This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing, supported in part by a grant from the Campbell Soup Company. Thirty-one oral history interviews were conducted by Dr. Barbara Griffith for the project, and a variety of related materials were gathered by the Center for Advertising History staff. The objective of the project was to create a collection that provides documentation, in print and media, of the history and development of advertising for Campbell's Red and White Soups in the decades following World War II.
Scope and Contents:
This collection is the result of a year-long study of Campbell's "Red and White" Soups advertising and marketing campaigns. Oral histories conducted by Smithsonian Institution staff with individuals involved with the Campbell's Soup Corporation and its advertising campaigns form the core of the collection. Also included are clippings and background research files, abstracts of the oral history interviews, television and radio commercials, company publications, and promotional items and packaging.
A 2015 addition to the collection was born digital and consists of materials from the groundbreaking "Real Life Campaign" which featured inter-racial couples as well as a gay couple. These materials include storyboards, scripts, consumer feedback both postive and negative, focus group material, labels, commercials, supporting documentation on the development and implementation of the campaign. These materials are available in the Smithsonian Institution DIgital Asset Management System (DAMS).
Arrangement:
Collection is organized into nine series.
Series 1, Research Files, 1939-1989
Series 2, Interviewee Files, 1989-1990
Series 3, Oral Histories, 1989-1990
Series 4, Television Commercials, 1957-1990
Series 5, Radio Commercials, 1966-1975
Series 6, Print Advertisements, 1905-1989
Series 7, Promotional Items and Packaging, 1968-1991
Series 8, Company Publications, 1983-1988
Series 9, Real Life Campaign, 2015
Biographical / Historical:
The Campbell Soup Company's "Red and White" advertising campaigns are remarkable not only for their longevity, but for the consistency of the advertising message. Since 1898, when the red and white label was incorporated, the packaging and the message have changed only marginally. When Andy Warhol painted his pop art Campbell Soup cans in the early 1960s, he presented an immediately recognizable image with which all of America could identify.
Campbell's condensed soups, first marketed in 1897, have become a staple of the 20th century American household. The Joseph Campbell Preserve Company, a canning concern which grew out of an 1869 business partnership between a fruit merchant and an ice box manufacturer, was well established by the time Arthur Dorrance succeeded Joseph Campbell as president. When Dorrance's nephew, John T. Dorrance, a chemical engineer and organic chemist trained at MIT, developed a process for making condensed soup, the company was faced with the task of successfully marketing the revolutionary new convenience food. The soup won a gold medallion for excellence at the 1900 Paris Exposition, and the company incorporated the image on its labels and in its advertising.
In the developing consumer culture which began to grow during and after the industrial revolution, women were identified as the primary consumers of household goods and services. Homemakers have been the target of Campbell' s Red & White advertising since its inception, and this focus is reflected both in the content and the placement of the advertising. The identification of a predominately female consumer market was also influential in the creation of a widely recognized and long-lived symbol, the Campbell Kids, created in 1904 by Grace Gebbie Drayton. The Kids were meant to convey a sense of wholesomeness and physical well-being associated with eating Campbell Soups.
The advertising of the early teens and twenties most often consisted of black and white or two-color depictions of the can and the product, often accompanied by images of the rosy-cheeked Kids. A large portion of the ad was devoted to narrative description of the soups' healthful properties, suggesting that"Campbell Soups Give Vigor and Strength", "I Couldn't Keep House Without Campbell's Tomato Soup", and "If Every Woman Realized How Much Her Husband Likes Soup - She Would Serve It Everyday".
The advertising of the 1930s tended towards idealized illustrations of women and children; the Kids were less visible during the 1930s and 1940s, deemed too "chucklesome" for the Depression years, and too old-fashioned
during World War II. Ad copy continued its appeal to women's sense of responsibility for the well-being of husbands and children, with slogans suggesting "It Takes a Bright and Sparkling Flavor to Attract Children", "When a Man Says It's Good, It's Good", and "Wouldn 't I Be Silly to make It Myself?"
Campbell broadened the scope of its advertising by sponsoring radio programming, beginning in 1931 with the "Hollywood Hotel" program on CBS. Later radio sponsorships included the George Burns and Gracie Allen show, "Campbell Playhouse", "Amos and Andy", the "Jack Carson Show", "Hildegarde", and "Edward R. Murrow with the News", among others . The jingle "M'm M'm Good" was first aired during the radio broadcasts of this period, and was reinforced in the print advertising. Beginning in 1950, Campbell began to sponsor television shows, continuing its focus on women and children as primary purchasers and consumers of suop. Most notable among these sponsorships were "The Donna Reed Show" and "Lassie" . Print ads of the 1950s featuring Johnny Carson, Donna Reed, and the cast of the Lassie Show helped to reinforce the Company's sponsorship of these popular shows.
In 1954, Campbell moved its $10 million dollar condensed soup account from Ward Wheelock Company, the Philadelphia firm which had handled the account since 1910, to Batten, Barton, Durstine & Osborn (BBDO) of New York. By 1966, BBDO account executives urged "selective but not major" use of the Kids and the slogan "M'm M'm Good", choosing instead to employ advertising that stressed health claims and fitness issues rather than the wholesome, comforting associations of hot soup. The Kids became more athletic and less rotund.
Reflecting changes in American social and family structures Campbell' s advertising, began to depict the working wife and the busy schedules of a family "on the go". A 1960 ad declares "Good Things Begin to Happen When Working Girls Have Soup and Crackers" or "Somethings Happened to Supper". In light of the women 's movement, which was gaining momentum during this period, Campbell advertising remained decidedly traditional. In the 1970s, "Give Me the Campbell Life" recognized women 's expanded roles as working mothers, but "They Always Eat Better When You Remember the Soup" and "Get Your Campbells Worth" reveal a more conservative pitch to homemakers responsibilities. Other societal changes are suggested in the advertising, for instance, the "Soup is Good Food" and "Health Insurance" campaigns of the 1980s reflected a new emphasis on health and fitness.
In 1981 the company transferred the soup account to another New York firm, Backer Spielvogel and Bates . The 1980s saw a renewed emphasis on network primetime, strategic radio advertising (where ads for hot soup are tagged to reports of rain or snow, or are aired just before the noon lunch hour), and regional marketing of specialized products or packaging designed to appeal to local tastes and changing nutritional standards. These new products have engendered some changes in Campbell' s time-honored red and white label to emphasize the "new and improved" characteristics of the products
In 2015, Campbells developed the "Real Life" campaign. This campaign was groundbreaking in many ways. The commercials portrayed not only inter-racial couples but also a gay couple, two fathers and their son. This campaign had a product tie in with the 2015 release of the new installment in the motion picture franchise, Star Wars. The campaign received commentary from the public both pro and con. Campbells continued the campaign without revising or pulling any of its commercials. While running in selected markets, the campaign made nationwide headlines and pointed up the continuing change in the make-up of the American family.
Provenance:
Paul N. Mulcahy, V.P. Marketing Services, Campbell Soup Company,1990. Made for the National Museum of American History, Smithsonian Institution by the Center for Advertising History, 1989-1990.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
National Air and Space Museum -- Exhibitions Search this
Extent:
13.38 Cubic feet (11 legal document boxes, 1 shoe box (5 x 8 inches), 6 records center boxes )
Type:
Collection descriptions
Archival materials
Correspondence
Photographs
Date:
1917-2000
bulk 1981-1986
Summary:
This collection consists of background material collected in support of the Smithsonian National Air and Space Museum (NASM) exhibit "Black Wings: The American Black in Aviation" (opened in 1982) and its companion book (published 1983) by curators Von Hardesty and Dominick Pisano, a related symposium, educational materials, and a travelling version of the exhibit. The collection contains photographs and textual materials used in the exhibit and book, internal correspondence and memoranda, and a large amount of material gathered for research purposes but not used in any "Black Wings" production.
Scope and Contents:
The core of the collection covers activities of American Black aviators between 1917 and 1981, from Eugene Bullard's service as a pilot in World War I through the first Black astronauts assigned to the Space Shuttle program in the early 1980s. Curators Von Hardesty and Dominick Pisano and other Museum staff collected and generally grouped materials to fit the four chronological sections of the "Black Wings" exhibit and related book, with a strong emphasis on the stories of individual people.
Headwinds (1917-1939) covers pioneer fliers such as Bullard and Bessie Coleman; Black aviation activities in the Chicago and Los Angeles areas; early aviators and organizers including William J. Powell, Willa Brown, and Cornelius Coffey; and long distance flights by James Herman Banning and Thomas C. Allen, and C. Alfred "Chief" Anderson and Dr. Albert E. Forsythe.
Flight Lines (1939-1945) includes the 1939 flight of Dale L. White and Chauncey E. Spencer to Washington, D.C.; the Civilian Pilot Training Program (CPT); the start of training of Black military pilots at Tuskegee Army Air Field during World War II; and training of the all-Black 477th Bombardment Group. This section and the next include U.S. Army Air Force documents and photography, and materials obtained from individual Tuskegee Airmen.
Wings for War (1943-1945) covers the experiences of the men of the 99th Fighter Squadron and later the 322nd Fighter Group, all-Black fighter units which participated in the Allied campaigns in North Africa, Sicily, and Italy during World War II, and their commander, Benjamin O. Davis, Jr.
Era of Change (1945-1981), including many materials from the U.S. armed forces and the National Aeronautics and Space Administration (NASA), covers the desegregation of the armed forces; military pilots' participation in the Korean and Vietnam wars (featuring William Earl Brown, Jr.; Daniel "Chappie" James, Jr.; Benjamin O. Davis, Jr.); general aviation (John W. Green, Jr.; Neal Loving); commercial aviation (Perry H. Young, Jr.; James O. Plinton, Jr.); and the U.S. space program, including not just the first Black astronauts (Guion S. Bluford, Jr.; Ronald E. McNair; Frederick D. Gregory; Charles F. Bolden) but many other NASA professional men and women from Project Mercury through the beginning of the Space Shuttle era.
Most of the material was photocopied from other sources such as books, newspapers, periodicals, and other archival collections, but many copy photographs and anecdotes were obtained from the aviators themselves (or their families), particularly those active in the 1930s and 1940s. The collection also contains internal Museum documents, notes, and memoranda regarding the development and implementation of the various "Black Wings" productions, including portions of exhibit scripts, book manuscripts, ephemera, and Museum photography taken at the exhibit opening and the symposium. Photographic formats include prints, copy prints, 4 x 5 inch black and white copy negatives and color transparencies, and 35mm copy slides. Quality of the photography is often fair to poor, as the copies are several generations removed from the original images.
The last six boxes of the collection (currently unprocessed) consists of material collected circa 2000 by curator Cathleen S. Lewis and Ian Cook (NASM Department of Space History) for a proposed update to the "Black Wings" exhibit. After it became clear that the exhibit was not going to be updated, Lewis transferred the material to the NASM Aeronautics Department, as Hardesty and Pisano were contemplating an update to the Black Wings book. This, too, failed to materialize, and the material was transferred to the NASM Archives in May 2018 to be added to the existing Black Wings Exhibit and Book Collection. This series was received by the Museum's Archives Division after the existing collection material had been scanned; it has not been scanned.
Arrangement:
The collection is divided into six series. The first four roughly chronological series (Exhibit, Book, Educational Outreach, and Symposium) relate to the different "Black Wings" productions, and materials within each series often reflect the four-section groupings detailed in the Scope and Content note. The next series, Research Materials, has four sub-series: Biographical Files (alphabetical by last name), Subject Files and Study Materials (alphabetical by subject), Photographic Negatives, and Photographic Prints and Illustrations. The last series houses later additions to the collection which are currently unprocessed.
Materials within folders are predominantly photocopies (xerographs) and often include numerous duplicates, many unlabeled, and in no specific order. Materials relating to an exhibit often include a NASM Exhibits Department reference number (example: SE:13-L73-P58 to P59) indicating the exhibit number (13), label number (L73), and position within the exhibit (P58 to P59). Some materials are not visible online due to copyright restrictions.
Biographical / Historical:
On September 23, 1982, the Smithsonian National Air and Space Museum (NASM) exhibit "Black Wings: The American Black in Aviation" opened as part of the existing "Pioneers of Aviation" exhibit located in Gallery 208 of the museum's National Mall Building in Washington, D.C. The exhibit was dedicated to the American Black Aviator, who anonymously played a historic role in shaping the growth of modern aviation. "Black Wings" encompasses the men and women who had to overcome enormous social pressures in order to gain the right to pursue the dream of flight in both civilian, military, and commercial circles. The exhibit generated much public and media interest, and inspired the Museum to sponsor a symposium on February 25, 1983, entitled "The American Black in Aviation, A Decade of Change: 1939-1949," (working title: "Tuskegee Airmen at War") featuring presentations by historians and U. S. Army Air Forces veterans including Noel F. Parrish (Commander, Tuskegee Army Air Field, 1942-1946), George F. Roberts (Commander, 99th Fighter Squadron, September 1943 to April 1944), and pilots Lewis A. Jackson, Elwood T. Driver, and Louis R. Purnell. In conjunction with the exhibit, the Museum, working with Sid Aaronson Films, Inc., produced a set of sound filmstrip packages designed for elementary and secondary school use. In 1983, the Smithsonian Institution Press published a companion book, Black Wings: The American Black in Aviation, authored by the exhibit's curators, Von Hardesty and Dominick Pisano; a second edition was issued the following year as part of the Smithsonian History of Aviation and Spaceflight series. A Smithsonian Institution Travelling Exhibition Service (SITES) version of the exhibit began circulating to other museums and venues in June 1983, and a expanded version of the SITES exhibit (featuring additional artifacts, photography, and audio-visual materials) was displayed April 1 to August 5, 1984, at the Anacostia Neighborhood Museum (later know as the Smithsonian Anacostia Community Museum) in Washington, D.C. The original NASM "Black Wings" exhibit—with occasional updates—remained on display in the "Pioneers of Flight" gallery (later renamed the "Barron Hilton Pioneers of Flight Gallery") until 2019 when the gallery was closed due to renovations to the Museum's National Mall Building.
Related Materials:
"Black Wings: African American Pioneer Aviators" NASM Website Collection, NASM.2004.0026 [finding aid not available online]
Provenance:
National Air and Space Museum (NASM) Department of Aeronautics, Transfer, 1993, NASM.1993.0060; additional material transferred from NASM Department of Space History, 2018
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Background and biographical information consists of Nesbitt's resume, an artist/designer statement, list of clients and accomplishments of Nesbitt Associates, Ltd., press releases, articles, and photographs of the designer.,The materials in this collection document Nesbitt's work from 1951 through 1984.
The records of the office of public relations cover the years 1955-1963 and include press releases and clippings describing some Nesbitt's products, his theories on consumer motivation, and the results of his surveys, as well as correspondence with members of the press. General office correspondence is boxed separately.
Color slides, color and black & white transparencies, and black & white photographs of most of Nesbitt's designs for packaging from 1951-1981 are included. Oversized materials include books jackets and booklets designed by Nesbitt, as well as some renderings for packaging designs done in color.
Three samples of fitted presentation boxes designed by Nesbitt are included, as well as a prototype for a design award for Parsons School of Design in New York, and two "Multiplication" cubes commissioned by the Museum of Modern Art in New York.
Arrangement:
This collection has been reboxed in archivally-sound containers, but the materials have only been partially processed and arranged. Record groups include: 1) Backgound and Biographical Information; 2) Records of the Public Relations Office, 1955-1963; 3) Correspondence; 4) Slides, Transparencies, and Photographs; 5) Oversized Materials; and 6) Samples.
Biographical / Historical:
Packaging, industrial, and graphic designer. Born in New York City, August 10, 1920. Nesbitt was a student of sculptor Chaim Gross and studied art at many New York institutions including: Art Students League; New York University; Columbia University; Pratt Institute of Art; and the New School.
He served in the U.S. Army from 1942 to 1945 where he worked as a cartographer and as the head of the visual aid section in a military intelligence training center. In 1945, he joined the staff of Harper's Bazaar magazine where he was an illustrator assisting art director Alexey Brodovich. In 1946, Nesbitt was hired by the industrial design studio of Raymond Loewy as a handletterer and packaging designer.
He worked with Lippincott Industrial Design from 1948 to 1951. Nesbitt opened his own design studio, Nesbitt Associates, Ltd. in 1951. The firm specialized in package design, trademarks, and corporate identities. Some of his most recognizable designs were for the label for Campbell's Soup and the Florists' Telegraph Delivery (F.T.D.) Winged Mercury 'Interflora' figure, still used today. Nesbitt's other clients included: Franco American; Revlon; Ballantine Beer; Borden; Champion spark plugs; Kodak; Philip Morris cigarettes; Schick razors; and Archway cookies. In addition, Nesbitt developed the "Karry Kit" for Ballantine Beer which came to be widely used and known as the six pack.
Nesbitt was known for his revealing studies and surveys of the buying needs and preferences of the "average American housewife" and consumers in general. His opinions on what he referred to as "underpackaging" were widely publicized in professional magazines and journals. In 1984, Nesbitt retired from the design field and went to California to resume his career as a sculptor until his death in 1993.
Related Materials:
Materials in the Archives Center
NMAH.AC.0367 Campbell Soup Advertising Oral History and Documentation Project
NMAH.AC.0552 Caroline R. Jones Papers
NMAH.AC.0060 Warshaw Collection of Business Americana
Collection donated by the designer's wife, Mrs. Saul Nesbitt, in 1994.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
4.8 Linear feet ((1,200 items partially microfilmed on 3 reels))
1 Item (1 rolled doc.)
Type:
Collection descriptions
Archival materials
Date:
1935-1955
Scope and Contents:
Biographical material; correspondence; writings; graphic designs; sketches; clippings; and photographs.
Reel 323: biographical material, including a biographical sketch by Jules Langsner; correspondence, personal and professional, 1949-55; receipts for works sold; notes and articles on design by Lustig; original design layouts of trademarks, magazine covers, paricularly LOOK magazine, book jackets, record covers, girl scout pamphlets, advertisements, and stationery.
Reel 324: sketchbook of Lustig's designs; architectural drawings; magazine and newspaper clippings; and miscellaneous materials.
Reel 421: photographs of Lustig including two taken by Maya Deren, 1944 (one copyprint microfilmed on reel 1817, fr. 786), of his fabric designs, graphic designs, furniture designs (including some marginal notes), sculpture, helicopter designs, and packaging designs; pictures of the Beverly Landau building and the Beverly Carlton Hotel in Los Angeles; office interiors designed by Lustig; and photographs of Rath House, 1948.
Mair, Francis M., 1916-1991 (commercial artist) Search this
Extent:
68 Cubic feet (198 boxes, 4 map folders)
Type:
Collection descriptions
Archival materials
Audiovisual materials
Business letters
Business records
Personal papers
Videotapes
Interviews
Oral history
Date:
circa 1862-2002, undated
Summary:
Collection consists of the business records and original art documenting the work of Walter Landor and his design firm Landor Associates located in San Francisco, California.
Scope and Contents:
Collection documents the career of designer Walter Landor and the significant body of commercial imagery and packaging produced by Landor Associates design firm. Contains corporate and business records of Landor Associates, Landor's personal papers, oral history interviews, films, videotapes, and other audiovisual resources.
Arrangement:
Collection is arranged into seven series.
Series 1: Landor Associates Business Records, 1862-1993, undated
Subseries 1.1: Historical Background and Project Administration Files, 1941-1993, undated
Subseries 5.2: Educational and Training Acquired by Landor Associates, 1944-1975,
undated
Subseries 5.3: Promotional Films Acquired by Landor Associates, 1958-1977, undated
Subseries 5.4: Television Commercials, Advertising and Public Service Announcements,
1964-1975, undated
Subseries 5.5: Miscellaneous Films Acquired by Landor Associates, 1967-1970,
undated
Series 6: Video Cassette Tapes, 1980-1993, undated
Series 7: Audio Cassette Tapes, 1971-1991, undated
Biographical / Historical:
Walter Landor (1913-1995), son of Jewish Bauhaus architect Fritz Landauer, came to the United States in 1938 with the design team for the British Pavilion at the 1939 World's Fair in New York City. He emigrated to the United States in 1941, launching a small design firm in San Francisco. Landor started out doing package design for a largely local and regional clientele (including many West Coast wineries and breweries), although he soon developed a client list that included some of the world's largest and most prestigious corporations. Corporate identity projects were an important specialization. In addition to his own considerable design abilities, Landor had a gift for inspiring and organizing the creativity of a group of associates, and for developing lasting and productive relationships with his clients. The firm developed particular strength in its portfolio of airlines, financial institutions and consumer goods, and prided itself on a network of international clients. From the beginning, Landor linked design to research in consumer behavior, developing increasingly sophisticated methods for evaluating the effectiveness of his designs. This collection documents Walter Landor's remarkable career, the significant body of corporate identity, packaging and other commercial imagery produced by Landor Associates, and the interplay between industrial design and American consumer culture.
German Historical Institute
Walter Landor in the Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present.
The collaborative research project Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present sheds new light on the entrepreneurial and economic capacity of immigrants by investigating the German-American example in the United States. It traces the lives, careers and business ventures of eminent German-American business people of roughly the last two hundred and ninety years, integrating the history of German-American immigration into the larger narrative of U.S. economic and business history.
Related Materials:
Archives Center, National Museum of American History
Francis M. Mair Papers NMAH.AC.0548
NW Ayer Advertising Agency Records NMAH.AC.0059
Hills Bros. Coffee Company, Incorporated Records NMAH.AC.0395
Emmett McBain Afro American Advertising Poster Collection NMAH.AC.0192
Warshaw Collection of Business Americana NMAH.AC.0060
Marilyn E. Jacklar Memorial Collection of Tobacco Advertisements NMAH.AC.1224
Marlboro Oral History and Documentation Project NMAH.AC.0198
Division of Work and Industry, National Museum of American History
The division holds artifacts related to the Walter Landor and his advertising work. See accession 1993.0393.
Provenance:
Personal papers donated to Archives Center in 1993 by Josephine Landor, widow of Walter Landor; business records donated to Archives Center in 1993 by Landor Associates.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Speeches by Walter Landor and senior members of his firm, Landor Associates. Audiences for the speeches generally are businesses and business and professional associations in the areas in which Landor Associates practiced, especially packaging and corporate identity. Many of the speeches begin with an introduction to the firm and its services. The files sometimes include correspondence and other materials related to the event. A few files deal with the publication of articles about the firm. There are duplicates and multiple versions of some speeches. The speeches generally are arranged chronologically. Box 80, folder 11, contains several partial listings of the speeches prepared by the firm.
Some files are especially rich including: Packaging Design Book, box 81, folder 14-15 (1966); China (five days of lectures), box 84, folder 14 (1978); Japan , box 84, folders 15-16 (1979); memorial remarks for long-time staff members Don Short and Fran Mair, box 86, folders 9-10.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Contain interviews, tributes, and award ceremonies relating to Walter Landor. An interview and tribute to Fran Mair on the Klamath ferry boat and Pier 5 are also included in the materials. Also found among the tapes is Landor associate Rodney's McKnew's party on the Klamath. In addition, meetings relating to the Landor archives, the Packaging Designers' Council (PDC) National Conference in 1991, and an exhibit at University of San Francisco (USF) form part of this collection.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Classic packaging design by the firm; also corporate identity projects and trade magazine articles.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
1 Motion picture film ( 207 feet, 16mm color composite optical track print)
Container:
Item AC0500-OF0009
Type:
Archival materials
Moving Images
Motion picture films
Date:
circa 1972
Scope and Contents:
Production Company: Landor Associates
Content Description: Audio in Spanish. Demonstration of what Landor Associates does including product testing, branding, and package design. All products used are actual Landor Associates' examples.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
1 Motion picture film (316 feet, 16mm color composite optical track print, )
Container:
Item RV Tape 24
Item MV 500.10
Item RV 500.10
Item AC0500-OF 50010
Type:
Archival materials
Moving Images
Motion picture films
Scope and Contents:
Production Company: Landor Associates
Content Description: Film begins with an animated, humorous history of marketing, and then switches to live action at a supermarket. There is a man onscreen and a woman's voice off-screen. They discuss how a package design helps the consumer to choose between products.
Digital reference copy in Smithsonian Institution Digital Asset Management System (DAMS).
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
1 Motion picture film (533 feet, 16mm color composite optical track print )
Container:
Item AC0500-OF0017
Type:
Archival materials
Motion picture films
Date:
circa 1975
Scope and Contents:
Production Company: Communications Film
Sponsor: Danfoods
Content Description: Animated and live action. Humorous film on how to brand a product and market it. Illustrates how package design is developed. Includes scenes of a supermarket.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.
