Commercial art--United States—History--20th century
Design--United States—History--20th century
Graphic arts--United States—History--20th century
New York school of art
Rand, Paul, 1914-1996
The American Design Adventure by
The American Design Adventurecontinues the fascinating and detailed examination of industrial design begun by Arthur Pulos in American Design Ethic. The first volume discussed and illustrated the objects and artifacts, the major designers and schools of design from Colonial times to the 1940s. This second splendidly illustrated volume carries the story into the heroic era of American industrial design, from the 1940s to the 1970s. These were the decades of American industrial design's dominance, when special exhibitions and world fairs made design a subject of national pride. Big business realized the influence that trademarks, packaging, and corporate identity programs could have on their bottom line, and the world of fashion created a consumer demand for name brands and well designed products. Industrial design flourished under the capable hands of Raymond Loewy and Charles Eames, while corporations like IBM, RCA, Herman Miller, and Knoll were sponsors of the great American design adventure. The extraordinary collection of illustrations that Pulos has assembled documents all of these important design trends while evoking the nostalgia of the 50s and 60s when Pop and Rock held sway. Pulos probes all aspects of industrial designers and their work - in education and private corporations, in professional organizations and governmental agencies. He also covers prefabricated housing, graphics, manufactured products from the exotic to the pragmatic, and public systems from the sociopolitical to the economic.
American Modernism by
A groundbreaking survey of the Modernist movement in American graphic design This insightful book is the first to present a comprehensive survey of the Modernist movement as it emerged in America between 1920 and 1960 in various graphic media. It identifies and examines great works in advertising, information design, identity, magazine design, print, dimensional design, and posters that by mid-century had defined American graphic design. R. Roger Remington begins by discussing the emergence of Modernism and its major historical influences, including European avant-garde art movements, technology, geopolitical issues, popular culture, educational innovations such as the Bauhaus, architecture, industrial design, and photography. The heart of the book brings together the key works of mid-century Modernism, presenting them chronologically from the 1930s to the 1950s. The final section shows the impact of and reactions to these Modernist influences as graphic design in America matured into the 1960s and beyond. Handsomely designed and illustrated, American Modernism isdestined to become a classic text in the study of design and visual culture.
Design, Form, and Chaos by
In this book Paul Rand said to be one of the world's leading graphic designers, speaks about the contemporary practice of graphic design, explaining the processes and passion that foster good design and indicting fadism and trendiness. Illustrating his ideas with examples of his own graphic work as well as with the work of artists he admires, Rand discusses such topics as: the values on which aesthetic judgements are based; the part played by intuition in good design; the proper relationship between management and designers; the place of market research; how and when to use computers in the production of a design; choosing a typeface; principles of book design; and the thought processes that lead to a final design. The centrepiece of the book consists of seven design portfolios - with working drawings and ultimate choices - that Rand used to present his logos to clients such as Next, The Limited and IBM.
Interface by
In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBMOCOs corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed-a story told in full for the first time in John HarwoodOCOs The Interface-remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture. IBMOCOs program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the OC inventionOCO of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design-information and management theory, cybernetics, ergonomics, computer science-became integral aspects of design.As the first critical history of the industrial design of the computer, of Eliot NoyesOCOs career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America-and an invaluable perspective on the computer and corporate cultures of today.
The Moderns by
In The Moderns, we meet the men and women who invented and shaped Midcentury Modern graphic design in America. The book is made up of generously illustrated profiles, many based on interviews, of more than 60 designers whose magazine, book, and record covers; advertisements and package designs; posters; and other projects created the visual aesthetics of postwar modernity. Some were émigrés from Europe; others were homegrown--all were intoxicated by elemental typography, primary colors, photography, and geometric or biomorphic forms. Some are well-known, others are honored in this volume for the first time, and together they comprised a movement that changed our design world.
Paul Rand by
Paul Rand (1914-1996) was a pioneering figure in American graphic design. Adopting what he called a 'problem-solving' approach to design, he drew on the ideas of European avant-garde art movements and synthesized them to produce his own distinctive graphic language. As an art director, teacher, writer and design consultant to companies including IBM and UPS, he was a major force and influence in the field of graphics and visual communication and enjoyed an enthusiastic and committed following. Rand's career spanned almost seven decades and numerous chapters of design history. His own books are solidly thematic, whereas this definitive collection of his key published and proposed works is medium-driven. It explores the full range of his advertising, publishing and corporate identity work. Armin Hofmann, the eminent Swiss graphic designer and educator, contributes a foreword reflecting on Rand's importance in the creation of a new visual culture. George Lois, one of the most inventive figures in advertising and a follower of Rand, writes an inspiring introduction. Jessica Helfand, one of Rand's former Yale students and a highly respec
Saul Bass by
Iconic graphic designer and Academy Award--winning filmmaker Saul Bass (1920--1996) defined an innovative era in cinema. His title sequences for films such as Otto Preminger's The Man with the Golden Arm (1955) and Anatomy of a Murder (1959), Alfred Hitchcock's Vertigo (1958) and North by Northwest (1959), and Billy Wilder's The Seven Year Itch (1955) introduced the idea that opening credits could tell a story, setting the mood for the movie to follow. Bass's stylistic influence can be seen in popular Hollywood franchises from the Pink Panther to James Bond, as well as in more contemporary works such as Steven Spielberg's Catch Me If You Can (2002) and television's Mad Men. The first book to examine the life and work of this fascinating figure, Saul Bass: Anatomy of Film Design explores the designer's revolutionary career and his lasting impact on the entertainment and advertising industries. Jan-Christopher Horak traces Bass from his humble beginnings as a self-taught artist to his professional peak, when auteur directors like Stanley Kubrick, Robert Aldrich, and Martin Scorsese sought him as a collaborator. He also discusses how Bass incorporated aesthetic concepts borrowed from modern art in his work, presenting them in a new way that made them easily recognizable to the public. This long-overdue book sheds light on the creative process of the undisputed master of film title design -- a man whose multidimensional talents and unique ability to blend high art and commercial imperatives profoundly influenced generations of filmmakers, designers, and advertisers.
Six Chapters in Design by
Stylish and concise, this volume presents the work of six venerable names in modern design history. Featuring more than three hundred examples of their best work, yet still eminently portable, Six Chapters in Design is a charming model of economy. Each chapter begins with an essay by a fellow designer, or poet, or, in the case of Saul Bass, director Martin Scorsese, and closes with a biographical profile. Esteemed by designers around the world, these are the artists who created the identities of Warner, AT&T, IBM, ABC, UPS, and Westinghouse; film titles for The Shining and Cape Fear; posters; advertisements; and memorable images of every sort. Their work, nearly omnipresent in everyday life, has influenced an entire culture. This dynamic compendium is a smart resource for designers and artists working in any medium.
