mile as his work.

Summa Smiff
Sep 04, 2018 rated it really liked it
A nice overview of the work of Paul Rand with a selection of his opinions and advice for the commercial designer. Not a lot of specific, actionable advice, but a nice read nevertheless, due to Rand's clear voice and uncompromising positions on how to be an artist as well as commercial designer.
Oct 17, 2013 added it
i must to read this book
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Paul Rand (born Peretz Rosenbaum) was an American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was indu ...more
“The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the museum are embraced with equal curiosity. He takes snapshots, makes notes and records impressions on tablecloths or newspapers, on backs of envelopes or matchbooks. Why one thing and not another is part of the mystery, but he is omnivorous.” 47 likes
“Visual communication of any kind, whether persuasive or informative,
from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of
the beautiful and useful. Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.”
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