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A N M 1 0 2 H I S TO RY O F G R A P H I C A N D W E B D E S I G NCHAPTER 20Corporate Identityand Visual Systems

INTRODUCTION “Good design is good business” is the rallying cry of the graphic designindustry in the 1950s. Corporate leaders began to understand the need to develop corporateimages or identities (brands) to help relate to diverse audiences. Proprietary marks or logos had been used for centuries by Guilds andtraders/dealers to identify their goods. But identity systems in the 50s went far beyond trademarks andsymbols. Corporations were given visual “identities” that establishedthemselves emotionally with their audience. http://www.logosdesigners.com/William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS2

C O R P O R AT E I D E N T I T YGiovanni Pintori Adrianno Olivetti,the son of thefounder of Olivettioffice machinesrecognized thecontribution ofdesigners with thesuccessful promotionof his company. Giovanni Pintoridesigned thelogotype and allcorporate identitycollateral for Olivettifor over 30 years.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.3

TELEVISIONWilliam Golden CBS Art Director fornearly two decades. Designed one of themost successfultrademarks of the20th century. All CBS corporatedesign was createdby an internal staffled by Golden, ratherthan using an outsideagency. http://www.youtube.com/watch?v wB63odkphhgWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS4

TELEVISIONGeorg Olden Golden called upon designers to“have a sense of responsiblityand a rational understanding ofthe function of their work.” Used the word “design” as averb and added that adesigner’s primary function is“ensuring that the message isaccurately and adequatelycommunicated.” Georg Olden hired by CBS in1945 to design on-air visuals foits new television division. Olden played a major role indefining television graphicsCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.5

TELEVISIONGeorg Olden television title for I've GotA Secret, 1950s zippered mouth becomes animmediate and unequivocalsymbolic statement realized the limitations ofearly b/w television. Twodimensional titles only n airfor a few seconds requiringquick comprehension. Tocompensate he designedgraphics from the center outusing simple imagery andstrong silhouettes.William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS6

S TA M PGeorg Olden stamp for the 100thyear anniversary ofthe EmancipationProclamation, 1963 Olden reduced acomplex subject,slavery’s end, to itsmost elementalexpression first African-American to becommissioned todesign a US postagestampWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS7

TELEVISION GRAPHICSLou Dorfsman succeeded WilliamGolden as CreativeDirector at CBS. reponsible for allaspects oftypographicinformation for CBS—from wall clocks andelevator buttons, toprinted promotion. Also applied graphicdesign to film andcomputer animationin the production ofpromotional spots.William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS8

C O R P O R AT E I D E N T I T YHerbert Matter commissioned todesign the trademarkfor the New HavenRailroad Marcel Breuerdesigned all interiorand exteriors usingMatter’s colorscheme. http://vimeo.com/7100682William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS9

LOGO DESIGNNorman Ives one of the masters of corporate image design proclaimed the designer’s mission for logo design: the symbol should convey with a clear statement theactivity it presents besides being memorable and legible must be designed tobe used in a variety of sizes and situations distort, unify, and create new letterforms so the logo isunique “.no part of a symbol (logo) can be eliminated withoutdestroying the image it creates.”William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS10

C O R P O R AT E I D E N T I T YPaul Rand played a pivotal rolein American graphicdesign in the 40s and50s, but becamemore involved intrademarl design andidentity systems inthe mid 1950s andbeyond. designed some of themost well-known andsustaining logos ofcontemporarycorporate AmericaWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS11

C O R P O R AT E I D E N T I T YPaul Rand IBM (InternationalBusiness Machines)logo originallydesigned in the late1800s redesigned it in the1970s introducingstripes to unify thethree letterformsrelating to the scanlines on videoterminals.William Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS12

C O R P O R AT E I D E N T I T YPaul Rand Another significantcontribution by Rand wasthe design of the corporateannual report. a legal publicationrequired by federal lawwent from a dry financialreport to a majorcommunications visualdocument. set the standard for futurecorporate literatureWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS13

C O R P O R AT E I D E N T I T YPaul Rand commissioned toredesign theWestinghouse logo created graphic formsevoking wires andplugs, electronicdiagrams and circuitryand molecularstructuresWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS14

C O R P O R AT E I D E N T I T YLester Beall created pioneeringidentities for MartinMarietta, ConnecticutGeneral Life Insurance,and International PaperCompany also contributed to thedevelopment ofcorporate standardsmanuals—book ofguidelines andstandards forimplementing thecompany’s trademarkand corporate identityCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.15

AD AGENCIESChermayeff and GeismanAssociates begun by Ivan Chermayeffand Tom Geisman in 2003 added Sagi Havivas a partner leader in the corporateidentity movement from1958 through today developed logos for ChaseManhattan Bank, MobileOil, Minolta, NBC,American Film Institute,PBS, Showtime, etc. http://www.youtube.com/watch?v ESPRb7a1EWUCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.16

C O R P O R AT E I D E N T I T YSaul Bass many logos became culturalicons redesigned Bell TelephoneSystem/AT&T trademark asa global communicationscompany 05/id20051212 770492.htmWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS17

C O R P O R AT E I D E N T I T YMuriel Cooper print designer for MITpublications and books created the MIT press logo—a series of vertical linessuggesting a row of booksand spelling out a gestaltMITP designed over 500 booksincluding 1969 Bauhaus later became involved withanimation and founded anddirected VLW, VisualLanguage Workshop first designer to work withelectronic media as 3D textCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.18

C O R P O R AT E I D E N T I T YOtl Aicher believed corporate identitymust be systematicallycontrolled using constantelements. collaborated on theredesign and identity ofLufthansa airlines blue and yellow colorscheme was appliedthroughout all aspects ofthe organization Lufthsana became theinternational prototype forthe closed identity systemWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS19

AD AGENCIESUnimark founded in Chicago in 1965by partners RalphEckerstrom, JamesFogleman, and MassimoVignelli utilized grids to helpstandardize all graphiccommunications for avariety of importantcorporate clients: Alco,Ford Motor, JCPenny,Papnasonic, Steelcase andXerox Helvetica was the preferredtypeface for all UnimarkidentitiesCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.20

C O R P O R AT E I D E N T I T YMassimo Vignelli Unimark’s Director andhead of the NY office founded Vignelli Associatesin 1971 with his wife Leila continued to primarily useHelvetica but also Bodoni,Century, Garamon, andTimes Roman still held onto the use ofgrid systems in allcorporate identity their identity for Knollfurniture set the standardfor furniture-industrygraphics for many yearsCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.21

C O R P O R AT E I D E N T I T YMassimo Vignelli design American Airlinesidentity systgm also designed contemporaryfurnishings, the famousStendig calendar, and otheritems with his wife, LeilaWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS22

C O R P O R AT E I D E N T I T YMassimo Vignelli collaborated on a visualidentification program forthe US National ParkService called the Unigrid system,all informational foldersand other collateral for thenational parks were laidout within a specific grid. typography was strictlyrestricted to Helvetica andTimes RomanWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS23

GRID SYSTEMMassimo Vignelli(consultingdesigner)Vincent Gleason(art director)Dennis McLaughlin(graphicdesigner) sample layout demonstratesand specifies all graphiccomponents on a samplebroadsideWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS24

P I C TO G R A M SRoger Cook / Don Shanosky designed and drew the finalset of pictogram symbols forthe Department ofTransportation in 1974 http://www.youtube.com/watch?v yHWlEU8zqUEWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS25

O LY M P I C I D E N T I T I E SLance Wyman designed logo and collateralfor the NineteenthOlympiad, 1966 held inMexico City ancient Aztec artifacts andMexican folk art served asinspiration for the finalvisual systemWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS26

O LY M P I C I D E N T I T I E SOtl Aicher designed logo and collateralfor the 1972 TwentiethOlmpiad held in Munich,Germany Univers was selected as thetypeface and a system ofpublication grids wereestablished. color palettes consisted ofpairings of colors takenfrom 2 blues, 2 greens,yellow, orange, and threeneutrals series of new pictographswere designed for the eventCHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMSWilliam Pickering, title page for theBook of Common Prayer, 1844.27

O LY M P I C I D E N T I T I E SSussman/Prejza & Co. headed by Deborah Sussmanand Paul Prejza, 1984Twenty-third Olympiad heldin Los Angeles event lacked governmentsubsidies so olympiccommittee used existingathletic facilities design challenge was totemporarily transform thefacilities into a unifiedcelebratory feeling andexpress the internationalflavor of the gamesWilliam Pickering, title page for theBook of Common Prayer, 1844.CHA PTER 20: CORPORA TE I DEN TI TY A N D VI SUA L SY STEMS28