Chapter 20 Flashcards
Proprietary Marks
In medieval times, these marks were compulsory and enabled the guilds to control trade.
logotype
A company brand mark consisting or only letterforms
Corporate identity
A system of visual elements used in a comprehensive program to project a consistent image of a company
Chermayeff & Geismar
The firm moved to the forefront of the corporate identity movement in 1960 with a comprehensive visual image program for the Chase Manhatten Bank of New York. One of its most far-reaching corporate design programs was for Mobil Oil, in which the name became the trademark, with the round, red, o separating it from the visual presentation of other words. Rather than maintaining design consistency from project to project, the company allowed each solution to evolve from its problem
Annual Report
A publication issued to stockholders of a public company as required by federal law
Corporate identity manual
a firm’s book of guidelines and standards for implementing its corporate identity program
Saul Bass/Herb Yeager & Associates
believed a trademark must be readily understood yet possess elements of metaphor and ambiguity that will attract the viewer again and again. Many of Bass’s trademarks, such as those for Minolta and AT&T, have become important cultural icons
Unimark
An international design firm founded in Chicago in 1965 by a group of partners including Ralph Eckerstorm, James K. Fogleman, and Massimo Vignelli. They rejected individualistic design and believed that design could be a system of basic structures set up so that other people could implement it effectively. The basic tool for this effort was the grid, which standardized all graphic communications for dozens of large Unimark clients, including Alcoa, Ford Motor Company, JCPenny, Memorex, Panasonic, Steelcase, and Xerox
Federal Design Improvement Program
Initiated in May 1974 by the United States government in response to a growing awareness that design could be an effective tool for achieving objectives. This initiative was coordinated by the Architectural and Environmental Arts Program (later renamed the Design Arts Program) of the National Endowment for the Arts. Under the direction of Jerome Perlmutter, this program set out to improve the quality of visual communications and the ability of government agencies to communicate effectively to citizens
Vignelli Associates
founded by Massimo and Leila Vignelli in 1971. They developed the Unigrid system in 1977 for the United States National Park Service in collaboration with the Park Service Division of Publications, headed by Vincent Gleason
American Institute of Graphic Arts (AIGA)
The nations oldest professional graphic design organization. In 1974, the United States Department of Transportation commissioned it to create a master set of 24 passenger and pedestrian oriented symbols for use in transportation facilities
Cook and Shanosky Associates
The company in Princeton, New Jersey stated by Roger Cook and Don Shanosky, who designed and drew the final set of 34 passenger and pedestrian oriented symbols for use in transportation facilities for the Department of Transportation
Jerde Partnership
The architectural firm directed by Jon Jerde and David Meckel, which collaborated with the Sussman/Prejza & Co. design firm to create materials for the Los Angles Olympic Games
Sussman/Prejza & Co
The graphic design firm headed by Deborah Sussman, which collaborated with the architectural firm Jerde Partnership to create materials for the Los Angeles Olympic Games
Idiom
A style of artistic expression or language characteristic of a particular individual, school, period, or medium
Art Research Center for the Olympic Games (ARCOG)
A working group at the Central Academy of Fine Arts (CAFA) in Beijing. Under the leadership of Wang Min, the center’s design teams, including CAFA students, developed c comprehensive design system for the 2008 Olympic Games that included athletic pictographic symbols, the Beijing Games emblem and its applications, the design of medals, torch graphics, and extensive promotional and advertising graphics
Manhattan Design
A New York City studio headed by partners Pat Gorman, Frank Olinsky, and Patti Rogoff, noted for its independent, risk-taking experimentation, especially for music industry clients. It was commissioned by Music Television (MTV) to design a new logo. The bold, three-dimensional, sans-serif M was joined by a graffiti-like tv scrawled in its face. The logo could be altered through infinite variations of color, decoration, material, three dimensionality, viewing angle, and motion, and could assume different personalities, participate in animated events, and even be demolished. The concept of a logo with a constantly changing persona runs contrary to the widely held belief that trademark and visual identifiers should be absolutely fixed and used in a consistent manner; this it played a major role in redefining visual identity in the electronic age.
Adriano Olivetti
- 1901-70
- Son of the founder, he became president of the Olivetti Corporation in 1938. He had a keen sense of the contribution that graphic, product, and architectural design could make to an organization.
Giovanni Pintori
- 1912-98
- hired by Adriano Olivetti to join the publicity department of the Olivetti Corporation. The logotype he designed for Olivetti in 1947 consisted of the name in lowercase sans-serif letters, slightly letterspaced. Identity was achieved not through a systematic design program but through the general visual appearance of promotional graphics. In one of his more celebrated posters, Olivetti’s mission is subtly implied by a collage created solely from numbers and the company logo
Frank Stanton
- b.1908
- the president of CBS who understood art and design and their potential in corporate affairs.
William Golden
- 1911-59
- the CBS art director for almost two decades. He brought uncompromising visual standards and a keen insight to the communications process. The quality and intelligence of each successive design solution enabled CBS to establish an ongoing and successful corporate identity
Georg Olden
- 1920-75
- hired by CBS in 1945 to establish a graphics department to design on-air visuals for its new television division. During his fifteen-year tenure at CBS, he played a major role in defining the early development of television broadcast graphics. He designed on-air graphics from the center out, using simple symbolic imagery with strong silhouettes and linear properties. Emphasis was placed on concepts that quickly captured the essence of each program, using the connotative power of simple signs, symbols, and images. Olden was the first African American to achieve prominence as a graphic designer, and in 1963 the United States Postal Service commissioned him to design a postage stamp for the one hundredth anniversary of the Emancipation Proclamation
Lou Dorfsman
- 1918-2008
- became art director for CBS Radio in 1946. He combined conceptual clarity with a straightforward and provocative visual presentation. Typography and image were arranged in well-ordered relationships that used blank space as a design element. The high quality of his solutions to communications problems during his four decades with CBS enabled him to project an exemplary image for the corporation. He was named director of design for the entire CBS Corporation in 1964 and vice president in 1968, in keeping with Stanton’s philosophy that design is a vital area that should be managed by professionals
Eero Saarinen
- 1910-61
- the architect who designed the new CBS headquarters building in 1966.
