Noort’s Package

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My confectionary will be aimed at a target market of 25 – 40 year old professionals that make purchases with a conscious thought as to what that product says about who they are.

The product will be a “semi-medicinal confectionary” eucalyptus drop. Its packaging will be a retro take on 1950’s sign writing, with minimal colouring and unique typography. The product will be used as a desktop confectionary or a handbag accessory to those young proffessionals that need something to suck on during their busy day. 

The serendipitous connection here is that eucalyptus lollies were the bees knees of classroom confectionary to all kids who went to a strict catholic school in the 1990’s. You could always make friends with eucalyptus lollies at my school, trust me!

Paul Rand Logo’s

Rand’s most widely known contributions to design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, UPS, and the now-infamous Enron, among many others, owe Rand their graphical heritage. Below are some examples:

Borzoi Books

Borzoi Books

El Producto Cigar Company

El Producto Cigar Company

Cresta Blanca Wine co

Cresta Blanca Wine co

abc TV

abc TV

Esquire Magazine and Coronet Brandy

Esquire Magazine and Coronet Brandy

Although his logos may be interpreted as simplistic, they are very effective in creating a lasting identity for the corporations he designed for.  Below are a few key rules that Rand consistently discusses in all of his interviews and published critiques:

 1.“A logo derives meaning from the quality of the thing it symbolizes, not the other way around.”

It is only by association with a product, a service, a business, or a corporation that a logo takes on any real meaning,” Rand said. “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.”

 2. The subject matter of a logo need not match the subject matter of the business it represents. “The only mandate in logo design is that they be distinctive, memorable and clear.”

Surprising to many, the subject matter of a logo is of relatively little importance, and even appropriateness of content does not always play a significant role.

3. Presentation is key

“How to present a new idea is, perhaps, one of the designer’s most difficult tasks,” Rand said. “Everything a designer does involves presentation of some kind–not only how to explain (present) a particular design to an interested listener (client, reader, spectator), but how the design may explain itself in the marketplace…”

4. “Simplicity is not the goal. It is the by-product of a good idea and modest expectations.”

This one speaks for itself really.

 

Below is an interview with Steve Jobs, where he describes the design process that he and Rand went through:

 

A few cool links are below:

Rands Logos explained

Biographic Website

Entire logo library

Logo biography

Alvin Lustig by Steve Noort

4496006996_8c49497459_o ahandfulofdust amerika illuminations newlustig1aAlvin Lustig was an American graphic designer and typeface designer during the 1940’s and 1950’s. His simplified shapes and use of flat colors, all while creating elaborate and intensely interesting compositions, are still imitated today by many graphic designers.

Lustig was inducted into the Art Directors Club Hall of Fame in 1986. His wide-ranging work from the 1940s and early 1950s included book and book jacket design, magazines, letterheads, catalogs, signage, furniture and lighting, textiles, interior design, logos, identity programs, sculpture and architecture. The diversity of his work mirrored a philosophy that abstained from specialization and embraced combining different styles. Lustig’s approach to design reflected the Bauhaus tradition of integrating fine and applied arts, of using technology with artistic creativity to fully complete a design.

Lustig had an intellectual approach to design problems. He was known to spend days thinking about a project before putting anything down on paper. He read about a variety of subjects and possessed a broad knowledge of painters and painting. All this background information was brought to an assignment as well as the need to research the particular project. When designing a book jacket for example, Lustig would read the text first, so that his design better represented the feel of the literature. I have found a website that explains this process well.

From viewing Lustig’s work just for this task I have come to realize that the designer’s task, no matter what the project, was to use words, forms and color to create a harmonious whole, more powerful than any single element that is within a design. When you look at any of Lustig’s book covers they do not jus try to explain the plot, they use many elements to create a vibe about the book. Also, the designs don’t just rely on a single colour, image or representation to achieve this. All of the elements involved in the designs coexist to make the end product.

There is a bio website that explains Lustig and his works very well found here.

Paul Rand by Steve Noort

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Even after his death in 1996, Paul Rand remains one of the most famous graphic designers in the world. He was born Peretz Rosenbaum, on August 15th, 1914, in New York (but later “rebranded” himself Paul Rand). Rand is renowned for his corporate logo designs and was one of the originators of the Swiss Style of graphic design. An obituary of his life can be found here.

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Rand was a versatile designer whose career can be divided into three periods. From 1937–1941, he worked in media promotion and book design; from 1941–1954, he focused more on advertising design; and from 1954 on, he began to concentrate on corporate identity programs, producing some of the most iconic logos and identity marks of the modern age including logos for IBM, Westinghouse, UPS, and ABC television.

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Undoubtedly, the core ideology that drove Rand’s career, and hence his lasting influence, was the modernist philosophy he so revered. He celebrated the works of artists from Paul Cezanne to Jan Tschichold, and constantly attempted to draw the connections between their creative output and significant applications in graphic design. I found a quote of Rand’s that clearly shows the impact of these modernist influences.

From Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artist’s caldron. What Cezanne did with apples, Picasso with guitars, Leger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of the artist is to defamiliarize the ordinary.

This idea of “defamiliarizing the ordinary” played an important part in Rand’s design choices. Working with manufacturers provided him the challenge of utilizing his corporate identities to create “lively and original” packaging for mundane items, such as light bulbs for Westinghouse.

Below is a clip of an interview with Rand. I found it to be pretty interesting and informative to his design process.

The following are a few links I found related to Rand:
There is a really cool website that shows the work relationship between Rand and Steve Jobs here.

And lastly, More info on the design legend.

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