Design For The PeopleFor Everything and Everyone

Design is Conceptual

Design is Loud

Design is Liveable Dieter Rams 8Charles and Ray Eames 12 Herman Miller 13

Design is VisualRobert Brownjohn 16Saull Bass 20Eryk Lipinski 21

Alex Steinweiss 24William Claxton 28 Reid Miles 29

Lester Beall 32Ladislav Sutnar 36Adrian Frutiger 40Bradbury Thompson 41Erik Nitsche 42 Paul Rand 43

Foreward

Authors

Bibliography3

Mid-Century Modern design developed from

one main ideal: philosophy of design comes

before the aesthetic. Movements before

Mid-Century Modernism, such as Bauhaus

and Swiss design, focused mainly on visual

aspects of design. To them, design should be

informative, direct, and substantial. Posters

and advertising should contain the basic

principles of design, utilize grids and basic

shapes to convey meaning. Mid-Century

Modernists took these basic principles of

simplistic design, and used them to create

humanized ideals. By using a grid system and

simple color palettes, alongside pop culture

imagery and organic shapes, design began to

Design is For The People

appeal more to the clientele it was designed

for. This philosophy of creating good design

the common man would appreciate and

understand translated not only into design

but all parts of life during the 1940s to mid

1960s. Areas such as home goods, furniture,

film, television, and music, all had links

between design and actual application.

Furniture design became comfortable, while

still having a stylish appearance. Film and

television started employing new technologies.

Even the design of music record sleeves reflected

this sense of organic familiarity within the

gridded design. Mid-Century Modern was

more than a movement, it became a way of life.

Foreward

5

Design is LiveableDieter Rams

Charles and Ray Eames

Herman Miller

Dieter Rams was born May 20, 1932 in

Wiesbaden, Germany. In his career he was a

graphic and industrial designer and trained

and worked as an architect for a few years

u nti l he joi ned the elec tron ic dev ices

manufacturer Braun. Within a few years

he became their chief of design, a position

he held for almost thirty-five years. He is

also credited with the memorable phrase

“Weniger, aber besser” which translates into

“Less, but better”. Dieter Rams used graphic

design, form, proportion, and materiality to

create order within his designs. His work does

not try to be the center of attention, rather he

a l lo w s h i s w o rk t o b e c o me p a r t o f t he

environment through precision and order.

Back in the early 1980s, Dieter Rams was

becoming increasingly concerned by the state

of the world around him – “an impenetrable

confusion of forms, colours and noises.”

Aware that he was a significant contributor

to that world, he asked himself an important

question: is my design good design?

As good design cannot be measured in a

finite way he set about expressing the ten

most impor tant principles for what he

considered was good design. Sometimes

they are referred as the ‘Ten commandments’.

1 Good design is innovative.

2 Good design makes a product useful.

3 Good design is aesthetic.

4 Good design helps us to understand a

product.

5 Good design is unobtrusive.

6 Good design is honest.

7 Good design is durable.

8 Good design is consequent to the last detail.

9 Good design is concerned with the

environment.

10 Good design is as little design as possible.

Dieter Rams Main Man

Design is Liveable

9

TP 1 Radio/Phono Combination, 1959, by Dieter Rams

Audio 1 Kompaktanlage 1962, by Dieter Rams

The Braun BN0076, 2011, by Dieter Rams

Braun Sixtant SM2, 1963, by Dieter Rams

Design is Liveable

620 Chair Programme, 1962 by Dieter Rams

606 Universal Shelving System, 1957, by Dieter Rams

RT 20 tischsuper radio, 1961, by Dieter Rams

The ABR 21 signal radio, 1960, by Dieter Rams

Braun SK 61 Stereo, 1953, by Dieter Rams

11

Charles Eames and Ray Eames gave shape to

America’s twentieth century. Their lives and

work represented the nation’s defining social

movements: the West Coast’s coming-of-age,

the economy ’s shif t from making goods

to the producing information, and the global

expansion of American culture. The Eameses

embraced the era’s v isionar y concept of

modern design as an agent of social change,

elevating it to a national agenda. Their

evolution from f u rnitu re designers to

cultural ambassadors demonstrated their

boundless talents and the overlap of their

interests w ith those of their cou ntr y.

In a rare era of shared objectives, the Eameses

partnered with the federal government and the

country’s top businesses to lead the charge to

modernize postwar America.

Charles and Ray Eames

Lounge Chair and Ottoman ,1965, by Herman Miller & the Eames Brothers

Plywood Elephant Chair, 1945, by the Eames Brothers

Vitra, 1950, by Charles Eames

Eames ‘Mini’ Chair for Children, 1945, by the Eames Brothers

Design is Liveable

Herman Milleris most famous for the way he

revoultionized the furniture business. For him

the business has been about much more than

the numbers and elements that traditonally

come to mind when business is thought of.

The focus of his furniture company is always

the design. To them it is as important as

sales of production. The artist is never

made to create something that will sell,

but just to create a solution of a furniture

problem. If the designer and and manager

like the solution then it is put into prouction

with no reguards for pre-testing or consumer

research. At one point in the companies

history they were producing period

reproduction pieces. This was discontinued

after it was brought to their attention that

imitating these peices was “insincere

aethetically”. This just shows just how

design centered Herman Miller is. Instead

of keeping the line because it was making

money or the people liked it so much, he got

rid of it so that all his work would be honest

Through the honest work of Herman Miller’s

furntiure company, he has come to find out that

there is a real market for well designed

furniture. Many times the public will even be

ahead of manufactures in funiture style.

The goal of Herman Miller’s company is to

eventually create a design for furniture that

is ever lasting. Something that solves all

furnature problems and cannot be redesigned to

be better. A design cannot be kept if

something else comes out to solve the

problem more effectively.

Herman Miller

Lounge Chair and Ottoman ,1965, by Herman Miller & the Eames Brothers

Nelson Coconut Chair, 1955, by Herman Miller

Nelson Basic Cabinates, 1945, by Herman Miller

13

Design is VisualRobert Brownjohn

Saul Bass

Eryk Lipinski

Robert Brownjohn

Brownjohn was born to British parents in

New Jersey and had a successful career in

both America and Great Britain during the

1950s and 60s. He immediately showed

promise as a young design student at the

Institute of Design in Chicago, previously

The New Bauhaus, where he studied closely

with Laszlo Moholy-Nagy.

His career ramped up to an early start when

he formed the design firm BCG with Ivan

Chermayeff and Thomas Geismar. However,

that career came to an early end in 1959 with

Brow njohn heading toLondon, the f irm

became Chermayeff and Geismar.

His career in London proved as successful as

his early career in the US with his most

notable contributions coming in the film

industry. He also worked within several other

industries, creating moving graphics for

Pirelli and Midland bank and created the

cover for the Rolling Stones album Let It Bleed.

A 240 page catalogue by Emily King that was

produced for an exhibition detailing Brownjohn’s

career entitled “Robert Brownjohn: Sex and

Typography” held at the Design Museum in

London was also published as a book of the

same name. Sex and Typography details the

adventures of Brownjohn through detai led

information provided by friends and family as

well as chronicling his career and the work

Main Man

that he produced.At one point Brownjohn was

addicted to heroin, which he had first taken

in col lege. It caused the breakdow n of his

relationship with Chermayeff and Geismar

a n d i n f l u e n c e d h i s m o v e t o L o n d o n .

Brownjohn is perhaps most famous for his

work on the title sequences for the f i lms

G old f i nger a nd From Ru ss i a w ith Love.

Design is Visual

17

James Bond Goldfinger title sequence, 1964, Robert Brownjohn, London

Design is Visual

More Information

James Bond From Russia with Love Title Sequence, Robert Brownjohn, 1963

19

More Information

Saul BassSaul Bass was an American designer whose

40+ year career spanned everything from

print and identity development to movie title

credits. He worked with major corporations to

establish logos and branding guidelines,

including AT&T, United Way and Continental

Airlines. He designed titles for over 30 films

and he won an academy award for his short

film Why Man Creates. Also proficient in

typography his “cut-paper” style is one of the

most recognized styles of design from the

1950s and 60s.

He revolutionized the way that people viewed

movie titles by using the time to not just

display the information but give a short visual

metaphor or story that intrigued the viewer.

Often times it was a synopsis or reference to

the movie itself. His list of title credits

include famous films such as West Side Story,

Psycho,Goodfellas, Big,North by Northwest

and Spartacus. He created four titles for

Martin Scorsese, the last of which was for Casino.

The Man with the Golden Arm was one of four

movies that Saul Bass worked on under the

direction of Otto Preminger. Saul worked with

some of the biggest names in the film business

including Alfred Hitchcock, Stanley Kubrick

and Martin Scorsese.

Poster for The Man With the Golden Arm, 1955, Saul Bass, Directed by Otto PremingerAnatomy of a Murder Title Sequence, 1959, Saul Bass

Psycho Title Sequence, 1962, Saul Bass

Design is Visual

Caricaturist, satirist, graphic designer, poster

designer, book illustrator, columnist, author

of several books on the history of caricature,

satirical art collector and a founder of the

Museum of Caricature and Cartoon Art in

Warsaw. Eryk Lipinski was born on 12 of July

1908 in Cracow, Poland. In 1928, his caricatur

was published in magazine Pobudka. In 1933,

he studied at the Warsaw Academy of Arts for

6 years. During his study he confounded with

Zbigniew Mitzer and became a chief editor

a s ati r ic a l news p ap er Sz pi l k i i n 1 93 5 .

After the war he continued working from

1946-1953. He also contributed to many

newspapers and magazines.

Eryk Lipinski

“SKARB”, 1949, Eryk Lipinski Poster for Day of the Jackal, Eryk Lipinski, 1973Ashes And Diamonds - Help – Eryk Lipinski, 1965 Wojciech

Fangor, 1979.

21

Design is LoudAlex Steinweiss

William Claxton

Reid Miles

Main ManAlex Steinweiss

Alex Steinweiss, art director for Columbia

Records during the 1940s, revolutionized the

way records were packaged and marketed.

His genre-defining work in the visual

expression of music transformed both the

design and the music industries. At this

time, 78-r.p.m. shellac-coated records were

packaged as sets of three or four records in

separate sleeves bou nd between plain

pasteboard covers. They were stamped only

with the title of the work and the name of

the recording artist and display on shelves

with just the spines showing. Steinweiss

recognized an opportunity to use the

packaging in more creative ways to

reflect the music it contained and to improve

sales. He went on to design upward of 850

album covers. His first cover was for a 1939

collection of songs by Rodgers and Hart. A

theate--r marquee with the composers’ names

spelled out in lights pivots on the central red

axis of the encased record. His references were

the French and German posters he had seen

in Friend’s class, but in the covers that he went

on to design he developed a unique signature

style that used geometric patterns, folk art

symbolism, and a curly hand-drawn lettering

(that became copyrighted as Steinweiss Scrawl).

During WWII Steinweiss took a job with the

U.S. Navy designing cautionary posters and

displays. He continued to work for Columbia

Records by night, and after the war, as a consultant.

Design is Loud

25

Album cover for Louis Armstrong and Earl Hines, 1940, Alex

Steinweiss

Eugene Ormandy – Respighi: The Pines of Rome 1946, Alex

Steinweiss

Album cover for Bartok-Martin, 1950, Alex Steinweiss

Rodgers & Hart - The Imperial Orchestra Under Richard Rodgers,

1939, Alex Steinweiss

Rodgers & Hammerstein – South Pacific with Original Broadway

Cast, 1949, Alex Steinweiss

Album Cover for Cole Porter, 1948, Alex Steinweiss

Album Cover for Moody Woody, 1959, Alex Steinweiss

Design is Loud

27

Songs of Rachmaninoff, 1946, Alex Steinweiss

Album Cover for Bing Crosby, Alex Steinweiss

Album Cover for Shostakovitch, Alex Steinweiss

Album Cover for Rhapsody in Blue, Alex Steinweiss

Album Cover for Benson Brooks Trio, Alex Steinweiss

Album Cover for Emperor Rudolf Sernin with Bruno Walter, Alex

Steinweiss

Album Cover for Basil Rathbone, Alex Steinweiss

Album Cover for La Conga, Alex Steinweiss

Album Cover for Columbia Masterpieces, Alex Steinweiss

William ClaxtonWilliam Claxton is highly regarded for his

album designs and his photographs of the

1950s jazz scene. In 1952 in Los Angeles, he

met Richard Bock. Bock wanted to start a new

record company called Pacific Jazz, and

recruited Claxton as a partner and the new

company’s art director and photographer.

He designed numerous album covers for the

label over the next six years. He also worked

for many of the other companies in the Los

Angeles are, notably Contemporary Records,

and for New York labels such as Riverside

and Atlantic Records.

Photography was Claxton’s main love, and

his early works were dominated by black and

white photography. Later, Claxton moved on

to use color photography. He is known for his

iconic imager y of the you ng Chet Baker.

Claxton was responsible for giving the visual

identity to the West Coast jazz scene. His album

covers emphasized the informal, outdoor

enjoyment of the California life. Claxton’s

photographs are published in many books

through the years, beginning in 1955 with

the classic portfolio “Jazz West Coast”,

produced by Richard Bock of Pacific Jazz.

Design is Loud

Chet and Carol Baker, 1988, William Claxton

Curtis Counce, 1958, William Claxton

Chet Baker, 1954, William Claxton

Yourna Byrd, 1960, William Claxton

Art Blakey and The Jazz Messenger, 1958, Reid Miles, Off to the Races, 1958, Reid Miles, Finger Poppin´, 1958, Reid Miles

Reid Miles

The Scene Changes, 1958, Reid Miles New Soil , 1959, Reid Miles Blakey at the Jazz Corner of the World, 1959, Reid Miles

Reid Miles started out desinging under the

creative direction of John Hermansader. They

worked so wel l together b ec au se wh at

Hermansader lacked in spark for his work

Miles made up with his vision. While MIiles

had all the intentions of staying with what

Herman started but endedu up surpassing

him and making many of his own wonderful

album covers. Miles made his jazz covers so

that even if you had never heeard jazz music

before you could tell what it sounded like and

what feeling it brought just by looking at his

work. He really captured the spirit of jazz and

made it visual. This was his greatest achievement.

It is even more impressive because Miles did

not like to listen to jazz music. He would often

times trade his jazz music for classical.

This is amazing as a designer because he put all

of his personal preferences aside and designed

for his clients. He made his work the way he

knew they wanted it and what they wanted it

to imbody wth no regaurds for what he may

h av e s e e n a s h i s o w n t a s t e o r s t yle .

His eye for typography and color really show

in his work. He does not use overly decorated

compsitions to get the buyers attention. Miles

just let the simple, good design do all the talking

for the music it was representing.

29

Design is ConceptualLester Beall

Ladislav Sutnar

Adrian Frutiger

Bradbury Thompson

Erik Nitsche

Paul Rand

Lester Beall

A man with a very technology-oriented

background, Beall grew up playing with

Ham radios and creating his own wireless

sets. He graduated with a Ph.D in the History

of Fine Art and the years following his

graduation found him expressing an interest

in modern art movements such as Surrealism,

Constructivism and Dadaism. His work as an

advertiser and graphic designer quickly

gained international recognition and the

most productive years of his career, during

the 1930s and 40s, saw many successes in

both fields. Perhaps his most famous work is

that done for the REA (Rural Electrification

Administration). With these posters Beall

brought not only hope for modern

conveniences to r u ral farm ow ners but

also hope for improving their farm work by

making machines possible with electricity.

This would extend economic competitiveness

to farms across America. In turn this would

even bring hope to all of America as these

posters made of simple shapes shared a

message of a new standard of living and

economic situation. When these works made

everyone feel as though they could afford to

have radio, electricity and running water, so

much more began to seem like it could be

possible. His clear and concise use of

typography was highly praised both in the

United States and abroad. Throughout his

career he used bold primar y colors and

illustrative arrows and lines in a graphic style

that became easily recognizable as his own.

He eventually moved to rural New York and

set up an office, and home, at a premises that

he and his family called “Dumbarton Farm”.

He remained at the farm until his death.

Main Man

Design is Conceptual

33

Radio / Rural Electrification Administration, 1937, Lester Beall

Farm Work/ Rural Electification Administration, 1937, Lester Beall

Wash Day / Rural Electrification Administration, 1937, Lester Beall

Running Water / Rural Electrification Administration, 1937

Heat-Cold / Rural Electrification Administration, 1937, Lester Beall

Light / Rural Electrification Administration, 1937, Lester Beall

Design is Conceptual

Rural Electrification Administration. 1941, Lester Beall, LithographPower on the Farm, Rural Electrification Administration, 1941,

Lester Beall

Power for Defense, Rural Electrification Administration,

1941, Lester Beall

35

Ladislav Sutnar was a progenitor of the

current practice of information graphics.

Sutnar developed graphic systems that

clarif ied vast amou nts of complex

information, transforming business

data into digestible u nits. In addition

to grid and tab systems, Sutnar made

common punctuation, such as commas,

colons and exclamation points, into linguistic

traffic signs by enlarging and repeating them.

As the art director, from 1941 to 1960, of F.W.

Dodge’s Sweet’s Catalog Service, America’s

leading distributor and producer of trade and

manufacturing catalogues, Sutnar developed

v a r iou s ty p og r aph ic a nd iconog r aph ic

navigational devices that allowed users

to efficiently traverse seas of data. His icons are

analogous to the friendly computer symbols

used today. Sutnar’s difficulties with spoken

English as a second language has do much to

explain why his design was sostraightforward.

Indeed, information of the kind presented

i n the Sweet ’s c at a logs, wh ich i ncluded

ever y th i ng f rom plu mbi ng s uppl ies to

hydroelectric generators, were the equivalent of

second or even third languages to many of its

users. So if verbal or written language could not

efficiently communicate or mediate information

in the age of mass production, then, Sutnar

reasoned, visual language needed to be more

direct. Perhaps the most significant of

Sutnar’s innovations was the use of spreads.

He was one of the first designers to design

double spreads rather than single pages. A

casual perusal of Sutnar’s designs from 1941, with

the logical exception of covers, reveals a

preponderance of spreads, on which his

signature navigational devices force the

viewer to go from one level of information to the

next. Through spreads, Sutnar was able to

material without impinging upon accessibility.

Ladislav Sutnar Main Man

Design is Conceptual

37

Design and paper: Color for Articulation,

1944, Ladislav Sutnar.

Walrus, 1930, Ladislav Sutnar. Elephant, 1930, Ladislav Sutnar. Lion, 1930, Ladislav Sutnar. Rhino, 1930, Ladislav Sutnar.

Design is Conceptual

Design and Paper: Visual Dominance, 1943 , Ladislav Sutnar. Catalogue Design Progress, 1943, K. Lonberg-Holm and Ladislav Sutnar.

Promoction Kits: Build the Town poster,

1943, Ladislav Sutnar.

Design and Paper, 1943, Ladislav Sutnar.

Promoction Kits: Build the Town block set, 1943, Ladislav Sutnar.

39

Adrian Frutiger has created some of the most

used typefaces of the 20th and 21st century.

Athough interested in many fields including

woodcut and paper sillhouettes, Frutiger has

been passionate about typography for his

entire l i fe. Spending most of his career

working for Deberny & Peignot updating

typefaces and preparing them for photo-

typesetting, as well as designing typefaces

of his own accord, he has created almost 30

typefaces. Some of his most famous typefaces

include Univers, Frutiger (created for the

Charles de Gaulle airport), Egyptienne,

Serifa and Avenir. Frutiger is one of only a

few typographers whose career spans across

hot metal, photographic and digital typesetting.

He has also been instrumental in refining his

own typefaces to include more weights and

true italics, some eamples are Frutiger

Next and Avenir Next.

Adrian Fruitger

Forms and Counter Forms: Intimacy, 1999.

Adrian Fruitger

Forms and Counter Forms, 1999. Adrian Fruitger

Univers Typefamily, 1956. Adrian Fruitger

Design is Conceptual

Bradbury ThompsonBradbury Thompson was truly a master of

almost every aspect of the design profession.

He studied printing production, was an art

director for Mademoiselle magazine, designed

books, pushed the boundaries of conventional

typography and taught design at Yale University.

He designed 60+ issues of Westvaco Inspirations

for the Westvaco Paper Corporation. His designs

reached thousands of designers, printers and

typographers. Born in 1911 in Topeka, Kansas

and educated at Washburn University Thompson

stayed in touch with the university throughout

his career. From 1969-1979 Thompson worked

together with Washburn to create the Washburn

Bible. The book was the most significant

development in Bible typography since

Gutenberg first published his masterpiece in

1455. Another significant point in his career,

in the field of typography, was his publication of

Alphabet, which was labeled as a monoalphabet.

It contained only 26 unique characters, case

was established by size only instead of entirely

new characters. Thompson’s work garnered

him the highest award of every major design

organization including AIGA, the Art Directors

Club and the Type Directors Club. He died in 1995.

41

Spread from Westvaco Inspirations #210, 1958, Bradbury Thompson

Erik Nitsche left an unmistakable mark on

the world of design in his approximately

60 year career. Leav ing almost no f ield

untouched, he worked as an art director,

book designer, illustrator, typographer,

graphic designer, photographer, advertiser,

a nd p a ck ag i ng des ig ner. H i s g r aph ic

design work included magazine covers,

signage, film, exhibitions, posters and

many other advertising mediums. Before

imigrating to the United States in 1934

Nitsche studied at the Collège Classique in

Switzerland and the Kunstgewerbeschule

i n Mu n i c h . H i s w o rk h a s a d i s t i n c t ly

modernist aesthetic and although he never

had the opportunity to attend the Bauhaus

L a sz lo Moholy-Nag y h a s b een quoted a s

say ing, “Who is this g uy that is doing the

Bauhaus in New York?”

Erik Nitsche

General Dynamics, 1958, Erik Nitsche

General Dynamics, 1960, Erik Nitsche

Design is Conceptual

Paul RandLaszlo Moholy-Nagy, describing Rand: “He is a

painter, lecturer, industrial designer, [and]

advertising artist who draws his knowledge

and creativeness from the resources of this

country. He is an idealist and a realist, using

the language of the poet and business man. He

thinks in terms of need and function. He is

able to analyze his problems but his fantasy is

b ou nd less .” Pau l R a nd i s one of the mos t

famous and recognized American designers of

the 20th Century. His ideas, philosophies and

approach continue to be a large part of the

fundamentals of design taught in education

programs across the world.

His early career was spent working for Apparel

Arts and Esquire magazines and then joining

the Weintraub agency. He was so successful

that after a few years he demanded twice the

pay for half the time, and got it. His relentless

passion for corporate identity helped shape the

American business landscape in the 1960s.

The height of corporate identity design owed

much to the unwavering pursuit of Paul Rand

to make advertising more than just billboards.

He worked in the field until the day that he

d ied, at the age of 82 .

Art Direction magazine cover, 1939, Paul Rand Department store ad, 1947, Paul RandOlivetti poster, 1953, Paul Rand

43

Authors

Research & Images & Layout - Charles and Ray

Eames, Adrian Frutiger, Ladislav Sutnar

Proof Reading

Forward Copy & Design

Ediotr

Research & Images & Layout - Alex Steinwiess,

Lester Beall, Herman Miller, Reid Miller

Multimedia Facilitator

Page Numbers

Cover Design

Research & Images & Layout - Robert

Brownjohn, Saul Bass, Paul Rand

Preflight

Hyperlinks

Bibliography

Proof Reading

Norma Zupko Alyssa CrozierBekah Marbert

Authors

45

Project Manager

Research & Images - Dieter Rams, Eryk Lipinski,

Erik Nitsche

Typesetting

Credits/Authors Page

Layout design

Hierarchy Design

Research & Images - Bradbury Thompson,

William Claxton, Alex Steinweiss

Way Finding- Chapter headings & Unity

Table of Contents

Cover Design

Proofing Hierarchy

Book Assembler

Emmy Dorchak Lauren Roberts

Bibliography

Bibliography

“Adrian Frutiger : Design Is History.” Adrian

Frutiger : Design Is History. N.p., n.d. Web. 22

Oct. 2012. <http://designishistory.com/1940/

adrian-frutiger/>.

“Alex Steinweiss : Design Is History.” Alex

Steinweiss : Design Is History. N.p., n.d. Web.

23 Oct. 2012. <http://designishistory.com/1940/

alex-steinweiss/>.

Armstrong, Elizabeth. The Birth of Cool. 1st

ed. New York: Prestel Publishing, 2007. Print.

“Bradbury Thompson : Design Is History.”

Bradbury Thompson : Design Is History. N.p.,

n.d. Web. 25 Oct. 2012. <http://designishistory.

com/1960/bradbury-thompson/>.

“Dieter Rams | About.” Dieter Rams | About.

N.p., n.d. Web. 22 Oct. 2012. <http://www.

architonic.com/dcabt/dieter-rams/8100605>.

“Dieter Rams: Ten Principles for Good

Design.” Vitsoe. N.p., n.d. Web. 22 Oct. 2012.

<https://www.vitsoe.com/rw/about/good-

design>.

“Dieter Rams / Selector for 25/25 - Celebrating

25 Years of Design : - Design/Designer

Information.” Dieter Rams. N.p., n.d. Web. 22

Oct. 2012. <http://designmuseum.org/design/

dieter-rams>.

“Erik Nitsche : Design Is History.” Erik

Nitsche : Design Is History. N.p., n.d. Web. 24

Oct. 2012. <http://www.designishistory.

com/1940/erik-nitsche/>.

“Erik Nitsche : Design Is History.” Erik

Nitsche : Design Is History. N.p., n.d. Web. 22

Oct. 2012.

<http://designishistory.com/1940/erik-

nitsche/>.

“Eryk Lipiński.” Wikipedia. Wikimedia

Foundation, 22 Oct. 2012. Web. 24 Oct. 2012.

<http://en.wikipedia.org/wiki/Eryk_Lipiński>.

“Eryk Lipinski - Art Posters.” Eryk Lipinski

- Art Posters. N.p., n.d. Web. 23 Oct. 2012.

<http://www.poster.com.pl/lipinski.htm>.

“Eryk Lipinski - Polish Posters.” Eryk Lipinski

- Polish Posters. N.p., n.d. Web. 22 Oct. 2012.

<http://www.polishposter.com/html/lipinski.

html>.

Heller, Steven. “Ladislav Sutnar.” AIGA. The

American Institute of Graphic Arts, 1997.

Web. 22 Oct. 2012. <http://www.aiga.org/

medalist-ladislavsutnar/>.

Lester Beall. N.p., n.d. Web. 22 Oct. 2012.

<http://www.lesterbeall.com/>.

47

“Paul Rand : Design Is History.” Paul Rand :

Design Is History. N.p., n.d. Web. 07 Nov. 2012.

<http://designishistory.com/1960/paul-rand/>.

“Robert Brownjohn : Design Is History.”

Robert Brownjohn : Design Is History. N.p.,

n.d. Web. 22 Oct. 2012. <http://designishistory.

com/1940/robert-brownjohn/>.

“Saul Bass : Design Is History.” Saul Bass :

Design Is History. N.p., n.d. Web. 26 Oct. 2012.

<http://designishistory.com/1960/saul-bass/>.

“Typotheque: Erik Nitsche: The Reluctant

Modernist by Steven Heller.” Typotheque: Erik

Nitsche: The Reluctant Modernist by Steven

Heller. N.p., n.d. Web. 23 Oct. 2012. <http://

www.typotheque.com/articles/erik_nitsche_

the_reluctant_modernist>.

“The Work of Charles and Ray Eames: A

Legacy of Invention | Exhibitions - Library of

Congress.” The Work of Charles and Ray

Eames: A Legacy of Invention | Exhibitions

- Library of Congress. N.p., n.d. Web. 23 Oct.

2012. <http://www.loc.gov/exhibits/eames/>.