more definitions

- Parts of the grid: what are the following:
margin: the space that defines the active area of the page and directs the viewer toward the visual elements.
column: vertical divisions of space that are used to align the visual elements
alley: the space between the text characters
module: spacial areas that support the textual and visual content of the design
gutter: the space between columns of printed text
folio:

-- What are the advantages of a multiple column grid.?
It allows for there to be more text on the page without being overcrowded.

-- Why is there only one space after a period?
Because on computers, the characters are proportional and not monospaced like typewriters.

-- What is a character (in typography)?
a symbol, letterform or number

-- How many characters is optimal for a line length? words per line?
40-70 characters.

-- Why is the baseline grid used in design?
It maintains continuity across the pages of design.

-- What is a typographic river?
In justified text blocks when the separation of the words leaves gaps of white space in several lines. A river effect is created where white space gaps align through the text.

-- What does clotheslining or flow line or hangline mean?
a horizontal "line" that flows across the pages of a design.

-- How can you incorporate white space into your designs?
Use white space so the page is not so full with text or images. Use it to create eye movement and/or to break up the space.

-- What is type color/texture mean?
type texture is different fonts that can add a texture to the design by the shape and weight of its characters

-- What is x-height, how does it effect type color?
the height of a lowercase x. The smaller the x height the thinner the lines will get and the color will appear to be lighter.

-- Define Tracking.
the amount of spacing between the characters

-- Define Kerning. Why doe characters need to be kerned? What are the most common characters that need to be kerned (kerning pairs)?
the removal of space between letters to improve the visual look of type, manually or automatically. Some fonts have too much space between letters, so kerning is used to unify the words so they appear more as a whole. HL, HO, OC, OT, AT

-- In justification or H&J terms what do the numbers: minimum, optimum, maximum mean?

-- What is the optimum space between words?
an en dash

-- What are some ways to indicate a new paragraph. Are there any rules?
A tab indent

-- What are the rules associated with hyphenation?
strictly for hyphenating words and line breaks. aviod hyphen. more than 2 words in a row, avoid too many in one paragraph, avoid stupid ones, never hyphen a heading, break lines sensibly.

-- What is a ligurature?
when two letters form to make a symbol.

-- What does CMYK and RGB mean?
cyan magenta yellow black. red green blue.

-- What does hanging punctuation mean?
when the punctuation extends into the right hand margin area to make the margin look neater.

-- What is the difference between a foot mark and an apostrophe? What is the difference between an inch mark and a quote mark (smart quote)?
apostrophe-used to indicate the removal of a letter of letters.
foot mark- is used to symbol feet and is not curved.
inch mark-similar to the foot mark but is double lines
quote mark-used to reference something someone said. they are curved towards the text.

-- What is a hyphen, en dash and em dashes, what are the differences and when are they used.
Dashes (hyphen, en, em)-en and em used in punctuation to provide a measurement for dashes. Not the same as a hyphen, but related. An en is half of an em, a hyphen is one third of an em. Hyphens used to link words, for compound words etc. En dash used to separate page numbers, dates and to replace the word to in constructions implying movement. Em dash used to form lines and house nested clauses.

-- What is a widow and an orphan?
Widow-a single word as last line of a paragraph
Orphan -A line of type beginning a new paragraph at the bottom of a column or page

Helvetica

After watching the movie, I was really intriegued by how much the font is used EVERYWHERE. I didn't even realize it. It seems like its so many places that it would be so overwhelming people would get tired of it, but a lot of people don't even notice it. I wouldn't say that the font itself is amazing or even that interesting. It just works. It's a simple font that can be used and manipulated for almost anyone wanting to use it for their project. That is the amazing part. Aparently some designers are obssessed with it. That's probably why its everywhere on the planet. It's mind boggling that one font could spread that far and wide into every culture and last over time.

Frederic Goudy: Final Paper

Camille Myers
Typography 01
Wertzberger
Fall 2008
Frederic Goudy: Typographer
Frederic Goudy was born in Bloomington, Illinois on March 8, 1865, although many different sources seem to have problems keeping their information consistent of when and where he was born. Goudy credits the beginning of his art career as 1876 when he saw his first pantograph (used to copy plans, diagrams, etc to any scale) and became overly excited about watching the artist draw. When he was fifteen, living in Butler, Illinois, he got a job as a janitor in order to buy a $10.00 lathe from a popular boys’ magazine, which he says had a significant influence on his work later in life (in which he became interested in mechanical work). Around 1881 while attending Sunday school, he constructed his first “real” typography project. He cut all the letters of the Ten Commandments and placed them on ten panels that were previously blank in the church. He offered to do it for free, but was later compensated with a twenty dollar check to his mother and another twenty dollar check after positive feedback of church-goers. This led to many more project requests from various people, come he was compensated, others he was not. Nonetheless these projects put him in place to start a career when the time came. Once Goudy was able to be on his own, he got around. He moved around many, many times during the course of his young adult life and into his professional life. In 1887 he moved to Minnesota and in 1888 he became a bookkeeper for credit and mortgage companies where he taught himself typography and printing. During the same year he worked in his father's real estate office in Hyde County, South Dakota. Then, in 1890 he found himself working in Chicago for a financial broker, and later a real estate firm. He also worked in the rare book department of A.C. McClurg. During a slow point, he ran into a friend of his, Lauron C. Hooper, who helped him start up “the Booklet Press” to produce advertising booklets. However their first big project they were scammed and didn’t receive any payment for their work. Despite this, they continued working and eventually, thanks to a connection with Stone and Kimball, they were able to get the “Chap Book” to print. At this time Goudy decided to change the name of the Press because he didn’t feel that “Booklet Press” was an adequate name since its growth. He changed it to “Camelot Press” and that is the name with which they printed the “American Chap-Book.” He eventually sold the Press to George Leland Hunter, the foreign rewrite editor on the Chicago Tribune. He produced his first typeface design in 1896 for Camelot Press. The font, a display font called Camelot, was named for the Press. He also sold the font for ten dollars to the Dickinson Type Foundry. In 1897 Frederic Goudy married a bookkeeper named Bertha M. Sprinks and at the turn of the century he became a lettering instructor at Holme’s School of Illustration. Goudy’s teaching inspired the likes of William A. Dwiggins, Oswald Cooper, and R. Hunter Middleton. He had the genes to become a teacher. Not only his father, but many of his aunts and uncles were also in education careers.

In 1903, Goudy, along with Will H. Ransom, founded the Village Press in Park Ridge, Illinois. They later moved the Press to Boston and then moved it to New York. In 1908 their beloved Village Press burned to the ground. The fire destroyed everything, all his notes, and sketches etc. Therefore, he decided to construct notes on information that came to him regarding his seventeen to eighteen first types. He used these notes for talks, magazine articles and etc. In that same year Goudy produced a typeface for Lanston Monotype Machine Company. His 16th typeface design was called Monotype No. 38-E, or sometimes known as Goudy Light. In 1911 he created his 19th design, which was his first really successful typeface. It was called Kennerley Old Style and he produced it for an H.G. Wells anthology, published by Mitchell Kennerley. The type was made because he didn’t like the typeface “Caslon” in conjunction with the rest of the book of, which he had originally planned to use. He drew the entire typeface freehand, inspired by the Fell types, imported by Bishop Bell in 1671. Four years later he created his most widely used type, Goudy Old Style, which was released by the American Type Founders Company and was his 25th design. One of the reasons it was so successful was because it has graceful letters and allows for more type on a page. While designing this typeface, Goudy was very strict in not allowing any changes to the characters without his approval. He was extremely satisfied with the original outcome. Later on, though, bold, extra bold and italics were developed by the type foundry and called the “Goudy Family,” for which Goudy himself received no compensation for the use of his name. The Q was also redesigned by the foundry “to a form that irritate(d) (him) mightily.”

He designed mostly display fonts, like “A ‘Display’ Roman” (his third design), during the beginning of his career, but as time went on and he developed his skill and craft, he was more interested in perfecting the roman typefaces. Goudy was very much a believer in the history of typography and those that came before him. He used a lot of already existing fonts to inspire and base the design of many of his typefaces on, as he explains, “First, a letter is a symbol of unity that has come down to us with but little actual change in its essential form since the invention of typography. There remains, then, very little which may be changed, since we may not foist new or strange characters into an intellectual currency already fixed by long use, beyond giving the accepted norm a new quality of interest, or a quality of personality, and still retain the value of any letter” (T, p74). Continuing his teaching career, Goudy taught at the Art Students League from 1916 to 1924, and in 1920 he became the Art Director at Lanston Type Co. He held that position for twenty-seven years. He also taught at New York University from 1927 to 1929. Goudy drew his typefaces by hand because he strongly disliked mechanical techniques. He said, “I do not feel that type cast by any one else carries fully into print the exact qualities of rhythm and feeling I strive for in my original drawings. No punch cutter or matrix engraver, however skillful, can do more than approximate the subtleties of another’s thought and feeling.” However, at 60 years old, he decided, partly out of necessity, to dive into the entire process. He had no previous experience, yet he began to make patterns, grind cutting tools and cast type. He is one of the few men, since the invention of type, who can do the entire process of creating a typeface: from sketching to casting to printing. In light of his new found all-around skill in the creation of typefaces, in 1925, he set up a type foundry in his home in Marlborough, New York. Unfortunately, again, for Goudy and all of his work, in 1939 his home and his foundry burned down. That fire also destroyed most of his work. At this point Goudy decided to dedicate the rest of his life to teaching which began in 1940, when he took the position at the University of Syracuse, teaching calligraphy. In 1942 he began the preparation of the preset “Chap Book,” a newer version of “The American Chap Book” that he created in 1895. But he became ill during this time and his work on it came to a halt. At 40 years old, he considered himself a failure, but he proceeded to made 113 fonts during the next 36 years. Frederic Goudy designed 124 typefaces and published 59 literary works during his life. Frederic Goudy won numerous honors for his fine printed books which include the gold medal of the American Institute of Graphic Arts, the Friedsam gold medal of the Architectural League of New York, and the medal of honor of the Ulster-Irish Society of New York. He died in Marlborough-on-Hudson on November 5, 1947. Frederic Goudy was a genius in type-making. He was one hundred percent devoted and involved with his work. He says, “Each face, has a spirit of its own. New types express the tempo of the times. After all, it is very easy. I just think of a letter and draw a line around the thought.”
Frederic Goudy is regarded as one of the greatest American Type designers in history. He started when many would be preparing to quit, he faced many, many adversities and still prevailed. He lost his work twice in fires, his name was used without payment to him, while still managing to teach and spread his genius. Despite everything he still created over 100 typefaces and became what refer to him as, “The Greatest American Type Designer.”



Part B:
1869
1
Camelot
1897
2
Unnamed
1897
3
A "Display" Roman
1898
4
DeVinne Roman
1902
5
I Pabst Roman™ I
1903
6
Pabst Italic
1903
7
I Powell™ I
1903
8
Village
1904
9
Cushing Italic
1904
10
Boston News Letter
1904
11
Engravers' Roman
1905
12
Copperplate Gothics
1905
13
Caxton Initials
1905
14
Globe Gothic Bold
1905
15
Caslon Revised
1908
16
Goudy 38-e™
1908
17
Goudy 38-e Italic™
1910
18
Norman Capitals
1911
19
I Kennerley Old Style™ I
1911
19A
I Kennerley Open Caps™ I
1911
20
I Forum Title™ I
1912
21
Sherman
1912
22
Goudy Lanston™
1914
23
Goudy Roman
1915
24
Klaxon
1915
25
I Goudy Old Style ™ I
1915
26
I Goudy Old Style Italic ™ I
1916
27
I Goudy Cursive ™ I
1916
28
Booklet Old Style
1916
29
National Old Style
1916
30
Goudytype
1917
31
Advertiser's Roman
1917
31A
An Unnamed Design
1918
32
I Kennerly Italic™ I
1918
32A
I Goudy Initials ® / Cloister Initials ® I
1918
33
I Hadriano Title™ I
1918
34
Goudy Open
1918
35
Goudy Modern
1919
36
Collier Old Style
1919
37
Goudy Modern Italic
1919
38
Goudy Open Italic
1919
39
Goudy Antique
1921
40
Nabisco
1921
41
Lining Gothic
1921
42
I Garamont™ I
1921
43
Garamont Italic ™ I
1921
44
Goudy Newstyle
1924
45
Goudy Italic
1924
46
Italian Old Style™
1924
47
Italian Old Stlye Italic™
1924
48
I Kennerley Bold™ I
1924
49
I Kennerley Bold Italic™ I
1925
50
I Goudy Heavy Face™ I
1925
51
I Goudy Heavy Face Italic™ I
1925
52
Marlborough
1925
53
Venezia Italic
1926
54
Aries
1927
55
Goudy Dutch
1927
56
Companion Old Style
1927
57
Companion Old Style Italic
1927
58
I Deepdene ™ I
1927
59
I Record Title ™ I
1927
60
Goudy Uncials
1928
61
I Deepdene Italic ™ I
1928
62
I Goudy Text ™ I
1929
63
Strathmore Title
1929
64
I Lombardic Capitals ™ I
1929
65
Sans Serif Heavy
1929
66
I Kaatskill Oldstyle ™ I
1929
67
I Remington Typewriter ™ I
1930
68
Inscription Greek
1930
69
Trajan Title
1930
70
Sans Serif Light
1930
71
Mediaeval
1930
71A
I Hadriano Lower-case ™ I
1930
72
Advertiser¹s Modern
1930
73
Goudy Stout
1930
74
Truesdell
1931
75
Truesdell Italic
1931
76
Deepdene Open Text ™
1931
76A
Deepdene Text ™
1931
77
Ornate Title
1931
78
Sans Serif Light Italic
1931
79
Deepdene Medium ™
1932
80
Goethe
1932
81
Franciscan
1932
82
I Deepdene Bold™ I
1932
83
Mostert
1932
84
I Village No. 2 ™ I
1932
84
Quinan Old Style
1932
86
Goudy Bold Face
1932
87
Goudy Book
1933
88
Goudy Hudson
1933
89
Goethe Italic
1933
90
Deepdene Bold Italic ™
1934
91
Saks Goudy
1934
92
Saks Goudy Italic
1934
92A
Saks Goudy Bold
1934
93
I Hadriano Stone Cut™ I
1934
94
I Village Italic™ I
??
95
I Californian Oldstyle™ I
1953
96
I Goudy Thirty ™ I























Font: Goudy Old Style:
Font Classification: Old Style
1. slight contrast between thin and thick strokes (letter A, W, K etc.)
2. scooped or slightly concave serifs. (on letters N, L, I, J etc.)
3. diagonal stress on round characters
4. short descenders, fairly tall ascenders.
5. The tail on the Q6. slightly organic shaped (handwriting influenced, serifs not flat/straight etc.)




Part C: Cultural/Historical Event
The font was created in 1915. The Arts and Crafts Movement was during the end of the 19th century and beginning of the 20th century, but was at its height from 1880 to 1910. It focused on and took pride on personal handiwork. It came about as a reaction to “soulless machine-made production” which was brought on by the Industrial Revolution.





Bibliography:

Goudy, Frederic. Typologia. Berkeley & Los Angeles. 1940.
Goudy, Frederic. Goudy’s Type Designs. New York. 1978.
Johnson, Alastair. Print. The Old College Try. New York, March-April 2000.
http://www.wikipedia.com/
http://www.typographia.org/1999/graphion/goudy.html
http://en.wikipedia.org/wiki/Frederic_Goudy
http://www.linotype.com/396/fredericwgoudy.html?PHPSESSID=a79de2b5103459841f694037f181f0d0
http://www.pointlessart.com/education/loyalist/typeTalk/goudy2/goudy.html
http://www.britannica.com/
http://web.archive.org/web/20001210030800/webcom.net/~nfhome/goudy.htm
http://blog.modernmechanix.com/2006/09/01/type-by-goudy/

frederic goudy

Frederic goudy
Born in Springfield, IL. august 3, 1865
1887 moved to minnesota
1888-bookkeeper for credit and mortgage companies, taught himself typography and printing
worked in his father's real estate office in Hyde County, South Dakota
1889 works in real estate in Chicago, also in rare book department of A.C. McClurg
1892 put out magazine called modern advertising but only has a few issues produced
1895 opened Camelot Press in Chicago with lauren c. hooper(English instructor), prints “American Chap-Book” but went bankrupt within a year
He produced his first typeface design in 1896, a display face called Camelot for Camelot press. Sold for $10 to the Dickinson Type Foundry
Began teaching that inspired William A. Dwiggins, Oswald Cooper, and R. Hunter Middleton
In 1897 Goudy married a bookkeeper named Bertha M. Sprinks
1900 became a lettering instructor at Holme's School of Illustration
In 1903, he and Will H. Ransom founded the Village Press in Park Ridge, Illinois(but later moved to Boston and then NY)
1908 village press burned to ground, destroyed everything
1908 produced typeface for Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light
1911- first really successful typeface: Kennerly Old Style, for an H.G. Wells anthology published by Mitchell Kennerly
1915: Goudy Oldstyle (his most widely used type) was released by the American Type Founders Company (It has graceful letters and allows for more type on a page)
Designed mostly display fonts during the beginning of his career, as time went on and he developed he was more interested in perfecting the roman typefaces
Goudy taught at the Art Students League (1916–24) and New York University (1927–29).
In 1920, became the Art Director at Lanston Type Co.
Drew his typefaces by hand, strongly disliked mechanical techniques so
1925- set up type foundry in his home in Marlborough, New York
1939-home and foundry burned down
Dedicated the rest of his life to teaching –caligraphy at university of Syracuse (1940)
From 1920–1947, Goudy was art director for Lanston Monotype
designed 122 typefaces and published 59 literary works
"Anyone who would letterspace blackletter would steal sheep."
At 40 considered himself a failure, but made 113 fonts during the next 36 yrs
124 typefaces in total
Died in Marlborough-on-Hudson on nov 5, 1947


http://www.typographia.org/1999/graphion/goudy.html
http://en.wikipedia.org/wiki/Frederic_Goudy
http://www.linotype.com/396/fredericwgoudy.html?PHPSESSID=a79de2b5103459841f694037f181f0d0
http://www.pointlessart.com/education/loyalist/typeTalk/goudy2/goudy.html
http://www.britannica.com/
http://web.archive.org/web/20001210030800/webcom.net/~nfhome/goudy.htm

modernism and constructivism

Modernism: late 19th - early 20th century, shaped by industrialization and urbanization of western society. Functionality and progress were key concerns. Modernist typefaces forced viewers to see everyday differently using unfamiliar forms. In artwork such as paintings, deliberate distortion was used as well as large flat areas of color. ‘form follows function’ which means that the form of letters and words grows out of their purpose, their materials and how they are used. Out of early modernist typography came the sans-serif typeface.

Constructivism: originated in Moscow in 1920, lasted until 1934. It dismissed “pure” art for art that had social purposes. Constructivism believed in the use of industrial materials to create non representational objects, often geometric. Constructivism was influential to modernism with its black and red sans serif fonts that were arranged in asymmetrical blocks.

Question: What typeface came from modernism?

modernist typefaces

Johnston typeface (modernism)


constructivismconstructivism









http://www.cs.ucsb.edu/~almeroth/classes/tech-soc/2006-Fall/nov-07.ppt


http://www.type.co.uk/images/imgs/products/gillsans_weights.gif


http://www.nationmaster.com/encyclopedia/Graphic-artist

http://www.nationmaster.com/encyclopedia/Johnston-%28typeface%29


http://www.nationmaster.com/encyclopedia/Constructivism-%28art%29#Constructivist_Graphic_Design


http://blushandflax.blogspot.com/2008_01_01_archive.html



http://www.eprarebooks.com/cgi-bin/phillips/89

definitions

Absolute Measurement-measurements of fixed values. measurements expressed in fixed terms that cannot be altered, ie: points and picas.

Relative Measurement-measurements that have no perscribed, absolute size, ie: character spacing.

Points-the unit of measurement used to measure the type size of a font. Refers to the height of the type block, not the letter itself. Equivalent to 1/72 of an inch.

Picas-unit of measurement equal to 12 points that is commonly used for measure lines of tpe. There are 6 picas (72 points) in an inch.

x-height-the height of the lowercase 'x'. It varies from typeface to typeface. Also used as key reference point in layout of designs.

The em-a relative unit of measurement used in typesetting to define basic spacng functions, and therefore it is linked to the size of the type. If typesize increases, so does the size of the em.

The en-unit of relative measurement queal to half of one em. An en rule is used to denote nested clauses, but it can also be used to mean 'to' in phrases such as 10-11.

Dashes (hyphen, en, em)-en and em used in punctuation to provide a measurement for dashes. Not the same as a hyphen, but related. An en is half of an em, a hyphen is one third of an em. Hyphens used to link words, for compound words etc. En dash used to separate page numbers, dates and to replace the word to in constructions implying movement. Em dash used to form lines and house nested clauses.

Alignments:
Justifcation-uses three values for type setting: minimum, maximum and optimum values. Words spacing is irregular in justified type.

Flush Left-The alignment of text or graphics up against the left side of the page

Flush Right-The alignment of text or graphics up against the right side of the page

Letterspacing-the addition of space between letters to improve visual look of type.

Kerning-the removal of space between letters to improve the visual look of type, manually or automatically.

Tracking-the amount of spacing between the characters

Word Spacing-the amount of space between words

Widow-a single word as last line of a paragraph

Orphan -A line of type beginning a new paragraph at the bottom of a column or page

Leading-refers to the space between lines of text in a text block.

Indent-text lines that are moved in from the margin by a specified amount.

First Line Indent- the text indented from the left margin in the fist line of the second and subsequent paragraphs.

Hanging Indent-the indentation from the left or right margin that affects several text lines, but first line is not indented.

Adrian Frutiger

Adrian Frutiger was born in 1928 in Switzerland where his love for sculpture influenced his career in printing. He was discouraged form pursuing sculpture and instead got interested in printing, but his first love is evident in his typefaces. When he was sixteen he was an apprentice as a compositor for four years. He released his first commercial font in 1954, called ‘President.’ In 1956 he designed his first of three slab-serif typefaces, which included Univers. In 1970, his Univers font variation caused French airport authority to commissioned Frutiger. The eventual font he created used Univers but used fonts by Eric Gill, Edward Johnson, and Roger Excoffon as inspirations for the modifications. The font was called Roissy, but was renamed Frutiger when it was released for public use in 1976. In the late 1990’s Univers was re-released with sixty three variants. He also re-released Frutiger and Avenir as Frutiger Next and Avenir Next, with additional line weights. In 2003 he was commissioned to design a new watch face for a vary rare limited-edition of watches by Ventura, a Swiss watchmaker. He also was commissioned to make a woodmark for the National Institute of Design in Ahmedabad, India, which changed its name from National Design Institute to match his NID logo on the sign.

Univers has a wide variation of styles and line weights that range from very thin to very thick and they can all be used with one another in harmony. The Univers grid shows all 21 of the weights and widths of the original type that Frutiger designed.

http://www.wikipedia.com/
http://www.myfonts.com/fonts/linotype/univers/

John Baskerville

John Baskerville was born in 1706. He was a writer and a headstone engraver in England in the 18th century, but later became a printer. He set up a printing business in 1750, but it took him 7 years to produce his first book, in 1757 because he was such a perfectionist. He also had businesses in japanning and paper mache in addition, but prior to his printing and typography, but was most well known for the latter. In 1758 he became the printer for Cambridge University. He was an atheist, but in 1763 he printed his masterpiece, a folio Bible, for the University. His designs had level serifs and he contrasted the weight of heavy and light lines. He was a member of the Royal Society of Arts. Benjamin Franklin admired Baskerville, who was also a member of the Royal Society of Arts. Franklin took Baskerville’s typography designs back to the United States where they began to use them in government documents. John Baskerville died in 1775, but his wife ran the press until 1777. Because of jealous competitors, Baskerville’s fonts began to decline in popularity and became scarcely used until the 1920’s. His fonts, now mostly called ‘Baskerville’ have been re-released and given life again.

His type uses heavy and light contrasting line weights, curves, sharp serifs, and elegant forms to be unique.

http://www.wikipedia.com
http://www.myfonts.com/person/baskerville/john/

Grids

why do we (designers) use a grid? what are the benefits or functions?

--We use it to take control of the page, for organization and to unify the page. It keeps the page from being all over the place so the message(s) are clear, and the content isn't overwhelming. Grids help to align text and photos where they are most functional for whatever the purpose of the particular item.


http://www.markboulton.co.uk/articles/detail/why_use_a_grid/
http://www.writingfordesigners.com/?paged=2

Paul Rand

Paul Rand was a graphic designer from New York who lived throughout most of the 20th century. He changed his name from Peretz Rosenbaum to Paul Rand to shorten and hide the obvious Jewish identity that it conveyed. His love for creating art and making logos contradicted the Orthodox Jewish belief that doesn’t allow the idolization of created images. Nevertheless, he never hesitated, beginning with signs for his father’s grocery store when he was young. He is most well-known for the logos he designed for big companies such as IBM, ABC and UPS in the 50’s and 60’s, but his reputation was established two decades prior to those creations. In 1937, at 23 years old, he took over as art director for the Esquire-Coronet magazines’ after just a year. His reputation grew over time and he began to develop the “Paul Ran look,” in which he began to integrate themes usually found in the “high arts” into his graphic designs. A lot of his more famous and successful designs were simple, but he says, “ideas do not need to be esoteric to be original or exciting” (2).
Later in his career he was turned on to reading art critics, or “art philosophers” and became inspired by Roger Fry, Alfred North Whitehead, and John Dewey. Paul Rand taught design classes at Yale University from 1956-1969. He also started teaching there again in 1974. He was inducted into the New York Art Directors Club Hall of Fame in 1972. He died of cancer in 1996. Paul Rand created the “American graphic style” (3).






(1) http://www.wikipedia.com/
(2) http://www.paul-rand.com/
(3) http://design.rit.edu/