Paul Rand: A Designer’s Art

https://doi.org/10.37862/aaeportal.00092

Stable URL: https://aaeportal.com/?id=-14956

Paul Rand was the most influential American graphic designer of the twentieth century, and Paul Rand: A Designer's Art is arguably the most important book on his work. It presents a comprehensive collection of Rand's most important and best-known designs, imparting unique insight into his design process and theory.

Author

PublisherYale University Press

Print publication date September 1985 (out of print)

Print ISBN 9780300034837

EISBN 9780300230246

Illustrations 213

Print Status out of print

Publisher (out of print)

WorldCat

Google Books

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List of illustrations

Tombstone rubbing
Medallion
The flatbroom, a Shaker invention
Shaker door latch
Newspaper advertisement, William H. Weintraub & Company, Inc.
Magazine cover, Apparel Arts
T'ai chi symbol (Yang and Yin)
Any visual image may serve as a symbol
Newspaper advertisement, Alfred A. Knopf
Magazine cover, Direction
Magazine advertisement, Westinghouse Electric Corporation
Booklet cover, New York World's Fair
Magazine cover, Direction
Perfume bottle
One-sheet poster (redrawn), N.Y. Subways Advertising Co.
Brochure, IBM Corporation
Newspaper advertisement, Frank H. Lee Co.
Unknown
Brochure cover, U.S. Navy, U.S.S. Lexington
Brochure, Autocar Corporation
Poster, Aspen Design Conference
Brochure, Coordinator Inter American Affairs
Sources and Resources of 20th Century Design
Magazine advertisement, Westinghouse Electric Corporation
T.V. Billboard, Westinghouse Electric Corporation
Newspaper advertisement, Westinghouse Electric Corporation
Logo, Westinghouse
Corn mask
Trademark, Helbros Watch Company
Trademark, Consolidated Cigar Company
Trademark, Colorforms
Trademark, United Parcel Service
Trademark, American Broadcasting Company (blurred)
Trademark, American Broadcasting Company
Trademark, Tipton Lakes Corporation
Annual report cover, Cummins Engine Company
Cover design, PM Magazine
Poster, IBM Gallery
Jacket design, Paul Theobold and Company
IBM Logo
Package designs, IBM Supply Kit
Folder, IBM Corporation
Magazine advertisement, Westinghouse Electric Corporation
Bulb packaging, Westinghouse Electric Corporation
Catalogue cover, Museum of Modern Art
Jacket design, Pantheon
Cover design, Vintage Books
24-sheet poster, Twentieth Century Fox
Annual report cover, Westinghouse Electric Corporation
Magazine advertisement, Jacqueline Cochran
Newspaper advertisement, Frank H. Lee Company
Jacket design, Pantheon
Magazine advertisement, Westinghouse Electric Corporation
Jacket design, Wittenborn, Schultz, Inc.
Magazine advertisement, Jacqueline Cochran
Magazine advertisement, Jacqueline Cochran
Cover design, Vintage
Jacket and book design, Alfred A. Knopf
Magazine cover, Direction
Book illustration (variation), Listen! Listen!, Harcourt Brace & World
Magazine advertisement, Westinghouse Electric Corporation
Magazine cover, Direction
Jacket design, Alfred A. Knopf
Magazine cover, Direction
Etched goblet, Coronet Brandy
Magazine advertisement, Cresta Blanca Wine Company
Magazine advertisement, Cresta Blanca Wine Company
Magazine advertisement, Cresta Blanca Wine Company
Advertisement, Ohrbach's
Cover design, Wittenborn & Company
Jacket design, Pantheon
Jacket design, Pantheon
Stencils
Newspaper advertisement, G.H.P. Cigar Company
Book jacket, Alfred A. Knopf
Brochure cover, The Autocar Company
IBM Office Products
Profile with a staring eye
Advertisement, Container Corporation
Announcement card, The American Advertising Guild
Advertisement (detail), Smith, Kline & French Laboratories
Cover design, Apparel Arts
Advertisement, Dunhill Clothiers
Letterhead, Columbus, Indiana, Visitors Center
Folder, IBM Corporation
Annual report, Irwin-Sweeney-Miller Foundation
Newspaper advertisement, Frank H. Lee Co.
Advertisement, Kaiser-Frazer Corporation
Illustration, Stafford Fabrics
Magazine cover, Direction
Poster, Museum of Modern Art
Cover design, IBM Corporation
Magazine cover, Idea: International Advertising Art
Trade advertisement, Smith, Kline & French Laboratories
Cover design, American Institute of Graphic Art
Poster, G.H.P. Cigar Company
Book illustration, Listen! Listen!, Harcourt Brace & World
Poster, G.H.P. Cigar Company
Advertisement, Kaiser-Frazer Corporation
Prospectus, Smith, Kline & French Laboratories
Poster, Interfaith Day Movement, Inc.
Jacket design, Rinehart and Company
Magazine advertisement (detail), Dubonnet Corporation
Magazine advertisement, Dubonnet Corporation
Magazine advertisement, Dubonnet Corporation
AIGA
AIGA
Cover design, AIGA, 50 Books
Advertisement, Westinghouse Electric Corporation
Prospectus, New York Art Directors Club
Jacket design, Alfred A. Knopf, Zokeisha
Newspaper advertisement, Ohrbach's
Cover design, Alfred A. Knopf
Book illustration, I Know a Lot of Things, Harcourt Brace & World
Cover design, Harvest Books
Book cover illustration, Alfred A. Knopf
Visual interpretation of Maurice Denis's 1890 definition of Neotraditionism, (Design Quarterly)
Jacket design, Alfred A. Knopf
Cover design, Museum of Modern Art
A printed circuit and simple silhouette of a hand
Prospectus, Yale University School of Art
Poster, Museum of Modern Art
Poster, U.S. Department of the Interior
Advertisement, G.H.P. Cigar Company
Poster, IBM Corporation
Magazine cover, Jazzways Inc.
Annual report cover, Westinghouse Electric Corporation
Advertisement, Penn/Brite papers, New York & Pennsylvania Company
Folder, IBM Corporation
Label designs, Schenley Distillers Inc.
Advertisement, Olivetti
Brochure cover, IBM Corporation
Label design, Dubonnet Corporation
Magazine advertisement, Disney Hats
Annual report, Cummins Engine Company
Brochure, The Autocar Corporation
Book illustration, Listen! Listen!, Harcourt Brace & World
Keepsake, Pastore DePamphilis Rampone, Inc.
Binding, Alfred A. Knopf
Jacket and book design, Alfred A. Knopf
Broadside, Westvaco Corporation
Cover design, Design Quarterly
Advertisement, Disney Hats
Advertisement, Stafford Fabrics
Annual report, Cummins Engine Company
Two letters from a Cresta Blanca Wine logotype
Advertisement, Smith, Kline & French Laboratories
Advertisement, Seeman Brothers, Air-Wick
Prospectus, Smith, Kline & French Laboratories
Poster, New York Art Directors Club
Cover design, A. D. Magazine
Magazine cover, Direction
Magazine cover, Direction
Magazine cover, Direction
Poster, IBM Corporation
Jacket design, Alfred A. Knopf
Magazine cover, Direction
Booklet, Coordinator of Inter American Affairs
Magazine advertisement, Westinghouse Electric Corporation
Title page, Museum of Modern Art
Title page, Wittenborn Schultz, Inc.
Title page, Art Institute of Chicago
Annual report, IBM Corporation
Jacket design, Wittenborn, Schultz, Inc.
Poster, U.S. Department of the Interior
Type design, Westinghouse Electric Corporation
Jacket design, Albert Bonnier
Annual report, Westinghouse Electric Corporation
Badia de Fiesole
Crossword puzzle
Tangram
Tangram
Illustration, Rapid Lessons in Abbreviated Drawing
Chinese character for "tan" (sunrise), 9-division square
Chinese character for "tan" (sunrise), 2-division square
The Modulor
Panel Exercise
The Grid System
Byzantine mason's mark
Tatami (floor mats)
Geometric pattern on which much of the painting of Josef Albers is based
Clarinet
Cut paper composition
Vallauris 1951 Exposition
Bull's Head
Six Persimmons
Photogram of an abacus
Advertisement, Nederlansche Kabelfabriek
Chasen
Black
Steel building
Cover, Art Institute of Chicago
Jacket design, Wittenborn, Schultz, Inc.
Vegetation
Guernica, detail
Magazine advertisement, Westinghouse Electric Corporation
Label, Guinness
Jardiniere
Bottles, Chanel
Scaferlati Caporal tobacco package and Garnier Elixir wood bottle
Visual concept of IBM Product Centers
Package design, IBM Corporation
Package designs, IBM Corporation
Bottle design, Nutri Cola Bottling Company
Package designs, G.H.P. Cigar Company
Package designs, Cummins Engine Company and Fleetguard
Untitled photograph
Yale (Brissago, Switzerland)
Format: 26 x 36.6 centimeters
Untitled illustration
Still Life with Apples
Contrast of Forms
A. M. Cassandre

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Contents

Contents

Author

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00092.001

Stable URL: https://aaeportal.com/?id=-14957

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Preface

This book is a compilation of my writing that has appeared in the past – much of it in Thoughts on Design. My interest has always been in restating the validity of those ideas which, by and large, have guided artists since the time of Polyclitus. I believe that it is only in the application of those timeless principles that one can even begin to achieve a semblance of quality in one’s work. It is the continuing relevance of these ideals that I mean to emphasize, especially to those who have …

Author

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00092.002

Stable URL: https://aaeportal.com/?id=-14958

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Art for Art’s Sake

In 1890 Maurice Denis said: “It is well to remember that a picture – before being a battle horse, a nude woman, or some anecdote – is essentially a plane surface covered with colors, assembled in a certain order.” He was saying about design what Vasari in the sixteenth century had already eloquently put into words: “Design is the animating principle of all creative processes.” …

Author

PublisherYale University Press

Related print edition pages: pp.xi-xiv

https://doi.org/10.37862/aaeportal.00092.003

Stable URL: https://aaeportal.com/?id=-14959

Chapter subject tags:Graphic DesignCommercial artPainting, Abstract

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The Beautiful and the Useful

Visual communications of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and the useful. 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. Like a juggler, the designer demonstrates his skills by manipulating these ingredients in a given space. Whether this …

Author

PublisherYale University Press

Related print edition pages: pp.1-3

https://doi.org/10.37862/aaeportal.00092.004

Stable URL: https://aaeportal.com/?id=-14960

Chapter subject tags:Graphic DesignCommercial artTypographyAdvertising

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The Designer’s Problem

To believe that a good layout is produced merely by making a pleasing arrangement of some visual miscellany (photos, type, illustrations) is an erroneous conception of the graphic designer’s function. What is implied is that a problem can be solved simply by pushing things around until something happens. This obviously involves the time-consuming uncertainties of trial and error. However, since the artist works partly by instinct, a certain amount of pushing around may be necessary. But this …

Author

PublisherYale University Press

Related print edition pages: pp.4-6

https://doi.org/10.37862/aaeportal.00092.005

Stable URL: https://aaeportal.com/?id=-14961

Chapter subject tags:Graphic DesignTypographyAdvertising

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The Symbol in Visual Communication

Because graphic design, in the end, deals with the spectator, and because it is the goal of the designer to be persuasive or at least informative, it follows that the designer’s problems are twofold: to anticipate the spectator’s reactions and to meet his own aesthetic needs. He must therefore discover a means of communication between himself and the spectator (a condition with which the easel painter need not concern himself). The problem is not simple; its very complexity virtually dictates …

Author

PublisherYale University Press

Related print edition pages: pp.7-13

https://doi.org/10.37862/aaeportal.00092.006

Stable URL: https://aaeportal.com/?id=-14962

Chapter subject tags:Graphic DesignTypographyAdvertisingCommercial art

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Versatility of the Symbol

The same symbol can express many different ideas. It is potentially a highly versatile device. By juxtaposition, association, and analogy the designer is able to utilize its effectiveness to fulfill a specific function. …

Author

PublisherYale University Press

Related print edition pages: pp.14-22

https://doi.org/10.37862/aaeportal.00092.007

Stable URL: https://aaeportal.com/?id=-14963

Chapter subject tags:Graphic DesignTypographyAdvertisingCommercial art

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The Trademark

A trademark is a picture. It is a symbol a sign an emblem an escutcheon . . . an image. There are good symbols . . . like the cross. There are others . . . like the swastika. Their meanings are taken from reality. Symbols are a duality. They take on meaning from causes . . . good or bad. And they give meaning to causes . . . good or bad. The flag is a symbol of a country. The cross is a symbol of a religion. The swastika was a symbol of good luck until its meaning was changed. The vitality of a …

Author

PublisherYale University Press

Related print edition pages: pp.24-36

https://doi.org/10.37862/aaeportal.00092.008

Stable URL: https://aaeportal.com/?id=-14964

Chapter subject tags:Graphic DesignAdvertisingTypography

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Seeing Stripes

Nature has striped the zebra. Man has striped his flags and awnings, ties and shirts. For the typographer, stripes are rules; for the architect they are a means of creating optical illusions. Stripes are dazzling, sometimes hypnotic, usually happy. They are universal. They have adorned the walls of houses, churches, and mosques. Stripes attract attention. …

Author

PublisherYale University Press

Related print edition pages: pp.39-43

https://doi.org/10.37862/aaeportal.00092.009

Stable URL: https://aaeportal.com/?id=-14965

Chapter subject tags:Graphic DesignAdvertising

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Imagination and the Image

Trite ideas, or unimaginative translation of those ideas, are often the result not of poor subject matter but of poor interpretation of a problem. In the absence of a fresh visual solution, subject matter sometimes becomes the scapegoat. Such difficulties may arise if a) the designer has interpreted a trite idea with a commonplace image; b) he has failed to resolve the problem of integrating form and content; or c) he has failed to interpret the problem as a two-dimensional organization in a …

Author

PublisherYale University Press

Related print edition pages: pp.45-47

https://doi.org/10.37862/aaeportal.00092.010

Stable URL: https://aaeportal.com/?id=-14966

Chapter subject tags:Graphic DesignAdvertisingTypography

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Integrating Form and Content

Roger Fry, commenting on the problem of integrating representational and formal elements, states: “This may, perhaps, give us a hint as to the nature of such combinations of two arts, namely, that cooperation is most possible where neither of them is pushed to the fullest possibilities of expression, where in both a certain freedom is left to the imagination, where we are moved rather by suggestion than statement.” …

Author

PublisherYale University Press

Related print edition pages: pp.48-78

https://doi.org/10.37862/aaeportal.00092.011

Stable URL: https://aaeportal.com/?id=-14967

Chapter subject tags:Graphic DesignTypographyAdvertising

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Ideas About Ideas

The source of the creative impulse is a mystery. Where do ideas come from? Any theory about inspiration must be offered with certain reservations. Ideas may come from anywhere, anything, any time, any place. For the most part, however, I believe that they spring from rather unromantic, sometimes unexpected, or even unsavory sources. The artist is a collector of things imaginary or real. He accumulates things with the same enthusiasm that a little boy stuffs his pockets. The scrap heap and the …

Author

PublisherYale University Press

Related print edition pages: pp.79-86

https://doi.org/10.37862/aaeportal.00092.012

Stable URL: https://aaeportal.com/?id=-14968

Chapter subject tags:Graphic DesignTypographyAdvertising

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The Meaning of Repetition

The emotional force generated by the repetition of words or pictures and the visual possibilities (as a means of creating texture, movement, rhythm, indicating equivalences of time and space) should not be minimized. The possibilities of repetition are limitless. Repeat patterns are only one familiar form. There is repetition of color, direction, weight, texture, dimension, movement, expression, shape, and so on. Repetition is an effective way of achieving unity. …

Author

PublisherYale University Press

Related print edition pages: pp.87-98

https://doi.org/10.37862/aaeportal.00092.013

Stable URL: https://aaeportal.com/?id=-14969

Chapter subject tags:Graphic DesignAdvertisingTypography

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The Role of Humor

Readership surveys demonstrate the significance of humor in the field of visual communication. The reference is not principally to cartoon strip advertisements or to out-and-out gags, but to a more subtle variety, one indigenous to the design itself and achieved by means of association, juxtaposition, size relationship, proportion, space, or special handling. …

Author

PublisherYale University Press

Related print edition pages: pp.101-112

https://doi.org/10.37862/aaeportal.00092.014

Stable URL: https://aaeportal.com/?id=-14970

Chapter subject tags:Graphic DesignAdvertisingTypography

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The Rebus and the Visual Pun

A single letter says more than a thousand words. The dual reading is what makes such images memorable. They amuse as they inform. The U symbol is an experiment in visual puns, as is the cover design for AIGA, which combines a rebus (the eye for the letter I) and a collection of letters to produce a mask. Of the twenty-six letters of the alphabet, the letters B and I are clearly the most graphic and least subject to misinterpretation. The rebus is a mnemonic device, a kind of game designed to …

Author

PublisherYale University Press

Related print edition pages: pp.114-136

https://doi.org/10.37862/aaeportal.00092.015

Stable URL: https://aaeportal.com/?id=-14971

Chapter subject tags:Graphic DesignAdvertisingPuzzles in artTypography

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Collage and Montage

It is a truism that the fundamental problem of the advertiser and publisher is to get the message into the reader’s mind. Commonplace images and unimaginative visualization afford the spectator little reason to become engrossed in an advertiser’s product. Radio and television advertisers, who use media by which it is possible for studio and home spectators to take part in the proceedings, have discovered the value of audience participation. Producers of print advertising, on the other hand, must …

Author

PublisherYale University Press

Related print edition pages: pp.137-142

https://doi.org/10.37862/aaeportal.00092.016

Stable URL: https://aaeportal.com/?id=-14972

Chapter subject tags:Graphic DesignAdvertisingCollage

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Yesterday and Today

Disputes arising between the two schools of typographic thought, the traditional on the one hand and the modern on the other are, it seems to me, the fruits of misplaced emphasis. I believe the real difference lies in the way space is interpreted: that is, the way in which an image is placed on a sheet of paper. Such incidental questions as the use of sans-serif typefaces, lowercase letters, ragged settings, primary colors, etc., are at best variables that tend merely to sidetrack the real …

Author

PublisherYale University Press

Related print edition pages: pp.143-146

https://doi.org/10.37862/aaeportal.00092.017

Stable URL: https://aaeportal.com/?id=-14973

Chapter subject tags:Graphic DesignTypographyAdvertising

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Typographic Form and Expression

One of the objectives of the designer who deals with type matter involves readability. Unfortunately, however, this function is often taken too literally and overemphasized at the expense of style, individuality, and the very effectiveness of the printed piece itself. By carefully arranging type areas, spacing, size, and color, the typographer is able to impart to the printed page a quality that helps to dramatize the contents. He is able to translate type matter into tactile patterns. …

Author

PublisherYale University Press

Related print edition pages: pp.149-176

https://doi.org/10.37862/aaeportal.00092.018

Stable URL: https://aaeportal.com/?id=-14974

Chapter subject tags:Graphic DesignTypographyAdvertising

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About Legibility

In a survey made by Clark University in 1911 to ascertain “the relative legibility of different faces of printing types,” twenty-six faces of widely dissimilar designs were studied, among which were Caslon, Century, Cheltenham, and News Gothic. “Ye gods! and has it come to this?” was the reaction of F. W. Goudy, the prolific type designer, to the results of the survey, which judged News Gothic to be “the nearest approximation of an ideal face.” This tidbit appeared in Mr. Goudy’s Typologia, …

Author

PublisherYale University Press

Related print edition pages: pp.177-179

https://doi.org/10.37862/aaeportal.00092.019

Stable URL: https://aaeportal.com/?id=-14975

Chapter subject tags:Graphic DesignTypographyAdvertising

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The Good Old “Neue Typografie”

In 1959 in a paper titled Typography U.S.A., the Type Director’s Club announced: “At last a new form... an entirely new concept in typography has been realized, a typography that is purely American. This new typography, the product of contemporary science, industry, art, and technology, has become recognized internationally as the ‘New American Typography’!” …

Author

PublisherYale University Press

Related print edition pages: pp.181-186

https://doi.org/10.37862/aaeportal.00092.020

Stable URL: https://aaeportal.com/?id=-14976

Chapter subject tags:Graphic DesignTypography

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Design and the Play Instinct

The absence in art of a well-formulated and systematized body of literature makes the problem of teaching a perplexing one. The subject is further complicated by the elusive and personal nature of art. Granted that a student’s ultimate success will depend largely on his natural talents, the problem still remains how best to arouse his curiosity, hold his attention, and engage his creative faculties. …

Author

PublisherYale University Press

Related print edition pages: pp.189-201

https://doi.org/10.37862/aaeportal.00092.021

Stable URL: https://aaeportal.com/?id=-14977

Chapter subject tags:Graphic DesignPuzzles in artTypographyAdvertising

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Black Black Black

Taboos and prejudices have long created limiting barriers to experimentation and to meaningful work in the arts. Here I should like to attack one particular prejudice – that against the color black. …

Author

PublisherYale University Press

Related print edition pages: pp.203-211

https://doi.org/10.37862/aaeportal.00092.022

Stable URL: https://aaeportal.com/?id=-14978

Chapter subject tags:Graphic DesignMonochrome artAdvertising

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The Art of the Package: Tomorrow and Yesterday

“I’m not so concerned with the art or graphics of package design as I am with new developments in packaging technique – new materials, new construction and new applications.” This statement was made some years ago by a specialist in package design. Today the tawdriness of most supermarket shelves bears witness to this lack of emphasis on decent design in our daily lives. …

Author

PublisherYale University Press

Related print edition pages: pp.213-217

https://doi.org/10.37862/aaeportal.00092.023

Stable URL: https://aaeportal.com/?id=-14979

Chapter subject tags:Graphic DesignTypographyAdvertisingCommercial art

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The Third Dimension

A graphic designer deals principally with printed matter – with two-dimensional space problems. Frequently, directly or indirectly, he ventures into the world of the three dimensional. Packaging must be dealt with as a two and three dimensional problem. The angles from which a bottle or package may be viewed are important considerations for the package designer. The problems of optical illusion and visual distortion are but a few considerations about which the designer must be aware. …

Author

PublisherYale University Press

Related print edition pages: pp.218-224

https://doi.org/10.37862/aaeportal.00092.024

Stable URL: https://aaeportal.com/?id=-14980

Chapter subject tags:Graphic DesignAdvertisingCommercial art

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The Complexity of Color

Color theories of Goethe, Chevreul, Ostwald, Rood, or Munsell, among others, are not much help when facing a blank canvas. Color is objective; color is subjective. A color that is perfect in one instance is useless in another. Color is complexity personified. The use of color implies a knowledge, or at least an awareness, not only of the mechanics of color, but also of the formal, psychological, and cultural problems involved. Color cannot be separated from its physical environment without …

Author

PublisherYale University Press

Related print edition pages: pp.225-226

https://doi.org/10.37862/aaeportal.00092.025

Stable URL: https://aaeportal.com/?id=-14981

Chapter subject tags:Graphic DesignAdvertisingColor in art

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Word Pictures

Teaching art (design), perhaps more than other disciplines, involves a special kind of commitment from both teacher and student. Most complex is the task of formulating the problem. Ideally, an assignment should be so conceived as to be palatable, challenging, and absorbing, inviting curiosity and encouraging exploration. It should deal not only with formal but with manual skills. Following is a problem description which attempts to fulfill some of these varied and desirable goals. …

Author

PublisherYale University Press

Related print edition pages: pp.227-229

https://doi.org/10.37862/aaeportal.00092.026

Stable URL: https://aaeportal.com/?id=-14982

Chapter subject tags:Graphic DesignPop artColor in art

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The Lesson of Cézanne

The lesson that we learn from Léger had its origins in Cézanne. As was the case with so many artists at the beginning of this century, however, it was a lesson Léger innocently misinterpreted. …

Author

PublisherYale University Press

Related print edition pages: pp.230-231

https://doi.org/10.37862/aaeportal.00092.027

Stable URL: https://aaeportal.com/?id=-14983

Chapter subject tags:Graphic DesignArt, Modern

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Politics of Design

It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling. For sales, and not design are the raison d’être of any business organization. Unlike the salesman, however, the designer’s overriding motivation is art: art in the service of business, art that enhances the quality of life and deepens appreciation of the familiar world. …

Author

PublisherYale University Press

Related print edition pages: pp.233-235

https://doi.org/10.37862/aaeportal.00092.028

Stable URL: https://aaeportal.com/?id=-14984

Chapter subject tags:Graphic DesignCommercial art

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Integrity and Invention

We are told “One picture is worth more than a thousand words,” but is it? Does any one ad, poster, trademark, book jacket, letterhead, or TV commercial tell us of the compromises, doubts, frustrations, or misunderstandings that went into its making?

Author

PublisherYale University Press

Related print edition pages: pp.237-239

https://doi.org/10.37862/aaeportal.00092.029

Stable URL: https://aaeportal.com/?id=-14985

Chapter subject tags:Graphic DesignCommercial art

Access to this content is only available to subscribers. If you are at an institution that currently subscribes to the A&AePortal, please login to your VPN before accessing the site. If you have already purchased an individual subscription, please sign in to your account to access the content. Learn more about subscriptions.