Corporate Identity and Visual Systems “Good design is good business” The Visual Identification marks developed during the 1950’s were multi-layered communications systems reflecting the prosperity of the times, technological advantages and multi-national scope of many businesses. Georg Olden, television title for I've Got A Secret, 1950s. The zippered mouth becomes an immediate and unequivocal symbolic statement.

The international evolution of the design approaches first established at the Bauhaus, conceptual inventiveness explored at the New York School, rationalism, heavy use of the grid and rise of broadcast television were major influences.

William Golden—He is best known for his work at CBS Television Network William Golden—He is best known for his work at CBS Television Network. Golden gained a reputation of excellence by always striving for a perfect, simple solution to the problem at hand, producing an original and distinguished design to convey the message.

20-06 Georg Olden, television title for I've Got A Secret, 1950s. The zippered mouth becomes an immediate and unequivocal symbolic statement. Georg Olden, television title for I've Got A Secret, 1950s. The zippered mouth becomes an immediate and unequivocal symbolic statement.

20-06 Louis “Lou” Dorfsman was a graphic designer who oversaw almost every aspect of the advertising and corporate identity for the Columbia Broadcasting System in his 40 years with the network.

20-07 Georg Olden, stamp for the centenary of the Emancipation Proclamation, 1963. Olden reduced a complex subject, slavery’s end, to its most elemental expression. Georg Olden, stamp for the centenary of the Emancipation Proclamation, 1963. Olden reduced a complex subject, slavery’s end, to its most elemental expression.

Corporate Identity

Corporate Identity Raymond Loewy Shell Oil, 1971

Corporate Identity

Corporate Identity

Massimo Vignelli (consulting designer), Vincent Gleason (art director), and Dennis McLaughlin (graphic designer), Unigrid system for the National Park Service, 1977. Design specifications for the Unigrid system and standard formats are presented on a large broadside. Massimo Vignelli (consulting designer), Vincent Gleason (art director), and Dennis McLaughlin (graphic designer), Unigrid system for the National Park Service, 1977. Design specifications for the Unigrid system and standard formats are presented on a large broadside.

20-40 Massimo Vignelli (consulting designer), Vincent Gleason (art director), and Dennis McLaughlin (graphic designer), Unigrid system for the National Park Service, 1977. The reverse side of previous slide demonstrates and specifies all graphic components on a sample broadside. Massimo Vignelli (consulting designer), Vincent Gleason (art director), and Dennis McLaughlin (graphic designer), Unigrid system for the National Park Service, 1977. The reverse side of Figure 20 - 39 demonstrates and specifies all graphic components on a sample broadside.

20-44 Lance Wyman, logo for the Nineteenth Olympiad, 1966. This sequence shows the development of the logo and how it was extended into a dynamic animated film. Lance Wyman, logo for the Nineteenth Olympiad, 1966. This sequence shows the development of the logo and how it was extended into a dynamic animated film.

Paul Rand, IBM logo, 1981 uses the rebus principle

Lester Beall, International Paper Company, 1960

Lester Beall, REA

Chermayeff & Geismar

Chermayeff & Geismar, poster for a Mobil Oil sponsored TV series

Chermayeff & Geismar

20-63 Pat Gorman and Frank Olinsky of Manhattan Design MTV, “Colorforms” logo, 1985. Random patterns of geometric shapes convey a playful resonance. Pat Gorman and Frank Olinsky of Manhattan Design MTV, “Colorforms” logo, 1985. Random patterns of geometric shapes convey a playful resonance.

20-64 MTV “puzzle” logo, 1985. The logo is assembled, dismantled, melted, and shattered without losing its ability to verify identity. Pat Gorman and Frank Olinsky of Manhattan Design, MTV “puzzle” logo, 1985. The logo is assembled, dismantled, melted, and shattered without losing its ability to verify identity.

20-64 Jerzy Janiszewski, Solidarity, 1980