Identify Basic principles of identity design in the iconic trademarks of Chermayeff & Geismar

The simplicity of the peacock symbol allows it to be used in a wide variety of forms, from various broadcast applications to cut bronze metal shapes at the entrance to NBCs Rockefeller Center studios. Below are a few early sketches for the peacock design.

24

IDENTIFY

31

When The Museum of Modern Art was extensively renovated and expanded in the l960s, we developed a very simple typographic style for the museum name and related signage. A colorful graphic device was also developed at that time. It featured basic geometric formsthe square, the triangle, and the circlein repeat patterns and was used on banners to announce the openings of new exhibitions and to make the entrance more visible from Fifth Avenue.

94

IDENTIFY

Designing letters with a visual reference to the product is also the approach we took with Kaya Group, which makes ropes, harnesses, and strapping for the shipping, military, and construction industries of Turkey and Europe. These are marketed under many brand names. Based on an alphabet we designed to suggest the look of letters made from a single line of rope, the Kaya wordmark is a distinctive and meaningful identier for the companys products and numerous industry-specific catalogs.

126

IDENTIFY

ScrippsHoward (now E. W. Scripps) is a major media company that has reinvented itself many times over recent years. But its roots, which go back to the 19th century, are in the newspaper business.

It was famous for publishing local papers throughout the country. In each, the Scripps ownership was symbolized by a rendering of a lighthouse. When Scripps decided to go public, we were asked to

develop a graphic identity for the company. An illustrative mark depicting a lighthouse seemed appropriategiven the idea of light as symbolizing the dissemination of knowledge and had historical signicance

to the company. This corporate brochure highlights some of the companys major assets, including some familiar cartoon characters.

138

IDENTIFY

The National Geographic housemark (symbol and name) is used to identify a broad range of material in a variety of media. As shown on the book covers on the facing page, we recommended that the logo be used on a dark background whenever feasible to give maximum impact to the yellow box symbol.

The National Geographic Channel is the one exception where the name can be expanded to include another word. In broadcast, the yellow box symbol alone often appears in the lower right of the screen to clearly identify the channel.

168

IDENTIFY

The Big Apple Circus is a small, one-ring circus in the traditional European style. Its important that their graphic identity conveys a warm, friendly feeling, which was achieved both with the choice of subject matter and with its hand-cut forms. Since the show changes each year, the graphics also vary, but they retain a consistent visual language. A juggling baby elephant in this poster (left) actually inspired the circus to buy a baby elephant. The next years poster (above) led to the puchase of a baby buffalo. The symbol on the facing page turns the Big Apple into a circus apple with its stars taken from the decorative motif on the inside of the circus tent.

184

IDENTIFY

In 1976, the United States of America celebrated its 200th birthday with parties, events, and presentations all across the nation. The U.S. Treasury struck an edition of special bicentennial commemorative coins, states issued special bicentennial license plates, and of course government ofcials from the president down to the local mayor participated in celebrations of every sort. In order to present a visually coordinated face to the nation on its birthday, the bipartisan Bicentennial Commission contacted Chermayeff & Geismar to produce an ofcial emblem for the American Revolution Bicentennial. The design challenge was to nd a way to represent the U.S. without directly employing the classic (and overused) symbols of the nation: the ag, the eagle, etc. The design of this symbol suggests the bunting with which parades and grandstands are festooned during patriotic events. While this mark includes all of the elements of the American agthe stars, the stripes, and the colorsit uses them in a new way. When we made our formal presentation to the Bicentennial Commission, its members liked the design, but were concerned that, unadorned, it might not be sufciently governmental. They wanted a trademark

that would look ofcial and be easy to protect under trademark law. An emblematic symbol, the mark wouldnt be available for just anyone to useeven a state or local government that wanted to place it on a book or a souvenir, for example, had to apply for a license from the Bicentennial Commission. To address this request for a more authoritative look, we added a ring of type around the star. With this addition, the mark was ofcially adopted. The symbol was put into use all over the country. We developed extensive guidelines for how the mark was to be used and formats for special wording for various states, cities, and towns. The mark helped unite the diverse events and celebrations, reports, and studies that were undertaken throughout the country. The bicentennial mark has appeared on thousands of applications, from a tiny postage stamp to the side of a giant shuttle silo. It was even placed by NASA on the planet Mars. This wide size range is perhaps the most extreme example of the important test we give all our trademark designs: every one must be compelling and interesting enough to be rendered in a large format, yet simple and focused enough to work on a very small scale.

The symbol for the United States Bicentennial celebration grows out of the bunting commonly used at political rallies, but does so in a dynamic and meaningful way. Extensive guidelines for the use of the trademark were published as a brochure.

216

IDENTIFY

Another approach for designing an anniversary mark is to put the focus on the number of years being celebrated.

On the occasion of The Museum of Modern Arts 50th Anniversary, a bold mark was designed using an artistic play on the numerals 5 and 0. The design was used extensively on print materials, banners, and signs. The shopping bag shown above featured an animated version of the trademark, with the elements coming together to form the symbol.

Armani Exchanges 20th Anniversary was commemorated with the A|XX mark shown on the facing page. Having grown naturally from the core Armani Exchange trademark, the anniversary trademark was able to be used in place of the standard identity for the entire years advertising.

220

IDENTIFY

221

PHOTO COURTESY OF JOHN KANE

The symbol for Pilobolus Dance Theatre, a modern dance company, was rst introduced on a poster announcing the groups initial run of performances at the Joyce Theater. The name is broken onto three lines and stacked, in an arrangement that suggests the many stacked and odd formations that the Pilobolus dancers assume in their performances.

224

IDENTIFY

Imaginative use was made of the basic Mobil graphic identity elements, and especially the red O at the companys own facilities, where employees are the audience. As shown on the facing page, a huge sliced red O sculpture marks the entrance to the corporations headquarters in Fairfax, Virginia. On this page, a twisting tower of red Os is in the landscape at the companys Princeton, New Jersey, research center. And in a company ofce in Milton Keynes, England, a fractured logo tapestry is one of a series within an employees stairwell.

244

IDENTIFY

245

Some things in life come and go, but the Chermayeff & Geismar logos are eternal.
Isaac Mizrahi

The design achievements of Chermayeff & Geismar have so deeply permeated the visual landscape in our daily world that they have become integral graphic markers of our time. At a time when visual literacy is more important than ever, this book is a landmark reference not only in the design field, but for leaders of all types of corporate and cultural institutions.
Richard Koshalek, Director Hirshhorn Museum and Sculpture Garden

This remarkable book testifies to the benefits of collaboration and sets a very high standard for the entire field to emulate.
Milton Glaser, Designer

When you scan the history of Chermayeff & Geismar's work, you see America's proud evolution as a leader in culture, innovation, and industry as communicated through design. Pan Am, Chase Bank, Mobil, NBC, PBS, MoMA are just a few of the eponymous signposts in Chermayeff & Geismar's long life as painters of America's prosperity. With this new volume their intent, process, and philosophy of design can now be shared with many generations of designers to come.
John Maeda, President Rhode Island School of Design

Identify is more than a bookit is a bible of how some of the most beloved and enduring identities were conceived and designed. Identify is a must read for those who want to understand how great brands are designed and how great designers create great brands. In short, it is a masterpiece.
Debbie Millman, President, AIGA

Their collective influence on Americas graphic design language cannot be overstated. This book is a record but also a testament. They have indeed made their mark with many marks. And they continue to do so.
Steven Heller Design Columnist, The New York Times US $45.00
ISBN-13: 978-1-4403-1032-4 ISBN-10: 1-4403-1032-7

Y1292

(CAN $47.00)
54500

UPC

35313 65148

FnL1 04 0120 01 JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo 02 SW9sYSBkaXZpc2lvbikPR3JlZ29yeSBL 03 cnVlZ2VyAE3DxxECMTMDMTAwATEFVVBD 04 LUEMMDM1MzEzNjUxNDg59A==

EAN
9 781440 310324
FnL1 04 0124 01 JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAo 02 SW9sYSBkaXZpc2lvbikPR3JlZ29yeSBL 03 cnVlZ2VyAE3D3GMEMTAuNAI4MAExBkVB 04 Ti0xMw05NzgxNDQwMzEwMzI0AA==

printmag.com