Paul Rand

Paul Rand (born Peretz Rosenbaum; August 15, 1914 – November 26, 1996) 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. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design. Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut, where he taught from 1956 to 1969 and from 1974 to 1985. 

He was inducted into the New York Art Directors Club Hall of Fame in 1972. Paul Rand was born Peretz Rosenbaum on August 15, 1914, in Brooklyn, New York. He embraced design at a very young age, painting signs for his father's grocery store and for school events at P.S. 109. Rand's father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan's Haaren High School while taking night classes at the Pratt Institute. 

Rand was largely "self-taught" as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as Gebrauchsgraphik." Rand also attended Parsons School of Design and the Art Students League of New York. His career began with humble assignments, starting with a part-time position creating stock images for a syndicate that supplied graphics to various newspapers and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen. 

Around this time, he decided to camouflage the overtly Jewish identity conveyed by his name, Peretz Rosenbaum, shortening his forename to 'Paul' and taking 'Rand' from an uncle to form a Madison Avenue-friendly surname. Morris Wyszogrod, a friend and associate of Rand, noted that "he figured that 'Paul Rand,' four letters here, four letters there, would create a nice symbol. So he became Paul Rand." Roy R. Behrens notes the importance of this new title: "Rand's new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring." 

Indeed, Rand was rapidly moving into the forefront of his profession. In his early twenties, he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of László Moholy-Nagy: Among these young Americans, it seems to be that Paul Rand is one of the best and most capable ... He is a painter, lecturer, industrial designer, advertising artist who draws his knowledge and creativeness from the resources of this country. 

He is an idealist and a realist, using the language of the poet and businessman. He thinks in terms of need and function. He is able to analyze his problems, but his fantasy is boundless. The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as his influential works and writings firmly established him as the éminence grise of his profession.

Although Rand was most famous for the corporate logos, he created in the 1950s and 1960s, his early work in page design was the initial source of his reputation. In 1936, Rand set the page layout for an Apparel Arts (now GQ) magazine anniversary issue. "His remarkable talent for transforming mundane photographs into dynamic compositions, which ... gave editorial weight to the page" earned Rand a full-time job and an offer to take over as art director for the Esquire-Coronet magazines. 

Initially, Rand refused this offer, claiming that he was not yet at the level the job required. Still, a year later, he decided to go ahead with it, taking over responsibility for Esquire's fashion pages at the young age of twenty-three. The cover art for Direction magazine proved to be an important step in developing the "Paul Rand look" that was not yet fully developed. 

The December 1940 cover, which uses barbed wire to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom Rand enjoyed at Direction; in Thoughts on Design, Rand notes that it "is significant that the crucifix aside from its religious implications, is a demonstration of pure plastic form as well ... a perfect union of the aggressive vertical (male) and the passive horizontal (female)."