Developing corporate identities

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来自 California Institute of the Arts 的课程

Ideas from the History of Graphic Design

774 个评分

California Institute of the Arts

Ideas from the History of Graphic Design

774 个评分

课程 4（共 5 门，Specialization 平面设计）

This condensed survey course focuses on four key periods or themes from the history of design. Together we’ll trace the emergence of design as a recognized practice, why things look the way they do, and how designers approached specific design problems in their work. Each week, a short quiz will test your knowledge of concepts, and a short reflective assignment will give you the opportunity to analyze the questions designers ask themselves today. This is an essential course for emerging designers entering the field, or for students interested in learning more about visual culture and analysis. No previous experience is required.

从本节课中

Modernism in America

Modernism in mid-century America through the eyes of four key designers.

The Bauhaus influence4:54

A symbolic language4:45

Case Study: Scope Magazine1:17

Developing corporate identities3:07

与讲师见面

Louise Sandhaus
Faculty, Program in Graphic Design
School of Art
Lorraine Wild
Faculty, Program in Graphic Design
School of Art

Later on in Lester Beall's career, he became one of the first

designers to create a practice.

And this is a picture of him in his office looking at all the logos that he had

designed for different companies.

So he was able to take his thinking about the use of symbols and

apply them to identities for local corporations.

This is a double page spread from a book that Lester Beall designed for

a local insurance company, Connecticut General.

And it takes the initials of the company, a ‘C’ and a ‘G’.

He creates this kind of lozenge shape,

actually to your eyes it might look like a skateboard,

and that is the logo that can be used either as one of a kind or

in graphic patterns like the way you see the logos stacked here.

This document is actually what's called a corporate identity manual.

And what it does is it shows

other designers who might work with Connecticut General,

how to take the design that Lester Beall has done and apply it.

This is a way that designers develop their practices after World War II,

so that they were not always just working inside companies,

but could work outside as consultants.

This is another document that is designed by Beall to describe

the kinds of typography and the kinds of color palettes that could be used for

Connecticut General documentation.

Again, this is a design for other designers to be able to follow so

that as companies grew, and as their communication needs grew more and

more, they couldn't essentially keep design consistent.

There's a kind of beauty in the practicality of the use of both

abstract form and then simplified typography,

in order to keep a corporate identity consistent.

This is another example of a very famous design done under Beall for

International Paper.

International Paper being a huge company that had traditionally had a logo type

of a fir tree and it was an old engraving probably from the 19th century.

Lester Beall took the form of the fir tree, or pine tree, and

abstracted it into a triangular arrow pointing up in a circle, and

that became the symbol of International Paper, applied to packages of paper.

But it also was used under his direction on everything from those small packages,

to things like appearing on the sides of trucks, or even on the sides of buildings.

So this kind of corporate identity that utilized basic symbolic

language became part of a practice after World War II.

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