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History of Graphic Design > Chapter 20 > Flashcards

Chapter 20 Flashcards

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1
Q

Proprietary Marks

A

In medieval times, these marks were compulsory and enabled the guilds to control trade.

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2
Q

logotype

A

A company brand mark consisting or only letterforms

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3
Q

Corporate identity

A

A system of visual elements used in a comprehensive program to project a consistent image of a company

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4
Q

Chermayeff & Geismar

A

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

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5
Q

Annual Report

A

A publication issued to stockholders of a public company as required by federal law

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6
Q

Corporate identity manual

A

a firm’s book of guidelines and standards for implementing its corporate identity program

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7
Q

Saul Bass/Herb Yeager & Associates

A

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

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8
Q

Unimark

A

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

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9
Q

Federal Design Improvement Program

A

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

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10
Q

Vignelli Associates

A

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

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11
Q

American Institute of Graphic Arts (AIGA)

A

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

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12
Q

Cook and Shanosky Associates

A

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

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13
Q

Jerde Partnership

A

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

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14
Q

Sussman/Prejza & Co

A

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

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15
Q

Idiom

A

A style of artistic expression or language characteristic of a particular individual, school, period, or medium

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16
Q

Art Research Center for the Olympic Games (ARCOG)

A

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

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17
Q

Manhattan Design

A

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.

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18
Q

Adriano Olivetti

A
  • 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.
19
Q

Giovanni Pintori

A
  • 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
20
Q

Frank Stanton

A
  • b.1908
  • the president of CBS who understood art and design and their potential in corporate affairs.
21
Q

William Golden

A
  • 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
22
Q

Georg Olden

A
  • 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
23
Q

Lou Dorfsman

A
  • 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
24
Q

Eero Saarinen

A
  • 1910-61
  • the architect who designed the new CBS headquarters building in 1966.
25
Q

Raymond Loewy

A
  • designer known for his streamlined and modern aesthetic as applied across a range of industrial products, packaging, architecture, interiors, and corporate identities
26
Q

Norman Ives

A
  • master of corporate design who believed that a symbol “should convey with a clear statement or by suggestion, the activity it represents.”
27
Q

Paul Rand

A
  • 1914-96
  • after playing a pivotal role in the evolution of American graphic and advertising design during the 1940s and early 1950s, he became more involved in trademark design and visual identification systems in the mid-1950s. The trademark for International Business Machines was developed from an infrequently used typeface called City Medium. The 1958 IBM annual report he designedestablished a standard for corporate literature
28
Q

Eliot Noyes

A
  • 1910-77
  • IBM’s consulting design director during the late 1950s, he wrote that the IBM design program sought “to express the extremely advanced and up-to-date nature of its products. To this end we are not looking for a theme but for a consistency of design quality which will in effect become a kind of theme, but a very flexible one.”
29
Q

Jon Craine

A
  • b.1940
  • one of two lead graphic designers in IBM’s White Plains, New York, office from 1979 through 1988. This office was responsible for designing product announcements for the Data Products Division (DPD), IBM’s largest product sector
30
Q

Lester Beall

A
  • 1903-69
  • During the last two decades of his career, he created pioneering corporate identity programs for many corporations, including Martin Marietta, Connecticut General Life Insurance, and the International Paper Company, which he co-designed with Richard Rodgers. He also contributed to the development of the corporate identity manual, specifically prescribing the permissible uses and forbidden abuses of the trademark
31
Q

Muriel Cooper

A
  • 1925-94
  • She had two careers—the first as a print designer for Massachusetts Institute of Technology (MIT) publications and books and the second as founder and director of the Visible Language Workshop (VLW). She designed more than five hundred books, including the seminal 1969 Bauhausby Hans Wingler, which is perhaps her most well-known design. Her goal was to move graphic design from form to content—to be able to create clear, compelling communication that could be plucked and digested from an ocean of print and the electronic sea of the World Wide Web
32
Q

Otl Aicher

A
  • The 1962 Lufthansa German Airlines identification system was conceived and produced at the Ulm Institute of Design by this designer in collaboration with Tomás Gonda, Fritz Querengässer, and Nick Roericht. Aicher believed a large organization could achieve a uniform, and thus significant, corporate image (Figs. 20–35 and 20–36). He also directed the design team for the 1972 Twentieth Olympiad in Munich, Germany
33
Q

Ralph Eckerstorm

A
  • c.1920-96
  • This design director and his staff created a new corporate logo for the Container Corporation of America (CCA)
34
Q

Massimo Vignelli

A
  • b.1931
  • began as a partner at Unimark, and when the New York office closed, founded Vignelli Associates with Leila Vignelli in 1971
35
Q

John Massey

A

designed the prototype federal graphic standards system for the Department of Labor. His goals for the new design program were “uniformity of identification; a standard of quality; a more systematic and economic template for publication design; a closer relationship between graphic design (as a means) and program development (as an end) so that the proposed graphics system will become an effective tool in assisting the department to achieve program objectives”

36
Q

Thomas H. Geismar

A

headed a committee of five prominent graphic designers to act as evaluators of and advisers for the creation of a master set of thirty-four passenger- and pedestrian-oriented symbols for use in transportation facilities for the Department of Transportation

37
Q

Roger Cook

A
  • b.1930
  • worked with Don Shanosky on designing and drawing the final set of thirty-four passenger- and pedestrian-oriented symbols for use in transportation facilities for the Department of Transportation
38
Q

Don Shanosky

A
  • b.1937
  • worked with Roger Cook on designing and drawing the final set of thirty-four passenger- and pedestrian-oriented symbols for use in transportation facilities for the Department of Transportation
39
Q

Masaru Katzumie and Yusaku Kamekura

A

art director and designer, respectively, who were the creative visionaries and leaders behind the identity system for the 1964 Eighteenth Olympiad in Tokyo (Figs. 20–44 through 20–46). The Eighteenth Olympiad was the first Olympiad to use a comprehensive identity program, setting a standard for all subsequent games.

40
Q

Pedro Ramirez Vazquez

A
  • 1919-2013
  • the Mexican architect who chaired the organizing committee of the Nineteenth Olympiad. Realizing that an effective information system encompassing environmental directions, visual identification, and publicity was needed, he assembled an international design team, with American Lance Wyman as director of graphic design and British industrial designer Peter Murdoch as director of special products.
41
Q

Lance Wyman

A
  • b.1937
  • the American designer hired as director of graphic design for the Nineteenth Olympiad
42
Q

Peter Murdoch

A
  • b. 1940
  • the British industrial designer hired as director of special products for the Nineteenth Olympiad
43
Q

Wang Min

A
  • b.1956
  • design director for the 2008 Beijing Twenty-Ninth Olympiad

History of Graphic Design (24 decks)

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