SEGD 2010 No. 27 - 69

as the rustic architecture of the 1920s and 30s had been supplanted by the modern styles of the 60s, so too should the nostalgic graphic symbols be replaced by more contemporary ones. But few liked the new “triangles and balls” symbol and the Arrowhead was reinstated after about a year. Well aware of this history, DKDG approached the Arrowhead carefully, intent on making it a stronger logo but determined not to change the design signiﬁcantly. Two challenges faced the design team: the Arrowhead’s complex composition made it difﬁcult to reproduce in small sizes and in various media; and, it was not clear to some observers that the logo was intended to be an arrowhead. To address the ﬁrst issue, DKDG created various iterations of the logo, including a single-color line version, a ﬂat grayscale version, and a version using NPS green and two tones of brown, each with two digital originals for reproduction at smaller and larger sizes. To address the second issue, the designers added two more versions, one in continuous gray tones and the other in full color, both fully articulated to depict a three-dimensional arrowhead. Although to most observers the changes were minor, adoption of the newer version was resisted by some with the park service. Even after almost 10 years, the older version can be seen in many parks, largely because it is being replaced by attrition, but also because of continuing resistance. Going on the grid In the mid-1970s, after a major publishing effort for the American bicentennial, the National Park Service took a new look at the publications produced by its Interpretive Design Center in Harpers Ferry, W. Va. Inspired and closely guided by Massimo Vignelli, NPS designers created the UniGrid Program, which is regarded as one of the most signiﬁcant recent examples of public-sector graphic design. Above: Park architecture has also been a major component of NPS identity. The Paradise Inn, built in 1916 in Mt. Rainier National Park, is a prime example of the rustic style of traditional “parkitecture.” Left: Between 1955 and 1966, the NPS spent more than $1 billion on construction, and the concept of the visitor center was invented. The so-called “Mission 66” style, typiﬁed by the modern Mesa Verde center in Colorado, was a dramatic departure from the traditional rustic style found in NPS parks. and slightly modiﬁed in 1954. 1966. Reﬂecting the spirit of the Mission 66 construction surge, Chermayeff and Geismar designed a stylized “triangles and cannonballs” logo that was not well received, and never used widely. 2001. Dennis | Konetzka | Design Group reﬁned the Arrowhead and adapted it for modern printing techniques. 1966, Chermayeff and Geismar 2001, Dennis | Konetzka | Design Group segdDESIGN 69

SEGD 2010 No. 27

Table of Contents for the Digital Edition of SEGD 2010 No. 27