Parsons Re:D Special Edition

re:
20
22
SPECIAL EDITION

Parsons dedicates this publication to Paul Rand and Alex
Steinweiss: two of our alumni who were founders of
Mid-Century Modernism and who helped shape design.

TABLE OF CONTENTS
03
MID-CENTURY MODERNISM
48
LESTER BEALL
06
PARSONS THE NEW SCHOOL
56
WILL BURTIN
08
NEW GRADUATE PROGRAMS
66
ERIk NITSCHE
11
MID -CENTURY ART EXHIBIT
76
ALVIN LUSTIG
18
INFLUENTIAL FIGURES
48
WE ARE PARSONS
20
PAUL RAND
86
CATALOGUE
28
ALEX STEINWEISS
88
CREDITS
36
SAUL BASS
90
SOURCES
2 PARSONS re:D

MID- CENTURY MODERNISM (re:D)
OUR MISSION
Through this publication, we hope to celebrate the
timeless work of mid-century modernists and their
aff iliation with Parsons The New School, as well as
how their work has affected our institution. We will
be providing an in-depth look at several Mid-Century
Modernist designers and their work as well as offering
a glimpse of what pieces we will be featuring at our
exhibition in August of 2022.
TRANSFORMING DESIGN
Mid-Century Modern is a term often used to describe
the aesthetic of new products, particularly furniture.
But using it that way is a misnomer. The term refers to
a “golden age” of architecture and design; a generous
timeline places Mid-Century Modernism from 1933 to
1965 or even beyond, but purists say it only lasted the
ten-year period post World War II from 1947 - 1957.
It can be summarized by the phrase “form follows
function,” generally lacking ornamentation and solving
design problems in minimal and clean, simple modes.
MID-CENTURY MODERNISM
Mid-Century Modernism is a style that isn’t easily
defined. One of the many reasons for this is because
the works conceptually overlap other styles of the
time. It is often viewed as the American response to
European, South American, and other global types
of modernism like the International Style or Bauhaus
movements. Its post-war timeline was an important
factor in design typology of Mid-Century Modernism
as designers were racing to house and modernize
American suburbs. In terms of Mid-Century Modern

colors, the style allows for a variety of hues from
neutral to bold, as well as the graphic use of black
and white. Technological advances led to production
and development of a range of new materials making
it possible to explore new textures and effects, colors
and even new form.
Many who are familiar with Mid-Century Modernism
may believe that some of the below works do not fit
the “criteria” of the style and may instead fit better as
International or Bauhaus style works of architecture
or design. However, the names and design examples
on this list of graphic design works, furniture, and the
architectural pieces are by no means exhaustive.
The master designer Paul Rand provided the best
Modernist definition of graphic design: “To design
is much more than simply to assemble, to order or
even to edit: it is to add value and meaning, illuminate,
simplify, clarify, modify, dignify, dramatize, to persuade,
and perhaps even to amuse. To design is to transform
prose into poetry.” Modernism was more than just the
name of a style. It was a philosophy, a view of life, and it
a state of mind.
GRADUATE PROGRAM FUNDRAISER
Parsons The New School will be hosting an art gallery
showcasing the work of Mid-Century Modernists to
raise money for the new graduate programs at our
school. Go to page seven to see more about our new
graduate programs! The Exhibit will be held from the
first of August to first of September. The fundraiser
will include a gift shop with many fun and exciting
items! All of these items can be found in the catalogue.
4 PARSONS re:D

PARSONS THE NEW SCHOOL
This issue of re:D is about Mid- Century Modernism
and its affect on art and the world. It is also going to
address how Mid Century Modernism affected Parsons
and take a look at which mid century modernists were
affiliated with Parsons.
NEW SCHOOL HISTORY
Parsons the New School was founded in New York
City nearly one century ago by a small group of
prominent American intellectuals and educators.
Among them were Thorstein Veblen, John Dewey,
James Harvey Robinson, as well as Charles Beard.
Frustrated by the intellectual timidity of traditional
colleges, they envisioned a new kind of academic
institution where faculty and students would be free
to address honestly and directly the problems that
societies faced in the 20th century. In the year 1919,
they created a school of advanced adult education
to bring creative scholars together with citizens who
were interested in improving their understanding of
the key issues of the day through active questioning,
debate, and discussion. The founders named their
new school The New School for Social Research.
The New School for Social Research, now formally
named Parsons The New School, grew into an urban
university with seven colleges. The university is
enriched by the di versity of its students, who all
represent a range of ages and social backgrounds,
aspirations, perspectives, interests, and talents.
The courses offered by the New School reflected
the founders’ interest in emerging social sciences,
international af fairs, history, and in philosophy.
The faculty members and visiting scholars included
Harold Lasky, Franz Boas, and John Maynard Keynes.
Soon, the New School added courses in drama as
well as literature, followed by classes in performing
arts, writing, media studies, information processing,
fine arts, and foreign languages.
Some of the f inest minds of the 20th century
developed pioneering courses at The New School.
In 1948, W.E.B. DuBois taught the f irst course in
African- American history and culture ever taught
at a university. Margaret Mead, around the same
time, taught courses in anthropology and Karen
Horney and Erich Fromm introduced their different
approaches to psychoanalysis. The School’s courses
attracted students around the world, including the
young Shimon Peres. In 1962, Gerda Lerner offered
the first university- level course in women’s history.
The New School became known internationally for
courses in the creative arts taught by some of the
20th century’s most innovative artists. Among them
were Martha Graham, W.H. Auden, Aaron Copland,
and Frank Lloyd Wright. The New School was the
first American university to teach the history of film,
as well as one of the first to offer college-level courses
in photography and jazz.
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NEW GRADUATE PROGRAMS
REDESIGNING THE FUTURE
Parsons is part of The New School, a comprehensive
university offering a range of studies, providing you
with a broad learning community and numerous
opportunities. You benef it from collaborative team
projects that bring together students from across
the university, minors enabling you to tailor your
education, and partners who enrich your research
and guide your making.
Creative professionals in the 21st century navigate
a networked global culture. Our cross- disciplinary
programs based in advanced studio practice and
research prepare you for a future that doesn’t yet
exist. You benefit from small seminars and studios
and work closely with faculty to plan individualized
study paths.
Our labs and research institutes facilitate collaboration
with peers throughout The New School, and our NYC
setting connects you to unique learning opportunities
outside the classroom.
Parsons School of Design has recently introduced
six brand new graduate programs to the curriculum,
offering a range of degrees in the masters of science,
the masters of professional studies, and masters of
fine arts programs.
Our new programs include Fashion Design and the
Arts (MFS), Lighting Design (MFS), Data Visualization
(MS), Design & Urban Ecologies (MS), Strategic Design
& Management (MS), and Fashion Management (MPS).
Parsons School of Design offers 19 master’s programs
that intend to equip students with the interdisciplinary
tools needed to redesign the future.
Parsons is part of The New School, a university based
in New York City. As part of the university as a whole,
Parsons students collaborate with a diverse range of
academics, including social scientists, policy analysts,
and artists. This enables them to develop projects that
draw on a wide range of subjects.
The diversity of the collaborations aim to encourage
students to explore and experiment across disciplines
with the intention of developing their creative abilities.
“Because art and design both reflect and shape the
concerns of the day, it’s not a surprise to find our
community applying its skills, critical thinking and
creativity to create a better world in time marked by
climate change, social inequity, and faltering systems,”
said Rachel Schreiber, executive dean of Parsons.
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DATA VISUALIZATION
This is a one-year program where students combine
their design computer science skills with statistical
analysis as well as insights to both social and ethical
consciousness. This program produce s graduates
who can analyze data and turn their findings into
meaningful conclusions in order to shape policy
across different sectors.
DESIGN & URBAN ECOLOGIES
In Parson's new Design and Urban Ecologies masters
program, students learn how to transform public spaces
by redesigning urban processes. The course aims for
students to develop a deep understanding of urban space
while creating projects that reconstruct and enhance
diverse communities. Integrate aspects of architecture,
urban design, and landscape architecture in new ways.
Fashion management
This is a one-year online program where students
develop insight and concepts for fashion businesses
and start-ups while challenging industry paradigms.
The course aims to equip students with advanced
skills in marketing, mechanising, ethical production
and value chains. There is also the option to study
the course online.
FASHION DESIGN & THE ARTS
Fashion Design and the Arts recently launched at the
Parson’s Paris campus. The two-year degree equips
students with a sustainable approach to fashion design
via real-life projects closely linked to the city’s fashion
industry. Find out more about this new program and
other masters program releases on our website today!
LIGHTING DESIGN
In Parson’s new Lighting Design masters program,
students develop a deep insight into light’s technical
and aesthetic dimensions through the exploration
of lighting design and its relationship to social and
environmental sustainability. Students are given the
open option to combine the programme with studies
in Interior Design or Architecture.
DESIGN & MANAGEMENT
The Strategic Design and Management Masters
program enables graduates to learn management,
strategy, and the business skills needed to develop
the 21st-century economy. Students also have the
opportunity to build their skills and understanding
of prototyping, leadership, environmental as well as
social sustainability.
10 PARSONS re:D

SERIOUS PLAY
JOHNSON DESIGN CENTER
AUGUST - SEPTEMBER 2022
In honor of Parsons The New School’s new
graduate programs, we will be hosting an art
exhibit featuring mid-century modernist work.
All proceeds will be put towards raising funds
for the development and establishment of
these programs as well as aiding our students
in their education. All alumni, current students,
faculty, and staff are invited, as well as the
general public. The exhibit will be held in the
Johnson Design Center and will extend from
Aug. 1st to Sep 1st of 2022. Keep reading for an
inside look at the artists and pieces that will be
featured in the exhibition.
PAUL RAND
Childlike. Simple. Experimental. Go to page 18.

ALEX STEINWEISS
Iconic. Symbolic. Revolutionary. Go to page 28.
SAUL BASS
Boundless. Daring. Clever. Go to page 36.
14 PARSONS re:D

LESTER BEALL
Simple. Illustrative. Concise. Go to page 48.
WILL BURTIN
Scientific. Informative. Abstract. Go to page 56.

ERIK NITSCHE
Elegant. Corporate. Meticulous. Go to page 66.
ALVIN LUSTIG
Playful. Innocent. Accessible. Go to page 76.
16 PARSONS re:D

INFLUENTIAL
FIGURES
Two of Parsons most infuential alumni are Paul Rand and Alex
Steinweiss. They revolutionized the design field and were two
main cornerstones in the Mid-Century Modernist Movement.
We are proud to acknowledge them as Parsons alumni and
feature them in this publication. Their work will be featured at
the Mid-Century Modernist Art Exhibit in order to raise money
and awareness for the new graduate programs and to honor
their work and commitment to design.
18 PARSONS re:D

PAUL RAND
1914-1966
Laszlo Moholy -Nagy, describing Paul Rand: “Rand is a painter,
lecturer, industrial designer, and advertising artist who draws
his knowledge and creativeness from 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 boundless.” Paul Rand
is one of the most famous and recognized American designers of
the 20th Century. His ideas, philosophies and approach continue
to be a large part of 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 died
at the age of 82.
20 PARSONS re:D

CHILDLIKE. SIMPLE. EXPERIMENTAL.
Peretz Rosenbaum, known as Paul Rand, was born in
Brooklyn, New York in 1914. Growing up, Rand painted
signs for his father’s grocery store as well as for school
events at P.S. 109. Despite studying at Pratt and other
institutions in the New York area (including the Parsons
School of Design and Art Students League), Rand was
by-and-large “self-taught as a designer, learning about
the works of Cassandre and Moholy-Nagy from European
magazines such as [Gebrauchsgraphik].”
His career began with humble assignments. He started
with a part-time position creating stock images for a
syndicate that supplied graphics to various newspapers
and magazines. Between his class assignments and
his work, Rand was able to amass a fairly large portfolio,
which was largely influenced by the German advertising
style Sachplakat as well as the works of Gustav Jensen.
It was around this time that he decided to camouflage
his Jewish identity telegraphed by ‘Peretz Rosenbaum,’
shortening his forename to ‘Paul’ and taking ‘Rand’ from
an uncle to form his new surname. Morris Wyszogrod,
a friend and associate of Rand, noted that “he figured
that ‘Paul R and,’ four letters here and four letters there,
would create a nice symbol. So he became Paul Rand.”
Although Rand was most famous for the corporate logos
he created in the 1950s and 1960s, his early work in page
design was the initial source of his reputation. In 1936,
Rand was given the job of setting the page layout for an
Apparel Arts magazine anniversary issue. His remarkable
talent for transforming mundane photos into dynamic
compositions earned Rand a full-time job, as well as an
offer to take over as art director for the Esquire-Coronet
magazines. Initially, Rand refused this offer, claiming that
he was not yet at the About Paul Rand Thoughts on
Design Gallery Resources Shop News Search Submit
The cover art for Direction magazine proved to be an
important step in the development of the “Paul Rand
look” that was not as yet fully developed.
Though Rand was a recluse in his process, doing the vast
majority of the design load despite having a large staff
at varying points in his career, he was very interested in
producing books of theory to illuminate his philosophies.
The core ideology that drove Rand’s career, and hence
his lasting influence, was the modernist philosophy he
so strongly 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. 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.
Paul Rand strayed from the conventional standards of
typography and layout, and started incorporating Swiss
style of design into his creations. He merged American
visual culture to modern design, incorporating Cubism,
Constructivism, the Bauhaus and De Stijl into his work.
Rand’s contribution to modern graphic design theory
in total is widely considered intrinsic to the profession’s
development. His role in history continues to influence
the design world as we know it, and he will forever be
remembered for his impact.
22 PARSONS re:D

UPS LOGO 1961
ABC LOGO 1962
ESQUIRE MAGAZINE LOGO 1938
SERVADOR LOGO 1966

FORD LOGO 1966
IBM LOGO 1972
NEXT LOGO 1977 BORZOI LOGO 1945
24 PARSONS re:D

WESTINGHOUSE ANNUAL REPORT 1970
DEATH MASK 1969
OIL LAMP 1956
LEAVE CANCELLED 1945

AMERICAN INSTITUTE OF GRAPHIC ART 1968
SUBWAY POSTERS SCORE 1947
FORCES IN MODERN BRITISH LITERATURE 1956
POSTER FOR THE ASPEN DESIGN CONFERENCE 1966
26 PARSONS re:D

ALEX STEINWEISS
1917-2011
Alex Steinweiss has a massive body of design work that spans several different
media. Some of his clients have included the U.S. Navy, PRINT, Fortune and
Columbia Records. However, he is most recognized for inventing the modern
album cover and much of his work lies in the poster-like images he created
while he was an art director at Columbia records.
Before Steinweiss, the only album covers that existed were brown paper
wrappers that served to protect the album you had just purchased. His idea
to create artwork to entice the buyer to purchase the album was an instant
success. From 1939 to 1945, he designed record covers for Columbia during
which time he turned out hundreds of distinct designs. After 1945, he began
working for other clients, including other record companies, and in 1974 he
retired to Florida to paint and work on occasional commissioned pieces.
28 PARSONS re:D

ICONIC. SYMBOLIC. REVOLUTIONARY.
Alex Steinweiss was born in Brooklyn, New York in
1917. His father loved music and instilled the passion
in him. In 1930, Steinweiss entered Abraham Lincoln
High School. His first artistic endeavors resulted in
beautifully articulated marionettes. These captured
the attention of art department chair Leon Friend,
who was co-author of Graphic Design (1936), the first
comprehensive American book on the subject.
Steinweiss’s first day in Friend’s class was a magical
experiencefor him. “To see these young men painting
letters with flat-tipped brushes was one of the great
inspirations of my life,” he says, “I had to get involved
with that!” He learned the principles of design and
how to apply them through daily contact with an
endless array of beautiful examples of poster design,
typography, drawing, and calligraphy. Friend exposed
Steinweiss to the works of great graphic designers of
the time, including Joseph Binder, A.M. Cassandre,
and Lucian Bernhard.
Upon graduation from high school, the School Art
League awarded Steinweiss a one-year scholarship
to Parsons School of Design in New York. He almost
left after his very first year, in spite of the depression,
convinced that he would be able to get a job instead.
Just before quitting school, however, he wrote to Boris
Artzybasheff, who, instead of offering employment,
advised Steinweiss to finish school. Steinweiss then
followed Artzybasheff advice.
At Columbia, Steinweiss evolved a unique cover
art style mingling musical and cultural symbols.
His first cover, for a collection of Rodgers and Hart
music, featured a theater marquee with the album’s
title appearing in lights. He designed images for
jazz recordings by Louis Armstrong and Earl Hines,
and numerous classical, folk, and pop recordings.
Newsweek reported that sales of Brt/no Walter’s
recording of Beethoven’s “Eroica increased 95%
with its new Steinweiss cover.” His signature called
the “ Steinweiss scrawl ,” became ubiquitous on
album covers in the 1940s. “I tried to get into the
subject,” he explains, “either through the music or
the life and times of the composer. For example,
with a Bartok piano concerto, I took the elements
such as the hammers, keys, and strings of a piano
and composed them in a contemporary setting
through using appropriate color and rendering.
Since Bartok is Hungarian, I also put a suggestion
of a peasant figure.”
He experimented with various styles (cubism for
Stravinsky’s Firebird Suite) and typography which is
an ornamental circus-like typeface for La Bohème.
Many performing artists developed a love for and
loyalty to Steinweiss. Leopold Stokowski requested
that only Steinweiss do his covers. And Steinweiss
often received letters of praise from artists such
as Eddy Duchin and Rise Stevens for so exquisitely
interpreting their work.
Alex Steinweis s also designed many movie posters,
DeKuyper liquor bottles, and graphics for countless
other products. At age 55, noting the rise of Swiss
Modernism and minimalism, and the increasing
preference for photography in the field, Steinweiss
decided to retire from graphic design and start a
new career as a painter under the pseudonym
Piedra Blanca.
30 PARSONS re:D

JAZZ CORNUCOPIA 1941
MODERN PLASTICS 1955
SONATAS FOR VIOLIN AND HARPSICHORD 1943 DANCE LA CONGA 1940

BARBER SHOP MELODIES 1940 SYMPHONY IN D MINOR 1942
FAURÉ REQUIEM 1943 RHAPSODY IN BLUE 1941
32 PARSONS re:D

SMASH SONG HITS 1940

SONGS OF FREEMEN 1942 TURANDOT BY GIACOMO PUCCINI 1981
RHUMBA WITH CUGAT 1941 BARTOK-MARTIN 1950
34 PARSONS re:D

SAUL BASS
1920-1996
Saul 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 1950’s and 1960’s.
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.
36 PARSONS re:D

BOUNDLESS. DARING. CLEVER.
How many famous graphic designers can you name?
A harder question than it should be, but if you like
films, you should at least know one. For 50 years
until his death in 1997, Saul Bass, born in the Bronx,
New York, on 8 May 100 years ago, crafted company
logos, advertising campaigns, album covers, product
packages, to such prolific and celebrated effect that
somewhere along the line, he became known as “the
Picasso of commercial artists”. Which at once sounds
overblown and doesn’t quite do him justice.
It’s as the reinventor of the film poster and most
significantly, the master — and effectively creator —
of the movie title sequence that he is most revered.
You can easily spot a Bass poster from a mile away,
despite the legion of imitators who still try (and fail)
to replicate the modernist style he had honed via a
childhood obsession with drawing, a transformative
period learning from his mentor György Kepes in his
twenties (“he really just set me on fire... it would take
me hours to settle down after each class”), and later
through branding work on Madison Avenue.
To see the imitations is to understand how good
he was. His use of colour, typography and negative
space was daring in the Fifties. Combined with his
clear ideas and bold symbols — the black teardrop
for Bonjour Tristesse, the segmented corpse from
Anatomy of a Murder — Bass’s work was to graphic
design what Charlie Parker’s was to jazz, in the same
time period. It was revolutionary.
That was the posters. His influence on the title
sequence was seminal. Before Bass, the title
sequence hardly existed; a series of names against
a static image while the waiting audience chatted.
Often projectionists wouldn’t bother to open the
curtains until after the lengthy credits had rolled.
Bass believed films should begin with the very
first frame and that titles were not only a way to
transport the audience from the real world to the
f ilm but an “overture” which set the mood and
foreshadowed the story itself: its tone, themes as
well as ambiguous clues to how the film might be
read. As he honed his craft, working with directors
including Billy Wilder, Alfred Hitchcock, and Otto
Preminger, and then later John Frankenheimer,
Stanley Kubrick and Martin Scorsese, these new
sequences became short movies in their own right;
compared to the features that followed, they were
sometimes more clever, creative, and dramatic.
For Scorsese, Bass “took us into the modern day
sensibility,” calling him a “giant” in the foreword to
the impressive 2011 tome Saul Bass: A Life in Film
and Design by Pat Kirkham and Bass’s daughter
Jennifer Bass. It’s a sensibility we now take for
granted, especially in prestige television where
the sequences before big shows have become
competitive calling cards: from the falling man in
Mad Men, to the android workshop in Westworld.
By this time he was offering studios a package
that included main and credit titles, TV trailer,
trademark, screen trailer, posters, and trade ads,
as well as album cover, newspaper ads, and subway
card. From here on, he focused largely on corporate
identity work, designing and redesigning logos.
38 PARSONS re:D

THE SHINING 1960
THE MAN WITH THE GOLDEN ARM 1955
IN HARM’S WAY 1965 ANATOMY OF A MURDER 1959

WEST SIDE STORY 1961 VERTIGO 1958
40 PARSONS re:D

TONE POEMS OF COLOR 1958

PABCO PAINT 1956 FILMEX 1995
OSCAR 1991 PABCO PAINT 1956
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NORTH BY NORTHWEST 1959
THE MAN WITH THE GOLDEN ARM 1955

PSYCHO 1960
EXODUS 1960
44 PARSONS re:D

QUAKER OATS 1969
UNITED WAY 1972
AVERY 1975
SECURITY PACIFIC BANK 1966

UNITED AIRLINES 1974 AT&T CORPORATION 1969
GIRL SCOUTS 1978 WARNER COMMUNICATIONS 1974
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LESTER BEALL
1903-1969
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, he 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 in the 1940s saw many successes in
both of these fields.
His clear and concise use of typography was highly praised both in
the United States and abroad. Throughout his career he used bold
primary 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.
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SIMPLE. ILLUSTRATIVE. CONCISE.
Lester Beall was born in Kansas City, Missouri in 1903.
Beall attended the Lane Technical School before
undertaking a secondary education at the University
of Chicago, where he studied art history, as well as
the Art Institute of Chicago. He began his career in
design in 1927 and moved to New York in September
of 1935. There he opened a studio/office in Manhattan,
which he still maintained after moving into Wilton,
Connecticut, in 1936, where he remained until 1950.
Fine art and photography were essential to Beall’s
output through his career. Early on, he was strongly
influenced by European avant-garde and Bauhaus
designers such as Lazlo Maholy-Nagy and Herbert
Bayer, and he was very seldom without his personal
camera. Through the 1930s and ‘40s, Beall produced
work for a number of notable clients, including the
Chicago Tribune, TIME, The Art Directors Club of New
York, Sterling Engraving, Hiram Walker, and Abbott
Laboratories. For Colliers magazine, Beall created a
number of promotional covers related to World War
II by using silhouetted photographs, dynamic angles
and shapes, and bold colors that characterized his
work from this period. Between 1937 and 1941 Beall
produced his famous posters for the US Government
Rural Electrification Administration, which featured
saturated colors, bold patterns, and photographic
silhouettes of everyday Americans, to increase the
awareness and acceptance of electricity.
Beall moved his office around 1940. He worked at
both this locaion as well as from his home in Wilton,
Connecticut. In 1949 he purchased Dumbarton Farm
in Brookfield and, in 1950, he moved to consolidate
all his operation there. He had developed some of
the farm’s out buildings into a professionally-praised
office and studio space. During the 1950s and ‘60s
Beall’s design of f ice expanded both in its staff and
scope, adding the associate designers and mounting
the full-scale corporate identification campaigns for
large companies such as Connecticut General Life
Insurance Company, Catepillar Tractor, The New York
Hilton and Merrill Lynch, Fenner Pierce and Smith Inc.
His identity program for International Paper Company
from 1960 was his most extensive identity program
and is noteworthy for the graphics standards manual,
one of the first to be so fully articulated.
Beall maintained a core of sources which stimulated
his perception, creativity and methods of making art
and design. He was a highly visual person with a great
need to express himself. Always first and at the center
of his ways of working were his form experimentation
in the drawing and painting of the human figure.
He was always at work in his studio, whether it was
creating design, art or photography.
The excellence of Beall’s life and work has made him
into a near mythic figure who, even a quarter of a
century after his death, still dazzles the imagination
of many students and professionals alike.
He helped revolutionized the world of graphic design
by introducing a variety of new, interesting designs
that made people recognize the potential of the art
form. His work will live on forever and will hopefully
inspire graphic designers forever.
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FARM WORK RURAL ELECTRIFICATION ADMINISTRATION 1937

LIGHT RURAL ELECTRIFICATION ADMINISTRATION 1937 UNITED STATES LINES/EUROPE 1952
RADIO RURAL ELECTRIFICATION ADMINISTRATION 1937 HEAT COLD RURAL ELECTRIFICATION ADMINISTRATION 1937
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WHEN I THINK BACK 1939 COVER ARTWORK FOR PM MAGAZINE 1937
ITS FINE FOR US RURAL ELECTRIFICATION 1930 WASH DAY RURAL ELECTRIFICATION 1937

CROSS OUT SLUMS 1941 POWER ON THE FARM RURAL ELECTRIFICATION 1941
NOW I’M SATISFIED RURAL ELECTRIFICATION 1930 RURAL INDUSTRIES RURAL ELECTRIFICATION 1941
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WILL BURTIN
1908-1972
A pioneer of the field of information design, Will Burtin is
known for traversing several fields of design including the
information design, magazine design and exhibition design.
Having a formal education in typesetting, Burtin started a
design studio in Germany in 1927. By 1938 he had clients all
over Europe but was forced to flee the country because his
wife was Jewish and because he was unwilling to work for
the Nazi party. Drafted into the US Army in 1943, he designed
manuals and instructional pamphlets as reference material
for soldiers. After the war, he taught for a while and then
became art director of Fortune Magazine from 1945-49.
In 1949 he started his own design studio where he worked for
a variety of clients including The Upjohn Company. At Upjohn,
a pharmaceutical company, he designed trade publication,
advertising and their packaging, Scope. He was so successful
that they allowed him the creative latitude of exploring the
presentation of several scientific subjects such as human blood
cells and the brain as 3-dimensional exhibitions. At scales of
up to 1,000,00:1 these exhibitions were impressive and became
some of his most well recognized work.
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SCIENTIFIC. INFORMATIVE. ABSTRACT.
Born in Cologne in 1908, Will Burtin was a German
graphic designer, known for interrelating design
and scientific concepts within his exhibits. He was
an in fluential designer, educator, and theorist
in Germany and the United States. He worked for
Fortune Magazine and as an educator at Pratt
Institute and the Parsons School of Design.
In 1927, Burtin opened his own design studio in
Cologne, in which he created booklets, posters,
type books, and exhibitions, as well as displays,
advertising, and movies for German and French
audiences and other clients. Burtin’s challenge
was to create a single exhibit that highlighted all
of the FWA’s accomplishments. The exhibit was
intended to travel and tasked Burtin—who had
previously typeset information for Dusseldorf’s
1926 GeSoLei exhibit dedicated to healthcare,
social welfare, and physical exercise—with creating
a modular system that was easy to assemble and
disassemble, crate, and transport. The World’s Fair
exhibit introduced Burtin to a skill set that proved
useful throughout his later professional life as he
went on to design major exhibits that circulated
both nationally and internationally.
His catalogue and print design, and 3D models
and exhibitions are foundational contributions to
information design, while his rationale and way of
making sense of problems have greatly influenced
how information designers think and conceive
ideas. Most of his work was devoted to facilitating
understanding of and “explaining advances in
science, medicine and technology” in a visual way
to expert and novice audiences. He experimented
with various materials from transparent plastics,
steel, and aluminum as well as some lightweight
new materials. These models aided in unraveling
the meaning of microscopic concepts and aspects
of scientific theories. In this way the audience had
access to learning processes, connections, textures,
and components involved in science. His most
remarkable models were: the Cell (1958), the Brain
(1960), the Atom (1961), and the Metabolism (1963).
Furthermore, he integrated European design
styles to American design. Through his previous
connections with European designers and artists,
Burtin gained new insights to address information
design challenges. For example, meeting Josef
Müller-Brockmann back in the 1950’s brought to
his repertoire Swiss alignment and visual order
including the Helvetica family of fonts.
Burtin conceived initial options for many solutions,
but both designers and scientists worked together
throughout the problem-solving process to make
science visible. As a result of learning the audience
and questioning unclear aspects of the whole story,
his visualizations were well received and considered
rigorous by both physicians and the general public.
Burtin’s unique ability to visually express complex
concepts would emerge as a defining characteristic
of his work. His legacy brings design ever closer
to science, and unites value and credibility with
information design.
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ARCHITECTURAL FORUM, “DESIGN DECADE 1930-1940,” PUBLISHED BY TIME, VOL. 73, NO. 4 (OCTOBER, 1940).

SCOPE MAGAZINE COVER, 1955 SCOPE MAGAZINE COVER, 1951
SCOPE MAGAZINE COVER, VOL. 1, NO. 1, 1941 SCOPE MAGAZINE COVER, 1952
60 PARSONS re:D

MANUAL COVER, GUNNERY IN THE A-26, AIR FORCE, ARMY AIR FORCES TRAINING AIDS DIVISION,
OFFICE OF STRATEGIC SERVICES (OSS), MANUAL NO. 56, 1944.

MAGAZINE COVER, BETTER DESIGN. DEDICATED TO BETTER
DESIGN IN HOME FURNISHINGS. JANUARY 1952
HOUSE ORGAN COVER, INTERCOM, A QUARTERLY PUBLICATION
OF UPJOHN INTERNATIONAL OPERATIONS, UPJOHN CO. 1959
SCOPE MAGAZINE COVER, VOL. 4, NO. 3, 1954 FORTUNE MAGAZINE COVER, OCTOBER, 1946
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THE BRAIN 1960

“THE CHROMOSOME” GENES IN ACTION EXHIBIT, 1960
“THE CELL” EXHIBIT, 1958
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ERIK NITSCHE
1908-1998
Erik Nitsche left an unmistakable mark on the world of design
in his approximate 60 year career. Nitsche left almost no field
untouched, as he worked as an art director, book designer,
illustrator, typographer, packaging designer, photographer,
advertiser, and a graphic designer. His graphic design work
included magazine covers, signage, film, exhibitions, posters
and many other advertising mediums. Before emigrating to
the United States in 1934, Nitsche studied at the Collège
Classique in Switzerland and the Kunstgewerbeschule in
Munich. His work has a distinctly modernist aesthetic and
although he never had the opportunity to attend Bauhaus,
Laszlo Moholy-Nagy said, “Who is this guy that is doing the
Bauhaus in New York?” Nitsche designed promotional and
advertising campaigns for many different clients including
department stores, feature films, music record companies
and New York Transit Authority. Nitsche greatly influenced
the young generation of designers in America in mid-20th
century including the legendary designers Walter Bernard
and Seymour Chwast.
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ELEGANT. CORPORATE. METICULOUS.
Erik Nitsche was born in Lausanne, Switzerland in an
art-minded family. Both his father and grandfather
were noted photographers and artists like Paul Klee
were very close f riends of the family. Klee influenced
Nitsche to be an artist rather than a photographer.
Despite this very close relationship, Nitsche did not
attend the Bauhaus school where Klee was a teacher.
Instead, Nitsche studied at the Kunstgewerbeschule
in Munich, Germany.
After graduating in the early 1930’s, Nitsche worked
mainly on illustrations for various magazines and
newspapers. During his first decade in New York,
he worked as a freelance graphic artist for major
American fashion and decoration magazines such
as Life, Look, Harper’s Bazaar and Vanity Fair.
In 1947, he succeeded Herbert Bayer as art director
at Dorland International in New York, and in 1948 he
became art director of Mademoiselle magazine for
a few issues (Bradbury Thompson later took over the
job). Nitsche was restless, called himself a ‘nomad’
and never managed to remain at any one job for a
long time. He had the feeling he was not an office
person and in the early 1950’s he left New York and
moved to Ridgefield, Connecticut.
He got involved in The Gotham Agency which had the
General Dynamics account. General Dynamics wanted
to be positioned as a purveyor of peace rather than
a developer of weapons and destructive materials.
Between 1955 and 1960 Nitsche built a total corporate
identity including countless advertisements, posters,
brochures, annual reports and the crowning piece
‘Dynamic America’, a 420-page b ook telling the
company’s history. Throughout the ten years he
devoted to General Dynamics, Nitsche did every
design task, including the interior and exterior
design work of the Hopkins’ private airplane.
Nitsche’s crowning achievement came when
he edited and designed the company’s history,
Dynamic America. Making use of tip-ins and
foldouts (precursor to today’s interactive media),
Dynamic America’s remarkable pictorial narrative
told a story of the nation’s military and industrial
development seen through the lens of General
Dynamics as it traced itself back when it began
in 1880 as Electro Dynamic.
Nitsche founded ENI (Erik Nitsche International)
and began a business that produced some of the
world’s finest pictorial history books. The topics
included communication, transport, photography,
astronomy, etc. and followed the style that he had
established with General Dynamics; pictures drove
the text in it.
He later on moved back to Connecticut to work
with many other companies where he worked
with special effects, philatelic first day covers and
stamps. In the late 1970s he returned to Ridgefield
to design children’s books, and worked on special
effects for a film called ‘The Color of Man’ as well as
produced proposals for something called Info-Card
and Info-Map systems, a series of easy access flash
cards that gave data and vital statistics on a wide
range of natural and man-made themes.
68 PARSONS re:D

GENERAL DYNAMICS, HYDRODYNAMICS POSTER, 1955

GENERAL DYNAMICS ANNUAL REPORT, 1955
GENERAL DYNAMICS, POSTER, N/A
GENERAL DYNAMICS, TRIGA, POSTER, 1958
GENERAL DYNAMICS, ELECTRONIC INTELLIGENCE POSTER, 1958
70 PARSONS re:D

GENERAL DYNAMICS, SOLAR DYNAMICS, ATOMS FOR PEACE POSTER, 1955

GENERAL DYNAMICS, ATOMS FOR PEACE POSTER, 1955
ADVERTISEMENT, “THE CONVAIR 880,” 1961
GENERAL DYNAMICS, THE MINERVA, 1960
GENERAL DYNAMICS, “EXPLORING THE UNIVERSE, THE
ENERGETIC SEA,” 1958
72 PARSONS re:D

POSTCARD, AERODYNAMICS, ATOMS FOR PEACE, GENERAL DYNAMICS, 1955

MINI SUBWAY CAR CARD, NEW YORK SUBWAY ADVERTISING
COMPANY, NO. 3, 1947
GENERAL DYNAMICS, “LIQUID CARBONIC,
INDUSTRIAL GASES,” POSTER, 1960
FORTUNE MAGAZINE, DECEMBER 1936
FIRST EDITION, HAWTHORN BOOKS, VOL. 7, THE NEW
ILLUSTRATED LIBRARY OF SCIENCE AND INVENTION. 1963
74 PARSONS re:D

Alvin lustig
1915-1955
A student of Frank Lloyd Wright, among others, Alvin Lustig
had a very successful career in graphic design and in the art
direction. Revolutionizing the approach to book cover design
in the 1 940s, he would attempt to get a sense of the writers
direction from reading the book and then translate it to his
own graphic style (the previous trend was to summarize the
book with an image). The combination of technology and
creativity in his designs was reminiscent of the Bauhaus,
as did his intellectual approach to problem-solving.
Lustig designed books for New Directions before moving to
New York to become the Director of Visual Research for Look
Magazine. He rose to success early in his career garnering
work for all types of clients and working on a vast array of
projects. He died much too early at the age of 40, in 1955.
His use of simplif ied shapes and flat colors, all while creating
elaborate and intensely interesting compositions, are still
imitated today by many graphic designers.
76 PARSONS re:D

PLAYFUL. INNOCENT. ACCESSIBLE.
Born in 1915, Alvin Lustig grew up in Denver, Colorado.
He received his formal art education from Los Angeles
City College, Art Center. He also went to study design
independently with American architect Frank Lloyd
Wright at his Taliesin studio. In 1937, Lustig initiated
his professional career designing book jackets in Los
Angeles, California. Subsequently, Look Magazine
offered him a position as the Director of their Visual
Research department in 1944. Moreover, Lustig lent
his designing expertise to Girl Scouts of the United
States and Fortune. Lustig’s creativity was not just
limited to graphic design, but he was also known
for his contribution as an interior and architectural
designer. For Paramount Furniture in Beverly Hills in
1949, he designed a piece of furniture-cum-art that
famously came to be known as the “Lustig Chair.”
The original design of the chair has inspired all of
the following generations of designers. The replica
of the chair is still continued to be produced.
During mid 1940s, he was invited by Josef Albers to
teach at Black Mountain College and was offered a
teaching position at Yale. Lustig is recognized for his
many years of work at the New Directions Publishing.
Lustig served the independent publishing company
for a decade developing some of the most innovative
and ingenious designs. All the way from 1945 until
his death in 1955, Lustig designed over seventy dust
jackets for the New Classics literary series. What set
Lustig’s book jackets apart from other designer’s was
his employment of a modern design sensibility along
with the revolutionary approach to typeface design.
Lustig’s work has earned the respect of many and
become a hallmark of New Directions publications.
Furthermore, his artwork was showcased on the
covers of classic works of modernist literature.
He illustrated the book covers of eminent literary
figures, for instance, James Joyce, Ezra Pound,
and Gertrude Stein. New Directions Publishing
published many of the Tennessee Williams plays,
and Alvin Lustig was the designer for the book
jackets for the very first edition of Williams’ work.
His subsequent work evolved to adapt powerful,
visual language of cubism, constructivism, Dada,
Bauhaus, surrealism, biomorphism, and abstraction
to design for book jackets, interiors, record covers,
and identity programs.
Some of the works that feature Lustig’s artwork
include, Orpheus Descending, Cat on Hot Tin Roof,
and A Streetcar Named Desire. As the fate would
have it, Lustig developed diabetes early on in life.
Consequently, he went virtually blind by the time
he reached his forties. Lustig could not survive the
complication that the disease entailed and passed
away at the age of 40, in New York. Posthumously,
Lustig was inducted into the Art Directors Club
Hall of Fame. Moreover, he was presented the AIGA
medal by the American Institute of Graphic Arts in
1993. AIGA remembers him with the words that his
artwork will influence the practice of graphic design
in America. Besides, AIGA displayed Alvin Lustig and
Elaine Lustig Cohen’s artwork at a special exhibiton
at the AIGA National Design Center. The exhibition
titled The Lustigs: A Cover Story, for the first time
featured the collection of Alvin and Elaine Lustig’s
artwork together.
78 PARSONS re:D

ILLUSTRATION FROM A PAGE IN THE GHOST IN THE UNDERBLOWS 1940

COVER DESIGN FOR THE GREAT GATSBY 1947 COVER DESIGN FOR A SEASON IN HELL 1947
COVER DESIGN FOR ARTHUR RIMBAUD’S ILLUMINATIONS
NEW DIRECTIONS 1946
COVER DESIGN FOR D. H. LAWRENCE: THE MAN WHO DIED
1950
80 PARSONS re:D

COVER DESIGN FOR THE LONGEST JOURNEY 1946 COVER DESIGN FOR THE GREEN CHILD 1945
COVER DEIGN FOR THREE TALES 1947
COVER DESIGN FOR METROPOLITAN LOS ANGELES ONE
COMMUNITY 1949

COVER DESIGN FOR A STREET CAR NAMED DESIRE 1947
PROGRAM OF THE TWENTY-THIRD COMMENCEMENT 1939
PHILATELY IN EUROPE BROCHURE 1939
82 PARSONS re:D

WE ARE PARSONS
DESIGNING A WORLD YOU WANT TO LIVE IN
DESIGNING A WORLD YOU WANT TO LIVE IN
OUR COMMUNITY AT A GLANCE
Here is a closer look at what our students are doing here
at Parsons, as well as infomation on Mid-Century art and
artists and how it relates to our school!
Parsons School of Design - consistently named the best art
and design school in the United States and ranked third in
the world - has sent changemanking artists and designers
out into the world since its founding in 1896. Today we’re
part of The New School, a major university in New York City
offering programs in subjects ranging from the liberal arts
and humanities to performing arts to media, management,
and more. Here and at our Parsons Paris campus, a diverse
community channels its creative and critical capacities into
fostering a more equitable, sustainable, and beautiful world
through design and innovation.
Parsons is the number one art and design school in the
U.S. We educate over 5,000 students, 44% of which are
international students. There are a total of 41,000 alumni
students worldwide who graduated from Parsons.
OUR MISSION
Parsons students are designers, artists, and scholars who
apply the transformative capacity of design responsibly,
creatively, and purposefully. Our diverse community of
students and faculty explore the multiple sites and scales
of engagement, from on- campus research initiatives to
partnerships that bring about a change not only in New
York, but around the world.
84 PARSONS re:D

SERIOUS PLAY BLACK T-SHIRT
$35
SERIOUS PLAY WHITE T-SHIRT
$35
SERIOUS PLAY ILLUSTRATION T-SHIRT
$35
SERIOUS PLAY RED T-SHIRT
$35

SERIOUS PLAY RED TOTE BAG
$25
SERIOUS PLAY ILLUSTRATION TOTE BAG
$25
SERIOUS PLAY BLACK TOTE BAG
$25
SERIOUS PLAY STICKERS
$20
86 PARSONS re:D

REGARDING DESIGN
EXECUTIVE BOARD:
Lydia Sutton, Trinity Hamic, Jennifer Hollifield, Abbie Vanasse.
COVER DESIGN:
Lydia Sutton designed the cover page.
TABLE OF CONTENTS:
Lydia Sutton was responsible for the design of this spread.
HISTORY OF MID CENTURY MODERNISM:
Lydia Sutton and Jennifer Hollifield worked together to complete
this spread.
NEW GRADUATE PROGRAMS:
Abbie Vanasse designed and collected information for this spread.
ERIK NITSCHE:
Jennifer Hollifield was responsible for researching, collecting images,
and designing all spreads related to Erik Nitche
ALVIN LUSTIG:
Abbie Vanasse was responsible for researching, collecting images,
and designing all spreads related to Alvin Lustig.
IMAGE COLLECTING:
Abbie Vanasse was responsible for collecting the images for pages 1, 7, 9,
as well as her corresponding artists pages.
Jennifer Hollifield was respobnsible for collecting images for pages 3 and 4,
as well as her corresponding artists pages.
Trinity Hamic was responsible for collecting images for pages 5, 9, 83, 87,
as well as her corresponding artists pages.
ART EXHIBIT:
Lydia Sutton was responsible for the design of the art exhibit spreads.
However she recieved images and information about each aritst from
the designer that was assigned to them.
PAUL RAND:
Lydia Sutton was responsible for researching, collecting images,
and designing all spreads related to Paul Rand.
ALEX STEINWEISS:
Trinity Hamic was responsible for researching, collecting images,
and designing all spreads related to Alex Steinweiss.
SAUL BASS:
Trinity Hamic was responsible for researching, collecting images,
and designing all spreads related to Saul Bass.
LESTER BEALL:
Abbie Vanasse was responsible for researching, collecting images,
and designing all spreads related to Lester Beall.
WILL BURTIN:
Jennifer Hollifield was responsible for researching, collecting images,
and designing all spreads related to Will Burtin.
IMAGE EDITING:
Trinity Hamic was responsible for editing images on pages 3, 4, 5, 51, and 87.
Jennifer Hollifield was responsible for editing images on page 33.
TYPESETTING:
Abbie Vanasse was responsible for typsetting pages 2, 3, 4, 6, 8, 18, 20, 22, 28,
30, 48, 50, 68, 78, 84, 88, 89, 90, and 91.
Jennifer Hollifield was responsible for the typesetting on pages 56 and 66.
Trinty Hamic was responsible for typesetting pages 10, 13, 36, 38, 58,
and on the dedication page.
MOCKUPS:
Lydia was responsible for the mockups on pages 11, 12, 13, 14, 15, 16, 17, 18, 21, 29,
37, 49, 57, 67, and 77.
Abbie was responsible for the mockups on pages 13, 14, 15, 16, 85, and 86.
COPY WRITING:
Lydia Sutton was responsible for the copy writing on pages 3, 4, 6, 8, 13,
18, and 84.
CLOSING SPREAD/CREDITS: Trinity Hamic designed the spread, and we
worked together as a team to collect and format the sources.
PRINT TEAM: Trinity Hamic, Jennifer Hollifield, Lydia Sutton, Abbie Vanasse
88 PARSONS re:D

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