Ch 12 Learning Objectives
After reading the chapter, students should understand:
- The work of the graphic designer expanded from composing and stylizing messages to coordinating an “image” across products and communications. This coordination was facilitated by a logical approach and new production technologies.
- The aesthetics of corporate systematization drew on the “universal language” of visual communication developed at the Bauhaus, championed by the New Typography, and redefined by postwar proponents as an international style based on the values of clarity, rational organization, and functional efficiency.
- Phototypesetting and photographic manipulation in graphic design and print production supported the synthetic imagery of logotypes, house styles, and other integrated sign systems.
- Devising homogenous campaigns that communicated organizational coherence, graphic designers became insiders in a corporate culture characterized as one-dimensional because it integrated individuals into a single unified identity.
- With the arrival of television, graphic designers faced new challenges in the conception of corporate and brand identities that could function across a variety of media.
- The graphic design profession further advanced recognition of its own achievements; new organizations and publications set standards of excellence that established hierarchies among professionals.
What is Corporate identity?
Paul Rand’s design for the IBM logo references all except:
What are the hallmarks of early corporate style?
What was the “Symbol signs,” project?
What was the primary purpose of the International Typographic Style?
What design best exemplifys the International Typographic Style?
In the 1950s, the term design came to embody what new meanings?
What was not a lower-cost alternatives to monotype type setting?
The International Typographic Style started in?