The Chase logo was introduced in 1961, when the Chase National Bank and the Bank of the Manhattan Company merged to form the Chase Manhattan Bank. At the time, few American corporations used abstract symbols for their identification. Radical for its time, the Chase symbol has survived a number of subsequent mergers, and is currently the property of JPMorgan Chase & Co. It has become one of the world’s most recognizable trademarks.
In recent years the National Geographic Society has developed a wide range of products and licensed merchandise much beyond the famous magazine. To establish a cohesive branding policy, our firm created a mark based on the magazine’s iconic gold border, along with a series of updated identity elements that seamlessly build upon the considerable equity already established. Web-based guidelines allow filmmakers, designers, and other suppliers worldwide to download artwork and photography directly from the site.
Our firm designed this famous logo and developed a complete corporate identification program for Mobil, with continuing consultation for 35 years. The program was built around the logo, a specially designed alphabet, a clear policy for color, and a comprehensive design approach that integrated new graphics with new architecture designed by Eliot Noyes. It included design of product packaging, vehicle markings, print material, posters, and all design, packaging, and sign standards for facilities throughout the world.
Library of Congress
The centerpiece of the identity system that Chermayeff & Geismar & Haviv designed for the Library of Congress is a symbol that joins the essence of a book and the American flag to represent the nation’s library. The complete system unifies the library’s many divisions and associated entities.
The youth-oriented fashion brand Armani Exchange had been using the letters “A” and “X” with a slash between them as an identity that was well known but visually weak. Chermayeff & Geismar & Haviv redesigned the mark, reversing the redrawn “A” and “X” out of solid blocks and creating an identity strong enough to hold its own against the brand’s bold advertising.
National Brodcasting Company
From the moment the NBC peacock first strutted onscreen in 1956, it had star quality. It was both dignified and distinctive, light-hearted and likable. But while the peacock was a memorable symbol for color television on NBC, it was never the company’s official logo. In 1986 the peacock was hatched anew, stylish and strikingly simple, with the initials NBC added to it in a specially created lettering style. The peacock has since become one of the world’s most highly recognized trademarks.
When CCL Industries purchased the consumer-facing division of Avery Dennison Corporation, the new division (“Avery Products Corporation”) needed a revised visual identity to differentiate it from its former parent—Avery Dennison—which continues to use the red paperclip triangle designed by Saul Bass.
The challenge was to find a way to distinguish the “Avery” brand without losing the equity of its strong name and recognition. A tilted red square was a way to make the wordmark distinctive and was also a nod to the way that Avery had been using the historic Bass mark.
Barneys New York
“Barney’s” was a long-established New York institution known for medium-priced clothing for men and boys. When the ownership decided to upgrade to a high-fashion, high-priced emporium for women’s as well as men’s wear, an elegant new logo was developed. By eliminating the apostrophe, adding the words New York, and using a classic typestyle, the store’s graphic and verbal identity was transformed.
The official symbol designed to mark the countrywide celebration of the nation’s 200th birthday in 1976 identified thousands of events, souvenir products, proclamations, and even the Viking Mars lander (the last image in this sequence). The red, white, and blue ribbon forms a traditional five-pointed star that evokes the spirit and culture of the United States without reverting to clichéd images.
Brown University’s seal has been used in various forms to identify the university for over two centuries. It is clearly recognized by the Brown community, but not the wider universe with which the school needs more and more to communicate. In 2003, the seal was redesigned for clarity, without losing any of its basic recognizable qualities. Even more importantly, the name Brown was added to it for the first time, and clear standards for use were established.
CB Richard Ellis
This leading global real estate services company was formed through a series of mergers. The initial-based logotype was developed to provide a bold short-hand identity and to minimize confusion with other, similar names in the real-estate industry.
Since its founding in 1987, Conservation International has become one of the most influential environmental groups in the world, successfully protecting half a billion acres of wilderness. To broaden its appeal, CI has redefined its mission, focusing on humankind’s reliance on nature. The organization came to Chermayeff & Geismar & Haviv for a mark that would match its new message. A simple blue circle underlined with green symbolizes our blue planet—emphasized, supported, and sustained—as well as a unique human form.
Ithaca, New York
Cornell University had a corporate-looking logo that seemed inappropriate for this distinguished Ivy League university. The long established school seal was revitalized and made part of a clear visual and verbal identity system that emphasizes the “Cornell University” name and unites it with the many outstanding schools that make up this diverse university.
The abbreviation for the United States Environmental Protection Agency is the EPA, and these initials are widely spoken and recognized. To take advantage of this fact, we developed a graphic identity that emphasized the initials and connected them to a simplified version of the seal that previously was the agency’s only identification mark.
Good trademarks usually have some element that makes them memorable. The expected color for Grey Advertising is grey. But to make the logotype for this global agency stand out, we avoided the obvious by making Grey red.
When the publishers Harper & Row, with their logo of a torch, merged with Wm. Collins, with its fountain symbol, an opportunity was born. The resulting design joins the essence of both symbols, fire and water, into a new icon for the new company, HarperCollins.
Harvard U. Press
This re-imagined “H” for the Harvard University Press identity is formed by six rectangles, suggesting books. The overall image also evokes a paned window. The Chermayeff & Geismar & Haviv-designed identity, released in 2013, balances the traditional and the modern.
Hearst Corporation’s media business is diverse and wide-ranging. We designed a bold new logotype and visual brand architecture that enables the company to identify its many divisions and products in a consistent, distinctive, and elegant manner. The identity was launched concurrently with the opening of the landmark Hearst Tower in New York City, designed by Foster & Partners.
This major pharmaceutical company had an unusual identity problem. While it markets its products worldwide, it cannot use the Merck name in much of Europe because of a name conflict. A bold symbol was developed to go with the Merck name in the U.S., and with other names, such as MSD in Europe, in a common, clearly identifiable format.
The Museum of Modern Art
When The Museum of Modern Art underwent a major expansion in the early 1960s, a clean and straightforward typographic identity was established. It is still in use today.
New York University
For over 40 years this simple torch has identified the ever-expanding facilities of New York University scattered throughout much of Manhattan’s Greenwich Village and SoHo neighborhoods.
The most important aspect of the identity design for Pan Am was to suggest that the name of the airline be changed to “Pan Am” from the long and cumbersome “Pan American World Airways.” The Pan Am logotype in capitals and lower-case letters was also adopted with an accompanying world symbol.
In addition to the corporate identity, our firm designed comprehensive graphics for the airline, including a poster campaign and the menus for the inaugural flight of the Boeing 747.
Public Broadcasting Service
The PBS (Public Broadcasting Service) mark was developed to overcome a serious problem with the prior identity, which focused solely on the initials. In the new identity, a stylized profile of the human face repeats three times, playfully putting the “public” in public television.
Princeton University Press
The prestigious publishing house commissioned the new identity to increase its visibility outside of the academic community. To replace the old mark, Chermayeff & Geismar & Haviv created a bold symbol based on the letter ”P” with a second ”P” formed in its negative space.
A wordmark using traditional letterforms complements the modern symbol. Part of our recommendation was to use the shorthand ”Princeton” whenever possible, keeping the established Princeton colors of orange and black.
While architecturally memorable, Rockefeller Center lacked a comparable graphic identity to clearly identify its scope as it continued to expand. This mark was designed to recall the famous art deco style of the architecture and its integrated artworks, the soaring form of the centerpiece GE building, and the concept of a “center” within the city.
The logotype for the cable network Showtime puts a spotlight on the SHO within the Showtime name, cleverly highlighting the network’s abbreviation. The SHO mark is then used in newspaper listings and as Showtime’s on-air bug for channel identification.
The Smithsonian Institution
In recent decades the Smithsonian Institution has grown enormously, adding new museums, research organizations, and educational units. These entities generated a host of different symbols and logos, which led to confusion regarding the range and depth of the Smithsonian mission and activities. To address this problem, an extensive new graphic identity system was developed. Significantly, it adds the Smithsonian name and identity to the names of its museums and other units, all of which use the same sun symbol. The symbol is now widely seen around Washington.
United Nations Development Programme
The United Nations Development Programme (UNDP) is a large, non-political wing of the UN charged with helping third-world nations achieve sustainable human development. This new graphic identity, part of an overall repositioning strategy, seeks to give UNDP stronger ties to the UN, to signal a change of approach in over 170 countries, and to provide a template that will accommodate alternate letter combinations of its initials as they appear in other languages.
The graphic identification for this large Spanish-language television network features a bold abstract letter “U”, which, with the upper left quadrant turned, also suggests an exuberantly colorful bird.
The Women’s Tennis Association is the governing body for women’s professional tennis. In 2010 the organization relaunched as a brand identity independent of its sponsors. WTA asked Chermayeff & Geismar & Haviv to design a logo to anchor this new campaign.
We created a symbol that emphasizes the letters W, T, and A. The new logotype is straightforward while also incorporating references to the sport: the oval shape of the mark alludes to both the imprint a tennis ball leaves on the court and the shape of a racquet.
In 2013, the WTA celebrated its 40th anniversary. We extended the previous visual identity to include “40 LOVE.”
This aquarium, originally built for Expo ’98, is dedicated to the sea life of the open ocean and houses a vast array of marine creatures.
National Aquarium in Baltimore
This famous aquarium was originally conceived to focus on both water and fish. The symbol combines these two elements in a dynamic relationship.
New England Aquarium
This popular Boston attraction is considered one of the first modern aquariums. The symbol simply reflects the mission “to present, promote and protect the world of water.”
This aquarium, the world’s largest, is focused on the sea life around “The Ring of Fire,” the basin around the Pacific Ocean where moving plate tectonics cause a large number of earthquakes and volcanic activity.
This aquarium is focused on the abundant fresh water fish, bird and animal life of Tennessee’s rivers and their tributaries.
The Dubai-based steel-trading company Amesco is a truly global firm, conducting business in the Middle East, Europe, and throughout Asia. Representing five generations of metal and steel traders, the company turned to Chermayeff & Geismar & Haviv for a new graphic identity as it prepared to expand into new markets. We created a symbol that incorporates three capital A’s, a letter that is meaningful to the owners, harkens back to the firm’s previous symbol, and signifies the name “Amesco”. The symbol further suggests strength, structure, and building.
Arçelik is the largest manufacturing company in Turkey; the name means “rolled steel.” In 2001, we designed an identity based on a bold, red geometrical shape that suggests the company’s name and the primary material for the appliance products it manufactures for the Turkish and European markets.
Beehouse is a fashion and lifestyle brand geared toward young people in Seoul, Korea. The bold symbol takes the hexagonal shape integral to a beehive’s structure and combines it with a vertical stem to clearly form a distinctive initial letter B.
Hansol Group is a large Korean holding company with a wide array of businesses, including chemicals, telecom and LCD technology, but is best known for paper manufacturing. Coordinating with a local agency, we designed a symbol/logotype that leads off with two squares as a reversal of the letter H, subtly associating both with papermaking and printing.
Koç Holding is the largest conglomerate in Turkey, with nearly 100 consolidated companies. The symbol comes from the company’s name, which means “ram’s horn” in Turkish. A strong typographical and color specification, along with extensive guidelines for dealing with the identities of subsidiary companies, complete the identity program.
Working through a design consultancy in Japan that was responsible for liaising with the client, our firm designed a modern symbol and an accompanying logotype for this insurance giant. The identity conveys a sense of internationalism while retaining links to the tradition of Japanese heraldic symbols and calligraphy. Our firm developed the elements of the design and the system for implementation, which was then undertaken in conjunction with the local consultancy.
The identity program our firm designed for the Turkish fuel-retailing giant Opet includes a logotype with the distinct “o” character used separately as a symbol, as well as all graphic design of canopies, pumps, trucks and packaging for the stations. A special alphabet was designed for Turkish and Bulgarian advertising and promotional materials.
Starting with a letter P and growing into concentric circles, this trademark identifies Parkhouse, a real estate arm of the Mitsubishi conglomerate in Japan.
The Pera Museum features permanent collections of Turkish Ottoman ceramics, weights and measures, orientalist painting and changing galleries for international contemporary art and photography.
The new symbol which was inspired by traditional Turkish art is also used by the museum’s parent foundation and by a planned performing arts center to be located adjacent to the Museum.
SEW is a major infrastructure company based in India. It is responsible for engineering and building large infrastructure projects around the country – dams, tunnels, canals and power stations as well as the new Mumbai subway system. In preparation for the company’s going public, SEW came to Chermayeff & Geismar & Haviv for a memorable, modern new identity that emphasizes the initials SEW.
The three bold bars of the new mark, inspired by the monumental structures built by the company, connote strength, solidity, and stability. The implied motion of the italic letterforms expresses SEW’s core mission: building infrastructure that facilitates the movement of water, vehicles and people.
Shinsegae, a leading Korean department store chain, commissioned the firm to create a new graphic identity. Our firm created a surprising and elegant flower symbol, along with a rich color palette and new Korean and English typography. Further work yielded various bold, floral designs that reinforce the identity on packaging, wrapping papers, hang-tags, and in-store signage.
This simple, lively mark for an international entertainment company has become a highly visible icon in the landscape of many countries outside the U.S., including throughout South Asia and Latin America.
Tüpraş is an integrated petroleum company and Turkey’s largest industrial enterprise. The name stands for Turkish Petroleum Refineries Company. The Tüpras symbol suggests a drop of oil, but also forward and upward motion. The Tüpras name is set in the same bold lettering style used for many Koç Holding businesses to help tie them together in advertising and promotion.
Turkish Leather Council
Leather and leather products are among Turkey’s most important exports, and the Turkish Leather Council came to Chermayeff & Geismar & Haviv looking for a way to distinguish their members’ products from leather goods from other countries. The firm created a symbol based on Ottoman designs, suitable for stamping into products as well as for use in international promotional campaigns.