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 Thoughts
on
Paul Rand Design

CHRONICLE BOOKS
SAN FRANCISCO
Copyright © 1947 by Paul Rand.
Foreword to the New Edition copyright © 2014 by Michael Bierut.
All rights reserved. No part of this book may be reproduced in
any form without written permission from the publisher.
Library of Congress Cataloging-in-Publication Data available.
ISBN: 978-0-8118-7544-8 (pb)
ISBN: 978-1-4521-3065-1 (ebook)

Original edition published by Wittenborn Schultz, New York, 1947.

Third edition published by Studio Vista, London, 1970.
This edition published by Chronicle Books, San Francisco, 2014.
Set in Linotype Bodoni Book

Chronicle Books LLC

680 Second Street
San Francisco, CA 94107
www.chroniclebooks.com
Contents Foreword to the New Edition 6
Preface to the Third Edition 7
Preface to the First Edition 8

The Beautiful and the Useful 9

The Designer’s Problem 11

The Symbol in Advertising 13

Versatility of the Symbol 18
The Role of Humor 22
Imagination and the Image 36

Reader Participation 48
Yesterday and Today 74
Typographic Form and Expression 76
Foreword When Paul Rand sat down in 1947 to write the book that would
to the New Edition become Thoughts on Design, he was thirty-three years old. The
designer, born in Brooklyn and largely self-taught, was already a
sensation. Appointed chief art director at the agency William H.
Weintraub & Co. just six years before, he was credited with revolu-
tionizing the clichéd and buttoned-down world of Madison Avenue
by introducing the bracing clarity of European modernism. His
signature appeared on book covers, posters, and ads.

He was young. His logos for IBM, ABC, and Westinghouse all would
be incorporated in the book’s subsequent editions were still in
the future. So were his induction into the Art Directors Club Hall of
Fame, his position on the faculty at the Yale School of Art, the AIGA
Medal, and all the accolades that would establish him as his country’s
greatest designer by the time he died in 1996. Thirty-three years old
was, perhaps, early for a book, but Rand was ready.

Paul Rand admitted all his life that he was insecure as a writer. It
was his passion for his subject that made him such an effective one.
In his day job on Madison Avenue, he had learned the virtues of
saying more with less. As a result, Thoughts on Design is almost as
simple as a child’s storybook: short, clear sentences; vivid, playful
illustrations. Ostensibly, it is nothing more than a how-to book,
illustrated with examples from the designer’s own portfolio. But in re-
ality Thoughts on Design is a manifesto, a call to arms and a ringing
definition of what makes good design good. This, perhaps, has never
been said better than in the book’s most quoted passage, the graceful
free verse that begins Rand’s essay “The Beautiful and the Useful.”
Graphic design, he says, no matter what else it achieves, “is not good
design if it is irrelevant.”

László Moholy-Nagy said of Paul Rand, “He is an idealist and a real-

ist, using the language of the poet and business man.” That balance
between passion and practicality was never displayed better than in
Thoughts on Design. Its message is still relevant. We are lucky that
the designers of today and tomorrow have this new edition.

Michael Bierut, New York City

2014

6
Preface In this edition of Thoughts on Design, the writer has made certain
to the Third Edition emendations. However, these do not materially alter his original
thoughts or intentions. It is for the purpose of clarifying some of the
ideas and enriching the visual material that a portion of the text
has been revised and a number of illustrations have been replaced.

When this book was first written, it was the writer’s intention to
demonstrate the validity of those principles which, by and large, have
guided artists (designers) since the time of Polycletus. The author
believes 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 or understand the transient nature of the “fashionable.” It is
the continuing relevance of these principles that he wishes to em-
phasize, especially to those students and designers who have grown up
in a world of pop and minimal art.

The author is indebted to all the advertisers, publishers, and

manufacturers who have provided the opportunities for creating the
visual material shown in this book. He also wishes to express his
thanks to the typesetters and proofreaders for their help, and to the
publishers for making a new edition of this book available.

P. R., Weston, Connecticut

January 1970

7
Preface This book attempts to arrange in some logical order certain prin-
to the First Edition ciples governing contemporary advertising design. The pictorial ex-
amples used to illustrate these principles are taken from work in which
I was directly engaged. This choice was made deliberately and
with no intention to imply that it represents the best translation of these
principles into visual terms. There are artists and designers of great
talent whose work would be perhaps more suitable. But I do not feel
justified in speaking for them nor secure in attempting to explain
their work without any possibility of misrepresentation. This is not to
say that this book is purely the result of my efforts alone. I am in-
debted to many people painters, architects, designers of past and
present for many theories and concepts. Many philosophers and
writers, particularly John Dewey and Roger Fry, have helped to crystal-
lize my thinking on the subject and to accelerate such progress as
I have made. I have tried to pay my debt by quoting some of them.

P. R., New York City

January 1946

8
The Beautiful and Graphic design –
the Useful which fulfills esthetic needs,
complies with the laws of form
and the exigencies of two-dimensional space;
which speaks in semiotics, sans-serifs,
and geometrics;
which abstracts, transforms, translates,
rotates, dilates, repeats, mirrors,
groups, and regroups –
is not good design
if it is irrelevant.

Graphic design –
which evokes the symmetria of Vitruvius,
the dynamic symmetry of Hambidge,
the asymmetry of Mondrian;
which is a good gestalt;
which is generated by intuition or by computer,
by invention or by a system of co-ordinates –
is not good design
if it does not co-operate
as an instrument
in the service of communication.

Visual communications of any kind, whether persuasive or informa-

tive, from billboards to birth announcements, should be seen as the
embodiment of form and function: the integration of the beautiful and
the useful. In an advertisement, copy, art, and typography are seen
as a living entity; each element integrally related, in harmony with the
whole, and essential to the execution of the idea. Like a juggler,
the designer demonstrates his skills by manipulating these ingredi-
ents in a given space. Whether this space takes the form of adver-
tisements, periodicals, books, printed forms, packages, industrial
products, signs, or TV billboards, the criteria are the same.

That the separation of form and function, of concept and execution,

is not likely to produce objects of esthetic value has been repeatedly
demonstrated. Similarly, it has been shown that the system which

9
 regards esthetics as irrelevant, which separates the artist from his
product, which fragments the work of the individual, which creates by
committee, and which makes mincemeat of the creative process will,
in the long run, diminish not only the product but the maker as well.

John Dewey, commenting on the relationship between fine art and

useful or technological art, says: “That many, perhaps most, of the
articles and utensils made at present for use are not genuinely esthetic
happens, unfortunately, to be true. But it is true for reasons that are
foreign to the relation of the ‘beautiful’ and ‘useful’ as such. Wherever
conditions are such as to prevent the act of production from being
an experience in which the whole creature is alive and in which he
possesses his living through enjoyment, the product will lack some-
thing of being esthetic. No matter how useful it is for special and
1. John Dewey,
Art as Experience, limited ends, it will not be useful in the ultimate degree that of con-
“Ethereal Things,” p. 26. tributing directly and liberally to an expanding and enriched life.”1

The esthetic requirements to which Dewey refers are, it seems to me,

exemplified in the work of the Shakers. Their religious beliefs
provided the fertile soil in which beauty and utility could flourish.
Their spiritual needs found expression in the design of fabrics,
furniture, and utensils of great esthetic value. These products are a
document of the simple life of the people, their asceticism, their
restraint, their devotion to fine craftsmanship, and their feeling for
proportion, space, and order.

Ideally, beauty and utility are mutually generative. In the past,

rarely was beauty an end in itself. The magnificent stained-glass
windows of Chartres were no less utilitarian than was the Parthenon
or the Pyramid of Cheops. The function of the exterior decoration
of the great Gothic cathedrals was to invite entry; the rose windows
inside provided the spiritual mood. Interpreted in the light of
our own experiences, this philosophy still prevails.

10
 Parthenon, Athens
447–432 B.C.

The Designer’s An erroneous conception of the graphic designer’s function is to

Problem imagine that in order to produce a “good layout”1 all he need do is
make a pleasing arrangement of miscellaneous elements. What
is implied is that this may be accomplished simply by pushing these
elements around, until something happens. At best, this procedure
involves the time-consuming uncertainties of trial and error, and at
worst, an indifference to plan, order, or discipline.

11
1. Because of its popular ac- The designer does not, as a rule, begin with some preconceived idea.
ceptance, the term layout
is used. Unfortunately, a lay- Rather, the idea is (or should be) the result of careful study and
out is deprecatingly inter- observation, and the design a product of that idea. In order, therefore,
preted as a blueprint for an
illustration. I should pre-
to achieve an effective solution to his problem, the designer must
fer to use composition in the necessarily go through some sort of mental process. 2 Consciously or
same sense in which it is not, he analyzes, interprets, formulates. He is aware of the scientific
used in painting.
and technological developments in his own and kindred fields. He
improvises, invents, or discovers new techniques and combinations.
He co-ordinates and integrates his material so that he may restate
his problem in terms of ideas, signs, symbols, pictures. He unifies,
simplifies, and eliminates superfluities. He symbolizes abstracts
from his material by association and analogy. He intensifies and rein-
forces his symbol with appropriate accessories to achieve clarity
and interest. He draws upon instinct and intuition. He considers the
spectator, his feelings and predilections.

2. The reader may wish to The designer is primarily confronted with three classes of material:
refer to R. H. Wilenski, The a) the given material: product, copy, slogan, logotype, format,
Modern Movement in Art,
for a description of the media, production process; b) the formal material: space, contrast,
artist’s mental processes in proportion, harmony, rhythm, repetition, line, mass, shape, color,
creating a work of art.
weight, volume, value, texture; c) the psychological material: visual
perception and optical illusion problems, the spectators’ instincts,
intuitions, and emotions as well as the designer’s own needs.

As the material furnished him is often inadequate, vague, uninterest-

ing, or otherwise unsuitable for visual interpretation, the designer’s
task is to re-create or restate the problem. This may involve discard-
ing or revising much of the given material. By analysis (breaking
down of the complex material into its simplest components . . . the how,
why, when, and where) the designer is able to begin to state the
problem.

12
The Symbol Because advertising art, in the end, deals with the spectator, and
in Advertising because it is the function of advertising to influence him, it follows
that the designer’s problem is twofold: to anticipate the spectator’s re-
actions and to meet his own esthetic needs. He must therefore dis-
cover a means of communication between himself and the spectator
(a condition with which the easel painter need not concern him-
self). The problem is not simple; its very complexity virtually dictates
the solution that is, the discovery of an image universally com-
prehensible, one which translates abstract ideas into visual forms.

It is in symbolic, visual terms that the designer ultimately realizes his

perceptions and experiences; and it is in a world of symbols that
man lives. The symbol is thus the common language between artist and
spectator. Webster defines the symbol as “that which stands for or
suggests something else by reason of relationship, association, con-
vention, or accidental but not intentional resemblance; especially,
a visible sign of something invisible, as an idea, a quality or totality
such as a state or a church; an emblem; as, the lion is the symbol
of courage; the cross is the symbol of Christianity. ‘A symbol is a
representation which does not aim at being a reproduction.’ (Goblet
d’Alvielle).”

Words like simplified, stylized, geometric, abstract, two-dimensional,

flat, non-representational, non-mimetic are commonly associated,
sometimes incorrectly, with the term symbol. It is true that the depic-
tion of most distinctive symbols does fit the image these words
help to characterize visually; but it is not true that the symbol has to
be simplified (etc.) in order to qualify as a symbol. The fact that
some of the best symbols are simplified images merely points to the
effectiveness of simplicity but not to the meaning of the word
per se. In essence, it is not what it looks like but what it does that
defines a symbol. A symbol may be depicted as an “abstract” shape,
a geometric figure, a photograph, an illustration, a letter of the
alphabet, or a numeral. Thus, a five-pointed star, the picture of a
little dog listening to his master’s voice, a steel engraving of
George Washington, or the Eiffel Tower itself are all symbols!

13
Religious and secular institutions have clearly demonstrated the
power of the symbol as a means of communication. It is significant
that the crucifix, aside from its religious implications, is a demon-
stration of perfect form as well a union of the aggressive vertical
(male) and the passive horizontal (female). It is not too farfetched
to infer that these formal relations have at least something to do
with its enduring quality. Note the curious analogy between Occidental
and Oriental thought from the following excerpts: Rudolf Koch,
in The Book of Signs, comments: “In the origin of the Cross, God and
earth are combined and are in harmony . . . from two simple lines a
complete sign has been evolved. The Cross is by far the earliest of all
signs and is found everywhere, quite apart from the concepts of
Christianity.” In the Book of Changes (Chou Yih) it is stated:
“The fathomlessness of the male and female principles (Yang and
Yin) is called God.” This conception is illustrated by the Taichi
symbol expressing the “two regulating powers which together create
all the phenomena of Nature.” The essence of Chinese philosophy is
revealed in the expression: “All things are produced by the action of
the male and female principles.”

. . . In this illustration the form is intensified by dramatic narrative

association. The literal meaning changes according to context; the
formal quality remains unchanged.

14
 DIRECTION

Mery
Christmas 15

vd I 9 rec 1940

Magazine cover
red and black on white
1940

15
 a design students' guide
to the New York World's Fair
compiled for
P/M magazine ... by Laboratary School
of Industrial Design

Booklet cover
black and white
1939

16
 A BELL FOR ADANO
A novel endearing as it is important, which has Deelared an "Imperative by the Council on
srttied the hearts of thousands of readers. Books in Wartime.
Selected by eight out of ten of the nation's lead- An immediate success in its stage version: "one
ing critics as "the best novel of the year." of the finest war plays you will ener see," says
Credited by TIME MACAZINE with "a clean aweep Howard Barns in the NEW YORK HERALD TRIBUNE
of critical and popular honors for the year." ... "a new bell which probably will be shaking the
Chosen by Harry Hansen and Orville Prescott, theatre district for some time to come," says Lewis
in their annual summaries, as ... "the best novel Nichols, NEW YORK TIMES.
of the year." "Likely to stay for the duratin." ... LIFE MAC.

john Hersey's
"terrific little masterpiece"
A Bell for Adano ...
is on sale at all
bookstores at 2.50
It is a Borzoi Book
published in New York
Alfers A.
Knopf

Paue Ra

Magazine advertisement
Alfred A. Knopf
February 1945

17
 Versatility The same symbol is potentially a highly versatile device, which
of the Symbol can be used to illustrate many different ideas. By juxtaposition, asso-
ciation, and analogy, the designer is able to manipulate it, alter its
meaning, and exploit its visual possibilities.

Distinguishing between the literal and plastic meaning of images,

Ozenfant declares: “Every form has its specific mode of expression
1. Amedee Ozenfant, (the language of plastic) independent of its purely ideological
Foundations of Modern significance (language of the sign).”1 The circle as opposed to the
Art, p. 249.
square, for instance, as a pure form evokes a specific esthetic sensa-
tion; ideologically it is the symbol for eternity, without beginning
or end. A red circle may be interpreted as the symbol of the sun, the
Japanese battle flag, a stop sign, an ice-skating rink, or a special
brand of coffee . . . depending on its context.

Perfume bottle,
gold wire and crystal
1944

18
 abc

c
cc

Trademark Trademark Trademark

Colorforms Consolidated Cigar Co. American Broadcasting Co.
1959 1959 1962

19
Brochure Illustration
black and yellow, Autocar GHP Cigar Company
1942 1952

21
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