Pan Am Visual Development Guide—student project

PAN AM

Visual Development Guide

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Visual Development Guide

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Visual Development Guide

by Alma Kamal

Sections.

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A Old Route

Brand History, its legendary founder Juan Trippe, as well as the Logo Evolution.

This section introduces the

[P. 10] Brand History [P. 14] Juan Trippe [P. 18] Logo Evolution

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Mission Statement, showcases the Initial Logo Sketches, Logo Development, Final Logo, Inspirational Brand Guidelines and Existing Similar Logos.

This section discusses the

[P. 22] Mission Statement [P. 32] Initial Logo Sketches [P. 48] Logo Development [P. 66] Final Logo [P. 68] Inspirational Brand Guidelines [P. 70] Existing Similar Logos

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New Destination

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Section — A 6

Old Route → Brand History → Juan Trippe → Logo Evolution

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The Pan Am most of us knew was born on 28 October 1927, when it began scheduled mail service between Key West and Havana… There were few aviation facilities in Latin America, only three weather stations and no aeronautical radio. A radio genius, Hugo Leuteritz joined the company in 1928, and Charles Lindbergh became the company’s Technical Director in 1929.

An expansion of miraculous proportions then began, and within two years Pan American routes extended from Miami to Brazil and Buenos Aires, and from both Miami and Brownsville,Texas, via Central America to Panama, connecting with Pan American Grace Airways (Panagra), flying the west coast of South America as far as Chile and Argentina.

Subsidiary (Compania Mexicana de Aviaclon, (CMA) was providing air services throughout Mexico. During 1930, the Colombian airline SCADTA (now AVIANCA), and NYRBA (New York, Rio, & Buenos Aires Airline) were acquired (bringing many qualified personnel, nearly 30 almost new multi-engined planes, and the Panair Do Brasil subsidiary).

Pan Am S-40 loading passengers 1931In 1931, Sikorsky S-40, four-engined flying boats (the first Clippers) opened a new route to Colombia, via Jamaica, and to Panama. Many of these routes were opened by Charles Lindbergh himself, and by then Hugo Leuteritz had completed a system-wide radio network, and equipped all aircraft with two-way radio. In 1932, new subsidiaries were opened in Alaska and Cuba.

In 1933, CNAC, the China subsidiary was acquired, and began new coastal services. The next year a new subsidiary in Peru was formed, and the Mexico subsidiary opened service between Los Angeles and Mexico City. New Douglas DC-2’s, Lockheed Electras, and the famous Sikorsky S-42 four-engined flying boats all entered Latin American service that year. In 1935, the China Clipper opened trans-Pacific schedules to Manila, Electras opened new schedules in Alaska and Cuba, and DC-2s came to CNAC. Pan Am Sikorsky S-42 in flight. In 1937 Sikorsky S-42Bs surveyed the Atlantic routes, and opened Bermuda service from New York and Baltimore. Douglas DC-3’s entered Latin American service. In 1939, Boeing 314 Clippers entered Pacific service and opened Atlantic schedules to Europe. In 1940 the world’s first pressurized airliner, Boeing 307 Stratoliner brought new, fast service to Latin America, augmented by new Douglas DC-3As throughout Latin America, Alaska, and China. Early in 1941, new Africa and Air Ferry Divisions were opened to provide assistance to British forces in the Middle East. The flight training school in Miami began training navigators for U.S. and British air forces (training more than 5000 by 1944).

At the time of Pearl Harbor, Pan American operated on 88,478 total route miles serving 52 countries, and had 8,750 employees (including new Africa and Air Ferry divisions), with 162 aircraft, 192 radio/weather stations and 300 airports.

During the Second World War, Pan American operated many services for the military and other branches of the government, performing many heroic missions. CNAC flew more than 20,000 Hump flights during the war.

In the postwar era, PAA re-opened its Pacific and Atlantic routes, using new long-range land planes for services to Africa, Europe, and Asia. On 17 June 1947, Juan Trippe realized perhaps his greatest dream, by opening new Round-the-World schedules.

New aircraft included the Constellations, Boeing 377 Stratocruiser, DC-6B, DC-7C (Seven Seas), then opened the new “”Jet Era” in October 1958. The B-747 opened a new “wide-body” era in 1970, with more comfort and efficiency. Internal German Services helped lead to an economic boom in Western Europe.

Technical assistance projects were undertaken to many countries, such as Afghanistan, Turkey, and Pakistan, bringing modem airlines into being in many countries. Like the Latin American subsidiaries and affiliates, these gave their hosts technical skills, and corporate structures providing travel capabilities, to the benefit of local citizens. Pan Am’s return from these was a more technically advanced world, and additional traffic feeds for our main routes. A fair exchange, thought Mr. Trippe.

By the mid-1950s, major expansions were over, and efforts were concentrated on superior service and economy fares, while cargo services were improved and expanded. The 1970s soon brought major increases in worldwide fuel prices, and declining travel. Followed by deregulation and huge increases in competition. Despite Pan Am’s being a leader in low operating costs, deficits grew.

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Brand History

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Captions [1] Juan Trippe, founder of Pan Am.

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A Brief History

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The magic era ended with the passing on of Juan Trippe in 1981, and a succession of managements were unable to regain profitability. The rapid rise of world terrorism, culminating in the tragedy of Lockerbie, was the final deathblow. All the treasures had been sold, many at bargain-basement prices-yet the deficits remained. The end came on December 4, 1991. The airline of many “firsts,” a world leader in technology and innovations, was gone, mourned by many across a world that will not see its like again.

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[1]

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Captions [1] The “China Clipper”, a huge new Martin M-130 Flying Boat.

[2] Trippe smoking cigar in his office.

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Section – A

Juan Trippe

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and Boston. That same crowd liked to play in the Caribbean (excellent choice), where he created Pan American Airways Inc. from a merger of three groups. Trippe began service with a flight from Key West, Fla., to Havana, Cuba, on Oct. 28, 1927.

What characterized Trippe thereafter was an uncanny ability to pace his airline’s growth with the range of the airliner as it slowly evolved: first crawling from island to island across the Caribbean and into Mexico, then extending to Central and South America. Finally, it was Trippe’s first Pan Am Flying Clippers, that pioneered global routes: across the Pacific and, in the late 1930s, across the Atlantic. By the end of World War II, Trippe had in place a route system that was truly global.

Before anyone else, he believed in airline travel as something to be enjoyed by ordinary mortals, not just a globe-trotting elite.

In 1945 other airlines didn’t think or act that way. Trippe decided to introduce a “tourist class” fare from New York to London. He cut the round-trip fare more than half, to $275 ($1,684 in today’s dollars, which makes current pricing a bargain, right?). This went over like a lead balloon in the industry, where air fares were fixed by a cartel, the International Air Transport Association; it didn’t want to hear about the tourist class. Incredibly, Britain closed its

Visual Development Guide

Trippe

airports to Pan Am flights that had tourist seats. Pan Am was forced to switch to remote Shannon, Ireland. The industry’s aversion to competition and making travel affordable was to have a long life, as Sir Freddie Laker would discover in the 1970s and Virgin Atlantic nearly a decade later.

Trippe managed to find one route where the cartel could not thwart him: New York to San Juan, Puerto Rico. Pan Am’s one-way fare was $75, and the flights were packed. Finally, in 1952, Trippe’s relentless attacks on the I.A.T.A. forced all airlines to accept the inevitability of tourist class. But by then his vision had taken off for its next destination. Flying the oceans was still mostly for the rich and famous. For millions of others, it was just a dream or a once-in-a-lifetime binge. Trippe saw that the jets being introduced

by Boeing and Douglas could mark the end of that, and he ordered plenty of them. In October 1958, a Pan Am Boeing 707 left New York for its first scheduled flight to Paris.

The jet age had begun, and the transformation was dramatic.

The 707 flew almost twice as fast, at 605 m.p.h., as the propeller-driven Stratocruiser it had replaced. The 707 carried about twice as many people. And for the first time, it flew mostly “over” the weather: typically at 32,000 ft., much higher than the Stratocruiser, a civilian version of the B-29 bomber. But those were not the numbers that intrigued Trippe. While he brilliantly exploited the glamour of his first jet-set passengers—celebrities and VIPs—he was calculating the new jet-age math of what we call in our business “bums on seats”—the seat-mile cost.

The first 707s were flying with five-abreast seating, two on one side of the aisle, three on the other. Trippe switched to six abreast and cut fares, and the Pan Am jet clippers made flying “the pond” far more accessible. By 1965 the company was predicting that 35 million people would be flying international routes and that there would be a 200% increase by 1980.

The relentless Trippe had the big idea: he reasoned that mass air travel could come to the international routes only with a larger airplane—a much larger airplane. Trippe put the notion to his old friend Bill Allen, the boss of Boeing, saying he wanted a jet twoand-a-half times the size of the 707. It was a staggering request given the development cost of the 707. And Trippe didn’t stop with size. Trippe set for Boeing the goal of reducing that 30%.

“If you build it,” said Trippe, “I’ll buy it.” “If you buy it,” said Allen, “I’ll build it.” Trippe said he would buy 25 airplanes. The price: $450 million, in those days big money. It wasn’t yet called the jumbo (the Brits, I’m happy to say, came up with that one).

Pan Am under Trippe always rode shotgun with any new airplane it ordered. Trippe hired Charles Lindbergh to ride his airplanes incognito, and Lindbergh’s ideas helped shape the cabin of the first jets. He also served as a pathfinder, exploring possible commercial air routes across the Atlantic and over the polar regions of Asia. Pan Am engineers crawled all over Boeing as the company conceived the outline for the new jet, the 747.

Throughout his career, Juan Trippe had been driven by the great American instinct for seeing a market before it happened— and then making it happen. In a real sense, he fathered the international airline business. To do so, he took on the entire airline industry, and risked his company to see his vision through.

You’ve just got to admire a guy like that.

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By business school standards, Juan Trippe was not a model chief executive. He didn’t delegate well. He made big deals without telling his top managers. He almost single-handedly built a world airline, Pan American, but often acted as if he owned the world.

He also had a vision that would change it, at least as regards airline travel. While his Pan Am does not survive today, his vision does. He graduated from Yale in 1921 and worked briefly on Wall Street but got thoroughly bored.

Planes fascinated him, though. Trippe was convinced that the future of travel was in the air. With an inheritance, Trippe began a business with Long Island Airways in New York, a taxi service for the well-heeled. When that failed, he raised money from some wealthy Yale pals and joined Colonial Air Transport, which won the first U.S. airmail contract, between New York City

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—Robert Gandt Pan Am pilot and author

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Pan Am was the innovator.

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Logo Evolution Pan American’s first logo was an arrow piercing a bracketed shield with the letters ‘PAA’ enclosed. From the top of the shield, lines flowed towards the tail giving an impression of an arrow in express flight. In October 1930, [Chief Engineer] Andre Priester ordered a standard theme for all Pan American aircraft, a logo designed with a hemispheric globe underneath a half wing.

This logo eventually evolved into a series of three symbols, which were painted on the nose and near the tail of all its aircraft.

The first in the series showed the continents of North and South Americas in the center of the globe. In 1944, several changes were made by placing the letters “PAA” on the wing, incorporating grid lines, and rotating the globe to show portions of the western hemisphere. Later, the grid lines were removed.

Navy blue became the official color for aircraft livery.

Pan Am’s corporate name changed several times. In 1950, the company’s original name ‘Pan American Airways’ was changed to ‘Pan American World Airways.’ Then in 1972 the corporate name was changed again to the company’s popular nickname ‘Pan Am.’

1927

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Logo Evolution

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1973 1944 1928

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New Destination → Mission Statement → Initial Logo Sketches → Logo Development → Final Logo → Inspirational Brand Guidelines → Existing Similar Logos

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Mission Statement

Changing our dreams, aspirations and perceptions of the world through discovery, exploration and sharing.

Re-branding Opportunities Aiming to completely erase cross-cultural walls and stigmas by creating a safe place for people of all backgrounds to meet and learn about others' cultures, food, music, language, stories, beliefs‌This environment can exist literally anywhere whether at an establishment or in a public space.

Brand Soul Pan Am, endless journeys leading to discovery.

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Mission Statement

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Adventure is worthwhile.

—Aesopi Greek fabulist and story teller

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Travel teaches toleration.

—Benjamin Disraeli Prime Minister of the United Kingdom

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Initial Logo Sketches 32

[Aesthetic Directions]

Armed with a fresh strategy, Pan Am begins to give visual form to the its new direction. Starting with the three initial keywords Pan Am lives by, “key phrases” were developed to guide the visual development of the brand. The keywords were chosen very carefully. These defined and embodied the soul of Pan Am. Now, they've been extended into slightly more robust key phrases that define a unique and discrete attitude—each with a slightly different angle, but hang together because they come from the same place… the brand soul and mission.

The process started by generating sketches in 3 divergent directions: 10 refined sketches per camp—camps are used to refer to aesthetic directions or styles. These styles were derived from Pan Am's key phrases. Based on the same soul, they won’t be widely divergent, but should be separate. Within each camp, sketches were divided within different categories.

In Designing Brand Identity, Wheeler breaks down the topology of marks into five categories: wordmarks, letterforms, emblems, pictorial marks, and symbols. We’ve simplified these to three: [a] symbolic marks, [b] graphic marks, and [c] wordmarks— (essentially, Wheeler’s middle three are combined into one). Each camp housed a balanced mix of solutions from all 3 categories: symbolic marks, graphic marks and wordmarks—iconic, indexical (what is connected to the idea?) and symbolic (what symbolizes the idea? an animal? an object?).

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Logo Sketches

→ Unite

Raising awareness, tolerance and compassion.

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→ Explore Stepping outside comfort zones and embarking on new adventures.

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→ Educate

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[2]

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Bridging gaps and creating partnerships.

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[1]

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Logo Sketches

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Unite Bridging gaps and creating partnerships.

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Logo Sketches

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In this section, we gather diverse visuals that symbolize unity from universal symbols to animals, such as: circle, holding hands, the globe, infinity sign‌ etc

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Symbolic

Graphic

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These are supporting visuals that can be purely decorative and don't necessarily hold any meaning.

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Logo Sketches

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Wordmarks These refer to the logotype and should give us a feel of the typeface as well as perhaps add to the complete the meaning of the symbol that comes with it.

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Logo Sketches

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Raising awareness, tolerance and compassion.

These are a collection that symbolizes communicating messages, whether through words, writing, announcing‌ etc

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Symbolic

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Educate

Graphic

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Those can, but don't have to have meaning like the symbols in the previous page. However, some still do and are universally recognized.

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Logo Sketches

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These refer to the logotype and should give us a feel of the typeface as well as perhaps add to the complete the meaning of the symbol that comes with it.

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Wordmarks

Explore Stepping outside comfort zones and embarking on new adventures.

Symbolic

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This section symbolizes exploration from universal symbols to animals, such as: owl, exchange arrows, kite, movement, key‌ etc

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Logo Sketches

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Those can either be icons or brand initials. Both directions were explored below. A theme that kept coming up was the arrows signaling exchange and, in a way, unity.

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Graphic

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Logo Sketches

Some of these are initials as well as logotype ideas. The arrows— representing exchange and culture— keep coming back again and again in different forms and shapes.

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Wordmarks

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Logo Development

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Below are the symbols developed from the previous sketches.

Those were chosen because they have great potential visually as well as conceptually. The idea here is to show unity, as well as exchange since Pan Am stands for cultural exchange. No time was spent combining symbols with logotype at this stage since it was still an initial searching phase for the perfect icon that will set the mood for the rest of the journey.

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Logo Development

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Pan

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Logo Development

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Non of the symbols developed in the previous phase seemed appropriate enough for Pan Am. Therefor, we had to go back to the drawing board and sketch more ideas that were in-line with the keyword/key-phrase; our main focus was on the word Unity.

One idea that kept coming back is arrows going in opposite directions with the simple and clear representation of exchange.

Therefore, energy was focused into perfecting that one idea into a new strong symbol.

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Re-thinking the Logomark Direction

Color Studies

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Color is extremely vital. It affects our mood and, when unique, draws us in even when we’re always surrounded with oceans of color. The new color palette of Pan Am must truly represent its fresh look, yet retain the brand soul. Also, culture is such a diverse thing; there are thousands of different cultures in our world, each with its own character, colors and patterns. So, how do we represent all that with a controlled color palette? We looked at young and vibrant color combinations. Also, we believe purple really works in this situation because it represents a genderless, contemporary and non-restricted vision.

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Color Studies

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Panam

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Finalizing the Logomark 58

Symbol [1] was chosen from all the sketches in the past phase because it portrays the idea of exchange and communication very clearly. it's also simple, recognizable, friendly and reserves the integrity of the brand soul. It underwent a few tweaks from shape [1] to make it stand out more since the circle is also a very common logo shape due to our psychological association of balance towards it. The spacings between the arrows were also re-tweaked since the angles were too sharp at the initial stage; right now they're more mounded and friendly. The final result is shape [3].

[1]

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Logo Development

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Captions [1] The symbol chosen to move forward with for the final logo [2] The fixed symbol after changing the compassing shape to make it friendlier and more unique [3] The final version of the symbol which will be used for the logo

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Notice the rounded corners to make the symbol more friendly

Finalizing the Logotype 60

The typeface of choice for the logotype is Atlas Grotesk Black.

However, the edges of the typeface were modified first, to fit the logo mark and, second, to give a friendlier feel because the typeface as it stands is too sharp for Pan Am's soul. The logomark was also kerned to give a visual balance among the letter-spacing.

The reason for choosing Atlas Grotesk is because it's a very well established typeface, extremely clean and legible yet still has character. The logotype shouldn't overpower the logomark, both should co-exist in harmony without having to fight for dominance and space.

[1]

Pan Am Atlas Grotesk Black

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Logo Development

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[1] Notice the sharp corners on those letterforms, these are the ones that were modified.

[2] Even though the modification is slight, it makes a huge difference and reflects a totally different character for the logotype, it makes it inviting.

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Captions

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[2]

Final Logo Anatomy 62

31/2 x

x

The circle you saw in the previous page was used to adjust all the bits and paces in a concise, well-measured dynamic. Here, you can very clearly see the spacial and thickness relation between the letterforms, lines, shapes and negative space. This correlation is measured by X, which is the width of the P stem.

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2x

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31/2 x

1/4 x

Logomark x

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3/4 x

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Logotype

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Logo Development

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Above are a couple of extra color combinations with the new logo to get a feel of which palette works best with the new and finalized logomark. Purple is a great color in this case because it indicates diversity and inclusion, as well as the fact that it's trending now and more brands are using it to reflect a fresh and unique image. Orange/yellow would also work beautifully because, not only does it combine well with purple, it also radiates energy, happiness and positivity.

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Further Color Studies

Typeface Exploration 64

Below are the typeface combinations to go with the new journey for Pan Am. Lab Grotesque will be used most of the time for its uniqueness, legibility, flexibility and simplicity. Chronicle, on the other hand, will be used for short and/or quite subheadings.

Pan [1]

Lab Grotesque

Conceptually, Lab Grotesque is built on the idea of round strokes straightening out towards the terminals. With that in mind, we made the choice of square or rounded dots possible through stylistic sets.

Lab Grotesque comes in five resolute weights, complete with italics. Lab is designed with and for Stockholm Design Lab, and now it’s available for everyone.

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Type Explorations

Chronicle was designed to work well under any conditions. It includes four different grades, which get progressively more robust while maintaining a common width. This allows different branches of a newspaper to choose the grade most suited to their printing press, without having to set any of the content from scratch .

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Chronicle Text

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A scotch face designed for the New Times newspaper chain. Chronicle Text had to be sturdy enough to cope with the trials of newspaper printing, where the low quality paper and breakneck printing speeds often cause hairline serifs to disappear.

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Quite Headings

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Light Light Italic Regular Italic Medium Medium Italic Bold Bold Italic Black Black Italic

Final Logo 66

This is the final logo design for the new face of Pan Am; elegant, simple, clean yet memorable. It communicates culture, exchange, unity and friendliness. Notice how all the arrows point at a small meeting circle represented through negative space; this is the all-inclusive Pan Am spirit.

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Final Logo

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The shape symbolizes unity, wholeness and inclusion. It's also a less common shape than a circle.

It's edges symbolizes a radius of 360Âş, which reflects all parts of the world.

They're also round meaning you will never get stuck while navigating that territory.

The arrows symbolize exchange, as well as directing the viewer to a certain place [i.e., meeting point].

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Also, arrows from all angles lead to this point, which offers a sense of belonging and peace as if to say ' it doesn't matter where we come from, we are all the same.'

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All arrows lead to this round, wholesome meeting point, which is another way to Pan Am wants its people to feel included, united and equal.

Inspirational Brand Guidelines 68

Looking at other brands and their guidelines is always a good idea in order to see what's working, what isn't and how we can make our brand better and not fall into the same traps as others. Some of the good points that came up while viewing other brands' guidelines are: organized and precise system, visual consistency, explaining the thinking behind the decision-making—this can make a designer's life much easier while designing for a certain brand because it eliminates guessing.

Some visual systems were definitely much more flexible that others, which can be a good thing in terms of practicality and visual interest. Another important aspect of a brand guidelines is the tone and voice in which the brand always uses; this can be as interesting and vital to sustain the brand image as the visual system itself. One brand guidelines which encompasses some of those qualities is Herman Miller [you can look at some of their guidelines in this spread].

August 2010

Herman Miller Brand Guidelines

Corpora kl

Corporate Brand Guidelines

page 1 Š 2010 Herman Miller, Inc.

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Inspirational Guidelines

To navigate, click on the sections below— or the arrows at the bottom

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2. Brand introduction

1. Advocating for the Herman Miller brand The Herman Miller brand is one of our most valuable assets.

We want you to become advocates for our brand and to help us use it consistently.

Our brand is expressed in many ways—our behavior, our products, our communications. We are asking you to pay special attention to two ways we express our brand— through the use of our logomark and our brand promise.

page 2 © 2010 Herman Miller, Inc.

August 2010

5. The visual use of the brand, trademarks

2. Brand introduction

Trademarks play an important role in protecting a brand’s intellectual investments and marketplace leadership. The following examples demonstrate the requirements for protecting our products, services, and ideas. Please note that when the logomark is used alone, it is not necessary to add a trademark symbol to it.

Always:

Introducing Setu™ Chairs. Its innovative kinematic spine bends and flexes to your every move. There’s nothing to tilt, nothing to tweak. Setu’s finely tuned elastomeric fabric provides superior suspension and conforms to your contours.

It’s comfort now.

We always add a trademark symbol to a product or service name the first time it appears in copy. It is not necessary to repeat the trademark. Also, use the product or service name as an adjective modifying a noun the first time it appears, as in “Setu Chairs.” This should be done whenever possible, but certainly at the first prominent use of a product or service name.

Always:

© 2010 Herman Miller, Inc.

We always include a copyright line in all printed material.

Sometimes: © 2010 Herman Miller, Inc., Zeeland, Michigan ® Y, Z, Action Office, Aeron, Ambi, Avive, Caper, Celle, Co/Struc, Eames, Ethospace, Ergon 3, Equa 2, Herman Miller Options, Meridian, Mirra, My Studio, Pedastool, Resolve, V-Wall, and Vivo are among the registered trademarks of Herman Miller, Inc. ™ Intent, My Studio Environments, Stackable, Setu, Stackable Storage, and Vantage are among the trademarks of Herman Miller, Inc.

kl

In more complicated pieces that mention many products or trademarks (like brochures), we provide a comprehensive list at the end that includes both the copyright line and a list of all trademarks and service marks used in the piece. page 13 © 2010 Herman Miller, Inc.

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We hope you will join us in our efforts to strengthen and expand this already wonderful part of Herman Miller.

These guidelines give you clear ways you can help in this important work.

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Existing Similar Logos The world of design is an infinite one with countless subjects and participants. As a player in this game, you need to familiarize yourself with what your fellow colleagues have done or are doing at the moment. This, in a way, assures no copyright borders are crossed because the design process isn’t just about doing your part, it’s about making sure your idea hasn’t been already done.

Therefore, I’ve looked at other companies and organizations that have similar logo ideas as mine to make sure mine isn’t a repetition of something that already exists in the world.

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Similar Logos

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Sources

76 Articles everythingpanam.com content.time.come Photography everythingpanam.com pinterest.com belize-travel-blog.com jacobimages.com worldphoto.org fiftythreemm.com

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All rights reserved.

No part of this book may be reproduced or transmitted in any form or by any means—digitally or physically—without permission from the owner This book was designed and printed in San Francisco, CA for a project at the Academy of Art University (AAU) The typefaces used in this book are Lab Grotesque and Chronicle Text

© Alma Kamal, 2017.

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Pan Am, endless journeys leading to discovery.

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