Best of Design:Vignelli Corporate Identity

"A corporate identity program's main objective is the coordination of all visual aspects related to a company in order to present a strongly identifiable image and position in the economic and social world in which they function."

"This involves the articulation of a company's culture, which will generate and determine the quality of everything from products to packaging, printed communication to point of sale display."

Knoll International 1966-1980

"Starting in 1966 and for many years thereafter, we designed the printed matter for Knoll International, the outstanding furniture company."

"The catalogue, price lists, and brochures set a new standard for the furniture industry worldwide, and projected the image of design awareness that the company desired."

"The consistently high-quality level of photography, copy, and printing set a precedent that has been rarely matched by other firms."

"Designing for Knoll was a most exciting and rewarding experience for us all because of their total design commitment."

Institute for Architecture and Urban Studies (IAUS), 1976

"A variety of publications—from books to magazines, tabloids to posters—gave the Institute a worldwide visual recognition that became very much a part of its life. The Institute’s posters had a thick black band followed by rows of information bands in red."

"The liveliness of the Institute’s programs, exhibitions, and lectures prompted these strong, structured, black and red graphics that evoke revolutionary Constructivist memories."

“Oppositions” had a red cover, the books a deep yellow, and “Skyline” strong blacks. The type used throughout was Century Expanded."

"Working with architect Peter Eisenman, the Institute’s founder, was one of the most provocative challenges. Julia Bloomfield coordinated much of this work with care and determination. Even now, the IAUS program is one of our favorites."

Kroin, 1981-1985

"Previously called “Architectural Implements,” the first thing we did was to rename the firm after its owner’s great-sounding name: Kroin. The second thing was to dip the company in a string chromotype—yellow—which helped identify it. Thirdly, we articulate the new name, the new color, and their needs."

"We designed product sheets that could be folded as mailers, depliants (brochures), or catalogue sheets. The photographs were styled to give life to faucets, sinks, and chairs."

"The yellowness of Kroin quickly became a strong identifier for the company and their lines of products, It had been applied everywhere from literature to advertising, and from office interiors to showrooms."

IDCNY, 1983-1989

"IDCNY is the International Design Center of New York, an international furniture merchandise mart in Long Island City, New York. The logo portrays elegance and strength through the choice of two contrasting typefaces."

"The program includes, graphics, invitations, publications, advertising, and signage. Most of the pieces are designed by Michael Bierut and coordinated by Fern Mallis."

"Based on three very basic elements - Bodoni type with black and red colors - the program is nevertheless extremely articulated and vibrant, and has achieved a very strong identity quite often imitated by similar organizations."

Benetton, 1996

"In 1995 we were asked to design a new Corporate Identity for Benetton and related Companies of the Group."

"We retained the existing logo, but restructured it, to give more tension to its details. Since we believe in certain equities, we retained the color green as the Company chromotype."

"The program has been applied worldwide since 1996."

SISLEY, 1996

"At about the same time of the Benetton projects, we were asked to design a new Corporate Identity for SISLEY, a Company that is part of the same Group."

"To differentiate from Benetton’s colorful image, we chose black as the Company chromotype, and we designed a logo accordingly."

Zimmer + Rhode GmbH, 1998
"For this Company producing textiles for upholstery and drapery for more than hundred years, we choose a classical and elegant typeface but given a stronger look with the heavy bar over it."

"To contrast all colors of their product, we choose black as the company chromotype and used it throughout the graphic program from textiles sample holders, to packaging and promotional materials."

BK, 2005

"For this Italian manufacturer of transformable sofas, we designed all the graphic identity, the promotional literature, some of the products and all the trade shows stands."

"This allowed them to have an organic Company image and a level of continuity, rarely achieved in other projects. This overall direction was done in collaboration with Architect Dante Bellini."

Corpgroup, 2006

"CorpGroup is a holding company with three branches: CorpBanca, CorpVida, CorpArtes."

"The first one of the most important Chilean Banks, the second an Insurance Company, and the third a Cultural Center."

"We designed the logo representing the three operational areas with a different color for each one of them and used that color as a basic identifier for all printed matter related to them."

"The use of the same symbol acorss the areas has increased the overall exposure of the brand."