GESCHICHTE

Transcription

GESCHICHTE

GESCHICHTE
VORSCHAU HERBST / WINTER 2015
DESIGN
K U N S T
UND
ARCHITEKTUR
EDITORIAL
01
Willkommen bei
Callisto Publishers!
—
Der Schwerpunkt unseres Verlagsprogramms liegt in diesem Jahr auf der faszinierenden Werbewelt und
dem Corporate Design zweier außergewöhnlicher Firmen: Canadian Pacific und Pan Am. In beiden Fällen
handelt es sich um Unternehmen mit einem einmaligen Business-Modell und weitreichendem Einfluss.
Canadian Pacific prägte das Image Kanadas im In- und Ausland mehr als jede andere Institution.
Marc H. Choko, Professor emeritus der Université du Québec in Montreal, recherchierte die Einzelheiten
der Unternehmensgeschichte. Der Beitrag von Pan Am zur Geschichte der kommerziellen Luftfahrt ist
allgemein bekannt. Wie ist es aber zu erklären, dass Name und Logo des Unternehmens ein Vierteljahrhundert nach dessen erschütternden Konkurs weiterhin weltbekannt sind und zudem noch Kultstatus
genießen? Um dieses Mysterium zu entschlüsseln, untersucht unsere neue Publikation systematisch die
Geschichte sowie die Werbestrategien und das Corporate Design der ehemaligen Fluggesellschaft.
Auch in Zukunft werden wir ausschließlich Bücher mit höchstem Anspruch an Inhalt, Gestaltung und Verarbeitung anbieten. Diese befassen sich mit Themen aus den Bereichen Design, Kunst und Architektur, die als
besonders interessant und attraktiv hervorstechen. Darüber hinaus wenden wir bei unserer Themenauswahl
das Kriterium an, dass die Inhalte eindeutig durch die Präsentation in einem gedruckten Buch an Wert
gewinnen müssen und nicht gleichermaßen durch ein elektronisches Medium dargestellt werden können.
Erfolgreiche zeitgenössische Gestaltung bedarf fundierter Kenntnisse der Trends und Methoden der Vergangenheit. Was hat sich nachhaltig bewährt, was nicht und aus welchem Grund? Unsere Bücher beantworten diese Fragen, indem sie anhand von ausgesuchten Gestaltungsbeispielen die zugrunde liegenden Strategien, das relevante Hintergrundwissen, die technischen Details und den Entstehungskontext aufzeigen. Dank
dieses Konzepts werden unsere Publikationen nicht nur von Designern, Künstlern und Architekten, sondern
gleichermaßen von Historikern, Studenten und Liebhabern hochwertiger Bücher geschätzt.
Unser Verlagsprogramm wird 2016 eine neue Ausrichtung nehmen und sich der Kunst und Architektur
widmen, wobei die Bücher die bekannten Qualitätsmerkmale beibehalten werden.
M AT T H I A S C . H Ü H N E , V E R L E G E R
02
C A L L I S T O P U B L I S H E R S V O R S C H A U H E R B S T / W I N T E R 2 0 1 5
03
I N H A LT S V ER ZEI CH N I S
Inhaltsverzeichnis
S TA N D A R D A U S G A B E
Canadian Pacific:
Creating a Brand,
Building a Nation
Pan Am:
History, Design
& Identity
Airline Visual Identity
1945 – 1975
S. 05
PREMIUM AUSGABE
IN SCHL AGK ASSET TE
S. 12
S. 17
PREMIUM AUSGABE
S. 24
Vor s chau
H e r b s t / W i n t e r
2015
S. 29
PREMIUM AUSGABE
S. 36
PREMIUM AUSGABE
S. 42
Canadian Pacific:
Creating a Brand, Building a Nation
04
C ANADIAN PACIFIC Creating a Brand, Building a Nation
Canadian
Pacific
05
S TA N D A R D AU S G A B E
Inhaltsverzeichnis
PREFACE
INTRODUCTION
BUILDING A NATION
TR ANS-CANADA UNLIMITED
THE WORLD IS YOURS
IMMIGR ATION AND
COLONIZATION
SEE THIS WORLD
BEFORE THE NEXT
CANADA FOR HOLIDAYS
A MANY-TENTACLED COMPANY
A MODERN CORPOR ATION
THE MAKING OF A
CANADIAN IMAGE
MAPS AND STATISTICS
APPENDIX
Titel – Canadian Pacific: Creating a Brand, Building a Nation
Autor – Marc H. Choko
ISBN – 978-3-9816550-4-9
Seitenzahl – 384
Format – 23.4 × 31.0 cm (9,2" x 12,2")
Erscheinungsdatum – November 2015
Verkaufspreis – C$ 80 / $ 70 / € 65
06
07
Canadian Pacific: Creating
a Brand, Building a Nation
—
Dieses Buch erzählt die einzigartige Geschichte einer privaten Eisenbahngesellschaft, die grundlegend zur
politischen Vereinigung Kanadas beigetragen hat und zur größten und vielseitigsten Reise- und Transportgruppe der Welt aufgestiegen ist.
Unmittelbar nach Fertigstellung der transkontinentalen Eisenbahnlinie im Jahr 1885 baute Canadian
Pacific eine Flotte zur Überquerung des Atlantischen sowie des Pazifischen Ozeans auf. Das Unternehmen
errichtete zahlreiche prachtvolle Hotels in ganz Kanada und avancierte zeitweilig zum größten Hotelbetreiber Nordamerikas und vielleicht der ganzen Welt. Darüber hinaus förderte der Konzern maßgeblich
CPR_Innen_Digitaldruck_Bildstand_30_06_2015_lvd_CS6.indd 39
01.07.15 13:40
die Einwanderung nach Kanada, übernahm eine Vorreiterrolle bei der Entwicklung der Tourismusindustrie
im eigenen Land und zählte zu den ersten Anbietern moderner Luxuskreuzfahrten auf den Weltmeeren.
A Modern Corporation
01.07.15 13:40
Canadian Pacific hat einen unentbehrlichen Beitrag zur Entstehung des modernen kanadischen Staates
geleistet. Wie keine andere Institution hat das Unternehmen die wirtschaftliche Entwicklung des Landes
beeinflusst und dessen Image weltweit geprägt.
Roger Couillard was born in Montreal on March 21, 1910. After
attending the École des beaux-arts de Montréal for one year, he
began a commercial practice for Salette et Fils, the Matou Botté,
and Ogilvy’s department stores. In 1935, the Institute of Foreign
Travel organized a poster competition on the theme “See Europe
next.” Couillard’s poster was among those chosen and exhibited
in Ogilvy’s.
By 1937, he had opened his own studio in Montreal under the
name Studio Coutrey. John Murray Gibbon, the company’s general
publicity agent, commissioned Couillard for a few posters, as did
the Canadian National Railways. During this period Couillard
also produced posters for the City of Montreal and the Province
of Quebec. In 1943, he joined the Royal Canadian Air Force. He
was granted leave periodically to work for the Ardeel Advertising
Agency, the firm that had the contract with the Department of
War for the Canadian war bonds publicity campaign. He created
half a dozen posters.
Fundierte Texte und Hunderte von größtenteils unveröffentlichten Fotos, Zeichnungen, Illustrationen,
After the war ended, most of his commissions were done for a
competitor of Canadian Pacific – Canadian Steamship Lines – but
he was involved in a number of Canadian Pacific advertising
campaigns, creating the “White Empress to Europe” poster in
1950, among others, executing some large maps for use in railway passenger coaches in the mid-1950s, and contributing to the
Canadian Pacific display in the railway pavilion at Toronto’s Canadian National Exhibition in 1948. He died in Sainte-Marguerite
on November 18, 1999.
Werbeanzeigen und historischen Dokumenten fassen die ersten hundert Jahre der Unternehmensgeschichte zusammen und erwecken die Ereignisse der Epoche 1880–1980 wieder zum Leben. Sie dokumentieren zugleich die farbenfrohe Welt der Werbe- und Branding-Strategien, die auf die verschiedenen ZielRoger Couillard
poster, c. 1954
gruppen von Canadian Pacific ausgerichtet waren: abenteuerlustige Reisende des späten 19. Jahrhunderts,
Roger Couillard
poster, 1955
306
potenzielle Einwanderer auf der Suche nach einem besseren Leben, Passagiere der exklusiven Kreuzfahrt-
schiffe der 1930er Jahre oder Flugzeugreisende der 1950er Jahre, um nur ein paar Beispiele zu nennen.
Mit Sorgfalt und Präzision wurde eine fesselnde Bildanordnung entwickelt, die den Text anschaulich
nuanciert und ergänzt, wobei das Bildmaterial kostspielig digitalisiert und überarbeitet wurde, um höchste Wiedergabequalität zu gewährleisten. Im Ergebnis ist ein Buch entstanden, das nicht nur durch seine
Schönheit besticht, sondern eine Hommage an eine der großartigsten unternehmerischen Leistungen der
Weltgeschichte darstellt.
01.07.15 13:50
01.07.15 18:42
01.07.15 18:42
08
C A L L I S T O P U B L I S H E R S 09
V O R S C H A U H E R B S T / W I N T E R 2 0 1 5
Immigration and Colonization
Brochure, c. 1918
On the right:
Brochure, c. 1920
On the bottom:
Brochure, c. 1913
Trans-Canada Unlimited
Anonymous
poster, c.1920
108
01.07.15 13:40
01.07.15 13:40
Place Viger Hotel, Montreal, c. 1910
On the right:
Vancouver Station and Coal Harbour,
c. 1901
FASTEST ACROSS THE CONTINENT
Completion of the transcontinental line was a spectacular accomplishment. “Throughout the Dominion, the day of departure
of this first transcontinental train was recognized as a red-letter
day in Canada,” trumpeted a company publication.21 Members of
the City Council of Montreal, the Victoria Rifles, and a large crowd,
all accompanied by the booming guns of a field battery, saluted
the departure from Dalhousie Station on June 28, 1886. It took
only five and a half days to reach Port Moody on the Pacific coast,
compared with weeks or even months of travel on bad roads
through southern Canada and the northern United States.
But to have the train run daily, safely, and with increasing speed
was another story. Even though most sections had been built to
the best standards possible in those days, some already needed
improvements and consolidation. Ballast had to be reinforced,
sleepers properly fixed, the wood beams of some bridges replaced
by iron ones, all materials upgraded, station facilities and repair
shops built, and so on. In 1889, there were 5,000 miles to maintain. By 1910, there were 10,000 miles, and in 1926, more than
20,000. The company’s 4,000 bridges were impressive feats of
engineering cutting through mountains and spanning rivers. The
Fraser Canyon, in the Coast Mountains, offered a breathtaking
experience. The amazing Spiral Tunnels, completed in 1909, in the
Kicking Horse River section of the Rockies between Lake Louise
and Field, are unique in North America. They were built in two
years by 1,000 men following the model of the St. Gotthard railway, built in 1881 in Switzerland. The tunnels were carved from the
rock so that they curved on themselves, with the exit much higher
than the entrance, allowing for a smoother elevation than the
original dangerous, 4.5-percent grade. And the Connaught Tunnel, in the Selkirk Mountains, was one of the longest in the world
when it was finished in 1916. Huge terminals comprised 314 miles
of tracks in Winnipeg, 247 in Montreal, and 52 in Vancouver. The
Angus Shops in Montreal was the company’s main repair facility;
it employed close to 8,000 men building and maintaining locomotives, as well as passenger and freight cars. Up to 2,500 men
worked at Weston Shops in Winnipeg, and 1,200 at Ogden Shops
in Calgary. Canadian Pacific started building some of its own
steam locomotives as early as 1883 and later built its own passenger cars.
The construction of Windsor Station and the company’s head office, located northwest of the downtown core of Montreal, was
completed in 1889; additions were made from 1900 to 1906, and
more extensive ones from 1909 to 1914. When it first opened, Van
Horne did not hesitate to declare on banners and billboards,
“Windsor Station beats all creation.”
In the eastern part of Montreal, the company built the Viger Hotel
and Station, completed in 1898. The new Vancouver Station, designed by Canadian architect Edward Maxwell (1867–1923),
opened its doors the same year. No posters or other advertisements are known to have been issued to glorify these buildings,
but one shows part of the main hall of Windsor Station as a
background to a good-looking lady traveller in the 1920s.
Early steam engines were not strong enough to pull the heavy
dining cars across the mountains. After a while, as can be seen
in an advertisement in The Canadian Pacific: The New Highway to
the East, a brochure published in 1889 by the company, travellers
could avail themselves of a dining car, but for most, these were
too expensive. The advertisement, aimed at “transcontinental
travellers,” asserted that the dining cars “excel in elegance of
design and furniture and in the quality of food and attendance”
and served imported wines of the finest quality, specially imported for the company.
By 1899, the Pacific Express, going westbound, and the Atlantic
Express, which stopped in Montreal going eastbound, were both
known as the Imperial Limited and advertised as “2906 miles in
100 hours.” They offered three classes to passengers. The cheapest cars, called colonist cars, had wooden benches and berths,
and pillows and curtains could be rented for the duration of the
journey. Second class did not offer much more comfort. But first
class was like a moving luxury home, with parlour, dining, and
sleeping cars equipped with bathrooms and toilets. They were of
such a high standard that many American tourists claimed that
the Canadian Pacific Railway cars far surpassed the legendary
Pullman cars.
success with Americans who did not agree with their country’s
restrictive social laws.22
Magazine ads, brochures, and posters glorified the Trans-Canada
Limited. In 1931, however, as a result of the Great Depression, the
service was cancelled.
The fastest trains at the time were not passenger trains but
freight trains, often referred to as “silk trains.” Silk imported
from Japan and China was of great value, a few million dollars
per transport, and was carried, along with other valuable commodities such as gold, in guarded trains that had priority on the
line. It is said that in January 1924 one of these trains went from
Vancouver to Prescott, Ontario, in about 81 hours, several hours
faster than the Trans-Canada Limited passenger train.
By the mid-1930s, speed was an established fact and times had
changed. The slogan “safety – comfort – economy” listed new
benefits, the last one not the least in those hard days.
The sudden surge of public interest in commercial art was reflected in the number of new publications that began to pop up.
Gebrauchsgraphik premiered in 1924 in Germany. Three years
later, International Advertising Art was added to the German title
(and the title was kept after the Second World War), and its distribution was expanded to the rest of Europe and to North America.
Poster and Publicity (later Modern Publicity) and Commercial Art
(later Commercial Art and Industry and Art and Industry) were
both issued in England, beginning in the mid-1920s.
Cisco Bridge, Fraser Canyon, c. 1895
On the top:
Oliver B. Buell, 1885 Eastern slope
of the Selkirks
In the introduction to the 1933–34 issue of Modern Publicity,
Canadian Pacific is acknowledged as an astute patron of graphic
artists: “A very high tribute must be paid both to the artists used
by the railway companies and some of the larger companies
which are, in a sense, national institutions in England, and to the
controllers of advertising who so effectively use them. We would
mention among the latter Mr. C. Dandridge of the L.N.E.R. [London
and North Eastern Railway], Mr. Grasemann of the Southern
Railway, Mr. G.W. Duncan of the London Passenger Transport
Board, Mr. J. Beddington of Shell-Mex (who had made an adventurous and very successful choice of artists), and Mr. C. Stokes of
the Canadian Pacific Railway.” The Technique of the Poster, written
by Leonard Richmond in 1933, not only featured a chapter by
Stokes on Canadian Pacific’s work but also included several of
the company’s posters.
To promote the quality of its train service and hotels, the company
paid the way in full for foreign journalists to visit. This is how
John Murray Gibbon, the company’s number one advertising agent
in London, ended up moving from England to Canada. Born in
Ceylon in 1875 to Scottish parents, he studied in Aberdeen and
Oxford before moving to London to work as a journalist for the
leftist newspaper Black and White. In 1907, Gibbon became the
company’s European advertising agent. One of his first missions
was to accompany twelve European newspaper editors on a train
journey across Canada. He enjoyed the trip so much that in 1913,
when Thomas Shaughnessy, president of the company, asked
him to move to Montreal to become its general publicity agent,
he jumped at the chance.
Having conducted a brief experiment with the concept in 1907,
the company launched an exceptionally fast and luxurious train
in 1919. The new Trans-Canada Limited was designed as an allsleeping-car train operating in the summer. It was advertised as
the fastest train across North America and as having the longest
route in the world of any all-sleeping-car train. Its level of service
was exceptional, its equipment the newest and best the railway
could supply. The 1920s were an increasingly prosperous decade,
and the popularity of the Trans-Canada Limited continued to
grow, not only for Canadians with the means to afford its level of
service but also for an increasing number of wealthy American
tourists who frequented this train. This was the period of Prohibition in the United States and a luxurious train serving excellent
food, high quality wines, and premium liquor was bound to be a
48
01.07.15 13:46
BROCHURES, POSTERS, AND TIMETABLES
Some of the posters produced in the 1920s were made in Canada.
Although the quality of the lithography is good, virtually nothing
is known about most of the artists or printers. But poster production increasingly drew on the resources of Canadian Pacific’s
London office and its European network. C. W. Stokes, the company’s director of publicity in London, commissioned some of the
best contemporary British designers to create poster art. Such
well-known artists as Alfred C. Leighton, Leonard Richmond,
Kenneth Shoesmith, and Tom Purvis helped bring this production
to the attention of the well-established and influential graphic
art magazines of the day. Canadian Pacific’s designs often graced
their pages and illustrated their articles.
49
01.07.15 13:41
01.07.15 13:41
01.07.15 13:42
The fleet expanded further after the company bought the Allan
Line in 1909 and added new ships, such as the Empress of France
in 1919 and the Empress of Scotland, the Empress of Canada, and
the Empress of Australia in 1922. Meanwhile, the fleet was reorganized, and its name was changed from Canadian Pacific Ocean
Services, under which it had operated since 1915, to the Canadian
Pacific Steamship Company in September 1921. Furthermore, the
Canadian Pacific Railway took direct control over the company,
which had been operating under separate management.26
With the fantastic expansion of the economy and of transatlantic
traffic during the second half of the 1920s, the Canadian Pacific
Railway launched a new generation of liners – the “newest and
largest” – in 1928–29, the Duchess of Bedford, the Duchess of
Atholl, the Duchess of York, and the Duchess of Richmond. In 1929,
the company’s fourteen passenger liners recorded 127 Atlantic
voyages.27 The transatlantic crossings were so wildly popular that
the company decided to order a ship that surpassed any ocean
liner ever seen. In 1931, three years after the ship was ordered
and in the middle of the Great Depression, the Empress of Britain
II was launched. Variously described as “Canada’s challenger,”
“a five-day Atlantic giantess,” “the world’s wondership,” the
Empress of Britain II became the company’s flagship, celebrated
like none other of its predecessors through varied and elaborate
advertising.
In some posters and brochures, the grandness of the Empress of
Britain II was emphasized through outsized views of its impressive bow; its pristine white hull always served as a strong focus.
The hulls of previous Canadian Pacific steamships had also been
painted all white, such as the Keewatin, on the Great Lakes, and
the Empress of Japan, on the Pacific. This gave rise to a major
marketing campaign around the “white empresses” of the seas as
a distinctive mark of the company, with the Empress of Britain II
being the key ambassador. The Empress of Britain II met a tragic
end about ten years later: After one hundred round trips on the
Atlantic and sixteen cruises, half of them around the world, the
01.07.15 18:40
01.07.15 13:52
Die Fotos, Zeichnungen und Illustrationen unserer Publikationen
wurden über Jahre hinweg in Museen, Unternehmensarchiven
und wichtigen Privatsammlungen ausgewählt, um unseren Lesern
das bestmögliche und aussagekräftigste Bildmaterial anzubieten.
Empress of Japan, c. 1900
On the top:
SS Parthia, 1887
01.07.15 13:52
01.07.15 13:46
10
Canada for Holidays
DISCOVERING NATURE AND WILDLIFE
From its earliest days, the company exploited the stunning
scenery of the Rockies, with its towering mountains and pristine
lakes. Climbing, riding, and hiking excursions were offered to
wealthy hotel guests. Specially designed buses drove them
around to admire the landscapes, allowing them to preserve
their energy for the organized activities. Two clubs – the Trail
Riders of the Canadian Rockies, at Yoho Valley Camp, founded in
July 1924, and the Sky Line Trail Hikers, founded in 1933 – were
very active in the 1930s. They were founded with the sponsorship
of the company and the enthusiastic participation of its publicity
man, raconteur, and organizer of numerous folk and handicraft
festivals, John Murray Gibbon. The group’s secretary was located
in Canadian Pacific’s headquarters in Montreal.
Climbing in the Rockies
On the top:
Devil’s Gap Camp at
Kenora, Ontario, c. 1925
Canada for Holidays
New customers could be attracted as a middle class started to
develop in Canada and the United States. Of course, there was a
desire to imitate the wealthier travellers, even if they did not have
the financial means to offer their family a lengthy stay in one of
the châteaux. The company soon seized this new market by developing a series of resorts and bungalow camps offering more
affordable accommodations in the heart of Canadian nature.
Canoeing, sailing, fishing, and hunting became popular attractions to thousands of new middle-class tourists housed in eleven
camps completed by 1927: three in Ontario, at French River,
Nipigon, and Kenora; five in the Rocky Mountains, at Moraine
Lake, Lake O’Hara, Lake Windermere, the Yoho Valley, and Wapta
Lake; and the remaining three along the Banff–Windermere
Road. The bungalow camps were operated by leaseholders.40
Vast publicity campaigns were formulated for these camps,
mainly through brochures, and it is quite interesting to analyze
the images on their covers. The graphic and printing quality is
fairly high. The designs, in art deco-style, are not innovative, but
they are well executed. The accent is generally put on the different activities, but some illustrations feature formally dressed
characters – rather awkward garb for a holiday stay in a bungalow camp. The idea was probably to give people a sense of being
upper-class should they decide to visit even these less-costly
places. Resorts in Quebec were also advertised, even though the
company did not own any in the province. The idea was to encourage customers to take the train, or even a steamship, to these
destinations.
Advertisement, 1927
of the early 1930s was the direct reason for the Exhibits Branch
entering the field of reproduction.”
Much of the silkscreen printing had to be done by hand, which
was not a problem during the Depression. In those days, companies did not immediately fire employees when activities diminished. The technique did not require long training for those in
charge, nor did it necessitate sophisticated, expensive equipment. The process from design to final product was quick, because
preparation was minimal. Text, parts of the illustrations, and
prices could be easily modified at any stage of the printing process at no extra cost. All that was needed were a few frames, on
which a fine silk mesh was stretched, some resin to block off
areas of the screens, paint, a squeegee, and paper. Areas of the
screens could be blocked any number of ways, including by hand
techniques or photographic processes, thus allowing for a variety
of artistic treatments, as well as photomontage.
The first Canadian Pacific posters were reportedly printed with
heavy oil paint in runs of twenty-five. But the technique was
abandoned rapidly in favour of lighter-textured paint treatments.
In addition to using solid colours, the artists and printers experimented with different grains, shades, and graduated colours.
New effects were sometimes created by airbrushing parts of a
poster or by introducing more colour on one side of the silkscreen squeegee than on the other.
By 1940, the poster runs were about 650 copies on average, and
the posters were often printed in six or more colours. The serigraphic process was fully adaptable to the company’s needs,
allowing for limited runs; alternate text for rates, dates, or destination changes; and multiple languages. Furthermore, serigraphy
was only about a third the cost of lithography.42
The graphic designers commissioned to create the poster designs
were mainly local freelance commercial artists supplementing
their other artistic endeavours. Artists such as Thomas Hall,
James Crockart, and – above all – Norman Fraser were the most
productive designers for Canadian Pacific in the 1930s. Both
original designs and adaptations from lithographed posters
were used in serigraphy.
Advertisement, 1923
On the left:
Advertisement, 1929
Although brochures were the main vehicle for advertising hotels,
bungalow camps, and the various outdoor activities offered by the
company in the 1920s, things changed after Canadian Pacific’s
silkscreen printing studio was established. The Exhibits Branch
of the Department of Immigration and Colonization, under Ed
T. Noltie, was responsible for all production, with Ernest W.
Scroggie acting as art director and James Ridge heading the
workshop. In a 1938 issue of Canadian Transportation,41 the decision of Canadian Pacific to use serigraphy to print the vast
majority of its posters is clearly stated: “The business recession
216
1924–25, Barott and Blackader was in charge of designing the
new Chateau Lake Louise. Van Horne’s first vision of the onestorey log cabin built on the shore of Lake Louise in 1890 was “a
hotel for outdoor adventurers and alpinists,” proclaimed some
period advertisements. Barott and Blackader was asked to design a much more impressive building; when it was completed,
Chateau Lake Louise comprised 386 rooms and was, according to
the company’s Department of Public Relations, “enhanced by
what many believe to be the most beautiful scenery in the
world.”38 Most beautiful or not, the Chateau Lake Louise was
celebrated by stars, famous artists, royalty, and the fabulously
wealthy. The hotel and its surroundings served as the backdrop
for early movies, and some dubbed it Hollywood North.
The general idea was to offer elegant rooms and high-quality
service throughout Canada, so that tourists could visit all the most
interesting places, whether in bustling cities, wild country, or on
the seashore, without stepping off Canadian Pacific Railway
properties. The first Hotel Vancouver, built of wood, had opened in
1887. The second one, a larger and more comfortable brick edifice,
was erected in 1915 and later expanded. It served as the centre of
the city’s social and business life. A third Hotel Vancouver, with
560 rooms in a luxurious white stone building, operated jointly
by the Canadian Pacific Railway and the Canadian National Railway, was built in 1939.
Sicamous Hotel, c. 1905
On the top left:
A.B. Thom, Hotel
Vancouver, c. 1888
On the top right:
Digby Pines Hotel,
c. 1950
A major addition to the company’s west coast hotel offerings
was the Empress Hotel, opened in Victoria in January 1908. New
wings were added, the last in 1929, for a total of 573 rooms overlooking Victoria’s harbour, surrounded by luxurious gardens and
a golf course. To attract tourists all year, an advertising campaign
was launched in 1931, selling the company’s west coast hotels
as “Canada’s evergreen playground.” Promoting this image of
Canada was of great importance, because it was thought of
mainly as a winter destination. An ad from the late 1930s even
claimed that visitors could “golf every day of the year.” Golf had
become an important summer attraction for wealthy Americans
starting in the 1920s.
Between the two coasts, Canadian Pacific erected hotels in
Canada’s main cities. The Royal Alexandra Hotel in Winnipeg,
Manitoba, was completed in 1906, with substantial additions
made in 1914 to raise its total number of rooms to 445. In downtown Calgary, Alberta, the Hotel Palliser opened in June 1914.
Two storeys were added in 1929 for a total of 489 rooms. Two
years before, the Hotel Saskatchewan had been erected in downtown Regina, boasting 268 rooms with a commanding view of
parks and planted boulevards. But the most imposing construction of all was yet to come. On June 11, 1929, the company opened
the Royal York Hotel, “the largest hotel in the British Empire,” in
Toronto, Ontario. This art deco-style complex, located opposite
Toronto’s Union Station and with a view of Lake Ontario offered
1,156 rooms and a convention centre.
To entertain customers, the company organized and sponsored
golf tournaments, concerts, ski lessons and competitions, along
with folkdance and folksong festivals. But the most advertised
and popular event by far was its Indian Days. According to the
company’s Department of Public Relations, Indian Days at Banff,
during the later part of July of each year from 1925 to 1939,
constituted one of the most colourful events in the Canadian
Rockies. Some three to four hundred Stoney Indians from the
nearby Morley Reserve converged on Banff to display their tribal
sports.39
Canadian Pacific presidents Thomas George Shaughnessy, who
organized the company’s hotel operations in a distinct hotel
department in 1905, and Edward Wentworth Beatty were key to
this aggressive hotel-expansion strategy. The company could
now claim to be not only the biggest railway operator in North
America but also the biggest hotel company in Canada – and
possibly in the world.
Empress Hotel, Victoria,
British Columbia c. 1925
On the top:
Nicholas Morant, Banff
Springs Hotel, 1951
At the other end of the country, the company acquired the
Algonquin Hotel in St. Andrews, New Brunswick, in 1905. The old
wooden structure, built in 1889, was restored and greatly expanded and modernized in 1908 according to Walter S. Painter’s
design. It was destroyed by fire and rebuilt in 1914–15. The 230room hotel immediately became well known as the first Canadian
seaside destination and for its saltwater spas. A golf course was
added, and its well-heeled customers quickly gave it an international reputation. Here too, in this friendly east coast area, the
company decided to expand its offerings after the end of the First
World War. It acquired the Digby Pines Hotel in Digby, Nova
Scotia, in 1919. Again, the wooden building dating from 1905
was renovated, and it was totally rebuilt in 1929. The new resort
offered 189 rooms and thirty-one cottages with a fantastic view
of the ocean, as well as a championship golf course and a spa.
A Modern Corporation
170
01.07.15 13:51
171
217
21.07.15 16:36
01.07.15 13:48
01.07.15 13:48
01.07.15 13:49
See This World before the Next
01.07.15 13:52
Die international anerkannten Designer, die unsere Bücher
entwerfen, arbeiten auch im Auftrag bekannter Künstler, Museen,
Kunstgalerien und Verlagshäuser weltweit.
Ship entertainment programs, 1956
Advertisements, 1927
Peter Ewart
poster, 1952
Anonymous
poster, c. 1930
126
287
01.07.15 13:47
01.07.15 13:47
Peter Ewart
poster, c.1952
296
01.07.15 18:40
01.07.15 18:40
21.07.15 16:36
12
PREMIUMAUSGABE
IN HANDGEFERTIGTER
SCHL AGK ASSET TE
Titel – Canadian Pacific: Creating a Brand, Building a Nation
Autor – Marc H. Choko
ISBN – 978-3-9816550-3-2
Seitenzahl – 384
Format – 31 × 41 cm (12,2" × 16,1")
Erscheinungsdatum – April 2016
Verkaufspreis – C$ 720 / $ 600 / € 575
Die handgefertigte, partiell mit Holz furnierte Schlagkassette dieser großformatigen und
aufwendigen Ausgabe von Canadian Pacific – Creating a Brand, Building a Nation symbolisiert die
Schönheit der Natur Kanadas.
13
14
Bei der Premiumausgabe wurde zusätzlicher Wert auf die originalgetreue Farbwiedergabe gelegt.
Hierzu wurden spezielle Pantone-Farben verwendet (unter anderem Gold und Silber), um die schon äußerst anspruchsvolle Qualität der Standardausgabe noch zu übertreffen.
Überdies enthält die Premiumausgabe mehr Illustrationen als die Standardausgabe.
15
Pan Am:
History, Design & Identity
16
17
PA N A M His tor y, D esign & I denti t y
Pan Am
Inhaltsverzeichnis
THE BEGINNINGS
THE CARIBBEAN, MEXICO
AND SOUTH AMERICA
AL ASK A
CHINA
CONQUERING THE PACIFIC
ACROSS THE ATL ANTIC
AND WORLD WAR II
RECONNECTING
THE WORLD
A MULTIFACETED PIONEER
A NEW LOOK FOR THE
JET AGE
THE 747
DECLINE
MAPS AND STATISTICS
APPENDIX
Titel – Pan Am: History, Design & Identity
Autor – M.C. Hühne
ISBN – 978-3-9816550-6-3
Seitenzahl – 384
Format – 23.4 × 31.0 cm (9,2" x 12,2")
Verkaufspreis – $ 70 / € 65
18
Pan Am:
History, Design & Identity
—
Dieses Buch erzählt die spannende Geschichte einer Fluggesellschaft, die nichts für unmöglich gehalten
und trotz vielfältiger technischer, politischer und organisatorischer Schwierigkeiten im Alleingang die zivile
Luftfahrt revolutioniert hat.
Nach bescheidenen Anfängen in den späten 1920er Jahren entwickelte sich Pan Am schnell zur bekanntesten Airline der Welt und zu einem Symbol der Werte Amerikas. Wie keine andere Fluggesellschaft hat
Pan Am die Entwicklung des Flugreisens geprägt. Dabei fand das Unternehmen immer wieder Lösungen für
Probleme, die zuvor als unlösbar galten. Ihren raschen Aufschwung verdankte die Airline auch einer effektiven Imagepflege und Werbekampagnen von hervorragender Qualität.
Dieses Buch versetzt den Leser in die exklusive Welt der frühen Luftfahrt und in das Zeitalter der
Düsenflugzeuge, als das Flugreisen für jedermann bezahlbar und zum Massenphänomen wurde. Der blaue
Globus, das Mitte der 1950er Jahre entwickelte, weltweit bekannte Firmenlogo, wurde zum Mythos und
bleibt bis zum heutigen Tage Teil unseres kollektiven Gedächtnisses.
Der Autor untersucht die erstaunliche Komplexität des Unternehmens und die vielschichtige Persönlichkeit ihres Gründers, Juan Trippe. Es werden aber ebenso unbekanntere Kapitel der Pan Am-Geschichte
erläutert wie der Aufbau von Chinas größter Airline sowie die Vorreiterrolle Trippes bei der Entstehung
globaler Hotelketten. Pan Am gründete die berühmte InterConti Marke und baute diese bis zum Verkauf im
Jahr 1981 zu einer der führenden, weltweit tätigen Hotelgruppen aus. Vor allem aber war InterContinental
Pionier einer komplexen Architektur- und Designphilosophie die neue Maßstäbe in der internationalen
Hotellerie gesetzt hat.
Die zahlreichen, zumeist bisher unveröffentlichten Abbildungen wurden mit genauso großer Sorgfalt
wie der Text recherchiert. Entstanden ist eine Dokumentation der atemberaubenden Geschichte und
visuellen Welt eines der bedeutendsten Unternehmen des 20. Jahrhunderts. Selbstverständlich wurde auch
für dieses Buch das Bildmaterial mit Bedachtsamkeit digitalisiert und überarbeitet, um eine bestmögliche
Reproduktion aller Originale zu erreichen.
19
20
21
Die harmonische Kombination von Text und Bild, die
unsere Bücher kennzeichnet, ist das Ergebnis der engen
Zusammenarbeit zwischen Autoren, Verlag und Designern. Das ausgewogene Layout und die Wechselwirkung
zwischen Text und Bild ermöglichen dem Leser eine intuitive Erfassung der dargestellten Thematik.
22
23
Unsere Publikationen des Jahres 2015 zählen zu den aufwendigsten
Abhandlungen über Corporate Design, Werbestrategien und Markenidentität, die jemals zur Darstellung einzelner Firmengeschichten
veröffentlicht wurden.
24
PREMIUMAUSGABE
IN HANDGEFERTIGTER
SCHL AGK ASSET TE
Titel – Pan Am: History, Design & Identity
ISBN – 978-3-9816550-5-6
Seitenzahl – 384
Format – 31 × 41 cm (12,2" × 16,1")
Die handgefertigte Schlagkassette aus blauem Acrylglas dieser großformatigen und aufwendigen
Ausgabe von Pan Am – History, Design & Identity erinnert an den Markenauftritt der Airline.
25
26
Bei der Premiumausgabe wurde zusätzlicher Wert auf die originalgetreue Farbwiedergabe gelegt.
Hierzu wurden spezielle Pantone-Farben verwendet (unter anderem Gold und Silber), um die bereits
äußerst anspruchsvolle Qualität der Standardausgabe noch zu übertreffen.
Darüber hinaus enthält die Premiumausgabe zusätzliches Bildmaterial.
27
Airline Visual Identity 1945 – 1975
28
29
AIRLINE VISUAL IDENTIT Y 1945 – 1975
Airline
Visual Identity
1945 – 1 975
Inhaltsverzeichnis
PREFACE
INTRODUCTION
PAN AM
TWA
UNITED AIRLINES
CONTINENTAL AIRLINES
AMERICAN AIRLINES
BR ANIFF INTERNATIONAL
CANADIAN PACIFIC AIRLINES
JAPAN AIR LINES
AEROFLOT
SWISSAIR
AIR FR ANCE
LUFTHANSA
BRITISH AIRWAYS
MAPS AND STATISTICS
APPENDIX
Titel – Airline Visual Identity 1945 – 1 975
ISBN – 978-3-9816550-1-8
Seitenzahl – 384
Format – 23.4 × 31.0 cm (9,2" x 12,2")
30
Airline Visual Identity
1945 – 1975
—
Der Erfolg der Premiumausgabe von Airline Visual Identity 1945–1975 hat uns dazu veranlasst, eine
Standardausgabe in kleinerem Format herauszugeben. Diese wird zu einem günstigeren Preis angeboten,
enthält dennoch denselben Text und fast alle Abbildungen der Originalausgabe.
Boeing 707
Livery displaying the initial
logo design, not executed
Boeing 707
American Airlines livery, 1968
Airline_001_016.indd 2
25.03.14 09:53
Airline_001_016.indd 3
25.03.14 09:53
Der Band nimmt das Werk von angesehenen Designern und Pionieren der Werbeindustrie unter die
Lupe und begleitet den Leser auf eine Reise in die Vergangenheit, um die glamourösen Zeiten der Luftfahrt
nachzuerleben. Dabei werden die besten Exemplare der Werbekunst aus dieser Epoche präsentiert, die
den Eindruck eines Museumsrundgangs hervorrufen.
Airline_final_18_12.indd 151
19.12.13 17:11
In 1967, two developments led to a critical review of
American’s appearance. The airline had committed to buy
a large fleet of wide-body jets and was competing for
government approval to fly routes across the Pacific. Jack
Mullins, American’s senior vice president of marketing, recalled: “Our old international orange markings seemed
awfully tired to many of us. Almost everyone wanted
something that would wave the flag to go with our new
routes and planes.” The airline consulted its advertising
agency at the time, Doyle Dane Bernbach, which agreed
and recommended hiring a top industrial designer. The
airline turned to the highly regarded Henry Dreyfuss
(1904–1972), who had worked successfully for American
Airlines on various previous assignments.
Eine Reihe von zuverlässig recherchierten Fallstudien für jede der dreizehn großen Airlines begleitet
die fantastischen Abbildungen. Diese Beispiele geben dem Betrachter einen einzigartigen Einblick in die
Design- und Werbemethoden der Fluggesellschaften zu einer Zeit, als das Airline Business als das glanz-
vollste Geschäftsfeld überhaupt galt und Qualität das Hauptkriterium der Kunden bei der Auswahl eines
Fluges war. Die Grafikdesigns in diesem Buch wurden von den kreativsten Köpfen der damaligen WerbeDreyfuss suggested a different design approach according
to the then still relatively new principles of modern cor-
porate identity. He introduced Unimark International, an
welt konzipiert, dazu gehören Ivan Chermayeff, Otl Aicher, Massimo Vignelli, der Gewinner des Academy
early specialist in designing corporate identity systems.
Founded in 1965, Unimark International had expanded
Award Saul Bass oder die Werbetitanin Mary Wells Lawrence. Anhand dieser Produktionen wird eine
with breathtaking pace to become the world’s largest design firm in only a few years, with offices around the world
and clients such as Gillette, Jaguar, Knoll International,
Entwicklung veranschaulicht die maßgeblich für die 60er Jahre war, und zwar der Übergang von traditioUnilever, IBM, and Ford. The firm had a major influence on
the direction of Western design aesthetics and was a leader
nellen Verfahren des Corporate Design und der Reklame hin zum hochkomplexen modernen Aufbau
in establishing the modernist theoretical framework for
einer Markenidentität.
corporate design that is still widely followed today.
In 1968, Unimark, under the direction of founding partner
Massimo Vignelli, created a new identity program for
American Airlines. According to Vignelli, “Our approach
was not styling but a reductionist approach based on the
notion of timelessness.” Red, blue, and white were chosen
as the signature colors to fulfill American’s wish to be
seen as a carrier representing the United States on its new
international routes. White was used as the background
color. A new logo was developed, consisting of the corporate name in Helvetica typeface and separated only by the
colors red for “American” and blue for “Airlines.” Vignelli
also created a secondary symbol: a double A applying the
same red and blue color scheme.
In 1971, having acquired new routes to destinations in the
Caribbean with the purchase of Trans Caribbean Airways,
American launched the “Endless Summer” campaign promoting vacation packages to exotic locations. The name
of the campaign referred to the 1966 cult movie about
two young surfers travelling the world on commercial
airlines on a quest to find the “perfect wave.” The early
1970s marked the beginning of mass tourism by air, and
American Airlines anticipated many first-time flyers. Special economy fares and “fly now, pay later” plans enticed
vacationers to fly to the beaches of their dreams.
With the deep blue background and the names of “Endless Summer” destinations colored in shades of red and
orange, lined up to symbolize the summer sun, this poster
modifies American Airlines’ corporate colors in a way that
instantly transmits the notion of summer and vacation.
Sketches of the new design were circulated within the airline. The purely typographic secondary symbol without the
eagle that had been part of the airline’s logo for decades
met considerable resistance. Airline employees reacted
by launching a “Save the Eagle” campaign, but Vignelli
refused to change his design. Meanwhile, the airline’s
management felt there was no use risking a full-scale revolution and asked Dreyfuss, who also considered the bird
symbol an anachronism, to devise a way to keep the eagle.
Advertisement, 1971
Anonymous
American Airlines – Endless Summer
Offset photolithograph, 1971
172
19.12.13 17:14
15.07.15 10:19
157
25.02.14 11:21
15.07.15 10:19
32
David Klein
TWA – Africa
Lithograph, c. 1967
David Klein
TWA – California
Lithograph, c. 1967
80
Saul Bass and his team, working
on the new United Airlines identity
07.01.14 12:43
19.12.13 16:34
15.07.15 10:19
The program that was developed consisted of four basic
elements. First was the creation of a distinctive “flying U”
symbol based on the first letter of the company name. The
second introduced a new font for the logotype “United.”
Third, orange was added to the airline’s traditional red
and blue color scheme, partly to distinguish it from the
red, white, and blue of many other airlines and partly to
add a touch of warmth and friendliness. Finally, Bass simplified United’s signature by changing the name from
United Air Lines to United Airlines, to match the way it
was spoken.
Patterson served as CEO of United until his retirement in
1965, by which time United had grown into one of the
world’s largest airlines, second only to Aeroflot. He conceived the “Rule of Five” – Safety, Passenger Comfort,
Dependability, Honesty, and Sincerity – as part of his efforts
to mold the character of the company. In terms of United’s
appearance, these characteristics inspired a palate of conservative color schemes and symbols, creating a reassuring
environment for passengers. United’s logo was a shield, a
symbol for safety and protection. It was initially designed
in 1939 employing the traditional color combination of
red, white and blue, and later updated in 1954. United’s
aircraft livery was dominated by white and dark blue, with
red and blue stripes on the vertical stabilizers and the
logo positioned near the front of the aircraft. The lower
section of the fuselage was polished steel or aluminum.
Alle Abbildungen in unseren Büchern wurden mit neu-
ester Technologie digitalisiert, um die lebhaften Farben
und die kleinsten Details derForOriginale
wiederzugeben.
the aircraft themselves,
Bass acknowledged that stripes
had become clichéd but nevertheless decided to retain
them, though in a different confi
guration. He explained:
Altersspuren und Abnutzungserscheinungen
wurden
“Before dismissing a cliché you have to ask why it was
in the
firstIllustrationen
place. If you find thatmit
ingredient and
digital restauriert, damit dergood
Leser
die
figure out a way to refresh it, then you have something
verykann
effective.wie
The original
value of stripes lay in their abilder gleichen Freude genießen
das damalige
Publikum.
Saul Bass and Associates
United Airlines
Offset photolithograph, 1974
ity to diminish the messy ‘dots’ created by the windows.
And, more importantly, to convey a strong feeling of
forward motion, reinforcing the aerodynamic look of the
plane.” The team developed a set of clean, modern stripes
based on the new corporate colors, highlighted by using a
very bright white for the base color. Bass called it “Cape
Canaveral white” and stated, “We were saying in effect
that the plane should have the pristine, advanced look
that people associate with the Apollo moon shots. They
should look like pre projectiles.”
The airline’s management and the UAL Board of Directors
approved the new identity program. To reduce the costs of
conversion, it was implemented over a three-year phased
introduction, beginning in September of 1974, based on
normal maintenance schedules for aircraft and technical
120until
equipment. Bass’ identity program remained in place
1993. Despite substantial modifications that took place
in 1993 and again in subsequent years, the “flying U” remained an integral part of United’s visual identity until its
merger with Continental Airlines in 2010.
Advertisements, c. 1951
A comprehensive Graphic
Standards Manual was developed
by Saul Bass & Associates, and
later expanded by United to
include virtually every application,
encompassing more than 1,800
items ranging from aircraft to food
service material, from terminal
facilities to boarding passes.
15.07.15 10:19
19.12.13 16:36
15.07.15 10:19
34
Advertisement, November 1965,
launching the End of
the plain plane campaign
On the right:
Advertisements, 1965
Pantone
812c, 2x
804c
806c
Aldo Cosomati (1895–1977) designed a series of BOAC
posters in the early 1950s. Born in Italy, Cosomati studied
drawing, printing, bookbinding, and furniture design in
Zurich before moving to London after World War I. As a
commercial artist, he produced numerous posters for the
London Underground and was closely associated with the
‘design revolution’ unleashed by Harold Curwen and the
Curwen Press. For the BOAC posters, Cosomati chose one
characteristic person or situation that symbolized in a
humorous manner the country represented by the poster.
For example, a London guard being distracted by a black
bird evokes Britain; a dancer in a native dress characterizes South Africa; and a pompous and colorful gondolier
waiting for clients symbolizes Italy.
Aldo Cosomati
Fly BOAC – To All Six Continents
Silkscreen, 1953
Aldo Cosomati
Fly BOAC – Italy
Silkscreen, 1953
Aldo Cosomati
Fly BOAC – South Africa
Silkscreen, 1953
390
The central government’s emphasis on flight as a preferred
form of civilian transportation was backed by advertising.
Of course, advertising in the former Soviet Union had parameters quite different from those in non-socialist countries. While large organizations such as Aeroflot often had
their own advertising departments, advertising itself was a
highly regulated matter, supervised by a central organization called the Inter-Departmental Council on Advertising,
which in turn reported to the relevant ministries. Moreover, advertising periodically did not enjoy high priority
within the Socialist system of government, and there were
debates whether a centrally planned economy like the
Soviet one needed any domestic advertising at all. Precedence was given to Soviet propaganda, and governmental
propaganda departments hired the best graphic designers
and advertising experts, draining commercial advertising
of strong professional groups. By the early 1950s, commercial advertising had drastically declined, and focused
mostly on the sale of Soviet foreign trade goods, which
always enjoyed priority.
The subject of advertising, including domestic consumer
advertising, was given renewed attention in the mid1950s, but it was not until the early 1960s that these
changes became clearly visible. This trajectory can be observed in the quality of Aeroflot’s advertising designs of
the 1950s, which were considered sub-standard by contemporaries, and by contrast, the highly attractive designs
created in the 1960s.
15.07.15 10:19
The mid-1950s were a dividing line, yielding new governmental priorities and artistic positions. Joseph Stalin had
died in 1953, and the country was in the process of overcoming the consequences of the personality cult of his era.
In 1955, the Central Committee of the Communist Party of
the Soviet Union adopted a “Decree on Eliminating Design
and Construction Excesses.” Urging simplicity and strictness of form, as well as economy, the demands of the
Decree gradually led to the assumption of new artistic criteria by designers, architects, and artists.
advertisement: “First, to educate people’s tastes, develop
their requirements (potrebnosti) and, thus, actively form
demand (spros) for goods; second, to help the consumer
by giving him information about the most rational forms
of consumption.”
Boeing 707
Braniff International colors, 1965
As a result of these developments, artists of all backgrounds – painters, architects, applied arts experts, and
even sculptors – began to converge on what promised to
be a productive new phase of commercial design. It was
not until the early 1960s that this heterogeneous group
had acquired a satisfactory level of common aims and
unity of methodological principles.
Lawrence recognized that the airline had an excellent
route network and sound operational infrastructure but
was virtually unknown. He wanted to make Braniff an
industry leader and, as part of his plan, introduce an entirely new corporate identity that would make instant,
nationwide headlines. At Continental Airlines, Lawrence
had worked with Jack Tinker & Partners, a New York advertising group that attracted some of the best marketing
talent of the 1960s. Prior to starting his new position at
Braniff, Lawrence informed Mary Wells, team leader for
Tinker’s Continental Airlines account, about his plans and
asked if the agency could come up with a “big idea” to
boost Braniff’s presence.
In Aeroflot’s domestic advertising of the 1960s, the new
language of Soviet graphic design is clearly visible. The
posters, booklets, and leaflets of this period display an
array of bright colors, attractive, generalized silhouettes,
and pictograms. They highlighted air transport as a symbol of progress and called attention to the significant
timesaving quality of air travel, a persuasive argument in
view of the Soviet Union’s enormous geographic size.
As a further incentive for growth, civil aviation was highly
subsidized, allowing for very affordable rates that were
frequently lower than the cost of ground transportation.
Travelling on a domestic Aeroflot flight became almost as
routine as taking a public bus.
In 1965, charismatic young Mary Wells (1928– ) had already established a reputation as a highly resourceful creative mind, successfully directing several campaigns while
working for Doyle Dane Bernbach and then Jack Tinker &
Partners, but she was still at the beginning of what would
become one of the most exceptional careers in the history
of advertising.
190
In terms of corporate design, Aeroflot employed a symbol
clearly identifying it as the flag carrier of the Soviet Union:
the traditional communist hammer and sickle emblem,
enclosed by a pair of stylized wings. The symbol was customarily illustrated in a dark blue. Aeroflot also had its
own, predominantly red flag, again signifying its association with the Soviet state. The livery of its aircraft, too,
portrayed the airline as much the state: the Soviet flag
was prominently placed on the vertical stabilizers, and
the letters CCCP were often more visible than the name
Aeroflot itself.
Even before Braniff officially appointed Jack Tinker &
Partners, Wells and her team had begun to analyze the
experience of flying with Braniff. According to Wells, the
drab colors and cheap materials used at most airport
terminals on Braniff’s route network, the design of the
aircraft liveries, using similar, conservative colors and basic
design schemes, as well as the underwhelming crew uniforms, were quickly identified as areas that could be
greatly improved. The solution was color. “I saw the opportunity in color the way Flo Ziegfeld must have seen an
empty stage. I saw Braniff in a wash of beautiful colors,”
Wells recalled in her memoir, A Big Life.
The stunning revival of Soviet advertisement and graphic
design that began in the early 1960s came to an end
about a decade later, when economic plight extracted the
resources necessary for consistently good design.
Another development of equal significance was the articulation of a new policy framework for domestic advertising.
In 1957, the Prague Conference of Advertising Workers of
Socialist Countries summarized in a characteristic manner
what can be considered the new Soviet policy on domestic
246
15.07.15 10:19
support, research, and the transportation of government
and communist party officials. In addition to its passenger
aircraft, Aeroflot operated hundreds of helicopters and
cargo aircraft.
Leaflets and brochures, c. 1962
15.07.15 10:19
The team contacted Italian couturier Emilio Pucci and asked
him to think about new dresses for Braniff’s stewardesses.
They then sought out Alexander Girard (1907–1993), the
New Mexican architect and designer who in 1960 had
created the dazzling interior of La Fonda del Sol, a Latin
American restaurant in New York’s Time Life Building, and
a favorite of Wells. Wells and one of her associates flew
out to New Mexico to meet with the designer in his home,
confirming their initial sense that Girard was the ideal
choice.
09.01.14 09:34
Leaflets and brochures, c. 1962
At the same time, Tinker & Partners began to experiment
with the notion of making planes more colorful. Numerous
conceptual drawings were created. One of the concepts
was a fleet of aircraft painted all in the same solid color.
This idea seemed promising, and several colors were tested.
247
07.01.14 13:25
Inflight magazine
International
19.12.13 18:14
188
19.12.13 17:41
19.12.13 17:41
189
19.12.13 18:14
07.01.14 12:43
36
37
PREMIUMAUSGABE
Positive Rezensionen über die Premiumausgabe von Airline Visual Identity 1945–1975 wurden in führenden
internationalen Medien veröffentlicht.
Es ist nicht übertrieben zu behaupten, dass wahrscheinlich keine andere Veröffentlichung der letzten
Jahre mit einem vergleichbaren Maß an technischer Perfektion hergestellt wurde. Damit die Drucke so
genau wie möglich den Originalen gleichen, wurde mit siebzehn Sonderfarben, fünf Lacksorten, zwei verschiedenen Foliendrucktechniken sowie zwei unterschiedlichen Prägemethoden gearbeitet. Im Ergebnis
ist ein Buch von außergewöhnlicher Lebendigkeit entstanden, das sämtliche Möglichkeiten der modernen
Drucktechnologie ausschöpft.
Positive Rezensionen über dieses Buch wurden unter anderem
in folgenden internationalen Medien veröffentlicht:
The New York Times, CNN.com, Monocle, Monocle 24 Radio, Daily Mail,
The Telegraph, Novum, SonntagsZeitung, The Boston Globe, Vanity Fair, Page,
Weltkunst, South China Morning Post, New Republic, Wired.com, Quartz,
Adweek, Süddeutsche Zeitung, Die Zeit, Frankfurter Allgemeine Zeitung, Slate.fr,
Die Presse, Lufthansa Magazin, The Wall Street Journal
ISBN – 978-3-9816550-0-1
Seitenzahl – 436
Format – 31 × 41 cm (12,2" × 16,1")
38
39
40
41
42
PREMIUMAUSGABE
IN HANDGEFERTIGTER
SCHL AGK ASSET TE
ISBN – 978-3-9816550-2-5
Seitenzahl – 436
Format – 31 × 41 cm (12,2" × 16,1")
Die Vorderseite der exklusiven, handgefertigten Schlagkassette der Premiumausgabe von
Airline Visual Identity 1945–1975 erinnert an die Aluminiumlegierungen, die in den 1960er Jahre beim
Flugzeugbau verwendet wurden.
43
44
45
46
C A L L I S T O P U B L I S H E R S C ALLISTO PUBLISHERS GMBH
Knesebeckstr. 3
10623 Berlin, Germany
T. +49 30 203 93 50
F. +49 30 203 93 599
welcome@callisto-publishers.com
www.callisto-publishers.com
Besuchen Sie uns auf der Frankfurter Buchmesse 2015
Stand K70, Halle 4.1
AUSLIEFERUNG
Europa:
Brockhaus Kommission
Kreidlerstr. 9
70806 Kornwestheim, Germany
T. +49 7154 132 70
F. +49 7154 132 713
l.eisenbarth@brocom.de
USA / Kanada:
National Book Network
VERTRIEB
Deutschland, Österreich, Schweiz:
15200 NBN Way
Blue Ridge Summit, PA 17214, USA
T. +1 717 794 3800
Juliane Seyfarth
F. +1 717 794 3828
Eversbuschstr. 40a
customercare@nbnbooks.com
80999 München, Germany
T. +49 89 500 80880
F. +49 89 500 808818
PRESSE
office@juliane-seyfarth.de
Europa:
USA:
Continental Sales, Inc.
Terry Wybel
213 West Main Street
Barrington, IL 60010, USA
T. +1 847 381 6530
F. +1 847 382 0385
wybelt@wybel.com
Kanada:
National Book Network
Les Petriw, Managing Director
1-1675 Sismet Rd.
Mississauga, ON
Canada L4W 4K8
Buch Contact
Einemstr. 20c
10785 Berlin, Germany
T. +49 30 206066 90
F. +49 30 206066 99
berlin@buchcontact.de
USA / Kanada:
Smith Publicity
The Executive Mews
1930 E. Marlton Pike, Suite I-46
Cherry Hill, NJ 08003, USA
T. +1 856 489 8654
F. +1 856 504 0136
info@smithpublicity.com
T. +1 416 534 1660
F. +1 416 534 3699
lpetriw@nbnbooks.com
Weitere Länder:
sales@callisto-publishers.com
© 2015 Callisto Publishers GmbH
Alle Rechte vorbehalten
ISBN 978-3-9816550-8-7

GESCHICHTE

Transcription

Similar documents

Tourismus geographie - Prof. A. Kagermeier

Die Schweizer Reisebranche - Schweizer Reise

Compendium 2012

stylus 2/2014 - Agentur Bemberg

Gesund wohnen - Umweltinstitut München

Schadstoffarme Kinderzimmer

Zur Entstehung des Talers The origin of the “Taler”