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Paul Rand [1914-1996] American
Rank: 101
Designer, Graphic designer


Paul Rand was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT.

Design, Architecture, Art, Good, Knowledge, Poetry, Space, Technology

QuoteTagsRank
Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated. Art, Design
101
Graphic design, which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates, is not good design if it does not communicate. Design, Good
102
I never did calligraphy... But handwriting is an entirely different kind of thing. It's part of the syndrome of modernism... It's part of that asceticism.
103
Simplicity is not the goal. It is the by-product of a good idea and modest expectations.
104
To design is much more than simply to assemble, to order, or even to edit: it is to add value and meaning, to illuminate, to simplify, to clarify, to modify, to dignify, to dramatize, to persuade, and perhaps even to amuse. To design is to transform prose into poetry. Design, Poetry
105
Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process. Design, Knowledge, Technology
106
The reason I always insisted on signing my work was not to be subordinate to anyone.
107
Pictures, abstract symbols, materials, and colors are among the ingredients with which a designer or engineer works. To design is to discover relationships and to make arrangements and rearrangements among these ingredients. Design
108
Asymmetric balance creates greater reader interest. Pleasure derived from observing asymmetrical arrangements lies partly in overcoming resistances, which, consciously or not, the spectator adjusts in his own mind.
109
Ideas do not need to be esoteric to be original or exciting.
110
You can't criticize geometry. It's never wrong.
111
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.
112
I haven't changed my mind about modernism from the first day I ever did it... It means integrity; it means honesty; it means the absence of sentimentality and the absence of nostalgia; it means simplicity; it means clarity. That's what modernism means to me.
113
If I was influenced by anything, it was architecture: structure having to do with logic. If you don't do it right, the whole thing is going to cave in. In a certain sense, you can carry that to graphic design. Fortunately, however, nobody is going to die if you do it wrong. Architecture, Design
114
Good design doesn't date. Bad design does. Design
115
In the West, we look at art through life. Well, that's one way of living. In the Orient they look at life through art. They even drink their tea without sugar, for the same reason that they don't like a lot of frilly decorations on a painting. I can't stand butter on my bread for the same reason. I'm allergic to goo and rococo.
116
Design is everything. Everything! Design
117
Artistic tricks divert from the effect that an artist endeavors to produce, and even excellent elements such as bullets, arrows, brackets, ornate initials, are at best superficial ornamentation unless logically employed.
118
There's a certain kind of research you have to listen to - the factual stuff, not opinion. Facts are facts. Sugar is sweet - it's not a matter of opinion. It just is.
119
Any system that sees aesthetics as irrelevant, that separates the artist from his product, that fragments the work of the individual, or creates by committee, or makes mincemeat of the creative process will, in the long run, diminish not only the product but the maker as well.
120
The principal role of a logo is to identify, and simplicity is its means... Its effectiveness depends on distinctiveness, visibility, adaptability, memorability, universality, and timelessness.
121
Providing, meaning to a mass of unrelated needs, ideas, words and pictures - it is the designer's job to select and fit this material together and make it interesting.
122
If a company is second rate, the logo will eventually be perceived as second rate. It is foolhardy to believe that a logo will do its job immediately, before an audience has been properly conditioned.
123
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. Design, Space
124
A style is the consequence of recurrent habits, restraints, or rules invented or inherited, written or overheard, intuitive or preconceived.
125
Without the aesthetic, the computer is but a mindless speed machine, producing effects without substance, form without relevant content, or content without meaningful form.
126
In the Orthodox religion, you don't draw the human figure. It's against the rules.
201
I would say that an understanding of man's intrinsic needs, and of the necessity to search for a climate in which those needs could be realized, is fundamental to the education of the designer.
202
I was too practical to want to be a painter.
203

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