Redesigning the IBM identity

PAU

L R

AN

D

Redesigning the Identity

the dogmatic, ruth

less

ly p

ragm

atic

,

Story of how Paul Rand singlehandedly

revolutionized the giant corporation,

IBM, in the 20th century, convicing

the business world that design was

an effective tool.

s t a r t l i n g l y v i s i o n a r y

s t a r t l i n g l y v i s i o n a r y

Corporate design in the post war era

Renovation through management

Overlook of Noye’s plan

Cordination process > Shaping and Training the In-House Creative Team. > The disparate talents throughout the European design office.

The Design Programme

Evolution of IBM logo

Corporate design police, Rand

Design application at the core of business

The ‘new look’ of IBM

PAUL RAND is ‘ the how’

3

1

23

11

19141929 – 1932

19321933

19341935

Born Peretz Rosenbaum, August 15, Brooklyn, New York

Education:

Pratt Institute, New York

Harren High School, New York

Education:

Parsons School of Design, New York

Education:

Art Students’ League with George Grosz

Illustrator:

Metro Associated Services

Design Assistant:

George Switzer Studio

Freelance:

Glass Packer magazine

Changes legal name from Peretz Rosen-baum to Paul Rand

1936 – 19411937

Art Director:

Apparel Arts and Esquire magazines

Trademark:

Wallace Puppets

PAUL RAND ’ s bio

gr

ap

hy

1

Corporate design in the post-war era

PAUL RAND ’ s

As mammoth conglomerates colonized

the post-war commercial world, theories of

corporate communications developed, and

corporate design consultancies prospered.

Standardization and integration resulted in the

clarification of corporate missions. Industry’s need for

communicating distinct identities to the public

and congruent messages to employees gave rise to

a design methodology known as the ‘International

Typographic Style,’ which was based on mathematical

grid systems that provided consistent frameworks

for arranging type and image.

Earlier in the century graphic design for

business was an ostensibly ad hoc exercise

subject to the vagaries of individual designers

and the whims of their clients. Subsequently,

the newer doctrine of systems design required

that designers adhere to precise formulas

laid down in house style manuals.

Since these design systems were not ephemeral,

they required considerable financial investment from

corporate leaders, which mitigated against too many

standardized solutions.

Despite the need for integrated design systems,

most American business leaders were slower to

embrace the concept than were Europeans.

Corporations rising from the ashes of war were more

in need of fresh new identities than American concerns

that flourished during the war. Indeed, the most

remarkable modern identity system at that time

belonged to Olivetti, the Milan-based business

machine company founded in 1908, which was one

of Europe’s most internationally renowned firms, for

both its superior products and its innovative graphic

design. Design director Giovanni Pintori’s attention

to every detail, from logo to advertisements including

two by Rand to retail store outlets, to products/

designed by progressive designers, enhanced the

reputation of a far-sighted firm and leading

competitor in the world market.

Olivetti

advertisement

1953

Rand created a

few ads for Olivetti,

the Milan-based

business machine

corporation. Its

ambitious design

programme was

the inspiration for

Thomas J. Wabson

Jr’s decision to

revivify IBM’s total

visual identity.

1941 – 1955

Art Director:

William H. Wein-traub Advertising Agency.

Clients include:

Coronet Brandy El Producto Cigar Company Disney Hats Dubonnet Stafford Fabrics Ohrbach’s Department Store Dunhill Clothiers Kaufman Department Store Olivetti Architectural Forum

1938 – 19451938

19391941

Cover Designs:

Direction magazine

Trademark:

Esquire magazine

Instructor:

New York Laboratory School

Design:

New York World’s Fair brochure, an insert to PM Magazine

Article:

PM Magazine publishes first article about work

Exhibition:

Katherine Kuh Gallery, Chicago

Article:

AD Magazine, written by Laszlo Moholy Nagy

Trademark:

Coronet Brandy

3

Renovation through management

This wake-up call was in a 1955 letter from an IBM

manager in Holland addressed to Thomas J.

Watson Jr. the scion of International Business Machines

(IBM). Combined with having seen Olivetti’s ultra-

contemporary New York City showroom (replete

with a working typewriter on a podium outside its

front door on Fifth Avenue), just blocks from IBM’s

stolid, traditionally appointed, mahogany-panelled

headquarters on 57th Street and Madison Avenue,

it sparked Watson’s interest in design and inspired

the young executive to question the image that his

company presented to the public.

Deciding to expand IBM’s development into fields of

electronics and computers with the long-term goal of

dominating the market required that Watson invest in

a design programme that included buildings, offices,

employee housing, products, brochures and advertise-

ments equal to the aspirations of the company, since

it was clearly understood that the most rapid and con-

spicuous means to begin showing a shift in the expres-

sion of IBM was through the medium of graphic design,

having relatively low costs and quick turn-around.

‘ Tom, we’re going into the electronic era

and I think IBM designs and architecture

are really lousy.’

19421943

19441945

Instructor:

The Cooper Union, New York

Advertising:

Stafford Fabrics

Ohrbach’s Department Store

Kaufman Department Store

Advertising:

Architectural Forum

Trademark:

Cresta Blanca Wine Company

First Book Jacket:

The Cubist Painters by Guillaume Apollinaire

Trademark:

Helbros Watch Company

Design:

Perfume bottle made with crystal and gold wire

First Book Design:

The Tables of the Law by Thomas Mann

Redesigns Borzoi Books

Trademark:

Smith, Kline and French Laboratories

Begins designs for Architectural Forum

5

Watson invited Eliot Noyes, an architect and

industrial design consultant from New Canaan,

Connecticut, to assess the overall status of IBM’s

network of manufacturing plants and its array of

products. As a chief design consultant, Noyes

devoted a large amount of his time to revivifying

IBM’s buildings, products and visual communications.

However, the lack of a central internal direction of

the company’s visual character became Eliot Noyes’

first major hurdle. Then, Eliot asked Paul if he would

be interested in working for IBM.

Noyes made Rand the point-man of change, and

together they planned the design policy for the long

term. While Rand initially unified the graphics, Noyes

took the Queen Anne legs off the IBM accounting

machines and redesigned the electric typewriter.

As the initial step, Paul and Ann, Paul’s wife at the

time, wrote an impressive proposal - a big book

with pictures in it - which explained how the identity

thing worked. Paul said that a full scale identity

programme centers around graphics but added that

it should be instituted in stages.

Overlook of Noye’s plan

Renovation through m

anagement

Rand’s biggest challenge was not convincing

the IBM executives about the rightness of his

designs, but rather setting standards that would

be dutifully followed throughout the company.

Prior to 1956, apart from some people responsible

for communications inside the company, there was

no dedicated internal graphic design staff. Most of

it emanated from the central office where Marion

Swannie hired freelancers, including designer/

illustrator Milton Glaser and typographer Freeman

Craw. There was no consistent graphic identity

strategy followed throughout the corporation.*

At the company’s manufacturing sites throughout

the United States and Europe groups of artists were

more or less grinding out whatever needed to be

done to satisfy the requirements of the particular

region, whether it was an instruction manual,

in-house newsletter, or announcement for the plant

bulletin board. For example, IBM world headquarters

in New York continued to display the 1924 globe

even after the Beton Bold IBM version was in use

on printed materials.

Coordination process

1946

Instructor:


Advertising:

Ohrbach’s

Great Ideas of Western Man for Container Corporation of America

Disney Hats (1946–1949)

19471948

Author:

Thoughts on Design

Exhibition:

Composing Room, New York

National Museum, Stockholm

Advertising:

Kaufman Department Store

Trademark:

Robeson Cutlery Company, Shur Edge

Exhibition:

Philadelphia Museum of Art

Design:

Portfolio pairing writers and artists on the subject “Women for the Museum of Modern Art”

Commissions modernist architect Marcel Breuer to design a bungalow in Woodstock, NY, but the project is never realized.

1949

Cover for “Modern Art in Your Life”

Catalog for the Arens-berg Collection for the Art Institute of Chicago

Trademark:

Theatrical Architec-tural Television

7


anagement

examples of the

application of the

logo on ads/

business materials

was not unified.

‘We decided that the first thing to do was to get in

touch with these other locations to show them what

Paul expected of them,’ recalled Marion Swannie about

the gruelling coordination process. Paul did key pieces,

such as the executive letterhead, the calling card, and

many other things that everybody in the company

would be using. Prior to instituting a standardization

manual, Rand gave detailed presentations explaining

the virtues of the new design system holding road

shows at the units that already had some sort of

art-related functions.

However, Draughtsmen and cartoonists who had for

years assumed responsibility for in-house posters and

announcements resisted change. Swannie remembers

‘a guy in Poughkcpsie who drew a little Indian

character called Ogiwambi on plant posters,’’ which

exemplified the kind of obstacles they encountered.

> Shaping and Training the In-House Creative Team

Under the circumstances, Rand insisted that it was

necessary to centralize output with an internal staff of

graphic designers. ‘Paul hired people who understood

his aim,’ explained Swannie. ‘So we built up a staff of

graphic designers who worked every day in New York

City designing IBM brochures, and they began to do

some very nice things that represented the quality

that Paul wanted for the company.’’

In addition to doing specific jobs, Rand counselled

designers and made sure that the new design scheme

was circulated throughout the company. When IBM’s

White Plains plant launched a Design Center, he held

frequent discussions and critiques there. He also

undertook regular reviews of work at his home in

Weston, where designers would gather around the

dining table surrounded by icons of Modernism,

nervously bracing for Rand’s sometimes stinging c

riticism. ‘Obviously parts of this programme had to be

enforcement, like “Here is the logo; use it!,” recalled

Swannie. ‘But a lot of it was simply encouragement.’

To help them propagate the faith, Rand enlisted

experts to teach IBM staff members about the

techniques of printing and nuances of paper and

type, believing that design was only as effective as

the production. Other lecturers were also hired to

expound on their specialities.

Ultimately graphic design, which came under the

auspices of a sympathetic and encouraging Vice

President of Communications, Dean McKay, became

one of three main design laboratories - the others

were product design and architecture.

19531954

19551956 – 1991

Design:

“Perspectives” covers

Award:

House design voted one of ten best in America

Exhibition:

Contemporary Art Museum, Boston

Award:

Voted one of the Ten Best Art Directors by New York Art Directors Club

Honorary Degree:

Tama University, Tokyo

Design:

RCA morse code advertisement

Interfaith Day Movement posters

Design:

Book covers for Vintage Book and Random House publishers

Magazine cover for “Idea”, a Japanese visual arts magazine

Consultant:

International Business Machines Corporation (IBM)

19501951

1952 – 1957

Design:

“No Way Out” movie poster

Design:

Weston, CT house

Advertising:

El Producto, GHP Cigar Company

9

Nevertheless, IBM was not unlike an army of

occupation in post-war Europe during the late 1950s

and 1960s. Plants and offices were established as

beachheads in England, France, Germany and

Switzerland to extend its influence and increase

its profits throughout the world. And design was

its primary weapon.

But rather than adhere lo a central plan, each country’s

graphic design department was comparatively

autonomous. The IBM house style was used arbitrarily,

if at all, with varying degrees of accomplishment.

Rand and Swannie made frequent trips to Europe,

where they held seminars on design philosophy

and application. Yet, Europeans insisted that their

graphics should be different from the United States,

because both their languages and business

cultures were different.

> Unifying the disparate talents of international design offices

But Rand did not favour independence without

controlling safeguards. As flexible as the identity was,

it required consistent management. Rand realized

IBM needed to have a European consultant in

graphics and named Josef Miiller-Brockmann, one of

Switzerland’s foremost proponents of Neue Grafik, to

the job. In addition, Karl Gerslner, whose advertising

agency GDK was a leading firm in Europe, ministered

to various design needs, from type direction to

advertising design.


anagement

Coordination process

The Design Programme

11

Evolution of the IBM logo His statement demonstrates how a logo was the

centrepiece of any design programme that included

an array of innovative advertising and promotion.

IBM already possessed a corporate mark–a globe

thatsat atop a nondescript line of type –designed

anonymously in 1924. By the 1930s the stand-alone

monograph IBM became the familiar ‘call letters’

of the company and began appearing on stationery

in a Beton Bold Condensed typeface with the words

‘Trade Mark’ set in an obtrusive gothic face below.

Rand was never given a specific assignment from

Noyes or any IBM manager to start the programme

off with a new logotype. Instead, during the process

of designing brochures for different divisions, Rand

decided to clean up the logo. The incremental shift

that made Rand the spark that ignited the engine of

change throughout the corporate culture.

[A logo] should as closely as possible embody in the simplest form the essential characteristics of the product or institution being advertised.

“

“1958

1959 – 1981

Exhibition:

AIGA Gallery, New York

Art Directors’ Club of Tokyo

Design:

Book cover for H.L. Mencken’s “Preju-dices: A Selection”

Honorary Degree:

Tama University, Tokyo

Consultant:

Westinghouse Electric Corporation

19561957

Professor:

Yale University, New Haven, CT

Illustator:

I Know a Lot of Things

Trademark:

IBM

Design:

begins designing book covers for Bollingren Series and Pantheon Books

Illustrator:

Sparkle and Spin

1959

Trademark:

Colorforms

Consolidated Cigar Corporation

Design:

Book and book jacket for “Paul Rand: His Works from 1946 to 1958”

“

13IBM was so influential that its call letters symbolized

the technological revelation of the 1950s and 1960s.

IBM was synonymous with computers.

But Paul believed that people shouldn’t feel

hit over the head by this company and fell that

the IBM logo in solid form could be a hit in

the head depending on the way it was used.

As a result of its numerous different applications,

the logo became more condensed, solid and heavy,

so Rand decided it was necessary to add an outline

version, setting it in two weights, light and medium.

Both the IBM logo and the corporate motto, ‘Think’,

coined by Thomas Watson Sr, were set in a Beton

Bold Condensed typeface that was fairly current in

the 1930s yet by the 1950s looked archaic. Reasoning

that this style was too familiar throughout the

company to change in one fell swoop, Rand was

nevertheless disturbed that the Egyptian-style slab

serif exuded an aura that was not in sync with

Watson’s progressive aspirations. He used a slightly

different slab serif. Rand had switched from Beton

Bold Condensed to a more hard-edged slab serif, City

Medium, designed in 1930 by the German designer

Georg Trump and based on a ‘Constructivist’ model.

The Design Program

me

Meanwhile, he zealously sketched logos as if searching

for the Holy Grail. Eventually he introduced the striped

version, because he thought that the stripes gave the

logotype a sort of a legal sense, like scan lines on a

banknote, and it defused the impact of that big, heavy

IBM, which really could become a problem. When he

finally decided on stripes, the rationale owed more to

common sense with a touch of poetry:

It came about because I felt that the letters in themselves were not interesting enough. I felt there was a problem in the sequence, going from narrow to wide without any pause, without any rhythmic possibility. It Went up in the sky, and you couldn’t come down. I got the idea for the [stripes] by projecting the notion of a document that you signed that uses a series of thin parallel lines to protect the signature against counterfeiting.* And I thought, ‘Well, if that’s the symbol of that kind of authority, then why don’t I make the letters into stripes or into a series of lines.’ That’s what I did. And it not only satisfied the conceptual problem, but also satisfied the visual problem of tying the three letters together which tended to fall apart ...Since each letter was different, the fact that all the lines were the same was the element of harmony that brought them together. It’s since been used to symbolize the computer industry, and that’s only because it’s been used by IBM.

19601961 – 1996

1961

Trademark:

Westinghouse

Author:

Trademarks of Paul Rand

Exhibition:


Consultant: Cummins Engine Company

Trademark:

United Parcel Service (UPS)

1962

Trademark:

American Broadcasting Company (ABC)

IBM 8-bar & 13-bar variations

Cummins Engine Company

Illustrator:

Little 1

Citation: Philadelphia College of Art

1963

Design:

“desi8n 63” poster for New York Art Directors Club

“

“

15

When two versions of the striped logo–eight lines and

thirteen lines, one bold, the other more discreet–were

introduced to a group of managers in 1962, Noyes

discounted any criticism, assuring the managers that

Rand knew exactly what he was doing. The logo was

subsequently accepted without debate.

The Design Program

me

Evolution of the IBM logo

Corporate design police, Rand Rand announced the following before a Washington

DC seminar, one of many held for IBM designers from

around the United States.

19641965

19661967

1968

Exhibition:

Carnegie Institute, Pittsburgh

School of Visual Arts, New York

Carpenter Center, Harvard University, Cambridge, MA

Trademark:

Atlas Crankshaft

IIT Research Institute

Author:

Design and the Play Instinct

Award:

AIGA Gold Medal

Trademark:

Ford Motor Company logo re-design proposal

Design:

DADA book jacket

Exhibition:

Temple University, Philadelphia

Trademark:

U.S. Department of the Interior Bureau for Indian Affairs

Design:

Catalog cover and poster for AIGA (green foreground, clown face)

Redesigns Westing-house packaging

17

In our daily work we have all had an opportunity to employ,

study, criticize, or exercise our talents or authority in the use

of the IBM logo, None of us, however, has not had problems

relating to the use of the logo: as a question of propriety or

legality, or as a matter of aesthetics or mechanics. As opposed

to a pictorial device, a logo is read, not just looked at. By their

very nature, letters are generally less visually absorbing

than pictures. Since the logo has little to do with elucidating

a particular content, the designer is often in a quandary as

to what to do with it, where to place it, how big, how small,

how light, how dark. As a result, sometimes the logo is simply

left out or made so small as virtually to disappear, or is so

organized as to conflict with its neighbouring text and pictures.

For the competent designer, these problems offer interesting

challenges. The logo provides him with potentially effective

design possibilities: elements of scale, contrast and visual

interest. For the businessman it makes possible a means of

identity, a stamp of authority, and an invaluable

communications device. The problems we face in using the

logo are essentially problems of design and business judgment,

universal problems unique to no one.

The Design Program

me

““

Rand ensured that IBM’s new mark was not misused

or abused. Rand took a proprietary interest in his

creation, and remained the keeper of the logo

throughout his tenure, authoring and designing two

important documents, IBM Logo Use and Abuse*

and The IBM Logo* - the latter a story illustrating

innovation by showing the logo’s flexible applications.

Once the logo was established, only Rand retained

the right to alter it in any way.

The IBM Logo: Its

Use in Company

Identification,

cover and inside

spread from

brochure, 1996

Use of the Logo/

Abuse of the Logo

brochure cover,

1990

19691970

19721973

1974 – 1993

Exhibition:

Louisiana Arts and Sciences Center, Baton

Exhibition:

IBM Gallery, New York

Virginia Museum of Fine Arts, Richmond, VA

Illustrator:

Listen! Listen!

Design:

IBM computer packaging

Award:

New York Art Directors Club Hall of Fame

Award:

Royal Designer for Industry, Royal Society, London

Trademark:

Columbus Indiana Visitors’ Center

Professor:


Honorary Degree:

Philadelphia College of Art

Exhibition:

107 Grafici del AGI, Castello Sforzesco, Milan

1975 Design:

Minute Man poster for U.S. Department of the Interior

1977 – 1993

Professor:

Summer Design Program, Yale University and Brissago, Switzerland

1977

Exhibition:

Wichita State University, Wichita, KS


19

Design at the heart of business innovation

IBM was not perceived by the public as the

monolithic giant it was, but as an accessible

provider of quality machines and products.

As IBM grew, Rand expanded his purview, cautiously

exploring new terrain and making it his own. His first

packaging assignment came in the lale 1950s from

IBM’s Typewriter Division to design carbon paper

and typewriter ribbon boxes,* a small job that had

a significant impact.

Rand used the logo prominently set against the

distinctive ‘IBM blue’ with type set in complementary

reds and purples. The logotype was supplemented

by the informal Rand-scrawled script used on his

book jackets and covers.

Eliminating the stolid busincss-as-usual

aura from IBM’s products and replacing it

with carnival-like graphics humanized the

merchandise and the corporation.

Soon, other divisions requested package designs

that were similar yet distinctive. Rand obliged by

introducing a controlled range of identifiable colour

variations, logo applications, and package shapes

and forms. For one package, colourful IBM logos

were randomly sprinkled like confetti to give the

sense of informality.* For another, vertical rows of

alternating rainbow colours gave off a festive glow.*

The Design Program

me

Coordinating the system around IBM’s logo and

house style, Rand energized the overall look through

bright colours and lively geometric forms. Rand

focused his energies on IBM’s graphic repertoire,

which was increasing at such a fast pace that a manual

was needed to provide guidelines for the ‘IBM look,’

which not only provided guidelines for corporate

standardization but also explained through integrated

text and visuals the evolutionary rationale for specific

design decisions. He believed that an impeccably

reasoned account of IBM’s design process would

serve as an invaluable guide for the growing army

of IBM designers. With didactic precision and poetic

rhythm Rand wrote and designed manuals for IBM’s

internal use that showed the breadth and flexibility

of the programme.

IBM Modem

packages, 1985-7

IBM Wheelprinter

Starter Pack

packages, 1983

19791980

19811982

Exhibition:


Honorary Degree:


Trademark:

Tipton Lakes Corporation

Design:

IBM poster on conversation

Design:

Eye-Bee-M poster

Interview:

AIGA Executive Director Carolyn Hightower for the Design Archive project

Exhibition:

Reinhold Brown Gal-lery, New York

Design:

Cover for Annual of the AIGA Graphic Design USA 3

Trademark:

AIGA (not used)

19831984

Design:

Poster for the Art Director’s Club Hall of Fame Awards

Exhibition:

International Typeface Corporation Gallery, New York

Author:

A Paul Rand Miscel-lany, Design Quarterly

Award:

Type Director’s Club Medal

21

The ‘new look’ of IBM Rand acknowledged the influence of European design on

his work, but he developed his own design vocabulary or

‘Paul Rand look’: “a consistency of simplicity, directness,

clarity, uniqueness, appropriateness, relevance, beauty,

and very often playfulness,” said Hardy.

Rand would agree that working for IBM made him

more conscious of contemporary methods, the most

influential being Swiss design; “there is no counterpart

to Swiss design in terms of something that you can

describe, that you can follow, that you can systematically

understand.” He borrowed Swiss methods that were

appropriate to his practice, such as the grid.

Rand’s fundamental approach to corporate identity

was deliberately at odds with corporations conforming

to overly standardized rules and regulations. While he

adhered to basic structural consistencies, he rebelled

against routines that ensured mediocrity. He argued

that, while a framework was necessary, it should not

inhibit the designer.

In 1959, articles in national business and trade

magazines cited the ‘new look’ of IBM and praised its

flexibility. “This new look of IBM did not depend upon

sameness,” emphasized Tom Hardy, “but followed a

theme of quality and creative appropriateness. In

other words, the consistent corporate image of IBM

was good design.”

Good design adds value of some kind, gives meaning, and, not incidentally, can be sheer pleasure to behold; it respects the viewer’s sensibilities and rewards the entrepreneur,” wrote Rand in Design, Form, and Chaos.

The Design Program

me

“

“

19851986

1987

Author:

Paul Rand: A Designer’s Art

President’s Fellow:

Rhode Island School of Design

Honorary Degree:

Pasons School of Design

Yale University

Trademark:

Yale University Press

Trademark:

NeXT

Connecticut Art Directors Club

Exhibition:


The Design Gallery, Matsuya Ginza, Tokyo

Award:

Florence Prize for Visual Communication

Trademark:

Mossberg & Company

PDR (Pastore DePamphilis Rampone)

23

PAUL RAND is the how‘

‘

Rand’s standard of excellence for IBM expressed his

total dedication to design. His belief in the rightness

of form had not diminished since his advertising days,

and his intolerance for management interference had

hardened with age, while his very ‘direct presentation

style’ resulted in periodic conflicts with IBM’s middle

managers. He was a tough critic, an independent

thinker and by no means a ‘yes man’. “These traits,

desirable in consultants, can naturally cause conflicts

with some corporate management-types, who are

political and in positions of authority, yet indifferent

to the value of design,” remarked Tom Hardy.

I think every person that worked with Paul

“19881989

19901991

Honorary Degree:

School of Visual Arts, New York

Exhibition:

School of Visual Arts Masters Series, New York

Trademark:

The Limited (not used)

Trademark:

Monell Chemical Senses Center

Trademark:

Irwin Financial Corporation

Trademark and Design:

Benjamin Franklin 200th Anniversary Celebration

Exhibition:

Joseloff Gallery, University of Hartford, Connecticut

Trademark:

Morningstar Investment Advisers

Okasan Securities Company

IDEO

1992

1993 – 1996

1993

Exhibition:

Ginza Graphic Gallery, Tokyo

Professor Emeritus:


Trademark:

English First

Gentry Living Color

Author:

Design, Form, and Chaos

I think every person that worked with Paul had som

e type of conflict at one time or another. 1994

1995

Trademark:

Accent Software International

Creative Media Center

Trademark:

USSB

Computer Impressions

XGA for IBM

Conducts student critiques and delivers lecture at the Arizona State University

25

1996

Trademark:

Norwalk Cancer Center

Enron

Doug Evans + Partners

Servador

Author:

From Lascaux to Brooklyn

Honorary Degree:


Exhibition and lecture:

The Cooper Union, New York

Final public appearance at MIT on November 14th

Design:

Cummins Engine 1996 Annual Report

Died November 26 in Norwalk, CT

But that was expected

if you understood his

Tom Hardy

total immersion in the design process.

“

27

This book is designed by Soo Kim

In Visual Information course fall 2011

The fonts used are Calibri 9.1/11/12/13/18/24 pt.

Adobe Caslon pro regular at 9/10/11/12/22/42/46/

48 pt, Adobe Caslon pro semibold italics at 14/57 pt.

We, the graphic designers, went from

being commercial artists to being

graphic designers in mid 20th century

largely on Paul Rand’s merits.

A D

ESIG

N L

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Redesigning the IBM identity

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