I

O STEVENSON

CD

CD

c/5

o o
CO

'A

V I' : "-

S)l$lG/j,

f i

> > .

I C O N S , VOLUME 4 IN THE A M E R I C A N D E S I G N C E N T U R Y , IS B R O U G H T T O YOU O N POTLATCH'S

THREE PREMIUM GRADES -

POTLATCH M C C O Y , K A R M A AND VINTAGE. LLKE THE

ICONS

FEATURED IN THIS BOOK, P O T L A T C H COATED PAPERS ARE VIEWED AS SYMBOLS OF QUALITY

AND INNOVATION. T H E Y HAVE HELPED T O DEFINE THE LOOK OF M O D E R N

CORPORATE

C O M M U N I C A T I O N S . P O T L A T C H ITSELF WAS B O R N AT THE START OF THE 2 0 T H CENTURY, AND

O U R SUCCESS, T H E N AND NOW, IS PREDICATED O N B R I N G I N G Y O U THE BEST AND M O S T

RELEVANT P R O D U C T S F O R THE TIMES. T H A T REMAINS O U R GOAL IN THE 2 1 ST CENTURY.

or our fourth and final volume of the American Design Century, we look at some of the objects and images that have become icons of the 20th century. It has been a fascinating exercise contemplating what has endured as meaningful and important to society, and what has ended up being more hype than substance. Some objects have come to symbolize an era, while others have come to define how we lived and played in the 20th century, and what we championed as our greatest achievements. Together these icons are our legacy to future generations artifacts for them to ponder in amusement or to marvel at the tremendous strides we made. More than any other time in human history, the 20th century witnessed a rapid succession of changes, both technological and social. In America, the century dawned with the introduction of inventions that laid the foundation for everything that followed the internal combustion engine, the electric motor, the telephone and assembly line production, to name a few. For the first time in history, it became possible to manufacture millions of identical copies of an object and promote them over the airwaves and sell them everywhere. Mass production led to mass marketing, which, in turn, led to mass consumerism. America unabashedly became a consumer society, and business actively pursued

customers by using design to make their products more unique and appealing. Industrial design - a term coined in 1926 emerged as a vital profession in the 1930s and graphic design previously lumped under commercial arts was recognized as a distinct discipline a few decades later. The combined impact resulted in everyday objects that exhibited greater style, physical appeal and functionality. Identical in appearance and cheap enough to own, these objects fostered a shared reality. Say the word " R o l o d e x " or "McDonald's" or "Weber Grill" and a scene, complete with sound and atmosphere, usually comes to mind. Iconic objects provided a kind of shorthand language for everything from work to leisure. The 20th century is rich with American icons understood not only in the U.S. but all over the world. That has made choosing subjects for this book particularly hard. We surveyed several designers for suggestions, and we narrowed our criteria to "designed" objects, eliminating vast categories such as photojournalism, fine art and typography. Even so, space limitations and an inability to get our hands on certain images forced us to leave out many deserving icons. Undoubtedly, you'll think of things that should have been included. We readily agree. But our attempt here is simply to give you a representative look at the century to enhance your appreciation of w h o we were and how we're likely to be remembered.

An Interview with Dianne H. Pilgrim

Dianne H. Pilgrim has been the director of the Cooper-Hewitt, National Design Museum, Smithsonian Institution since 1988. Before heading the Smithsonian's design museum, she had served as chairman of the Decorative Arts Department at the Brooklyn Museum and held positions at Columbia University's School ofArchitecture and Planning and at the Metropolitan Museum of Art in New York. Pilgrim is currently on sabbatical from the Cooper-Hewitt and will return later in the year as director emerita and senior advisorfor special projects.
Q. Could you start by explaining the difference between an icon and a symbol?

A. Although, at times, people use the words icon and symbol interchangeably, originally that wasn't true. I think that an icon has strong attachments to cultural or religious meanings, to traditional or popular ideas or institutions. A symbol, on the other hand, is something that represents something else. It doesn't have quite the power or weight that an icon does. An icon can be a symbol, but not all symbols are icons.
Q. What were some of the earliest icons in Western civilization?

A. Before human beings could write, they created pictographs and monuments, teaching tools for future generations to know their history and culture. Every culture devised icons that revealed who they were. Some are decipherable today, others remain a mystery. Egyptians, Greeks, Romans and many other cultures less . ,s' '" well known had icons to represent their leaders as well as religious and spiritual beliefs. Christianity readily took to a system of icons to spread the gospels among people who could not read or who spoke different languages. As cultures changed over the centuries, so did the nature of icons. In the Italian Renaissance, icons became more involved with individuals like the Medici of Florence and their accomplishments, rather than ideas and beliefs.
Q. When did the definition
During the Byzantine period, the Russian Orthodox Church raised religious icons to a distinct art form, distinguished by stylized mosaic portraits of sacred figures and the lavish use of gold backgrounds.

of icon become more object oriented?

A. In the 19th century, we began to develop industrial icons. The train, for example, came to symbolize the industrial revolution. Unlike earlier religious symbols

purposely created to be icons, the train became an icon of the Industrial Age after the fact. Its inventors didn't set out to create an icon, and people didn't think of it that way at the time. Q. How did this shift to industrial icons reflect what was going on in society? A. The 19th century was all about industrialism and nationalism, made all the more so by the introduction of world's fairs in 1851. The first one - the Crystal Palace Exposition in London - was officially called the Great Exhibition of Industry of All Nations. Some 13,000 exhibitors from around the world came together to show off their industrial products and what was best about their particular culture. It was a battle of nations to see who was doing better work. The products became icons of national pride and innovation. The second half of the 19th century witnessed some 40 world's fairs. They all had a commercial aspect, motivated by a desire to export unique products to other countries. Q. When did world's
fairs cease to play this role?
Tiylon and Perisphere, Wew YorJc World's Fail

Before television and photojournalism, world's fairs provided a means to promote the newest and most phenomenal inventions.

A. I think the need for such a forum ended with the 1939 World's Fair. After that, newspapers and periodicals with photographs and television became commonplace and people didn't have to go to world's fairs to see what was new. Q. Who or what determines what becomes an icon? A. Icons come out of the culture. You don't go out and create an icon. Ultimately, our choice of icons depends on what society is all about at the time. The Eiffel Tower, for instance, was built for the Paris Exposition of 1889 and was supposed to be torn down afterwards. But it became such a symbol of French nationalism that the people wouldn't let it be demolished. Today who can imagine Paris without the Eiffel Tower! Q. How have 20th century icons differed from the past? A. The 20th century has been more about commercialism and consumption, the images being fueled by advertising. That's not to say advertising didn't exist previously, but not on the scale that has developed in the 20th century. Now people are earning a living coming up with symbols, brands and logos that instantaneously suggest a particular product.

Q. Do you consider logos icons?

A. They can become icons. Look at the Flying Horse for Texaco; except for someone quite young, it is very recognizable. The Coke bottle is another obvious one. It was designed in 1915, yet retains a certain contemporariness.
A symbol of futuristic ideas, Buckminster Fuller's Geodesic Dome was first constructed in the late 1940s. Composed of a complex network of triangles that form a spherical surface, the dome never caught on as housing, hut it provided the principle for radomes, the radar installations now found throughout the Arctic.

Paul Rand's logo for IBM has stood for almost 50 years. It has been flexible enough for IBM to use in a number of ways as a solid, with interspacing lines,

in different colors. The Nike "swoosh" how simple can you get, yet everybody knows what that swoosh represents. It is incredibly flexible. Nike can create any story line about its products without even showing a running shoe. All Nike needs is the swoosh! Q. Does a logo have to exist for a certain period of time to become an icon? A. Depends on what it is. It needs to stand for something or it will not last. The Campbell's Soup label has meaning beyond soup. It says family, comfort, the good old days. It has meaning beyond itself. I think it has to have that to be an icon.
Q. It is interesting that the Empire State Building remains the icon for New York City, even though it is now dwarfed by the World Trade Center.

A. Yes, even though people like to go to the World Trade Center because it is higher, it hasn't become the icon for New York. You don't see the Center's twin towers reproduced over and over; you see the Empire State Building. It represents an important period when New York became NewYork. It represents streamlining, the Machine Age. Architecturally and visually, it stands for the excitement and daring of NewYork. For more than 40 years it was the tallest building in the world.
Q. Can objects become icons even when they don't touch as many lives as, say, the Empire State Building?

A. There are many examples of that. In architecture, many smaller structures have become icons. Frank Lloyd Wright's Fallingwater is one of the great houses of the 20th century, yet it was built for someone who ran a department store. The Eames' house and studio are definitely icons of the 1950s and what was going on in the 1950s.

Q. Do good design and enduring beauty determine what attains cultural icon status?

A. No, I don't think that cultural icons are about aesthetic likes and dislikes, or function for that matter. They have a significance attached to them that goes beyond the physical. Consider McDonald's golden arches. It's an American icon recognized all over the world. What do people in other The Statue of
Liberty has been a beacon ojfreedom for millions of immigrants

countries know about us? They

know

McDonald's and Coke. It is a sad statement.

TT-

-i

Panned by the critics when it was built for the Paris Exposition of 1889, the Eiffel Tower was scheduled to be torn down. The tower, now one of the most beloved landmarks in Paris, was designed by Alexandre Gustave Eiffel, who also engineered the frame for the Statue of Liberty.

Historical importance can also play a role. Take Mount Vernon, which was preserved by the Daughters of the American Revolution, not because it was a great house architecturally but because it was the home and

burial place of George Washington. It is an icon of our Founding Father. Another example is Levittown, the first successful factory-made housing community in the United States. It is not what I would call good design, but in terms of technology and a way to provide inexpensive housing following World War II, it is an icon of American ingenuity. Conversely, Buckminster Fuller's Geodesic Dome, done about the same time, represents a futuristic approach to the same problem. Fuller used assembly-line techniques and manmade materials to look at affordable housing from a very different perspective - one that never became popular as a home, but has remained fascinating as an object reminiscent of outer space and ultimate travel to other planets. Q. Do icons have different levels of importance? A. I think there is a hierarchy of icons. Some will survive centuries and some won't. To me, the Wassily chair and a lot of things that Marcel Breuer did and Mies van de Rohe did are timeless and enduring. There are also a lot of 20th century brand logos that i seem important today but will not seem so important later on.

Q. Do icons always represent some kind of ideal or symbol of progress?

A. No, but I think that icons often symbolize the concerns and desires of our time. On the one hand, we have black-and-white police cars that represent crime and violence in society and, on the other, we have Disneyland's Main Street that represents an idyllic 19th century town that never really existed. This street leads to a mythical castle where everything is beautiful, clean and safe, and where all dreams come true. Q. Can icons summarize a period? A. Yes, I think they are a kind of cultural and social shorthand for a particular point or historical moment. All of the art movements of the century get reflected back to us in objects and architecture.You can easily take one or two objects to represent a period. Radio City Music Hall is a great icon of the 1930s. Philip Johnson's glass house is an example of 1950s modernism. But the truly important icons are those that reveal what kind of people we are, what we believe in, what is important to us as a society.

'K'iVl- -U'.;.;

The Goodyear Blimp, launched in 1925, is as much a symbol of innovative advertising as it is a hallmark for the tire maker. Over the years, Goodyear has built more than 300 helium-filled airships. These "aerial ambassadors" are floated over 400,000 air miles annually.

Q. Is there always an element of emotionalism attached to an icon?

A. Not necessarily. Unfortunately I think icons have become less emotional because they have become more commercial. They are not about substantive things that have true ethical and moral meaning. Consider the Statue of Liberty. Now there's an icon! Think of what it must have meant to immigrants who had just endured a horrible passage across the sea and left everyone and everything they knew to come to the great land of promise. Seeing the Statue in the harbor must have bowled them over. I think the 20th century needs to leave behind icons that stand for something beyond the commercial. Think about how iconic the Washington Monument, the White House and the Capitol are. Except for the Vietnam Memorial, which has become a great icon for a very troubled war and period in our

history, few things come close to them in the 20th century. Maya Lin did an incredible job. The Vietnam Memorial hit the right tone. It is a real place to mourn and celebrate the life of those people who died. It is beautiful in its simplicity. Q. Have icons lost their importance in the 20th century?
Some pop icons like this Happy Face from the 1970s have neither the design value nor the importance of, say, an Eames chair. Nevertheless, they are emblematic of a period.

A. No, I think that icons in the 20th century are just as important as they have always been, but their significance is much more superficial than in the past and much more ephemeral than in the past. Popular icons readily change as fashions change, whereas religious icons meant the same thing generation after generation

and they still mean the same thing to people today. Q. What characterizes the icons of the late 20th century? A. The icons of the 20th century reveal an American world of consumerism and consumption with an underlying search for individualism and morality. Levittown is an incredible example of this. Fifty years ago these modular factory-made houses all looked alike. But if you go back there today, you wouldn't know they were all once identical. People have made them reflect their own styles. What bothers me about the last half of the 20th century is that we seem to have lowered our
Chairs by Charles and Ray Eames epitomize the best

standards. Since icons reflect us as a society, we need to look at the fact that our icons for the most part are concerned with fashion, style and consumerism. Television, the computer and other visual media gravitate toward emphasizing the ephemeral. My hope for the 21st century is that we will all help create a better world for everyone. These substantive changes will be recorded as the icons of the future.

ofAmerican design in the 20th century. Melding style and function, process and product, this husband-and-wife team made revolutionary use of new materials such as molded plastic and plywood. The look that they created is simple, sophisticated and energetic. Today their designs are viewed as icons of postwar American modernism.

Constructed in 1931 during the depths of the Great Depression, the 102-story Empire State Building became a symbol of America's confidence in its future and New York City's role as the world's premiere metropolis. 11

12

No ordinary mode of transportation, the HarleyDavidson motorcycle, invented in 1903, has come to symbolize an unbridled love of the open road. Its cult-like following of customers even tattoo the corporate logo on their arms and make pilgrimages to the company's headquarters in Milwaukee, Wisconsin.

i
i|::i;:;:;.

Pi;,;
',;:"<; ; ; , .;
.V|

i
[

r;
:

::
SB

r" "

t;

1
^

0
*

f..*-?

jr

P?'
f
I w

fv

f
mm:-

0 f m c 0
^

S#-

.litt- ','-

< Invented in 1903 by Binney & Smith of Pennsylvania, Crayola has become the ubiquitous drawing tool for children worldwide. More than 100 billion crayons have been sold to date, and even adults recall favorite Crayola colors from their youth.

Teddy Bear 1902

Mr. Potato Head 1952

No matter how high-tech toys get or which beanie baby is in greatest demand, some toys never go out of favor. At 40, Barbie is as popular as ever with little girls, and 35-yearold G.I. Joe still appeals to little boys. Toddlers find stuffed teddy bears (named for Teddy Roosevelt in 1902 after he refused to shoot a bear) irrepressibly cuddly. And Mr. Potato Head continues to offer great interactive fun. 15

More than television, the radio transformed the everyday lives of Americans when broadcasting began in the 1920s. For the first time in human history, people could sit in their very own homes and receive news, information and entertainment from around the nation.

16

When Philo Famsworth produced the first allelectronic TV in 1927, he had no idea that it would become the century's most important means of mass communications. By the mid-1950s, TV sets had become a fixture in every home, even though the picture was in grainy blackand-white and there were only three network channels to choose from. 17

/T^X

\-<m

k-:

>

.issafcy

enthralled and inspired children since 1933. That is when the American daily press discovered that the standard newspaper page, folded twice, could be converted into 8x11 booklets. To find a product for that format, they ran cartoons and funnies, which led to the creation of the first comic books.

Compelling packaging > became critical in the late 1940s with the proliferation of supermarket stores. With no friendly shopkeeper at hand to give buying advice, prepacked goods had to sell themselves with bold colors, catchy slogans and strong graphics. This Tide detergent box was introduced around 1946.

780528 453625

Developed by IBM and introduced in 1974, bar codes incorporate manufacturer, product and retail information that can be laser-scanned into a computer database at the point-of-purchase. The bar code system has made retail checkout faster and more accurate, and improved inventory management for stores and manufacturers.
20

H O m O m H m

x a m z
H
TJ

>
O

>

a
m

>
CD

o o
QC 0-

o: o o ac o

H X u
H 00

e o
t/>

o o u a z

< i-

>

McDonald's
DRIVE-THRU
Although drive-in restaurants existed before McDonald's opened its doors in 1955, founder Ray Kroc redefined the business by devising an "assembly-line" way of cooking to serve foods fast and at very affordable prices. The Golden Arches logo was created in 1962 by Jim Schindler.
22

The idea for an instant picture camera first came to Polaroid founder Edwin H. Land in 1943 when his daughter asked why she couldn't see the photograph he took of her right away. Land created the first test instant pictures a few years later, but it wasn't until Polaroid introduced the Automatic 100 Land Camera, designed by Henry Dreyfuss, in 1963 that the concept took off.

23

A way to operate machines without coming into physical contact with the driving mechanism is a 20th century invention. Even early telephones, automobiles, gramophones and washing machines had to be cranked to start the motor. With the On-Off switch, people no longer have to have a rudimentary understanding of how things work; they merely have to know where the switch is located.
24

It's hard to believe that > on December 17, 1903 the Wright brothers did the seemingly impossible by flying 131 feet in 12 seconds at an average speed of 7.5 mph. That distance is less than the wing span of a Boeing 747, which can hold an average of 500 passengers and has an approximate range of 8,300 statute miles.

In 1934, during the height of the Great Depression, an unemployed Pennsylvanian named Charles B. Darrow invented a board game called Monopoly. Initially rejected by Parker Brothers which soon changed its mind, Monopoly became the best-selling game in America. It has been played by more than 500 million people over the years. 26

< The idea for a universal credit card that would be accepted in stores as well as restaurants debuted in the late 1950s. Americans quickly welcomed the concept of "plastic cash," which liberated them from carrying around large amounts of money when shopping or having to write checks for purchases.

Since George G. Blaisdell of Pennsylvania invented the Zippo in 1932, the company has produced more than 325 million windproof lighters in virtually the same rectangular shape, with a flint-wheel that makes that distinctive Zippo "click." Blaisdell chose the name Zippo because he liked the sound of the word "zipper," a product that had been patented in a nearby town. 29

As cars got faster and greater > in number, freeway cloverleaf interchanges were built to allow vehicles to exit and enter highways without slowing down or bringing traffic to a halt. The first cloverleaf was constructed in New Jersey in 1929.

Called the "mother road," Route 66 realized America's dream of a paved highway that ran from Chicago to Los Angeles. Completed in 1926, this 2,400 mile stretch of open road lured the restless and adventurous across the continent, with motor courts, billboards, diners, neon signs, curio shops and other roadside attractions sprouting up along the way.
30

; *

America's infatuation with the automobile has never waned. Especially in the halcyon postwar days before gas shortages and commuter gridlock, car designs were extravagant and fanciful. Inspired by rocket science, GM's Harley Earl created America's ultimate dream c a r - t h e 1959 Cadillac Eldorado with dramatic tail

Jiltli

T-shirts as outerwear > originated in the U.S., although Europeans began wearing cotton undershirts sometime before World War I. In the 1950s, actors Marlon Brando and James Dean turned the white "T" into a cool fashion fad - a symbol of youth and rebellion. In the 1960s, T-shirts tie-dyed or silkscreened with slogans provided an outlet for social commentary and personal expression.

The Oscar statuette, designed by sculptor George Stanley and first awarded in 1929, has come to symbolize the glamour and magic of the Hollywood film industry. The gold-plated figure got its name in 1931 when the librarian for the Academy of Motion Picture Arts and Sciences looked at it and exclaimed, "Why, it looks just like my Uncle Oscar!"
34

Lee Jeans Buddy Lee 1920

KFC Colonel Sanders 1954

Campbell's Soup Kid 1904

Bob's Big Boy 1940

Pillsbury Doughboy 1965

Speedy Alka Seltzer 1952

The Pep Boys: Manny, Moe & Jack 1923

Kellogg's Tony the Tiger 1952

36

< During the 20th century advertisers have recognized that consumers respond to the human touch and remember faces more readily than abstract logos. Some brand mascots have been around for decades and are as familiar as old friends.

Originally created in 1916 by a 13-year-old boy named Antonio Gentile for a logo contest sponsored by Planters Nut, Mr. Peanut remains one of America's most beloved cultural icons. Dashing in his top hat, white gloves and cane, Mr. Peanut gave brand distinction to a commodity-type product.
37

< The secrets of rocket technology that surfaced at the end of World War II started the space race between America and the Soviet Union in earnest. In 1961, astronaut Alan Shepard became the first American to journey into space. By 1981, the space shuttle Columbia successfully circumnavigated the globe and landed back on earth. Today shuttle launches are so commonplace that they barely make the news.

>

America's most popular spectator sports - baseball, football and basketball attract a national following, thanks to television and radio. Now avid fans can lie on their couches with their pretzels and beer and watch their favorite major league team vie for the championship. 39

Pioneering industrial designers > in the late 1930s celebrated the machine as art with streamlined aerodynamic forms that suggested speed and power. For New York Central's 20th Century Limited, Henry Dreyfuss designed everything from the locomotive to the coffee cups. He clad the engine in a

distinctive cowling and covered the spaces between cars and painted them in a harmonious scheme to enhance the streamlined look.

Through paint scheme, graphics and physical form, the purpose of some vehicles are recognizable on sight. Americans have come to imbue them with cultural meaning, seeing them as symbols for law and order, urban living and farming.
42

< Although Thomas Edison patented the incandescent light bulb in 1879, the invention was slow to catch on. At the start of the 20th century, only 10,000 Americans had electric lights. A decade later the number had climbed to three million. Even in the 1930s, most rural areas in the U.S. lacked electricity. Today the incandescent light bulb is often used as a symbol for brilliant ideas.

,
,
__
rf

. 1BP ? I - M B

The personal computer, first introduced by IBM in 1 9 8 1 , quickly followed by Apple, revolutionized every aspect of our lives. The number of personal computers in use more than doubled from 2 million in 1981 to 5.5 million in 1982. A decade later more than 65 million PCs were in use. Today, computers have moved from the desktop to the laptop to the palmtop, and even the term PC has become antiquated. 45

X-rays were discovered by > German physicist Wilhelm Conrad Roentgen in 1895, but it was an American named William D. Coolidge who invented an X-ray tube that transformed the technology into a viable medical diagnostic tool and gave doctors the ability to noninvasively diagnose hundreds of abnormalities with greater accuracy and confidence.

The 20th century saw the introduction of the first handheld cameras that the average person could afford and operate. The Brownie camera made it possible for people to create family snapshots, and the Speed Graphic (above) was the camera of choice for photojournalists covering breaking events for newspapers and magazines.
46

: .. "

(!

;;,W'

As a consultant to Bell Telephone Laboratories, Henry Dreyfuss worked with engineers to design an economically comfortable phone. His Model # 3 0 2 , introduced in 1937, departed from the awkward shapes of the past and became the standard tabletop phone in American homes and offices. 48

Model 302 Telephone, U.S.A., introduced in 1937 Designed by Henry Dreyfuss (American, 1904-1972) Manufactured by Western Electric Co., for Bell Telephone Metal Housing Cooper-Hewitt, National Design Museum, Smithsonian Institution/Art Resource, NY The Decorative Arts Association Acquisitions Fund, 1994-73-2

Playboy Arthur Paul 1953

IBM Paul Rand 1960

Apple Rob Janoff 1977

U.S.MAIL
CBS William Golden 1951 U.S. Mail Raymond Loewy 1970 Westinghouse Paul Rand 1960

Girl Scouts Saul Bass 1978

Shell Raymond Loewy 1971

Nike Carolyn Davidson 1972

Wr

UPS Paul Rand 1961

figfe
NBC Chermayeff & Geismar 1986

AT&T Saul Bass 1984

51

Introduced by Alcoa in > 1962, the pull-top aluminum can eliminated the need for a can opener and revolutionized the packaging of soft drinks and beer. By 1997, the annual sale of aluminum canned beverages worldwide topped 160 billion.

Often called the world's most successful brand packaging, the Coca-Cola bottle was introduced in 1915. The company's bookkeeper, Frank Robinson, named the drink after its two principal ingredients - the coca leaf and kola nut - and wrote it out in a flowing script. The bottle form itself was inspired by the shape of a kola nut.
52

-*-JD?

A forerunner to the myriad athletic shoes now on the market, the Converse All Star "Chuck Taylor" is the oldest, most popular and best selling sneaker of all time. Introduced in 1917 by Converse Rubber Corporation, the high-top All Star was designed as a basketball shoe. During World War II, it became the "official" sneaker of the U.S. Armed Forces.

54

Barbecuing on a Weber grill has become a suburban social ritual. It conjures up stereotypical images of casua summer evenings with kids splashing in the backyard pool and the "man-of-the-house" presiding over the grill. 56

Cheap materials and the ability to mass produce everyday objects for pennies turned America into a disposable culture. From plastic dinnerware to disposable ballpoint pens and razors, things get used and tossed away because it is cheaper to buy a new one than to salvage the old.

Is

J 3

57

[JOS Ep

CAMPBELL PRESERVE1"

The concept for condensed soup originated in 1897 when Campbell's eliminated the water in its canned products, thus dramatically lowering costs of packaging, shipping and storage. Nutritious and convenient to serve, Campbell's Soup has been so widely embraced by modern homemakers that pop artist Andy Warhol celebrated the familiar red-and-white label as an American icon.

58

jyyfefc-

60

Music: Graphophone

Toys & Games: Teddy Bear

Magazine: Collier's

SVe.xo'i/ork.aa

COLLIERS

Packaging: Ivory Soap

Automobile: Ford Model T

Telephone: Crank Phone

^
o

Chair: Stickley Rocker

<

Household Iter Tiffany Lamp

Office Equipment: Fountain Pen

61

62

Music: Victrola

Toys & Games: Kewpie Doll

Magazine: True Story

Packaging: Lucky Strike

Automobile: Cadillac

Telephone: Candlestick Phone

Chair: Swivel Armchair

Household Item: Electric Iron

Office Equipment: Manual Typewriter

63

*w$

Music:
Console Phonograph

Toys & Games: Radio Flyer Wagon

Magazine: The New Yorker

NEW YORKER

2lM
Packaging: Hershey's Kisses Automobile: Jordan Blue Boy Telephone: Candlestick Rotary Phone

Chair:
Peacock Chair

Household I t e m : Alarm Clock

Office Equipment: Ticker Tape Machine

65

66

Music: Philco Radio

Toys & Games: Tin Robot

Magazine: Fortune

Packaging: Quaker Oats

Automobile: Chrysler Airflow

Telephone: Rotary Phone

>j o

Chair: Wicker Gents Chair

Household I t e m : Fiestaware

Office Equipment: Electric Fan

67

A.

lb 40S
68

Music: Wurlitzer Jukebox

Toys & Games: Scrabble

Magazine: The Saturday Evening Post

B,!BM

Packaging: Cat's Paw

Automobile: WWII Jeep

Telephone: Dreyfuss Rotary Phone

-y's PAW
RUBvBER HEELS

Chair: Naval Chair

Household I t e m : Hoover Washing IVIachine

Office Equipment: Adding IVIachine

69

"ssm

Music: Fender Stratocaster

Toys & Games: Yo-Yo

Magazine: Time

Packaging: Swanson's TV Dinner

Automobile: Cadillac Coupe de Ville

Telephone: Rotary Phone

Chair: Eames Side Chair

Household Iter Mixer

Office Equipment: Rolodex

71

Music: LP Album

Toys & Games: Slinky

Magazine: Esquire

CA.ciu.i7cj

Packaging: Birth Control Pills

Automobile: Ford Mustang

Telephone: Princess Telephone

: v V "'imw

Chair: Eames Lounge Chair

Household I t e m : Osterizer Blender

Office Equipment: Xerox Copy Machine

73

74

Music: Eight-track Tape

Toys & G a m e s : Frisbee

Magazine: People

Packaging: Wheaties

Automobile: Chevy Camaro

Telephone: Push-Button Phone

mm

Chair: Little Beaver Chair & Ottoman

Household Item: Blow Dryer

Office Equipment: LCD Pocket Calculator

75

Music: Component Music System

Toys & Games: Cabbage Patch Doll

Magazine: Rolling Stone

Packaging: Budweiser

Automobile: Ford Taurus

Telephone: Cordless Phone

> ; " a

Chair: Venturi Chippendale

Household I t e m : Microwave Oven

Office Equipment: Fax Machine

-w

Mi

77

78

Music: Compact Disc

Toys & Games: Beanie Babies

Magazine: Wired

Packaging: Minute Maid

Automobile: Jeep Grand Cherokee

Telephone: Motorola Cellular

Chair: Herman Miller Aeron

Household I t e m : Remote Control

Office Equipment: Macintosh Powerbook

79

Over the past century, Potlatch's product mix has evolved to keep pace with the changing needs of designers and printers. Every step of the way, we have embraced the latest manufacturing technology to ensure that the uniformity, surface, brightness and overall printability of our papers are the best available in the industry. Today our premium line includes three versatile coated grades Potlatch McCoy, Karma and Vintage. Potlatch McCoy comes in an ultra-bright blue-white shade and four luxurious finishes Gloss,Velvet, Silk andVelour. Karma is made with a classic matte finish in Bright White and warm Natural. Vintage recycled using 10% post-consumer fiber features a bright white shade in Gloss and Velvet finishes as well as an elegant Velvet Creme.

To receive a complete set of Potlatch swatchbooks, contact your local Potlatch paper merchant. Call us at 8 0 0 4 4 7 . 2 1 3 3 or visit our website at www.potlatchpaper.com

80

..... _

.,

i Century is brought to you by Potlatch, where paper is just the beginning of the partnership.
Potlatch Papers Potlatch McCoy Karma Vintage Northwest Mountie All paper names above are trademarks of Potlatch Corporation. Acid Free: Complies with Paper Permanence Standard ANSI/NIS0Z39.48 Manufactured in ISO 9002 certified facilities.
Pntlatrh S**rvire

Thanks to the following Pentagram & Hirasuna Editorial Design Pentagram/San Francisco
T

designers who responded to our survey on 20th Century American icons. Michael Bierut Bob Brunner Kyle Cooper Bart Crosby Lou Danziger

_;.

Delphine Hirasuna Cover and Principal Photography Barry Robinson Additional Photography and Illustration Engstead, The Kobal Collection Bob Esparza George Hall Terry Heffernan Hiro lhara, Cooper-Hewitt, National Design Museum, Smithsonian Institution/Art Resource, NY Stefano Massei Gigi Rabago Michelle Richards Ward Schumaker Stock Agencies The Bridgeman Art Library International Ltd. Bettman/Corbis EyeWire FPG International The Image Bank Photonica The Stock Market Tony Stone Images Press Six- and eight-color 28x40 Komori at 175-line screen. All varnishes are run inline. Prepress and Printing Matchprint proofs. Assembled using Macintosh G3 to an Avantra 30.

I t ^ '^- ^''
Tom Geismar April Greiman Steve Heller Mike Hicks Chip Kidd Michael Mabry Chris Pullman Rich Silverstein Tommy Steele Kay Stout

*"*^^^8fiE^*^n^5?Si

For answers to print-related questions, call our Graphic Arts Helpline at 8 0 0 8 3 2 . 8 9 6 6 . Visit Potlatch on the web at www.potlatchpaper.com The Potlatch Promise The press performance of our paper is 100% guaranteed. If, for any reason, you are ^ < *, not satisfied with, how our product performs on press, we will replace it. Printing on Soft Finishes Soft and inviting, Velvet and Matte finished papers have their own set of production needs. The very surg
o

Deborah Sussman Special thanks: Campbell Soup Company Bank of America Warren Dotz Collection, Berkeley, CA Duffy Inc. General Mills, Inc. Harley-Davidson, Inc. Landor Associates Lucasfilm Ltd. Proctor & Gamble Arnold Schwartzman Company names, trademarks and trade names are the trademarks or trade names of their respective owners.

. ' o
o

face and finish qualities that make them attractive - including their good opacity, bulk, and readable/ writable non-glare surface - also make marking a concern. Using inks formulated with hardeners, Teflon"5' or scuff resistors will reduce the problem. Applying dull or gloss varnish over inked areas helps prevent inks from rubbing off onto facing pages. Varnishes and metallic inks may lose some reflective qualities.

. o "
o

^
N

~ 2 g " < 2

2000 Potlatch Corporation

-'

Potlatch
Potlatch Corporation Cloquet Minnesota 5 5 7 2 0

800 447.2133
www.potlatchpaper.com