"The real issue is not talent as an independent element, but talent in relationship to will, desire, and persistence. Talent without these things vanishes and even modest talent with those characteristics grows." Milton Glaser
The following collection was compiled by David Airey, a graphic designer in Northern Ireland.
|Otl Aicher||Saul Bass||Michael Bierut||Robert Brownjohn|
|Ken Cato||Ivan Chermayeff||Joe Finocchiaro||Alan Fletcher|
|Tom Geismar||Steff Geissbuhler||Milton Glaser||Gene Grossman|
|Sagi Haviv||Armin Hofmann||Gerard Huerta||Michael Johnson|
|Yusaku Kamekura||Jerry Kuyper||Lindon Leader||Raymond Loewy|
|Herb Lubalin||Marcello Minale||Per Mollerup||Morteza Momayez|
|Miles Newlyn||Paul Rand||Paula Scher||Sven Seger|
|Anton Stankowski||Henry steiner||Brian Tattersfield||Roger van den Bergh|
|Massimo Vignelli||Michael Wolff||Bob Wolf||Lance Wyman|
Otl Aicher, also known as Otto Aicher (May 13, 1922 - September 1, 1991) was one of the leading German graphic designers of the 20th century.
Aicher may be best known for being the lead designer for the 1972 Munich Olympics. He created a new set of pictograms that paved the way for the ubiquitous stick figures currently used in public signs.
Saul Bass (May 8, 1920-April 25, 1996) was a graphic designer and Academy Award-winning filmmaker, but he is best known for his design on animated motion picture title sequences, which is thought of as the best such work ever seen.
Bass was responsible for some of the best-remembered, most iconic logos in North America, including both the Bell Telephone logo (1969) and successor AT&T globe (1983). Other well-known designs were Continental Airlines (1968), Dixie (1969) and United Way (1972). Later, he would produce logos for a number of Japanese companies as well. He also designed the Student Academy Award for the Academy of Motion Picture Arts and Sciences.
Michael Bierut is a graphic designer, design critic and educator. Bierut was born in Cleveland, Ohio, in 1957. He studied graphic design at the University of Cincinnati’s College of Design, Architecture, Art and Planning.
Bierut was vice president of graphic design at Vignelli Associates. Since 1990 he has been a partner in the New York office of Pentagram.
According to his Pentagram online biography: Bierut "is responsible for leading a team of graphic designers who create identity design, environmental graphic design and editorial design solutions".
Robert Brownjohn (August 8, 1925-August 1, 1970) was a graphic designer known for blending formal graphic design concepts with wit and sixties pop culture.
He is best known for his motion picture title sequences, especially From Russia with Love and Goldfinger.
In his short but intense working life, Brownjohn left helped to redefine graphic design, to move it from a formal to a conceptual art. His projects exemplify every aspect of his relationship to design, including his emphasis on content over form and his preferences with ordinary and personal images.
Ken Cato is an Australian designer with an international reputation. Cato's work encompasses all facets of corporate and brand management and design. His philosophy of design is dynamically holistic, providing the synergistic solutions that produce positive results. As a graphic designer, his work has earned him an international reputation. He has won numerous international and Australian design awards, and his work is represented in museums and galleries throughout the World. He is a long-standing member of Alliance Graphic International and is a past AGI President. He currently holds the position of Director of Education. The World's largest student design conference was founded by Ken Cato in 1991. Now approaching its 15th year, AGIdeas attracts annually over 2000 young designers from around the World.
In 1995, Ken was awarded the first Australian Honorary Doctorate of Design from Swinburne University and was inducted into the 'Hall of Fame' of the inaugural Victorian Design Awards. Ken is a foundation member of the Australian Writers and Art Directors Association, a member of the American Institute of Graphic Arts, ICOGRADA, Design Institute of Australia, Australian Marketing Institute, Industrial Design Council of Australia, and is Patron of the Australian Academy of Design. Ken is also an acclaimed author and has written numerous books.
Born in 1932, London, England, Chermayeff is the son of the Chechen architect Serge Ivan Chermayeff. In 1940 he moved to the united states where he has lived ever since. He studied at harvard, the institute of design in chicago, and received a BFA at Yale. whilst at Yale he met Tom Geismar where both designers discovered their shared passion for typography. after graduating Chermayeff worked for Alvin Lustig and CBS in New York.
In 1957 Tom Geismar and Ivan Chermayeff formed Brownjohn, Chermayeff & Geismar with friend and former student of Ivan's father Robert Brownjohn. renowned for its hard working yet informal atmosphere, BCG began by designing book covers, album covers and corporate identities and soon won more substantial commissions, including the U.S. pavilion at the 1959 Brussels world’s fair. In 1959 Brownjohn left the studio and Chermayeff and Geismar continued to work together. By 1960 the duo had started a craze for abstract corporate symbols with designs for the chase manhattan bank NBC and others. During their many years of collaboration the pair have produced over 100 corporate symbols.
Most of Joe Finocchiaro's work involves solving corporate identity and branding issues using typography. He offers a full range of design services through partnering with other specialists in the field. Joe partnered with Jerry Kuyper on the redesign of the Cisco corporate identity.
Alan Gerard Fletcher (27 September 1931 - 21 September 2006) was a British graphic designer. In his obituary, he was described by The Daily Telegraph as "the most highly regarded graphic designer of his generation, and probably one of the most prolific".
He founded the design firm Fletcher/Forbes/Gill with Colin Forbes and Bob Gill in 1962. An early product was their 1963 book Graphic Design: A Visual Comparison.
Clients included Pirelli, Cunard, Penguin Books and Olivetti. Gill left the partnership in 1965 and was replaced by Theo Crosby, so the firm became Crosby/Fletcher/Forbes. Two new partners joined, and the partnership evolved into Pentagram in 1972, with Forbes, Crosby, Kenneth Grange and Mervyn Kurlansky, with clients including Lloyd's of London and Daimler Benz. Much of his work is still in use: a logo for Reuters made up of 84 dots, which he created in 1965, was retired in 1992, but his 1989 "V&A" logo for Victoria and Albert Museum, and his "IoD" logo for the Institute of Directors remain in use.
As a student at Yale in the mid 1950s, Tom Geismar met Ivan Chermayeff. They were doing research for papers on typeface design. In the spring of 1957 they teamed up with Robert Brownjohn to form Brownjohn Chermayeff Geismar. Three years later, Brownjohn left the partnership.
Hundreds of trademarks have been created by Chermayeff & Geismar Inc. Their logos and identity programs for high-profile corporations such as Mobil, Time Warner, Viacom, and Xerox (before their recent re-brand), and for institutions such as the New York Public Library, the Smithsonian Institution, and the Museum of Modern Art, are instantly recognisable hallmarks of design.
Steff Geissbuhler is among America’s most celebrated designers of integrated brand and corporate identity programs. His work for a broad spectrum of international and national clients includes identity systems for Merck, Time Warner cable, NBC, Telemundo, Voice of America, Toledo Museum of Art, National Parks of New York Harbor, Crane & Co. and the May Department Stores Companies. Prior to forming C&G Partners he was a partner and principal at Chermayeff & Geismar Inc. for 30 years.
Steff has designed architectural graphics for the IBM building in New York City; a complete sign system for the Universities of Pennsylvania; and Connecticut; printed materials for the Alvin Ailey Dance Theater, Mobil, Philip Morris, Cummins Engines and Morgan Stanley. Other commissions include graphics for the Smithsonian Institution’s Bicentennial exhibition; the "Sports Illustrated at the Olympics" exhibit; a new identity and graphics for the New York Public Library; the New Victory Theater; and a series of posters for New York City’s Department of Cultural Affairs.
In 2005 Mr. Geissbuhler’s work has been honoured with the American Institute of Graphic Arts Medal for his sustained contribution to design excellence and the development of the profession.
Milton Glaser (born June 26, 1929) is a graphic designer, best known for the I Love New York logo, his "Bob Dylan" poster, and the "DC bullet" logo used by DC Comics from 1977 to 2005. He also founded New York Magazine with Clay Felker in 1968.
Among the awards that Mr. Glaser has won are The Philadelphia Museum Medal, The Art Directors Club Gold Medal, The Society of Illustrators Gold Medal, The St. Gaudens Medal for outstanding accomplishment from The Cooper Union, and the American Institute of Graphic Arts Medalist Award. He is also the recipient of four honorary doctorate degrees.
Gene Grossman counts 45 years in the corporate communications field. He is known worldwide as a corporate logo guru. After running his own businesses for 35 years, he "retired for a week." He then moved to Siegel & Gale.
"I’m still doing it – and loving it," he says with the verve of a man many years younger.
Grossman has directed corporate identification programs for some of the world’s largest companies. Past clients include many household names – RCA, Citibank, NY Stock Exchange, Hilton Hotels, Lockheed Martin, Sanyo, Komatsu and Boise Cascade, to name just a few.
Sagi Haviv is a partner and designer at Chermayeff & Geismar, and at 34 is the youngest partner in the firm's history. Among his numerous projects for the company are the logo designs and identity systems for the Library of Congress, National Parks of New York Harbor, Radio Free Europe, Council on African American Affairs, and the fashion brand Armani Exchange.
Haviv designed the award-winning animation "Logomotion", a 10-minute tribute to the firm's famous trademarks that was not only the first animated trademark sequence of such scope, but also introduced a new approach to showcasing a firm's portfolio. Haviv's other motion graphics work includes the opening sequence for the celebrated PBS documentary series Carrier.
Haviv joined Chermayeff & Geismar in 2003 after graduating from The Cooper Union School of Art in New York City, where he won several prestigious awards and fellowships including the 2002 Dan Friedman Prize, the 2003 Art Director's Club Scholarship Prize, and the 2003 Lubalin Fellowship.
Armin Hofmann is a Swiss graphic designer. Hoffman followed Emil Ruder as head of the graphic design department at the Basel School of Art (Schule fur Gestaltung Basel) and was instrumental in developing the graphic design style known as the Swiss Style. He was well known for his posters, which emphasised economical use of colour and fonts, in reaction to what Hofmann regarded as the "trivialization of colour". His posters have been widely exhibited as works of art in major galleries, such as the New York Museum of Modern Art.
He was also an influential educator. In 1965 he wrote the Graphic Design Manual, a popular textbook in the field.
Gerard Huerta was educated at Art Center College of Design and began his professional career in 1974 as an album cover designer with CBS Records in New York. He left CBS in 1976 to start Gerard Huerta Design, Inc. and has been drawing letters and numbers ever since.
Herb Lubalin wrote in Print Magazine's Typography issue "Gerard Huerta, whose work is a throwback to the intricate, complicated and colorful style of the early 20th century cigar-box labels, never ceases to amaze me with the beauty of his design and technical proficiency".
Some of his logos and logotypes have included Swiss Army Brands, MSG Network, CBS Records Masterworks, Waldenbooks, Calvin Klein's Eternity, Type Directors Club, the mastheads of Time, Money, People, The Atlantic Monthly, PC Magazine, Adweek, as well as corporate alphabets for Waldenbooks, Time-Life and Conde Nast.
Michael Johnson is the authour of best selling Phaidon book Problem Solved (a primer in design and communication). Michael is the creative director of the internationally renowned design company, Johnson Banks. The company works predominately in the cultural, ethical, government and charity sectors, and have produced brand and identity schemes for the British Government, CABE, Shelter, Christian Aid, Save the Children and the British Film Institute.
Yusaku Kamekura (1915-1997) was one of the pioneers of Japanese graphic design who was at the forefront in promoting graphic design as an essential factor of modern society, culture and art, and whose achievements helped to establish the reputation of Japanese graphic design internationally. His designs included a wide diversity of projects such as logos, packages, books, and page layout, but some of his most memorable achievements were in posters.
Aesthetically, Kamekura's style is characterised by powerful, clear-cut designs using abstract forms, planes, and lines, as well as photography. With colour, Kamekura favoured bright, mixed hues and only rarely used primary colours. His skilful use of black in the background, for the image or the title, gave his work strength and tranquility.
After his death in 1997, Japan Graphic Designers Association (JAGDA) honoured Kamekura in 1999 with a design award in his name, recognising him as a key leader of JAGDA and for his "profound influence on design both at home and abroad". The Yusaku Kamekura Design Award is offered to a Japanese or international designer "producing the most outstanding work of the year, regardless of age or career."
Mention to Jerry Kuyper that he's the Forrest Gump of design, and he laughs. But the comparison is spot on: From the very start of his career, he migrated from one significant school or firm to the next, landing at seminal moments. His timing would almost seem suspicious until you learn that there was no real master plan in place. He wasn't driven by ambition or anything else. He simply sought strong design experiences and showed up in the right place at the right time, time after time.
At each place, he played a part in pivotal projects. From each experience came life lessons that helped shape the rest of his career and that he passes on to other designers. (From the Jerry Kuyper article on LogoLounge.)
A graduate of Stanford University and Art Center College of Design, Lindon has received over 30 major design awards worldwide. His work has appeared in numerous publications and is included in the permanent collections of the Smithsonian Institution. He continues to lecture nationally on corporate identity and brand management topics. His design of the FedEx logo was recently cited by Rolling Stone Magazine as one of the 10 best American identities in the last 40 years.
As principal of Leader Creative, Lindon Leader brings over twenty years of experience in corporate communications to the inter-mountain west. Lindon began his career at Bass/Yager Associates, Los Angeles and served as Design Coordinator for the Los Angeles Olympic Organizing Committee. At Landor Associates (San Francisco), Lindon was responsible for broad ranging branding programs that included, among others, CIGNA, Dun & Bradstreet, Technicolor, Federal Express, Ryder Systems, DoubleTree Hotels, the Salt Lake 2002 Olympic Winter Games and Brazil’s Banco Bradesco S.A., the largest private bank in Latin America.
As Landor’s Director of Integrated Branding, Lindon was largely responsible for broadening Landor’s capabilities to include innovative change management expertise. From 1999 to 2001, Lindon was Executive Creative Director at Addison (San Francisco) where he led corporate identity assignments for Hawaiian Airlines, Intelsat and Progress Energy.
Raymond Loewy (November 5, 1893 - July 14, 1986) was one of the best known industrial designers of the 20th century. Born in France, he spent most of his professional career in the United States, where he influenced countless aspects of American life.
Loewy became a U.S. citizen in 1938. He married Viola Erickson in 1948. They had a daughter, Laurence. Laurence Loewy continues to manage her father's interests in the United States.
The 1971 Shell logo, which is still used today, was designed by Loewy, who also created logos for BP and Exxon.
Herb Lubalin's unique contribution to our times goes well beyond design in much the same way that his typographic innovations go beyond the twenty-six letters, ten numerals and the handful of punctuation marks that comprise our visual, literal vocabulary. Lubalin's imagination, sight and insight have erased boundaries and pushed back frontiers.
As an agency art director, he pushed beyond the established norm of copy-driven advertising and added a new dimension. As a publication designer, he pushed beyond the boundaries that constrained existing magazines—both in form and content. In fact, some said he had pushed beyond the boundaries of "good taste," though in retrospect that work is more notable today for its graphic excellence than for its purported prurience. Lubalin helped push back the boundaries of the impact and perception of design—from an ill-defined, narrowly recognized craft to a powerful communication medium that could put big, important ideas smack in the public eye.
Marcello Minale worked on branding, packaging, corporate identity and environmental design projects for major international companies including Nestle, Kodak, San Pellegrino, Armani, Express Dairies, Northern Foods and Nautor Swan. His experience in energy/transportation design includes work for Heathrow Express, BAA, French Rail, British Rail, London Transport, IP Italiana Petroli, Thai Oil, Caterpillar, Afrique, Marconi and Maser amongst others. He has also done design work for retail companies such as Harrods, House of Fraser and Oy Stockmann in Helsinki.
In 1988, Marcello Minale and Brian Tattersfield were awarded the President's Award from the D&AD for their outstanding contribution to British design. Their work was exhibited worldwide, the last time at the 1992 Internacional Bienale of Mexico City.
Marcello Minale published nine books on design. The most recent title is How to Design a Petrol Station. He is survived by his wife Roberta and by his three sons Marcello (pictured below), Manlio, and Massimo.
Per Mollerup born 1942 is Managing Director at Mollerup Designlab A/S in Denmark. He has written a number of books on design including: Marks of Excellence, The history and taxonomy of Trademarks, Phaidon, London 1997. Collapsibles, A design album of space saving objects, Thames & Hudson, London 2001. Wayshowing, A Guide to Environmental Signage, Principles & Practices, Baden CH, 2005.
Mollerup was the editor and publisher of Mobilia Design Magazine and Tools Design Journal before he founded Mollerup Designlab A/S, Designers & Consultants (www.mollerup-designlab.com). It is a Copenhagen based graphic design office that primary works with branding and information design. Way showing commissions include airports in Copenhagen, Oslo, and Sweden, as well as railways, hospitals, and museums.
He was rewarded with IG prisen, Danish Design Center’s price for graphic design, nine times between 1987 and 1998. He also received distinctions like the Knud V. Engelhardts Mindelegat, the Thorvald Bindesbøll Medal, the annual price of the association of Boghaandværk and the Danish-Swedish cultural price from the association Norden.
The renowned pioneer of graphic design in Iran, Momayez received the Art & Culture Award of Excellency from the president of Iran in 2004. Momayez introduced the Iranian graphic design to the world.
Morteza Momayez, born 1936, Tehran, died in 2005, Tehran, Iran.
Education: Graduated from Faculty of Fine Art, University of Tehran, 1964 / Ecole Nationale Superieur des Art Deco, 1968
Professional Activities: Teaches at Visual Communication department of Faculty of Fine Art, University of Tehran, 1969 / Art Director of Tehran International Film Festival, 1974 – 1978 / Art Director of Pars Studio, Ketab Hafteh weekly, Roudaki magazine, Farhang-o Zendeghi magazine, Kelk and Goft-o Gou quarterly and Payam-e Emrouz and Zaman magazines, 1952 – 1958 / President of Iranian Graphic Designers Society (IGDS), 1997 – 2003 / Vice-President of Iranian Artists Forum, 2003 / President of Tehran International Poster Biennial, 2004
Memberships: 1975, Alliance Graphique Internationale (AGI) / 1997, Iranian Graphic Designers Society (IGDS) / 2000, Iranian Academy of Art
Honours: 2001, Award for Toady Design Exhibition / 2004, Icograda Lifetime Achievement Award / 2004, Academy of Art Award
Established in 1991, Newlyn has maintained leadership of creative thinking within corporate and brand identity design. This position has been demonstrated with work for some of the worlds largest organisations across every continent.
Whilst focused on creation of image and its role in shaping culture, Miles Newlyn also speaks to audiences on branding and breaking the paradigm to build better markets.
Michael Peters' designs for supermarket packaging, airline identities, retailers, banks, and charities, have influenced us all for the last three decades. Seminal work in recent years includes new identities and packaging design for One 2 One, Aeroflot, Tesco, Icesave, and the new Wembley Stadium, with outstanding work also for Vodafone, NatWest, Ocean Spray, Planters, Reebok, Pernod Ricard, and Russian Standard.
Michael studied graphic design and typography at the London College of Printing. He later won a European scholarship to study at the School of Art and Architecture at Yale in the US, where he graduated with a Masters Degree in Fine Arts, studying under the famed Paul Rand and Josef Albers. He subsequently worked for CBS television in New York, before returning to London to set up the design department for the advertising agency Collett, Dickenson and Pearce.
In 1970, at the age of 29, Michael established his own company - Michael Peters and Partners - which revolutionized the role of packaging in the marketing of consumer products. In 1983, he changed the perceptions of design by leading the company onto the London Stock Exchange. By 1989 the company's annual turnover exceeded 45m, with clients including the BBC, British Airways, the Conservative Party, Redland, ITV, United Distillers and Unilever. From 1986, he became identity consultant to the Conservative party, working closely with Margaret Thatcher on British design initiatives. In November 1990 he was awarded the OBE (the Order of the British Empire) for his services to design and marketing. Two years later, in 1992, he founded The Identica Partnership which today consists of Identica and Tango.
Even after his death in 1996, Paul Rand remains one of the most famous graphic designers in the world. He was born Peretz Rosenbaum, on August 15th, 1914, and is renowned for his corporate logo designs.
Rand was educated at the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one of the originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in 1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inducted into the New York Art Directors Club Hall of Fame in 1972. He designed many posters and corporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer on November 26th, 1996, and is buried in Beth El Cemetery In Norwalk, CT.
Paula Scher studied at the Tyler School of Art in Philadelphia and began her graphic design career as a record cover art director at both Atlantic and CBS Records in the 1970s. In 1984 she co-founded Koppel & Scher, and in 1991 she joined Pentagram as a partner.
Paula has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a wide range of clients. Drawing from what Tom Wolfe has called the "big closet" of art and design history, classic and pop iconography, literature, music and film, Paula creates images that speak to contemporary audiences with emotional impact and appeal. Three decades into her career, these images have come to be visually identified with the cultural life of New York City.
Paula is a member of the Art Directors Club Hall of Fame and a past recipient of the Chrysler Award for Innovation in Design. She has served on the national board of the American Institute of Graphic Arts (AIGA), and in 2001 she was awarded the profession’s highest honor, the AIGA Medal, in recognition of her distinguished achievements and contributions to the field. She holds honorary doctorates from the Corcoran College of Art and Design and the Maryland Institute College of Art, and she is a member of the Alliance Graphique Internationale (AGI). She has served on the board of directors of The Public Theater, and in 2006 she was named to the Art Commission of the City of New York.
Prior to joining Siegel+Gale as Executive Creative Director, Sven Seger was a creative director at FutureBrand, New York, where he led multidisciplinary teams in the creation and implementation of major branding and design programs for corporations such as UPS, Samsung, Chase Manhattan Bank, Marriott, and Bacardi. Before that, Seger spent over five years at branding firm Enterprise IG, where as creative director he led visual system design for clients such as Arthur Andersen, Bank of America, Cardinal Health, and Oppenheimer Funds.
He began his career in the early 1990s as a designer in Hamburg, Germany, where he worked in several design firms. He achieved early fame by expressing the notion of democracy in his design of a new corporate identity for the unified German government.
Seger has lectured at the AIGA and several universities on the subject of branding and design. His work has been featured in numerous publications, such as Print Magazine, ID Magazine, and The New York Times. He studied architecture at the University of Fine Arts and received his Master’s Degree in graphic design from the International School of Graphik-Design Alsterdamm, both in Hamburg.
Anton Stankowski was born on 18 June 1906 in Gelsenkirchen, Germany. His most important teacher was Max Burchartz at the Folkwangschule in Essen, where — after completing an apprenticeship and his journeyman years as a decorative painter — he studied for three semesters, starting in 1926. After a short stint freelancing for the Canis Advertising Agency in Bochum, the 23-year-old Stankowski was invited toward the end of 1929 to work at Max Dalang’s famous advertising studio in Zurich. This marked the beginning of an important time: Stankowski’s photographic and typographical work developed into a prototype for a contemporary advertising style, later called "constructive graphics".
Stankowski quickly made friends with people who later became known as the "Zuricher Konkreten", Richard P. Lohse, Verena Loewensberg, Max Bill, and others. In 1934 Stankowski lost his work permit and he moved to Lörrach, Switzerland, before finally returning to Germany in 1938. In 1939 Stankowski founded his Grafische Atelier in Stuttgart. Shortly thereafter, he was drafted into the army and had to go to war. After the war, he connected with leading characters of the visual movement, such as Baumeister, Hugo Häring, Kurt Leonhard, Mia Seeger, Egon Eiermann, Max Bense, and Walter Cantz. Thanks in part to Stankowski’s work, Stuttgart became a Mecca for graphic design in the 1950s.
In 1972, Karl Duschek became a partner at in the Grafische Atelier, and important designs were developed for companies such as the Deutsche Bank and the Münchner Rück insurance company, for example. Increasingly, Stankowski concentrated upon painting, devoting himself to it completely until his death in 1998. During his lifetime, Stankowski received many honours, such as an honorary professorship from the State of Baden-Württemberg, the art prize from the City of Stuttgart, and, in the year of his death, the Ehrenpreis des Deutschen Künstlerbundes — the Harry Graf Kessler Prize — for his life’s work.
Henry Steiner is a world renowned graphic designer best known for his corporate identity designs. He has created designs for some of the most identifiable brands, such as IBM, Hyatt Regency, Hilton Hotels, Dow Jones, HSBC, Standard Chartered, Unilever, and was given the honor of designing the citys' bank notes by the Hong Kong government. Steiner was educated at the Sorbonne and at Yale (where he studied with Paul Rand). In 1964, he founded Steiner&Co., one of the world’s leading brand consultancies.
Henry Steiner pioneered the expression of identity through branding, particularly in Asia where his skill for incorporating Eastern cultural symbols into Western design has garnered international acclaim. Steiner was included in Icograda’s list of the Masters of the 20th Century in 2002, and was named a World Master by Idea magazine.
Born in Yorkshire in 1938, Brian Tattersfield is a graphic designer and founding partner of Minale Tattersfield. After studying under Bob Gill at the Royal College of Art, he entered the advertising business and was soon appointed as Art Director at Young & Rubicam. It was here that he first met Marcello Minale. In 1964 he and Minale founded Minale, Tattersfield & Partners, and quickly built a reputation as one of the most avant-garde design agencies in London. Their first high-profile project was to create Harrods' visual identity and other major projects were soon to follow.
Their client list grew to include the FA Premier League (1992) and the Sydney Olympic Games (1993). By the time Brian retired, the company had become a major international agency. He has served as an External Examiner with the Norwich School of Art and Design, and as a member of their Board of Governors.
In 2003 Brian Tattersfield was made an Honorary Doctor of Philosophy.
Roger van den Bergh has been designing corporate identity programs since finishing his design training in the Netherlands in the nineteen seventies. His body of work includes identity design programs for such companies as the New York Metropolitan Transportation Authority, The New York Municipal Arts Society, North Fork Bank, BellSouth Corporation, Continental Airlines, Shandong Airlines, Daewoo Motors, Semtech, Scios, Midwest Airlines, LeBoeuf Lamb Greene & MacRae, Eos Airlines, Scios Biopharmaceuticals, The Joint Commission, Transportation Alternatives, The Port Authority of New York & New Jersey, European University Institute and the Boeing Company.
He previously held senior creative positions at Landor Associates, Siegel & Gale, Anspach Grossman Portugal, Chermayeff & Geismar, where he personally created and implemented programs for British Petroleum (UK), USX Corporation (Pittsburgh, USA), National Australia Bank Australia (Melbourne, Australia), First National Bank of Southern Africa (Johannesburg, South Africa), Sonat Offshore Drilling (Birmingham, USA), and Banco de Bogota (Bogota, Colombia). Mr. van den Bergh’s work has been exhibited by the Stedelijk Museum in Amsterdam, the American Institute of Graphic Arts in New York, and the Society of Typographic Arts in Chicago (American Design Center). His work has also appeared in numerous magazines including "Industrial Design", "CA Magazine", "Logo Lounge", and "Aircraft Interiors International". He won several Red Dot Awards, both in the corporate identity and product design categories. Mr van den Bergh has been a member of the 2008 ReBrand 100 Jury.
Roger van den Bergh holds a BA degree in graphic design from the Royal College of Art in Breda, the Netherlands. In addition, he studied industrial design at the Academy for Industrial Design at Eindhoven, (now the Design Academy) in the Netherlands.
Massimo Vignelli, born in Milan, studied architecture in Milan and Venice. He came to the United States from 1957 to 1960 on fellowships from Towle Silversmiths in Massachusetts and the Institute of Design, Illinois Institute of Technology, Chicago. In 1960, with Lella Vignelli, he established the Vignelli Office of Design and Architecture in Milan.
In 1965, Massimo Vignelli became co-founder and design director of Unimark International Corporation. With Lella Vignelli, he established the offices of Vignelli Associates in 1971, and Vignelli Designs in 1978. His work includes graphic and corporate identity programs, publication designs, architectural graphics, and exhibition, interior, furniture, and consumer product designs for many leading American and European companies and institutions. Mr. Vignelli has had his work published and exhibited throughout the world and entered in the permanent collections of several museums; notably, the Museum of Modern Art, the Metropolitan Museum of Art, the Brooklyn Museum, and the Cooper-Hewitt Museum in New York; the Musee des Arts Decoratifs in Montreal; and the Die Neue Sammlung in Munich.
Mr. Vignelli has taught and lectured on design in the major cities and universities in the United States and abroad. He is a past president of the Alliance Graphique Internationale (AGl) and the American Institute of Graphic Arts (AlGA), a vice president of the Architectural League, and a member of the Industrial Designers Society of America (IDSA).
Two feature-length television programs on the Vignellis’ work have been aired worldwide. A monographic exhibition of the Vignellis’ work toured Europe between 1989 and 1993, and was featured in St. Petersburg, Moscow, Helsinki, London, Budapest, Barcelona, Copenhagen, Munich, Prague and Paris.
After training in architecture, working as a product designer, then as an interior designer and as a graphic designer, Michael Wolff decided it was time to start his own company. And in the autumn of 1964, he joined up with Wally Olins in Camden Town, London, and Wolff Olins was born.
Under Michael’s creative leadership, Wolff Olins became the foremost European company in ‘corporate identity’ — and one of the most effective branding companies in the world. Among their clients were Audi, Apple (the Beatles, not computers), P&O, Renault, 3i, Pilkington and Volkswagen.
He left Wolff Olins in1983 to lead the Addison design company. Clients there included London Underground, The high speed train in Spain, The Barcelona Olympic Games, BP, Jaguar and Shell Michael now runs Michael Wolff & Company in London, England.
Most recent clients have been and are 3i, Mothercare and the Ministry of Sound in the UK, and Citibank and Citigroup in the US.
A senior creative director with over twenty years of experience, Bob Wolf has helped to transform corporate America. He has built a reputation for providing innovative and enduring design solutions to complex business and marketing challenges for many of the world’s leading companies. The Bank of America, Gillette, Qwest, BellSouth, Lockheed Martin, Exxon, Komatsu, United Parcel Service, RJ Reynolds, Navistar, Unisys and the Ford Motor Company are among those who have benefited from his talents.
Currently, Bob is running his own consulting business. His recent clients include American Appraisal, Pershing LLC, CIT, Tengion, The Port Authority of NY & NJ, The Nick Currey Fund for Ewing’s Sarcoma and Monigle Associates. Recently, he was a partner with G2 Worldwide, an international brand development organization and one of the Grey Global Group’s fastest growing business units. He lead a creative group, helping established and emerging companies create and extend powerful brands. Before joining G2, Bob enjoyed a varied career with many leading NY design consultancies, including 15 years with one of the most innovative and respected, Enterprise IG (formerly Anspach Grossman Portugal) and five years with Landor Associates. Prior to that, he held design positions at the Schechter Group (now Interbrand) and Lippincott + Margulies (now Lippincott).
A graduate of The Cooper Union, Bob’s work has been honoured by many organisations. He has received numerous national and international awards including the AIGA, the Art Director’s Club, Clio, Graphis, ID Magazine’s Annual Design Review, Print and the Society of Typographic Arts. His work has been published in many internationally acclaimed books and publications, including a profile in Idea magazine.
"In 1966 I went to Mexico City with Peter Murdoch to participate in a competition to design the graphics for the 1968 Mexico Olympic Games. It was the beginning of an adventure that has continued to influence my work and my life. The Mexico68 logotype that I designed was instrumental in winning the competition. The resulting design program, a multidimensional integration of logos, typography and color, developed to communicate to a multilingual audience, was cited by Philip Meggs in the book "A History of Graphic Design" as "...one of the most successful in the evolution of visual identification..." The lessons from this program have been a constant guide to my work."
"I remember, in the early stages of designing of the Mexico Olympic program, a Swiss journalist commented that the Mexico68 logo didn’t work because it wasn’t very legible. It really frightened me but I knew what we had in mind and stuck with it."
Thanks for your visit.