(BORN PERETZ ROSENBAUM, AUGUST 15, 1914 – NOVEMBER 26, 1996) was a well-known American graphic designer, best known for his corporate logo designs. Rand was educated at the Pratt Institute (1929-1932), the Parsons School of Design (1932-1933), and the Art Students League (1933-1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996.
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 (ornamental poster) as well as the works of Gustav Jensen. It was at around this time that he decided to camouflage (and abbreviate) the overtly Jewish identity telegraphed by ‘Peretz Rosenbaum,’ shortening his forename to ‘Paul’ and taking ‘Rand’ from an uncle to form his new 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.” Peter 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 Moholy-Nagy:
http://www.paul-rand.com/foundation/biography/#.VA--eMJdVvA
MAX HUBER
Huber always worked as a freelance designer, collaborating directly with each client. He tried to find a balance between the needs of his clients and his own need to experiment. He loved innovatory research. He would not hesitate to withdraw when a client made a ridiculous request, but if the suggestion was useful he was willing to adapt his plans.
He never used his images in a strict sense. He often mixed unframed flat photographic and typographic elements with strips of colour to convey a certain feeling of dynamism and speed. He used recognizable elements in his design, without having them tell a story. His work concentrated on photographic experiments and clear type combined with the use of bold shapes and primary colors. His strict grids were easily identifiable. Huber favoured clarity, rhythm and synthesis. He used succinct texts, composed from different hierarchical groups; a large title with secundary information in a smaller type, a sequence of levels. Throughout the years he was not influenced by fashion, but held onto his basic ideas.
http://www.iconofgraphics.com/Max-Huber/
EMIL RUDER
Emil Ruder (1914–1970) was a Swiss typographer and graphic designer, who with Armin Hofmann joined the faculty of the Schule für Gestaltung Basel (Basel School of Design).[1]
He is distinguishable in the field of typography for developing a holistic approach to designing and teaching that comprised philosophy, theory and a systematic practical methodology.[2] He expressed lofty aspirations for graphic design, writing that part of its function was to promote 'the good and the beautiful in word and image and to open the way to the arts' (TM, November 1952 Issue).[3]:160 He was one of the major contributors to Swiss Style design. He taught that typography's purpose was to communicate ideas through writing, as well as placing a heavy importance on Sans-serif typefaces.[4] No other designer since Jan Tschichold was as committed as Ruder to the discipline of letterpress typography or wrote about it with such conviction.[3]:218
Ruder first began teaching in 1942 at the Allgemeine Gewerbeschule in the Swiss city of Basel. There, he was in charge of typography for trade students.[3]:215 He became the head of the Department of Apprentices in Applied arts by 1947.[7] In 1947 Ruder met the artist-printer Armin Hofmann.[10] Ruder and Hoffman began a long period of collaboration. Their teaching achieved an international reputation by the mid-1950s. By the mid-1960s their courses were maintaining lengthy waiting lists.[9] He was a contributing writer and editor for Typografische Monatsblätter (Typographic Monthly), which was a popular trade publication of the time.[9] In 1946, his design was unsuccessful in the competition for the cover design of Typographische Monatsblätter.[3]:139
During the post war years when, in almost every field of applied art, there was still no sign of transition to a new form of expression better fitted to the times, Emil Ruder was one of the first pioneers to discard all of the conventional rules of traditional typography and to establish new laws of composition more in accord with the modern era. In spite of his bent for pictorial thinking, he is never tempted to indulge in merely playful designs in which the actual purpose of printing - legibility - is lost.[8] Ruder's insistence that the primary aim of typography was communication did not exclude aesthetic affects. Contrast was one of his methods.[3]:218 He was essentially devoted to the craft of letterpress printing.[3]:219
http://en.wikipedia.org/wiki/Emil_Ruder
MAX BILL,
(born Dec. 22, 1908, Winterthur, Switz.—died Dec. 9, 1994, Berlin, Ger.), Swiss graphic artist, industrial designer, architect, sculptor, and painter, primarily important for his sophisticated, disciplined advertising designs.
Bill’s early ambition was to become a silversmith, but the work of the architect Le Corbusier influenced him to study architecture at the Bauhaus, Germany’s foremost school of design. He also studied metalwork, stage design, and painting. In 1930 he set up his own studio in Zürich and concentrated on sculpture, painting, and architecture while earning his living by designing advertisements. After 1944 he became increasingly active as an industrial designer, creating products as diverse as chairs and wall sprockets with the same elegance of line and form that characterized his marble sculpture “Construction from a Circle” (1942). His use of austere geometric forms echoed his Bauhaus training.
Bill cofounded and was rector of the College of Design in Ulm, W.Ger. (1951–56). He designed the school’s buildings, planned its curriculum, and was director of the department of architecture and product design there. He then served as a professor of environmental design at the State Institute of Fine Arts, Hamburg (1967–74).
http://www.britannica.com/EBchecked/topic/65351/Max-Bill
ROBERT MASSIN
Robert Massin is a French graphic designer, art director and typographer who is notable for his innovative experimentation with expressive forms of typographic composition. Massin stopped using his first name in the 1950s. Massin was born in 1925 in Bourdinière-Saint-Loup, a commune in the Eure-et-Loir department in north-central France. He began working as a designer following World War II. Massin's immediate influence in the 1950s was innovative French book designer Pierre Faucheux. Faucheaux emphasized the idea that each new book should be a new object determined by type choice, proportion and déroulement, the development of a visual concept over several pages. Faucheaux also emphasized the idea that the choice of typeface should have some relationship to the meaning of the text. These ideas are apparent in much of Massin's most famous work. For over twenty years Massin acted as art director of Éditions Gallimard, one of the leading French publishers of books. An early, important work for Massin at Gallimard was his 1963 design for Raymond Queneau's Exercices de style, a book of 99 retellings of the same story, each presented different graphically. Another famous design appeared
http://www.whoislog.info/profile/robert-massin.html
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