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CORPORATE I.D. AND VISUAL SYSTEMS

CORPORATE I.D. AND VISUAL SYSTEMS. Background. Visual marks for identification in existence for centuries By 1700, every trader and dealer had a trademark or stamp In 1950s, visual ID systems began to go far beyond. Background (cont.).

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CORPORATE I.D. AND VISUAL SYSTEMS

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  1. CORPORATE I.D. AND VISUAL SYSTEMS

  2. Background • Visual marks for identification in existence for centuries • By 1700, every trader and dealer had a trademark or stamp • In 1950s, visual ID systems began to go far beyond

  3. Background (cont.) • National and multinational scope of many corporations made it difficult to maintain a cohesive image • A cohesive image could be projected by unifying all communications for a given organization into a consistent design system • Earlier phase saw pioneering efforts by strong individual designers who put personal imprint on a clients image

  4. CBS/William Golden/Georg Olden/Lou Dorfsman • CBS President Frank Stanton understood potential of art and design in corporate affairs • William Golden = AD at CBS for almost two decades • The Eye Logo • Designed by Golden • Care and concern for use even in modest designs • Dogmatic consistency no considered

  5. CBS/William Golden/Georg Olden/Lou Dorfsman (cont.) • Internal department (vs. outside agency) helped maintain unified approach • Fine artists commissioned to create illustration • Stanton’s recognition of designer’s importance meant giving authority to designers • 1945, CBS hired Georg Olden to establish graphics department for on-air visuals • Golden dies suddenly at age 48; replaced by Lou Dorfsman (prev. designer for CBS radio)

  6. CIBA/James K. Fogleman • Early effort toward comprehensive corporate design program • CIBA=Society for Chemical Industry in Basel • Fogleman hired as design director for an American subsidiary in Summit, NJ • Begins to evolve a design program • Reduces coporate name to CIBA, consistently printed in an outline Egyptian typface

  7. CIBA/James K. Fogleman (cont.) • Three typefaces chosen for product identification (believed style/weight varieties necessary for design flexibility) • In 1953, convinced CIBA in Summit to adopt standardized square format for print materials • At a 1953 international conference of CIBA employees, Fogleman spoke of the “need for integrated design, or a controlled visual expression of corporate personality, which plays a large role in achieving corporate identity.”

  8. CIBA/James K. Fogleman (cont.) • CIBA’s Basel headquarters follows suit • Importance of CIBA program not in design quality buy in programmatic consistency

  9. New Haven Railroad • Short-lived design program, but highly visible • Herbert Matter commissioned to design the trademark/color scheme • Marcel Breuer commissioned to design the interiors and exteriors of the new trains

  10. Paul Rand • Realized that to be functional for a long period of time, a trademark should be reduced to elementary shapes that are: • Universal • Visually unique • Stylistically timeless • Major Corporate ID relationships included IBM, Cummins, Westinghouse • Trademark/ID work for ABC, UPS, NeXT

  11. Lester Beall • Contributed to the development of the corporate identity manual (a firm’s book of guidelines and standards for implementing its program) • Beall’s manuals prescribed permissible uses and forbidden abuses of the trademark • Known for International Paper Corporate ID

  12. Chermayeff & Geismar • Moved to forefront of corporate identity movement in 1960 with the comprehensive visual image program for Chase Manhattan Bank of New York • Proved completely abstract form could successfully function as a large organization’s visual identifier • Became prototype for the genre • Redesigned identities for Mobil and NBC • Created identities for TimeWarner and AFI

  13. Saul Bass & Associates/Bass/Yaeger & Associates • Believed a trademark should be readily understood yet possess elements of metaphor and ambiguity that will attract the viewer again and again • Identity programs include Bell Telephone, AT&T, Minolta, United Airlines, Alcoa, Exxon, Girl Scouts of America, Lawrey’s Seasonings, United Way, YWCA, Continental Airlines, Warner Communications

  14. The International Style meets Corporate Identity • Prototype = Lufthansa identity system designed at the Ulm Institute of Design in 1962 • Standard formats • Grid systems • Detialed type specifications

  15. The International Style meets Corporate Identity (cont.) • Container Corporation of America (CCA) • Early advocate of systematic corporate identity • Under direction of John Massey

  16. The International Style meets Corporate Identity (cont.) • Unimark • Founded by Ralph Eckersrom, James K. Fogleman and Massimo Vignelli in 1965 • Rejected individualistic design • Believed design could be a system with a basic structure set up for others to interpret • Basic tool = grid

  17. The International Style meets Corporate Identity (cont.) • Design programs so rational and rigorously systematic that they became virtually foolproof as long as standards were maintained • Knoll program directed by Vignelli sets standard for furniture industry graphics for years to come

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