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Window Farms Information Design Guide Jiani Lu

Bruce Nauman: The True Artist Julia Hasting

AKADEMIE X: LESSONS IN ART + LIFE Julia Hasting

Paul Rand: Conversations with Students, Princeton Architectural Press (2008)

From Lascaux to Brooklyn, Yale University Press (1996)

He grounds his work in elemental geometric form. Geomtetry is usually considered to be universal, impersonal and inert. In the hands of an artist with Tanaka’s imagination and feeling, timeless and universal geometry is imbued with a rare poetry. Shape is his medium.” (...) Tanaka shows how the worlds of public message and private art can be integrated, simultaneously serving the needs of audience, client and designer.

Philip B. Meggs, in 6 Chapters in Design

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Ikko Tanaka - logo design

“Ikko Tanaka (1930 - 2002) was born at Nara city, Japan on 13 of January 1930. He graduated from Kyoto Municipal College of Arts and Crafts in 1950 and joined Kenefafuchi Spinning Mills as a textile designer. In 1952, he started his career as a graphic designer with Sankei Press and became an Art Director at Nippon Design Center. He established his own studio, Tanaka Design Studio in 1963.

His style of marrying a Japanese tradition graphic and international style became an icon of Tanaka’s work. The famous poster Nihon Buyo for UCLA Asian Performing arts Institute 1981 is unforgettable. The sense of Japanese color and the simplicity of the geometric and typography treatment makes this poster usable for various purposes.”

Paul Rand, logo design

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100 Years of Design celebrates the profound impact of American design from 1914-2014 and beyond, marking the centennial of AIGA, the professional association of design.

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[Graphic Design] is not good design if it is irrelevant.” “[Graphic Design] is not good design if it does not communicate.

Paul Rand: A Designer’s Art (1985)

“Paul Rand’s stature as one of the world’s leading graphic designers is incontestable. For half a century his pioneering work in the field of advertising design and typography has exerted a profound influence on the design profession. Applying the lessons of modern art, particularly those of the Bauhaus, to art in the service of business, he almost single-handedly transformed “commercial art” from a practice that catered to the lowest common denominator of taste to one that could assert its place among the other fine arts.”

Paul Rand: A Designer’s Art (1985)

Visual communications of any kind … should be seen as the embodiment of form and function: the integration of the beautiful and the useful. […] Ideally, beauty and utility are mutually generative.

Paul Rand (via ctrl-alt-dc)