Saul Bass

Saul Bass might be the single most accomplished graphic designer in history. Working in the mid 20th century, when the importance of graphic design was just on the upswing, Bass branded a staggering array of major corporations with his iconic, minimal designs. For about 50 years, if you were looking for a clean, thoughtful design that was made to last, this was the man you called.

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Who is Saul Bass?

Bass was born in the largely Jewish New York borough of the Bronx in 1920 to working class Russian- Jewish immigrants, who encouraged his early interest in the arts. In preparation for a career in graphic design, he studied modernism at New York’s Art Students League under the direction of Howard Trafton. Bass worked also as a freelance designer during that time. Near the end of the Second World War, and still freelancing, he enrolled at Brooklyn College where he studied with Gyorgy Kepes in 1944-45. In 1946 he moved to Los Angeles, California, where he established and operated a more permanent business

venture, a design firm called Saul Bass and Associates.

Bass’ Style

Bass is famous for his use of simple, geometric shapes and their symbolism. Often, a single dominant image stands alone to deliver a powerful message. These shapes, as well as type, were often hand-drawn by Bass to create a casual appearance, always packed with a sophisticated message. His ability to create such a powerful message with basic shapes makes his work even more impressive.

From Print to Screen

Bass is best known for his work in film. He started out in the industry doing poster design, first hired by director and producer Otto Preminger. Bass had an uncanny ability to capture the mood of a film with simple shapes and images, much like his other work. He would go on to work with directors such as Alfred Hitchcock, Stanley Kubrick, and Martin Scorcese and design classic posters for movies such as The Man with the Golden Arm, West Side Story, The Shining, Exodus, and North by Northwest.

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From poster design, Bass would move on to creating impressive title sequences for many films, such as Psycho and Vertigo. These opening credits felt like animated graphic design, maintaining Bass’s print style for a consistent branding of a film. This work would continue late into Bass’s career, designing title sequences for Big, Goodfellas, Schindler’s List, and Casino. To top off his involvement in the film world,Bass won an Oscar in 1968 for his short film Why Man Creates.

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Corporate Branding

Along with his impressive film portfolio, Bass was responsible for creating memorable logos, many of which still exist today. Through his freelance work and with his firm Saul Bass & Associates, he would create identities for companies such as Quaker Oats, AT&T, The Girl Scouts, Minolta, United Airlines, Bell and Warner Communications. In addition, Bass designed the poster for the 1984 Los Angeles Olympic Games and several Academy Awards shows.

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Bass’ work can catch you by surprise at how deceivingly simple it is. His distinct talent for turning ideas into a kind of universal language pushed the boundaries of graphic design. He proved that simple design is timeless, and 20 years after his death Bass is still a recognized name in graphic design.

Brand Identity

Brand identity is a collection of all the representations of a brand. it’s the logo, the trademark, the mascot, the brand collateral, the signage, and all other company collateral. Basically, anything that communicates the message of a brand to its audience.

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What is Branding?

Branding helps a business form its identity in the marketplace. In order to be able to stand out from a countless amount of different companies and agencies a business has to have a unique voice. By creating a cohesive and consistent form of visual representation a brand is able to convey its story and its core message to the consumer. To be able to do this effectively you must pay attention to the needs of your consumers.

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How to Create Brand Identity?

A brand is a perceived image of your company that represents the company. A brand identity system consists of using style guides and framework to create a visual representation. Before you start creating a brand identity system it is important to have a strategy in place. This will help you define your company’s goals more easily and will help your branding design deliver the brand’s message with clarity and consistency.

After the brand strategy is documented research is usually done. This research is not just figuring out the core values and needs of the company, but it’s also researching the competition in the marketplace. Understanding your company and it’s needs will help you gain an understanding of your business and this will help you create the perfect branding in a more methodical and systematic way.

To create effective designs it is important to consider the following factors:

  1. Making your design distinct so that it stands out from your competition.
  1. Making it memorable by creating visceral experiences that people can connect with.
  1. Make it scalable, flexible and consistent throughout the system.

In addition to all of the above it would also make sense to invest in thinking about how your branding is going to live after its made. Figuring out ‘What it means to design for the future?’ and ‘What are the ethical implications of the design?’ will help you tackle u foreseen problems and design solutions that can bridge the gap between the consumer and the product.

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Why do You Need a Branding Identity?

Brand identity helps define your company’s image in the marketplace. It includes all the different associations and interactions a consumer has with the company. If you are not able to make a great impression upon the consumer, the brand tends to be forgotten in the vast amount of choices that are out there. It’s very important to pay attention to all the details, such as the logo, the web design, and the packaging to presentation design, everything matters for a brand to be taken seriously.

Recognition is another important aspect of brand identity design. It helps the user form associations. With consistent interactions with your brand it will seep into the daily life of the consumer. This means that it’s essential to create a design that is scalable across all devices, products, and platforms to keep the overall image of the brand consistent. Your brand identity needs to live and breathe within the product itself and should shape and influence your consumers.

Ultimately understanding your product and the marketplace is crucial when it comes to creating a strong brand identity system. If you are looking to create a branding identity for your company GraphicCom is more than happy to help you. Please contact us at GraphicCom.com or call us at (586) 566-5200.

Website Design

Website Design, Website Development, UI, UX are terms used frequently when discussing websites. While these terms are sometimes used interchangeably, each of them have a specific meaning. It is important to understand the difference if you are in the process of or planning to get a website done.

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Website Design

Web design is everything that you are able to see on the screen of mobile phones, tablets, laptops, and desktops. Each and every element on the website, including the layout, graphics, colors, text,

photographs, videos and visual elements of UI and UX are all part of the website design. It all starts with the creation of a website wireframe, layout design, and mock ups. Web design defines the functionality of the website and helps you enhance the website experience and increase conversion rate. Coding is not part of the website design process.

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Website Development

Web development is creating and maintaining a website with the use of different types of programming languages, frameworks, and tools. Even creating a single web page with HTML and CSS is web development. It can range from 200 lines of coding to 2 million lines of coding. In the beginning web developers were limited to creating static web pages. Nowadays, web developers can create dynamic websites, online tools, web based applications and portals using different technologies.

Web development handles the coding of the website and is divided into two types of categories, front-end, and back end. The front-end coding controls the actual display of the website design, and the back-end coding is the processing of user data on the web server and displaying it back to the user. There are also full-stack website developers who can manage both the front-end and back-end coding of the website.

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UI

UI is the visual platform that enables us to control the device functionalities. Any device with a screen has a UI or User Interface Design. UI designing differs with the mobile screen, laptop, tablet, and website. UI design can be divided into three categories, Graphic Design, Interaction Design, and User Testing.

  • Graphic design is mostly known to everyone. It is the process of visual designing of a digital product.
  • Interaction design is all about designing the operational flow and specifications. It is mostly performed by Interaction Designers.
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UX

UX or User Experience designs the experience of the website users. UX designers will make sure that the website is engaging and interactive to enhance the user’s website experience. The user experience is scaled on the basis of the interactive abilities of the user interface created by UI designers. UX designer crafts the wireframe for the website and renders interface communications to acquire the feedback of users. UI design is associated with UX design but they are not the same, many people get confused between the roles of both UI and UX designers.

Depending on what you are looking for you first have to understand the key differences between Web Design, Web Development, UI and UX to narrow down what you need according to your requirements. This will help you select the best suitable option for you.

Words

Experts repeatedly say ‘content is key’ and whether you are a web designer or a graphic designer you must give importance to words in your design. Content is an important factor in any design and adds a greater value. Words have the ability to include critical thinking along with creative thinking of web designers and graphic designers. For any web and graphic design to get exposure and compel action, the written content has to match the tone of the design.

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The Quality of Words

The quality of words defines the success of website and graphic design. The words in your designs have the power to keep people engaged.

As a web designer, you have to understand the requirements of your website visitors. Having high quality content will allow you to create the best website experience which will ultimately help you drive traffic, increase conversion, and increase sales on the website.

As a graphic designer, pairing high quality words or content with appealing design will improve the quality of your graphics as well and an intellectual value in your graphic design.

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Using Words to Understand Design Better

Designers are creative people and sometimes their creativity goes beyond the understanding of a layman. Words will act as a guide to explain your designs in a much better way. Both web and graphic designers have to maintain the balance of creativity along with the help of content.

With well written content on a website it can solve the struggle of visitors not being able to find what they are looking for and will improve the websites navigation. Content helps your visitors to have a clear idea about the products and services that are available to them. If your designs are not easy to understand you will lose their attention quickly.

Graphic designers create strong designs to establish brand identity, but at the same time designs should communicate the message of the brand. Using words along with creative design elements will make the design more clear and comprehensive.

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Using Words to Increase Recall Value

With web design or graphic design, words add greater value to the design. Simple yet effective words can be used to fill the gaps. In the case of both website design and graphic design, words are used to express the visuals.

When you visit a website with extraordinary written content you will definitely remember it for a long time. If the visitor is not in the mindset to buy and just searching for the best option to buy later, your content’s recall value will count. Visitors will come back to your website later to purchase what they were looking for earlier.

Creative content will help create graphics with better recall value. There is always a chance that a design without words will make your audience scroll down their feed without stopping. However, the same design could also grab their attention if it is used with effective wording.

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SEO Friendly Website

It is important to add SEO friendly content on your website. A great website design and well written content are not very useful if no one can find it on the internet. This is why it is vital for all your content to be SEO friendly to increase your website traffic. With the use of effective and well researched keywords, you can easily boost your website rankings.

You have to understand the fact that design alone won’t help to increase website conversion.

You can use blogs with SEO friendly content along with eye catching graphics to increase traffic. You can also optimize graphics and images with platforms like WordPress by simply adding SEO optimized keywords in the caption which will help attract more traffic to your website.

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Place Your Content Effectively

Placement of the content in any design is as important as the placement of design elements. You should ensure that the content fits the space provided by the designers. For instance, overuse of written words may allow the viewers to lose interest. Additionally, for printable design materials, effective content placement helps reduce the total number of pages which reduces the printing cost.

Make sure that the design and content are balanced equally. The right placement will lessen the chances of cluttered visuals and the design loosing its attraction. The website design should also have a specific space for content placement to enhance the website experience. The same applies to graphic design, if there is an excessive use of words it can shadow the creativity of the design.

In conclusion, words combined with creative design are the most effective tools of communication. Web design or graphic design alone can’t win the battle of attention.

You have to use the right words along with effective design elements, doing so will improve your chances of conversion and communication.

Paula Scher

Paula Scher was born in 1948 in Virginia and grew up in Philadelphia and Washington DC. During High School she embraced Art, stating that it was “the first place where I felt like I actually belonged” and she became a publicity chairman for her school, designing posters and pamphlets for school dances and events. She continued her interest in the arts and took night classes at Corcoran College of Art + Design. Her mother wasn’t supportive of her interest in the arts and insisted she should obtain a certificate in teaching so she would have something to fall back on, but Paula would go on to prove her mother wrong.

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In the Beginning

Paula attended college in1966 with the intent to become a painter, but admitted that she couldn’t really draw so she decided to experiment with both metal working and print work. She went on feeling like she wasn’t good at anything, but then she discovered she had an natural liking for graphic design in her junior year. She went on to graduate in 1970 and against her mother’s advice and moved to New York City, where she was employed to design the insides of children’s books. Paula would go on to become an incredible designer, with her work winning dozens of awards and being featured in numerous museums including the New York Museum of Modern Art and the Philadelphia Museum of Art.

Her Career

Paula’s first major role in New York was with CBS Records in 1972. She joined CBS as part of the publicity team and wasn’t involved with the design of album covers, which is what she wanted to do. She then left CBS a year later and joined Atlantic Records where she worked for a year designing various album covers and promotional materials.When Paula was 25 she decided to return to CBS Records to become their new Art Director for the East Coast. For the next decade, Paula Scher would design almost 150 record covers each year and countless more ads and posters. All of her album covers used imagery from popular culture in an effort to engage with the audience and make them more inclined to buy the record.

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In 1982 she grew tired of the music industry and left it to form her own design agency with an old friend, Terry Koppel, who at the time was a magazine designer. Together Paula and Terry began producing brand identities, product packaging and book covers. Unfortunately with the Gulf War in 1990 and the recession it ended Scher and Koppel’s agency.

Soon after Woody Pirtle, a partner at Pentagram invited Paula out for coffee and asked if she would be interested in joining. She decided to join in 1991, and has stayed there ever since. Since joining she has designed identities such as; Citibank and Microsoft, exhibitions for the US Holocaust Memorial Museum, and editorial designs for Metropolis.

In 1998, Paula was tasked with creating an identity for the multi-billion dollar company, Citi. Paula designed the logo during an initial client meeting. The concept only took only a few seconds to sketch and was on a napkin. Pentagram was concerned that their clients would not pay for something that only took several seconds to design, but they did. Paula’s ability to design such an iconic identity on a napkin in a few seconds was from her abundance of experience that she had gained through her career.

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Other Work

Some of Paula’s lesser known work includes commissioned graphics for public buildings. Paula herself refers to these large-scale designs as ‘environmental graphics’, transforming blank space with the use of vivid colors and unique typography.

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Recently she was commissioned by the PAVE Academy Charter School, to turn their range of motivational and inspirational messages into environmental graphics. Paula worked closely with the architects for the build, creating dimensional signage and bold super-graphics. The unique identity for the school has helped freshen the existing brand, and to create a memorable learning experience for students and teachers alike.

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Alongside her professional work, Paula also works on a range of fine art pieces in her free time. She spends most of this time creating incredibly detailed maps by hand. Her father, Marvin Scher was involved with cartography, which is the science or practice of drawing maps. She spends a great amount of time adding tiny details to each map. The work forces her to have patience, which she says she lacks in her day job at Pentagram. Paula finds that both art and design compliment each other perfectly.

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“Design happens quickly on a computer and the painting is laborious. Design is social. Painting is isolating. Design has a purpose. Art has no purpose. I can’t imagine one without the other.”

– Paula Scher

Paula Scher is a perfect combination of both art and design which creates a perfect blend of the two. Her work spans many fields, and has certainly influenced many designers in creating their own work.

Cubism

Cubism has been regarded as one of modern art‘s most famous and fascinating art movements. It was the first style of abstract art which evolved at the beginning of the 20th century in response to a world that was changing with unimaginable speed.

What is Cubism?

Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso and Georges Braque in Paris between 1907 and 1914. Cubism is seen as a revolutionary movement that rejected the concept that art should copy nature, or that artists should adopt the traditional techniques of perspective, modeling, and foreshortening, which had been used since the Renaissance. Cubist artists instead wanted to emphasize the two-dimensional flatness of the canvas by reducing and fracturing objects into geometric forms, and then reassembling them to evoke the same figures and show the subjects from multiple views. Cubist painters were not bound to copying form, texture, color, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously.

The term Cubism was first used by French critic Louis Vauxcelles after seeing the landscapes Braque had painted in 1908 at L’Estaque in emulation of Cézanne. Vauxcelles called the geometric forms in the highly abstracted works “cubes.” The term wasn’t widely used until the press adopted it to describe the style in 1911.

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Left:Georges Braque     Right: Pablo Picasso

History of Cubism

At the turn of the century, Post-Impressionism and Fauvism movements inspired by the Impressionists experimental approach to painting dominated European art. French painter, sculptor, printmaker, and draughtsman Georges Braque contributed to the Fauvist movement with his polychromatic paintings of stylized landscapes and seascapes.

In 1907, Braque met Spanish painter, sculptor, printmaker, and designer Pablo Picasso. At this time, Picasso was in his “African Period,” producing primitive works influenced by African sculpture and masks. Just like Braque’s Post-Impressionist paintings, these pieces also played with form and sometimes color but remained figurative.

Phases of Cubism

The various phases in the development of the Cubist style which are based on the work of Picasso and Braque.

PROTO-CUBISM

Before the movement was underway, both Picasso and Braque applied elements of the
soon-to-be style to their respective genres. This fascinating transition into Cubism is especially seen in these two pieces:

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Pablo Picasso, ‘Les Demoiselles d’Avignon’ (1907)
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Georges Braque, ‘Viaduct at L’Estaque’ (1908)

ANALYTIC CUBISM

The first official phase of the movement is known as Analytic Cubism. This period lasted from 1908 through 1912, and is characterized by chaotic paintings of fragmented subjects rendered in neutral tones. The fractured forms often overlap with one another, displaying the subject from multiple perspectives at once.

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Pablo Picasso, ‘Still Life with a Bottle of Rum’ (1911)

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Georges Braque, ‘Still Life with Metronome’ (1909)

SYNTHETIC CUBISM

Synthetic Cubism is the movement’s second phase, emerging in 1912 and lasting until 1914. During this time, Picasso, Braque, Gris, and other artists simplified their compositions and brightened their color palettes. Synthetic Cubism showcases an interest in still-life depictions, rendered as either paintings or collage art.

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Pablo Picasso, ‘Still-Life With Chair Caning’ (1912)

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Georges Braque, ‘Rum and Guitar’ (1918)

The ideas of the cubism movement fed into more popular phenomena, like Art Deco design and architecture. Later movements such as Minimalism were influenced by the Cubist use of the grid. It is difficult to imagine the development of non-representational art without the experiments of the Cubists. Cubism shook the foundations of traditional art making by turning the Renaissance tradition on its head and changing the course of art history with reverberations that continue into the postmodern era.

Infographics

Infographics have evolved in recent years to become a means of mass communication; they are designed to reach a wider audience by simplifying complex subjects and arranging it in an easy to digest format, unlike other types of visualizations. Because of its simplicity and a compelling storytelling, it has gained a lot of popularity in recent years, and we can see infographics being shared all over the internet and social media.

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What is an Infographic?

An infographic is a visual representation of information and data. It takes a large amount of information in text or numerical form and then condenses it by combining elements of text, images, charts, and diagrams. It is an effective tool to present data and explain complex issues in a way that can quickly lead to insight and better understanding.

History of Infographics

Although infographics have only recently gained widespread popularity online, they have actually existed since the 17th century.

The Commercial and Political Atlas, published in 1786 by William Playfair, was the first example of modern infographics.

In 1983, a data visualization expert named Edward Tufte wrote a series of books about infographics. He also offered lectures and hands-on workshops on the subject.

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At the dawn of the 21st century, infographics transitioned into a digital format. With so many historic examples, Tufte’s teachings, and the emergence of the Internet, infographics seamlessly transitioned online.

It was around 2010 that they became what we know today – digital graphics designed to present complex information, usually posted on blogs or within articles on websites,  sometimes spreading virally.

Types of Infographics

Infographics come in various forms. They are categorized based on purpose, types of objects used and the flow of information. Not all infographics will strictly fall into a specific category. Most infographics will have elements of multiple types. The type of infographic that will be most appropriate in a given situation will depend on the objective of the data visualization.

Statistical infographic 

A statistical infographic puts the focus on your data. The layout and visuals will help you tell the story behind your data.

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Informational infographic

A informational infographic template is ideal for if you want to clearly communicate a new or specialized concept, or to give an overview of a topic.

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Timeline infographic 

A timeline infographic is an effective way to visualize the history of something, or to highlight important dates, or to give an overview of events.

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A process infographic is ideal for providing a summary or overview of the steps in a process.

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Comparison infographic

A comparison infographic is for when you want to compare options in an unbiased way, or you want to make one option seem better.

When to use an Infographic

  • Illustrating data: You can take data from surveys and make it more interesting than your average chart.
  • Simplifying a complex subject: If you’ve got a rather complex concept, and need a way to break it down quickly and easily, infographics are the way to go.
  • Making comparisons: Infographics are great at showing when two things are incredibly similar or different.
  • Awareness: Whether it’s related to business, politics or any other area, you can quickly raise awareness of a brand or cause with an infographic.

Infographics will continue to be used frequently by businesses, educators and the media, but there’s a good chance they’ll evolve like our technology does. Possibly in the future we may start seeing more interactive, as well as 3D immersive ones incorporated into virtual reality experiences.

Paul Rand

Peretz Rosenbaum (born August 15, 1914, in Brooklyn, NY) would later change his name to Paul Rand and become one of the most famous and influential graphic designers in history. He is best known for his logo design and corporate branding, creating timeless icons such as the IBM and ABC television logos. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

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Early Life

On August 15, 1914, in Brooklyn, New York, Rand was born as Peretz Rosenbaum and was raised in a strict Orthodox Jewish home. Orthodox Jewish law forbids the creation of images that can be worshiped as idols, but already at a young age, Rand copied pictures of the models shown on advertising displays in his father’s grocery store, and violated the rules. His father frequently warned him that art was no way to make a living, so he decided to enroll him at Manhattan’s Harren High School. While Paul was studying there, his father agreed to let his son attend night classes at the Pratt Institute. Paul attended several art schools, such as The New School for Design, the Art Students League, and Yale University in Connecticut. Even with his rich academic career in arts, Rand developed his graphic sense through self-education.

Career

Rand began his career as a part-time stock image creator for a syndicate. Soon his class assignments and part-time job rendered him to assemble a distinguished portfolio. His work was highly influenced by Sachplakat, the German advertising style and Gustav Jensen’s works. During this time he also decided to camouflage his Jewish origin by shortening and modernizing his name Peretz Rosenbaum as Paul Rand.

Rand went and made a name for himself as an editorial designer, doing work for magazines such as Esquire and Direction. He even worked for free in some cases in turn for creative freedom, and as a result, his style became known in the design community.

Rand’s popularity really grew as an art director for the William H. Weintraub          agency in New York, where he worked from 1941 through 1954. There, he partnered  with copywriter Bill Bernbach and together they created a model for the writer-  designer relationship.

During the 1950s and ’60s, as American corporations were turning to graphic designers to create contemporary trademarks and consistent graphic standards, Rand became a prominent advocate of such visual-identity systems.

Rand’s career spanned seven decades, and in that time his graphic designs, teaching, and ideas broadly influenced several generations of American designers.

Rand’s Signature Style

Rand was part of a movement in the 1940’s and 50’s, in which American designers were coming up with original styles. He was a major figure in this change that had a focus on freeform layouts that were much less structured than prominent European design.

Rand used collage, photography, artwork and unique use of type to engage his audience. When viewing a Rand ad, a viewer is challenged to think, interact, and interpret it. Using clever, fun, unconventional, and risky approaches to the use of shapes, space, and contrast, Rand created a unique user experience.

It was perhaps put most simply and accurately when Rand was featured in one of Apple’s classic ads that stated, “Think Different,” and that’s exactly what he did. Today,  he is known as one of the founding members of the ‘Swiss Style’ of graphic design.

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Rand’s Work

Though best known for the corporate logos he designed in the ’50s and ’60s, it was his earlier work in magazine design and layout that first earned him international acclaim. The reputation Rand so quickly established for himself continued to grow over the years. He produced many extraordinary designs in the ’80s and ’90s. Here are a few of the most well known designs:

In the late 1930s he created covers for a series of design magazines, including Apparel Arts, Direction and AD.

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In the mid-1950s, Rand revolutionized book-cover design using abstraction, dramatic color combinations and his own distinct, thread-thin script.

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He designed many logos, among them the ones for Westinghouse, ABC and United Parcel Services in the 1960s, IMB in 1972, Cummins Engine in 1979 and for Steve Jobs’ Next      in 1986.

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Paul Rand died of cancer in 1996 at the age of 82. At this time, he was living and working in Norwalk, Connecticut. Much of his later years were spent writing his memoirs. Paul Rand will remain one of the most famous graphic designers in the world and his work and advice for approaching graphic design will live on to inspire designers.

History of Vehicle Graphics

In the last decade, vehicle graphics have transformed from an activity normally utilized by businesses with fleet trucks to a popular option for consumers and their cars, trucks, and SUVs. Companies have been using graphics to advertise on their vehicles for more than a century, and the first known examples of automotive advertising occurred around the turn of the last century.

How it All Started

In February of 1900, Milton Hershey became the first to use an automobile to advertise by painting his Lancaster, PA Hershey brand on a vehicle. Later, more embellished designs like Kolb’s Red Label Bread came to surface, incorporating different type faces and imagery. Originally, the only choice was to use paint, but soon something more durable, flexible, and with more design options hit the scene. Paint reigned supreme in the graphics world, and kept its exclusive place for over 50 years. But by the late 1950’s and into the 1960’s a new material began to emerge on the scene and changed the world of graphics forever: vinyl chloride.

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Vinyl for Advertising

At first, only large clients like the U.S. Air Force could afford to use self-adhesive vinyl graphics, but by the 1980’s vinyl production costs and die-cutting technology became affordable enough for small businesses to be able to letter their vehicles without paint.

By the early 1990’s, colorful die-cut vinyl had become the primary method of marking vehicles with lettering and logos for big businesses, while paint remained the choice for customizers and enthusiasts.

In the late 1990’s, new technologies emerged that allowed printing vinyl with a wide format electrostatic printer, but like die-cut vinyl before it, only the largest companies could afford to use it and its capabilities were extremely limited in design, color and image quality.

As the 21st century arrived, an advance in technology happened that not only made it possible for startups to purchase the equipment necessary to print on large format vinyl, but also to make the designs more striking than ever. With piezoelectric inkjet printers, large format graphic design software and computers that could handle over a gigabyte of data, the vinyl wrap was invented.

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Today, vehicle wrapping can be seen everywhere! The industry continues to innovate with better products, strategic printing and installation practices, and more sophisticated designs. If you’re interested in an advertising vehicle wrap for your business, contact Graphic Communications today!

 

Constructivism

Constructivism is an artistic and architectural philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. The movement was in favor of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and music.

Main Ideas of Constructivism

– Constructivists replaced art’s traditional concern with composition with a focus on construction. Objects were to be created not to express beauty, or the artist’s outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art.

– Constructivist art often aimed to demonstrate how materials behaved, for instance, what different properties had materials such as wood, glass, and metal. The form of the artwork would be dictated by its materials .

– Constructivism art is a symbol of the modern era. The International movement influenced by the Russian avant-garde movement focused on the idea of art as an object and used new materials to highlight advances in technology and industry.

Vladimir Tatlin

Vladimir Tatlin is often hailed as the father of Constructivism. He had collaborated on the preceding Cubo-Futurist movement. His interests changed during a visit to Paris in 1913, where he saw a series of wooden reliefs by Picasso. Tatlin appreciated that the reliefs were not carved or modeled in a traditional manner but composed in an entirely different way, and put together from pre-formed elements. On his return to Russia, Tatlin began to experiment with the possibilities of three-dimensional relief, by using new types of material and exploring their potential.

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Pablo Picasso Mandolin and Clarinet 1913

In 1919, Tatlin had achieved some prominence as a representative of different paths for the Russian avant-garde. At “0.10, the Last Futurist Exhibition of Painting”, Tatlin unveiled his Corner Counter-reliefs. The latter were suspended in air across a corner of the room, instead of being attached to the flat surface of a wall, and their abstract forms defied the traditional idea that relief should depict a figure or an event. Instead, the Reliefs allowed the viewer to focus on the types of materials used, and how forms were arranged in relation to each other.

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Vladimir Tatlin Corner Counter-relief 

It wasn’t until Tatlin exhibited his model for the Monument for the Third International that Constructivism was truly born. More commonly known as Tatlin’s Tower, the unusual spiral-shaped building was designed as a government office building. It was planned to rise higher than the Eiffel Tower, this triumphant commemoration of the Russian Revolution was to be modern, functional and dynamic. The project proved an inspiration to the artist’s contemporaries, who quickly came together to debate its consequences, and hence Constructivism came to life.

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Vladimir Tatlin – Model for the Monument to the Third International.

The Revolution of Constructivism

What stood at the root of the period was a desire to express the experience of modern life. Similarly to the Italian Futurism, the focus was on the demonstration of dynamism and the creativity was seen as a tool for re-invention. Developing after the World War I, Russian constructivism pushed towards the art that would serve social change and inspire people to rebuild the society in a Utopian model. Concerned with the use of ‘real materials in real space’, the movement used art as a tool for the common good, much in line with the Communist principles of the new Russian regime. The art in service of the revolution needed to be bold and stripped of any emotions. This way of thinking was greatly diffrent from the standpoint of the Suprematism, which was using abstraction to break free of the expectations and limitations of the physical world and to connect with something more pure or spiritual.