Paul Rand Research Paper

I like how Paul Rand’s logos looks and its style in the geometric form because his logo, ABC is consists of the three lowercase letters, with white text on the black background. Those letters are stand for American Broadcasting Company and he designed the typeface of ABC in simple and unique style, which I believe that this typeface was considered to be an inspiration of the Bauhaus school in Germany. Also I like his second logo, NeXT because of its simplicity. This logo contains different colors for each letter in two columns, on a black box. Each squares has a little white spaces between them.

The son of former slaves who escaped by way of the Underground Railroad, Paul Lawrence Dunbar was born in Dayton, Ohio, in 1872. After escaping slavery, Dunbar’s father served in the Civil War. In high school, Dunbar was a member of the debating society, editor of the school paper, and president of the literary society. After graduation, he could not afford to attend college—his mother, after his father left shortly after Paul Lawrence’s birth, worked as a washerwoman, and one of the families for which she worked was that of Orville and Wilbur Wright—worked as an elevator operator for two years, selling copies of his book of poetry to the riders. In 1893 he moved to Chicago, where he hoped to find work at the World’s Fair. In 1895 his

Calder discovered what he wanted: “to paint and work in the abstract” (Calder, p.133). He created relief paintings such as White Panel (1934) and applied himself thereafter to creating sculptures based on the plastic dynamics of asymmetry. Calder discovered the leaders of avant-garde, the Abstraction-Creation group. Under their influence, Calder began to look into Boccioni and Moholy-Nagy’s theories, using sculptures in motion.

A brilliant mind and a brilliant poet, Paul Dunbar was a mastermind of poetry. He was also quite the influential figure in the very early African American community not only around Ohio, but the world around. Dunbar was significant to Ohio because of the era he was writing in and the things he was writing about. These are the significant details about his life and how he has helped shape Ohio as well as how Ohio shaped him.

Rand Aldo Leopold was born in Burlington, Iowa, on January 11, 1887. His father, Carl Leopold, was a businessman who made walnut desks; and his mother, born Clara Starker, was Carl's first cousin. Charles Starker, father of Clara and uncle of Carl, was a German immigrant, educated in engineering and architecture.[3] Rand Aldo was named after two of Carl's business partners—C. W. Rand and Aldo Sommers—although the "Rand" was eventually dropped. The Leopold family included younger siblings Mary Luize, Carl Starker, and Frederic.[4] Leopold's first language was German,[5] although he mastered English at an early age.

In chapter 23 there were a lot of modern art that was both appealing and unappealing to me. Personally I was intrigued by Fernand Leger’s Ballet Mecanique. This specific piece of art was created on film in 1924. Ballet Mecanique is a film piece of a cinematic collage of a swinging pendulum, a smiling woman, and shifting geometric shapes. I like it most of out all the art because it is a type of collage. Throughout my room I have different collages that explain me. I believe that this artist was extremely creative because he expanded on the original idea of cubism. Just as I have a favorite piece of work, I have a least favorite. My least favorite is Kazimir Malevich’s suprematist composition: airplane flying. It was painted on an oil canvas

The focus of this essay is to explain why the International Typographic Style or “Swiss” style was so important to the mid twentieth century and how it got started. Firstly, it is an art movement that internationally began in the 1950’s, but the origins can be traced back at least thirty years. It can be thought of as a combination of elements from other movements such as Constructivism, De Stijl and the Bauhaus. According to Richard Hollis’ book Swiss Graphic Design, there are “at least three factors that account for the ‘Swiss’ style” (Hollis, R. 2006, P9), these being the country’s location, the language and the culture. There is evidence to prove that there are at least 2 other factors, especially for the origin of the style, which is shown in the book, along with several others. Although not directly linked to the foundation of the style itself, these 2 other factors include the designers and the typography, after all, it is known as the International Typographic Style. In this essay we will be discussing each of them in turn, and explaining views as to why they were important and what effect they had on graphic design in the mid twentieth century.

Rand did his photography on the copy camera at the engraver's plant and used handwriting instead of type to save money. The ad hoc execution of his ideas makes these Direction covers look as fresh today as when they were published over 50 years ago. Yet Rand downplayed their originality, saying that they were influenced by Picasso and Surrealism and were paying homage to the arts magazines Verve and Minotaur. Despite this admission, the Direction covers are a milestone in Rand's development as an innovative artist/designer (Kroeger).

-He ventured into a wide variety of art forms, including performance art, filmmaking, video installations and writing, and controversially blurred the lines between fine art and mainstream aesthetics, (bio.com) and silkscreen images.

The transition between the 19th and 20th century has brought further development of modernistic ideas, concepts and techniques in art. Inspired by Cezanne’s idea, saying that all nature objects can be illustrated with just three geometrical figures: cube, sphere and cone, Pablo Picasso created his first paintings, which became the icons of modern art and cubism movement in

The pioneering art movement of the early twentieth century redefined the modern visual design. From its philosophy, aesthetics to experimental methods, cross-domain artists will be pioneer art movement core ideas continue to output to the visual design, cast a pioneer art and visual design cannot deny the inheritance relationship. El Lissitzky is one of the leading figures. Lissitzky has a lot of titles, Russian Jews, teachers, artists, designers, architects, preachers, etc . later mentioned in his influence, often referred to a lot of modernist genres - he is the Russian vanguard movement Important leader, and mentor Kazimir Malevich to develop suprematism for the future of Bauhaus, style art and deconstruction has an important impact.

The readings for week five were Cubist Collage, the Public, and the Culture of Commodities by Christine Poggi and In the Name of Picasso by Rosalind Krauss. Poggi and Krauss take two somewhat different approaches to examine the usage of signifiers and language in Cubism collages. Poggi takes a more personal approach at the beginning of his piece by discussing Braque and Picasso’s juxtaposed attitudes and actions towards the public and mass culture by discussing the way in which Picasso and Braque’s artworks were displayed through small dealers specifically Kahnweiler. [125] The paradoxical element arrives from the usage of mass produced materials like newspaper or wallpaper in the Cubist collages. Through this, he challenges not only the “hierarchical distinctions between high art and mass culture” that would come to be a basis for much of twentieth-century modern art, but also challenges idea of the

Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. Despite his work’s unstudied appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices and styles to create a unique kind of visual collage. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.

One morning, a little designer was sitting in his studio looking out at the city through his window. He could not help but notice a woman selling her fresh baked cakes and screaming, "Cakes, Cakes for sale! Cakes, Cakes for sale!" Hearing this, the little fashion designer shouted out his window "Come on up, I would love to buy some cakes!" The woman then ran up three flight of stairs to the designer with her basket. Upon her arrival, the designer told her to unpack her basket on the table. He looked each cake and said: "These cakes look good, so cut me a slice from the one on the far left". After she finished serving the designer, the woman went away satisfied on the sale she just received.

Sometimes referred to as The Father of Modern Design, Milton Glaser was born in New York in the year 1929. From a young age he was involved in art, he attended the “High School of Music and Art from 1943 until 1946,” (Milton Glaser, 2017) before attending an art school at the Cooper Union. He then received the Fulbright Scholarship to attend Accademia di Bella Arti, Academy of Fine Arts, in Italy. After studying there from 1952-1953, Glaser returned to New York and in “1954 Seymour Chwast, Reynold Ruffins, and Edward Sorel to found Push Pin Studios.” (Milton Glaser, 2017) These four students from the Cooper Union banded together to create a force that was revolutionary to the field of graphic design. Glaser was well known for his posters like the Bob Dylan