Chapter 20_Corporate Identity and Visual Systems GRPH 1540_01 1. Describe the relevance of visual identity through the times. Brand identity and image are the views or impressions held about a brand by the brand owners as well as customers and prospects and must be maintain if the visual identity is to survive. Good design is good business during the 1950s, and more perceptive corporate leaders understood the need to develop corporate design programs to help shape their companies’ reputations for quality and reliability.
2. Characterize Giovanni Pintori’s work. Pintori (1912–1998) for a thirtyone-year period, Pintori put his personal stamp on Olivetti’s graphic images (Olivetti Corporation, an Italian typewriter and business machines company). The logotype he designed for Olivetti in 1947 consisted of the name in lowercase sans-serif letters, slightly letter spaced. Identity was achieved not through a systematic design program but through the general visual appearance of promotional graphics.
3. What was William Golden’s contribution at CBS? Golden (1911–59), was CBS’s art director for almost two decades. Golden brought uncompromising visual standards and keen insight into the communications process. Golden designed one of the most successful trademarks of the twentieth century for CBS, the pictographic CBS eye which first appeared as an on-air logo on 16 November 1951.
4. What were George Olden’s accomplishments? Olden (1920–75) was hired by CBS in 1945 to establish a graphics department to design on-air visuals for its new television division. During Olden’s his fifteen-year tenure at CBS, Olden played a major role in defining the early development of television broadcast graphics. He was the first Negro/black American to achieve prominence as a graphic designer.
5. How did Lou Dorfsman impact CBS? Dorfsman (1918-2008) joined CBS in 1946 after leaving the U.S. army. For 41 years, he would work within CBS, shaping every aspect of its design and advertising. Dorfsman who design the wall of type that graced the CBS cafeteria, aptly titled the Gastrotypographicalassemblage, his magnum opus. The wall, which spans 35'
and is 8'6“ tall, was the result of his creative genius. Each individual letterform was made of wood, hand milled and skillfully assembled. In 1978, The Art Director's Club inducted Lou into the Art Directors Hall of Fame.
6. Critique CBS approach to corporate image and design. I think CBS was ahead of its time and acquired some exceptional talented graphic designers regardless of race. The effectiveness of the CBS pictographic symbol demonstrated to the larger management community that a contemporary graphic mark could compete successfully with more traditional illustrative or alphabetic trademarks. They created advertising not by an outside agency but by internal staff; this permitted CBS to maintain a unified approach to advertising and other graphics.
7. What is the designer’s mission in logo design? A symbol is an image of a company, an institution or an idea that should convey with a clear statement or by suggestion the activity it represents . . .. The symbol, besides being memorable and legible, must be designed so that it can be used in many sizes and situations without losing its identity. The designer must distort, unify, and create a new form for the letter, so that it is unique and yet has the necessary attributes of the letter for recognition. There is no part of a symbol that can be eliminated without destroying the image it creates. It is a true gestalt, in which the psychological effect of the total image is greater than the sum of its parts would indicate.
8. Expound on IBM’s corporate identity strategy. The IBM (International Business Machines) logo is IBM trademark when you see the logo the brand has effectively work because you know who the company is and what they stand for it is the theme of the company.
9. What is the significance of Lester Beall’s contribution to...
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