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การสร้างแบรนด์เรื่มขึ้นในศตวรรษที่ 1500
เป็นยุคอุตสาหกรรมการเกษตรกรรม

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ราวๆ ค.ศ. 950 ชื่อสมัยใหม่ของคำว่าแบรนด์มาจากคำภาษานอร์สโบราณว่า "Brandr" ซึ่งแปลว่า "เผา" มาจากการที่คนโบราณเคยเผาท่อนไม้

ซึ่งหมายถึงว่า เป็นตราสินค้าที่มาจากการเผาท่อนไม้

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ศตวรรษที่ 1500 การสร้างแบรนด์เริ่มแพร่หลาย

ความหมายของคำว่าแบรนด์หมายถึงการที่เกษตรกรและเจ้าของปศุสัตว์จะทำตราสัญลักษณ์ไว้บนปศุสัตว์ของตนด้วยเครื่องหมายเฉพาะ

เพื่อแสดงว่าเจ้าของเป็นใคร เนื้อเกรดอะไร มาจากฟาร์มไหน
โดยสัญลักษณ์จะเป็นอักษรภาพของทางอียิปส์ ( symbol )
ซึ่งคนที่ทำตราสัญลักษณ์ส่วนใหญ่จะเป็นช่างตีเหล็ก

*ไม่รวมพวกตราสัญลักษณ์ของราชวงศ์

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National Cowboy & Western Heritage Museum

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ศตวรรษที่ 1750-1870 : The Industrial Revolution

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ศตวรรษที่ 1750-1870 : The Industrial Revolution

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การปฏิวัติอุตสาหกรรม

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เป็นช่วงที่มนุษย์เริ่มนำเครื่องจักรมาใช้งาน

แต่เครื่องจักรก็เป็นเพียงตัวช่วยของมนุษย์เท่านั้น เช่น เครื่องพิมพ์ดีดก็ยังต้องใช้คนกด

ซึ่งพอมีเครื่องจักรมาช่วยในการผลิต ทำให้เกิดการแข่งขันขึ้น จึงทำให้ต้องเริ่มมีการสร้างสัญลักษณ์

ทำให้เริ่มมีการแกะสลัก

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เครื่องหมายการค้า

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เครื่องหมายการค้า

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เครื่องหมายการค้าเป็นทรัพย์สินทางปัญญา

เพื่อแสดงว่าสินค้าที่ใช้เครื่องหมายของเจ้าของเครื่องหมายการค้านั้น เจ้าของมีสิทธิตามกฎหมายเพียงผู้เดียว

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เริ่มมีการจดทะเบียนเครื่องหมายสินค้าปี1870มากขึ้น

รัฐสภาคองเกรสแห่งสหรัฐอเมริกาได้ผ่าน

พระราชบัญญัติเครื่องหมายการค้าใหม่

ฉบับแรกปี1881's

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โลโก้ของBass Brewery กลายเป็นภาพแรกที่จดทะเบียนเป็นเครื่องหมายการค้าในสหราชอาณาจักรในปี 1876

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โลโก้ของ Quaker Oats ได้รับการจดทะเบียนเป็นเครื่องหมายการค้าแรกสําหรับซีเรียลอาหารเช้าในปี 1877

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ยุคทองของนวัตกรรม และกำเนิดแบรนด์

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สหรัฐอเมริกาได้เปลี่ยนโฉมประเทศอุตสาหกรรมที่มีลักษณะเป็นเมืองอย่างรวดเร็ว นวัตกรรมทางเทคโนโลยี การเติบโตทางเศรษฐกิจ การพัฒนาการเกษตรขนาดใหญ่ เนื่องด้วยเทคโนโลยีพัฒนาถึงขั้นสุดแล้ว

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Telephone

(JAN 1, 1873)

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Light bulb

(JAN 1, 1879)

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Fountain Pen

(JAN 1, 1884)

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Coca Cola

(MAY 8, 1886)

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ดาวน์โหลด (1)

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เล่าเรื่อง: สงครามโลกครั้งที่ 1 | Point of View

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ยุคแห่งความบันเทิงหลังจากจบสงครามโลกครั้งที่ 1

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ทำให้เกิดความก้าวหน้าพร้อมความคิดสร้างสรรค์มากมายไม่ว่าจะเป็นเทคโนโลยี ศิลปะ สถาปัตยกรรม และดนตรี

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JWT The First Creative agency’s ( 1847's )

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JWT The First Creative agency’s ( 1847's )

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The Frist Department store in an American

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The Frist Department store in an American

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The British Broadcasting Company, as the BBC was originally called, was formed on 18 October 1922 by a group of leading wireless manufacturers including Marconi.

Daily broadcasting by the BBC began in Marconi's London studio, 2LO, in the Strand, on November 14, 1922. John Reith, a 33-year-old Scottish engineer, was appointed General Manager of the BBC at the end of 1922.

October 1922 - 2LO launched

Following the closure of numerous amateur stations, the BBC started its first daily radio service in London - 2LO.

After much argument, news was supplied by an agency, and music drama and 'talks' filled the airwaves for only a few hours a day. It wasn't long before radio could be heard across the nation.

December 1922 - John Reith appointed

Thirty-three year old John Charles Walsham Reith became General Manager of the BBC on 14 December 1922.

I hadn't the remotest idea as to what broadcasting was.

There were no rules, standards or established purpose to guide him. He immediately began innovating, experimenting and organising, and with the help of his newly appointed chief engineer, Peter Eckersley, the service began to expand.

September 1923 - Radio Times first edition

The first edition of The Radio Times listed the few programmes on offer.

It also provided advice for budding radio enthusiasts, and numerous advertisements by the fledgling radio industry, offering the latest in radio receiving technology. It was to become one of the world's most popular listing magazines.

February 1924 - the Pips first heard

Heard on BBC radio since 1924, the six electronically generated 'pips' to indicate the Greenwich Time Signal (GTS) were invented by the Astronomer Royal Sir Frank Watson Dyson, and the Director General of the BBC John Reith.

The six short 'pips' were designed to mark the precise start of every hour on BBC radio. Today the GTS is heard on BBC Radio 4, and other BBC networks. Time signals based on the same principle exist in other countries.

January 1927 - British Broadcasting Corporation established

The BBC is established by Royal Charter as the British Broadcasting Corporation.

Sir John Reith becomes the first Director-General. The Charter defined the BBC's objectives, powers and obligations. It is mainly concerned with broad issues of policy, while the Director-General and senior staff are responsible for detailed fulfilment of that policy.

November 1929 - John Logie Baird tests television

Using BBC frequencies, John Logie Baird broadcast some of his first experimental television broadcasts from studios near Covent Garden in London.

Pictures were in black and white, created by mechanical means using a scanning disc, consisting of just 30 lines definition.

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The British Broadcasting Company, as the BBC was originally called, was formed on 18 October 1922 by a group of leading wireless manufacturers including Marconi. Daily broadcasting by the BBC began in Marconi's London studio, 2LO, in the Strand, on November 14, 1922.

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The iconic radio station WEAF in New York City began in 1922 as a grand experiment by the Western Electric Company, a subsidiary of AT&T.Western Electric was interested in exploiting its collection of radio patents, which it believed would allow it to corner the market in the exploding field of radio broadcasting.The station went on the air August 16 of that year from an antenna atop the eleven-story Western Electric Building at 463 West Street.WEAF's first studios were located at 24 Walker Street (In 1923, the station moved into more elaborate new studios on the fourth floor of the AT&T Building at 195 Broadway.)WEAF was initially conceived by AT&T as a "toll broadcaster" - a radio-station-for-hire, with blocks of program time that would be leased to anyone that wanted to broadcast.On August 28, 1922, WEAF broadcast what is widely considered to be the first radio commercial, promoting a new apartment building. But the toll concept did not attract many paying users, and so WEAF out of necessity reverted to creating its own programs.It quickly became one of the country's most important station, presenting high quality talent like singer Vaughn De Leath, Will Rogers, the Happiness Boys, the Silver Masked Tenor, the Ipana Troubadours, and a number of renowned artists from the Metropolitan Opera Company.One of WEAF's first announcers, Graham McNamee, was to become radio's most famous announcer in the 1930s. On the technical side, Western Electric was using WEAF as a laboratory for the development of its commercial broadcasting equipment.WEAF began with 500 watts, but by 1925 it was using the country's first 5,000 watt transmitter, a Western Electric prototype. WEAF was also a pioneer in the early development of radio networks, as it regularly linked up with its sister station WCAP in Washington as well as other stations around the Northeast to create the first "chain broadcasts". These early WEAF experiments, coordinated with sister company AT&T, led to the construction of an elaborate national network of broadcast-quality telephone lines which would become a major source of revenue for AT&T. In 1919, AT&T was one of the original partners in the formation of RCA (the Radio Corporation of America), along with General Electric, Westinghouse and the United Fruit Company.However, the marriage of these companies did not go smoothly, and RCA suffered a great deal of internal friction between its partner companies. For one thing, Westinghouse and G.E. had been fierce competitors since the AC-vs-DC current wars of the 1880s.Additionally, AT&T felt its patent holdings gave it a monopoly on transmitter technology and radio broadcasting - a point strongly contested by both GE and Westinghouse, who were also operating their own pioneering stations.All of this turmoil finally came to a head in 1926 during a serious of contentious meetings between the partners that resulted in AT&T exiting the business of radio broadcasting, and the purchase of WEAF by RCA for $1 million.The partners also agreed that AT&T would provide broadcast transmission lines to RCA for the creation of a proposed national radio network. RCA made good on that plan in September of 1926, in a powerful move that reinforced its dominion over radio broadcasting - it formed the National Broadcasting Company (NBC) as an RCA subsidiary, and created two new national radio networks - the NBC Red and Blue Networks.WEAF became the key station for the Red network and WJZ headed the Blue Network. The new networks quickly signed up many of the most important radio stations in major cities around the country as, and AT&T settled comfortably into its lucrative new role of supplying NBC with all of the network lines it needed to feed affiliate stations around the country.In 1927, all studio operations of NBC, WEAF, and WJZ were consolidated in beautiful new art deco studios at 711 Fifth Avenue.(They would move again in 1933 to even more opulent surroundings - Radio City in the new Rockefeller Center building.)Within a few short months, RCA and NBC had become the kings of the radio hill, and they now turned their attention to improving their two key New York outlets. RCA now wanted to lead the nation in the development of "super power" transmitter facilities for its two stations.The first high power station in the country was General Electric's WGY in Schenectady, New York, which began operating regularly at 50 kW in 1926 and even experimented with 100 kW in 1927.However, the Federal Radio Commission would not allow any station having more than 5 kW to broadcast from inside its city limits for fear of overloading the public's still-primitive radio sets.If RCA was going to increase its stations' power beyond 5 kW, it would have to transmit from outside of New York.The company obtained two rural tracts of land for its stations and contracted with its partners Westinghouse and General Electric.Westinghouse would build a 50,000 watt transmitter for WJZ, and GE. would build one for WEAF. WJZ was the first station to throw the big switch, which began operating experimentally with a Westinghouse open-frame transmitter from Bound Brook, NJ, in late 1925.However, the station immediately received 1,500 interference complaints from nearby neighbors, and as a result was not allowed to operate with more than 30 kW until 1933. WEAF was the second station to increase power, broadcasting from a new transmitter site located in more rural surroundings on Maple Avenue in Bellmore, Long Island, 28 miles East of New York.Construction began in the summer of 1927, and the new site formally debuted on October 10.Let's take a virtual tour of that facility. The WEAF transmitter was housed in a two-story 30x70 ft. stucco building decorated in a colonial style to blend in with its rural surroundings. Two 300 foot towers supported a single 3/8" wire antenna, instead of the multi-wire T-type configuration that was typical of that era.A center downlead wire connected the antenna to the tuning house. As an aircraft hazard marking, the towers were painted in alternating 12 foot bands of black and yellow and illuminated by floodlights. (This was before orange and white colors we see today were standardized.)Even though it was constructed by GE, all the top electronics minds of Westinghouse, GE and RCA participated in the planning of the new RT-150A transmitter, representing the apex of radio science in the day. Dr. Alfred N. Goldsmith of RCA, Dr. E.F.W. Alexanderson of General Electric, and Frank Conrad of Westinghouse, all participated in its design. The transmitter was a "Rube Goldberg" design compared to the sleek transmitters of just a few years later.It consisted of separate assemblies for each major operating function, which were installed at different locations in the building.The major sections were:

An audio monitoring and control panel
At the time, the highest-power vacuum tube available was GE's UV-207, rated for 10 kW input power, so to reach 50 kW it was necessary to combine many tubes in parallel.In all, the transmitter contained 32 tubes- eight RF tubes plus two spares, six pairs of modulator tubes with two pairs of spare tubes, and six UV-214 Kenotron rectifier tubes.The power amplifier, modulator and rectifier sections were each enclosed in separate open-frame chassis with exposed tubes.The high voltage connection points were also exposed, and the only protection for the operators against contact with high voltage was a wooden railing that ran in front of the transmitter. The operator's control desk sat in the middle of the main transmitter room, and contained two radio receivers and a transmitter control switch panel.One of the RCA receivers was tuned to the station's 610 kHz frequency (later changed to 660 kHz), while the other one was tuned to the 600 meter maritime distress frequency.Regulations required the station to leave the air immediately in the event of an SOS distress call.The operator's control panel selected the tubes that would operate in the transmitter, and allowed the operator to shut down a defective tube and switch in a replacement without taking the transmitter off the air. All told, the entire WEAF transmitter facility represented an investment for NBC of $500,000 - or$6.8 million in today's dollars.It represented the pinnacle of radio science in 1927, and received great amounts of publicity when it opened. Despite NBC's huge investment, the installation was not a great success.The transmitter was at the leading edge of technology, and as a result was never very stable in its operation.There were just too many devices in parallel, and it was difficult to keep them all functioning and in balance. The transmitter also was not capable of 100% modulation because of its use of the Heising modulation method.The result was that only one other 50A was built to fulfill the RCA contract.It went to WEAF's sister NBC station WENR in Chicago. Before two more years had passed, GE had developed the new 100 kW UV-862 power tube, which eliminated the need to parallel so many smaller tubes.Using this new tube, GE and Westinghouse collaborated on a new transmitter called the RCA 50-B.Unlike the RT-150A, this unit proved to be a successful product, and it entered the marketplace just as dozens of stations were being authorized for 50 kW operation.The transmitter found its way into dozens of the country's high powered stations over the next decade, and many of them were still operating into the 1950s. But there was another, more fundamental problem with the Bellmore site - its signals were never very strong in New York City - it was just too far away. Initial reports in 1927 showed that WEAF in many parts of the city was weaker than from its old 5 kW rig on West Street. Finally, in August 1941, WEAF moved again - this time to Port Washington, NY - ten miles closer to the city.A new two-tower directional array was put into operation, and the station's signal in New York City was finally strong again.The 50B was moved from Bellmore to Port Washington, and so the old RT-150A probably sang its swan song by keeping WEAF on the air during the move. In November, 1946, NBC changed the station's call sign from WEAF to WNBC. In 1988, NBC sold the station, and it became WFAN, which is operated today by CBS Radio.Since the 1960s, it has broadcast from its present transmitter location on High Island in the Long Island Sound. REFERENCES:

The Airwaves of New York, By Bill Jaker, Frank Sulek, Peter Kanze

Commercial Broadcasting Pioneer: the WEAF Experiment, by William Peck Banning, 1946

"WEAF superpower plant on L.I. goes on the air"- Brooklyn Daily Eagle, 8/28/1927

"WGY: America's New 100kw Transmitter.Satisfactory Results of a Thirty Days' Special Test" by A. Dinsdale, "Wireless World", October 5, 1927.

"'Sparks' visits WEAF's new home - Boys Life, December 1927

NOTE: This article appeared in the Spectrum Monitor Magazine, December, 2015.

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The iconic radio station WEAF in New York City began in 1922 as a grand experiment by the Western Electric Company, a subsidiary of AT&T.Western Electric was interested in exploiting its collection of radio patents, which it believed would allow it to corner the market in the exploding field of

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1920s Jazz & 1920s Jazz Instrumental: Best of 1920s #Jazz and #JazzMusic in 1920s Jazz Playlist

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หลังจากที่มีการสังสร

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หลังจากที่มีการสังสรรค์ กันอย่างมากมายก็เริ่มเกิดแบรนด์สินค้าที่ตอบสนองความต้องการของผู้คนมากขึ้น เช่น แบรนด์ซิกกาเรต เครื่องดนตรี

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Covid-19

Cigarette

1936

British American Tobacco Brown & Williamson (former manufacturer)

Viceroy is a low-cost cigarette brand owned by London-based British American Tobacco. Viceroy cigarettes are made by Brown & Williamson (B&W), an American tobacco company which was bought by British American Tobacco (BAT) in 1927. Viceroys were first produced in 1936; the first filter cigarettes with a cork tip.

Viceroy originated in the U.S. in 1936, produced by B&W as the world's first cork-tipped filter cigarette. It was a mid-priced brand at the time, equivalent to B&W's Raleigh cigarettes flagship brand, but more expensive than Wings cigarettes introduced by B&W in 1929. In 1952 Viceroy was the first brand to add a cellulose acetate filter which established a new industry standard. In 1953, Viceroy Filter Kings were introduced. In 1990, Viceroy Box Kings and Lights Box Kings were introduced on the U.S. market, followed by Viceroy Ultra Lights Kings and Ultra Lights 100's in 1992.

In the 1970s, Viceroy was proposed as part of a B&W marketing test to see whether children could be encouraged to become smokers. This was discovered by the Federal Trade Commission during a closed investigation of cigarette company advertising practices. The Viceroy ad campaign was not carried out.

The Viceroy brand was involved in public controversy beginning in 1994 when U.S. Food and Drug Administration Commissioner David Aaron Kessler revealed that B&W had been found growing genetically modified tobacco plants in South America, the plants engineered to produce increased levels of nicotine. Viceroy King Size and Viceroy Lights King Size cigarettes made in 1993 were identified as some of the B&W brands carrying "approximately 10% of this genetically bred high-nicotine tobacco called Y-1," referring to Y1 tobacco.

Further controversy came in 1995 when former B&W vice president Jeffrey Wigand, a research chemist, revealed that B&W had been adding chemicals to the B&W cigarette brands Kool, Capri and Viceroy to increase smokers' addiction to nicotine.

New Viceroy 100's box styles changed in the 1990s, and Viceroy Menthol was introduced in 2000. All Viceroy styles changed to a more contemporary packaging on packs and cartons without changes to the product blend.

On July 30, 2004, parent company Reynolds American Inc. was formed as a joint venture between the U.S. branch of BAT and R.J. Reynolds Tobacco Company. The Viceroy brand was brought under the Reynolds American umbrella as a part of B&W under RJR Tobacco.

After the B&W merger, the Viceroy brand has been played down in the U.S., continuing to be sold on the markets where demand is strong, like Russia, Poland, the Czech Republic, Argentina, Romania, the Middle East, Turkey and Chile. Viceroy Red and Blue are sold as a budget brand in Canada.

Canadian musician Mac DeMarco recorded a song about the brand, entitled "Ode to Viceroy" on his album 2.

Viceroy (cigarette) Wikipedia

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Viceroy (cigarette) - Alchetron, The Free Social Encyclopedia

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Covid-19 Cigarette 1936 British American Tobacco Brown & Williamson (former manufacturer) Viceroy is a low-cost cigarette brand owned by London-based British American Tobacco. Viceroy cigarettes are made by Brown & Williamson (B&W), an American tobacco company which was bought by British American Tobacco (BAT) in 1927.

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According to traditional estimates, this instrument has a manufacture date of 1902. The serial number is 2526, with no FON (factory order number). According to 'Spann's Guide to Gibson', this Style A Mandolin has a shipment date of 1904.

The above information was collected from the current owner Rick Van Krugel and the mandolinarchive.com, which includes the following photos in their site.

Currently, the contents of this website have been dedicated to my own personal collection of prewar Gibson instruments and ephemera. The above Gibson print ad from 1904 is in my possession, but recently I was contacted by the current owner of the actual mandolin (far left) in the Ozburn photo.

Because this is such an important piece of Gibson history, the current owner, Rick Van Krugel, has granted me permission to include the following photos that he took while restoring this historic instrument.

From the information I had received from the original owner, I believe it is important to hear the entire story of this unique instrument in his own words.

The following photos and statements are from the current owner, Rick Van Krugel:

'The original owner is William Howarth, according to his grandson(a jazz bassist who must at least be in his late seventies now) here in Victoria. He's the owner of the photo. I tracked him down with some difficulty and called him when I finished getting the mandolin back together several years back... The mandolin came with a very good 8x10 glossy (photo) copied from the original, and as I spoke to him he got the photo out of its frame and read the inscription on the back which he said was in his mother's hand: Ozburn Quartet, Toronto, 1901.

This date created a real stir amongst the heavy hitters all discussing my mandolin when I sent the photo to Dan (Dan Beimborn's site, MandolinArchive.com) for the archive, because people were saying the date on the photo and the serial number 2526 just couldn't possibly jive.'

Rick Van Krugel cont'd:

'I think it may have been Roger Siminoff who said it was too bad the tailpiece had been hacked up, whereupon I drew the experts' attention to the original band photo, modified tailpiece cover and all. I believe this was a cheap model made in a low production time in the shop's history, and my theory is that somebody messed up a cut on a tailpiece cover at the shop; rather than discarding it, they just set it aside for a bottom of the line instrument. I also can't help thinking Orville was still around when this was made, and that he may well have carved the bridge, which is a rather exceptional little piece of work on a cheaper instrument.'

Continued:

'In the end it appears this little A model may have cracked the puzzle of where the serial numbering starts, which I think is going to be agreed(if it isn't already) to be 2500 for instruments bearing the factory label with Orville's picture in the lyre mandolin. I believe this is the 26th instrument to leave the factory with that label...and I believe Orville Gibson was still on the scene hands-on and handing things over at that time.'

Krugel continued:

'I am a player and luthier, and got this mandolin in a trade almost ten years ago. It was cosmetically near mint on the sides, back and neck, but the structure had failed in the unbraced red ceder top at some time, and it had suffered a couple botched repair attempts. I managed to restore it and preserved about 90 per cent of the top's original finish in the process, so all things considered its a pretty neat old specimen.'

The following is a bit more of the description from Rick:

'...the carved bridge, the hollow neck, radiused Brazilian rosewood fingerboard, thick sides cut from one big plank of walnut and complete absence of bracing are a real window into the originator's head. Assuming it to have been built when strings were very light for Neopolitan style instruments, I keep it strung with GHS A240's, which go from .009 to .032 inches. I suspect later heavy strings may well be the culprit in the instrument's initial self-destruction; as a repairman I've seen lots of heavy string damage to century-old guitars and mandolins.'

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Gibson Pre-War Guitars, Kevin Mark Designs - Gibson 1902/'04 Style A Mandolin

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According to traditional estimates, this instrument has a manufacture date of 1902. The serial number is 2526, with no FON (factory order number). According to 'Spann's Guide to Gibson', this Style A Mandolin has a shipment date of 1904.

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Despite the success of Rin Tin Tin and Lubitsch, Warner's remained a lesser studio. Sam and Jack decided to offer Broadway actor John Barrymore the lead role in Beau Brummel . The film was so successful that Harry signed Barrymore to a long-term contract; like The Marriage Circle , Beau Brummell was named one of the ten best films of the year by the Times.

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1950’s-1960’s: The birth of modern branding

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1950’s-1960’s: The birth of modern branding

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หลังจบสงครามโลกครั้งที่ 2 เปลี่ยนครั้งใหญ่ในด้านผลิตภัณฑ์และวัฒนธรรม

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ในสหรัฐอเมริกา วัฒนธรรมรถยนต์ การขยายตัวของชนชั้นกลาง การทำให้เป็นชานเมือง และการเปิดรับโทรทัศน์( 1953's ) ได้สร้างโอกาสมากขึ้นสำหรับบริษัทต่างๆ ในการแข่งขันเพื่อเข้าถึงกลุ่มลูกค้าได้มากขึ้น รวมถึงเกิดการรีแบรนด์อีกด้วย

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ต้นกำเนิดสิ่งที่เรียกว่า coperate identity

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Paul Rand (born Peretz Rosenbaum; August 15, 1914 - November 26, 1996) was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

Rand was a professor emeritus of graphic design at Yale University in New Haven, Connecticut where he taught from 1956 to 1969, and from 1974 to 1985. He was inducted into the New York Art Directors Club Hall of Fame in 1972.

Paul Rand was born Peretz Rosenbaum on August 15, 1914 in Brooklyn, New York. He embraced design at a very young age, painting signs for his father's grocery store as well as for school events at P.S. 109. Rand's father did not believe art could provide his son with a sufficient livelihood, and so he required Paul to attend Manhattan's Haaren High School while taking night classes at the Pratt Institute. Rand was largely "self-taught" as a designer, learning about the works of Cassandre and Moholy-Nagy from European magazines such as Gebrauchsgraphik." Rand also attended Parsons School of Design and the Art Students League of New York.

His career began with humble assignments, starting with a part-time position creating stock images for a syndicate that supplied graphics to various newspapers and magazines. Between his class assignments and his work, Rand was able to amass a fairly large portfolio, largely influenced by the German advertising style Sachplakat (object poster) as well as the works of Gustav Jensen. It was around this time that he decided to camouflage the overtly Jewish identity conveyed by his name, Peretz Rosenbaum, shortening his forename to 'Paul' and taking 'Rand' from an uncle to form a Madison Avenue-friendly surname. Morris Wyszogrod, a friend and associate of Rand, noted that "he figured that 'Paul Rand,' four letters here, four letters there, would create a nice symbol. So he became Paul Rand." Roy R. Behrens notes the importance of this new title: "Rand's new persona, which served as the brand name for his many accomplishments, was the first corporate identity he created, and it may also eventually prove to be the most enduring." Indeed, Rand was rapidly moving into the forefront of his profession.

In his early twenties, he was producing work that began to garner international acclaim, notably his designs on the covers of Direction magazine, which Rand produced for no fee in exchange for full artistic freedom. Among the accolades Rand received were those of László Moholy-Nagy:

Among these young Americans, it seems to be that Paul Rand is one of the best and most capable ... He is a painter, lecturer, industrial designer, [and] advertising artist who draws his knowledge and creativeness from the resources of this country. He is an idealist and a realist, using the language of the poet and business man. He thinks in terms of need and function. He is able to analyze his problems but his fantasy is boundless.

The reputation Rand so rapidly amassed in his prodigious twenties never dissipated; rather, it only managed to increase through the years as his influential works and writings firmly established him as the éminence grise of his profession.

Although Rand was most famous for the corporate logos he created in the 1950s and 1960s, his early work in page design was the initial source of his reputation. In 1936, Rand was given the job of setting the page layout for an Apparel Arts (now magazine anniversary issue. "His remarkable talent for transforming mundane photographs into dynamic compositions, which ... gave editorial weight to the page" earned Rand a full-time job, as well as an offer to take over as art director for the Esquire- Coronet magazines. Initially, Rand refused this offer, claiming that he was not yet at the level the job required, but a year later he decided to go ahead with it, taking over responsibility for Esquire's fashion pages at the young age of twenty-three.

The cover art for Direction magazine proved to be an important step in the development of the "Paul Rand look" that was not as yet fully developed. The December 1940 cover, which uses barbed wire to present the magazine as both a war-torn gift and a crucifix, is indicative of the artistic freedom Rand enjoyed at Direction; in Thoughts on Design Rand notes that it "is significant that the crucifix, aside from its religious implications, is a demonstration of pure plastic form as well ... a perfect union of the aggressive vertical (male) and the passive horizontal (female)."

Rand's most widely known contributions to design are his corporate identities, many of which are still in use. IBM, ABC, Cummins Engine, UPS, and Enron, among many others, owe Rand their graphical heritage. One of his strengths, as Moholy-Nagy pointed out, was his ability as a salesman to explain the needs his identities would address for the corporation. According to graphic designer Louis Danziger:

He almost singlehandedly convinced business that design was an effective tool. [. . .] Anyone designing in the 1950s and 1960s owed much to Rand, who largely made it possible for us to work. He more than anyone else made the profession reputable. We went from being commercial artists to being graphic designers largely on his merits.

Rand's defining corporate identity was his IBM logo in 1956, which as Mark Favermann notes "was not just an identity but a basic design philosophy which permeated corporate consciousness and public awareness." The logo was modified by Rand in 1960. The striped logo was created in 1972. The stripes were introduced as a half-toning technique to make the IBM mark slightly less heavy and more dynamic. Two variations of the "striped" logo were designed; one with eight stripes, one with thirteen stripes. The bolder mark with eight stripes was intended as the company's default logo, while the more delicate thirteen stripe version was used for situations where a more refined look was required, such as IBM executive stationery and business cards. Rand also designed packaging, marketing materials and assorted communications for IBM from the late 1950s until the late 1990s, including the well known Eye-Bee-M poster. Although Ford appointed Rand in the 1960s to redesign their corporate logo, it refused to use his modernized design.

Although the logos may be interpreted as simplistic, Rand was quick to point out in A Designer's Art that "ideas do not need to be esoteric to be original or exciting." His Westinghouse trademark, created in 1960, epitomizes that ideal of minimalism while proving Rand's point that a logo "cannot survive unless it is designed with the utmost simplicity and restraint." Rand remained vital as he aged, continuing to produce important corporate identities into the eighties and nineties with a rumored $100,000 price per single design. The most notable of his later works was his collaboration with Steve Jobs for the NeXT Computer corporate identity; Rand's simple black box breaks the company name into two lines, producing a visual harmony that endeared the logogram to Jobs. Jobs was pleased; just prior to Rand's death in 1996, his former client labeled him "the greatest living graphic designer."

Rand devoted his final years to design work and the writing of his memoirs. In 1996, he died of cancer at age 82 in Norwalk, Connecticut. He is buried in Beth El Cemetery.

Development of theory

Though Rand was a recluse in his creative process, doing the vast majority of the design load despite having a large staff at varying points in his career, he was very interested in producing books of theory to illuminate his philosophies. László Moholy-Nagy may have incited Rand's zeal for knowledge when he asked his colleague, at their first meeting, if he read art criticism. Rand said no, prompting Moholy-Nagy to reply "Pity." Steven Heller elaborates on this meeting's impact, noting; "from that moment on, Rand devoured books by the leading philosophers on art, including Roger Fry, Alfred North Whitehead, and John Dewey." These theoreticians would have a lasting impression on Rand's work; in a 1995 interview with Michael Kroeger discussing, among other topics, the importance of Dewey's Art as Experience, Rand elaborates on Dewey's appeal:

[... Art as Experience] deals with everything - there is no subject he does not deal with. That is why it will take you one hundred years to read this book. Even today's philosophers talk about it[.] [E]very time you open this book you find good things. I mean the philosophers say this, not just me. You read this, then when you open this up next year, that you read something new.

Dewey is an important source for Rand's underlying sentiment in graphic design; on page one of Rand's groundbreaking Thoughts on Design, the author begins drawing lines from Dewey's philosophy to the need for "functional-aesthetic perfection" in modern art. Among the ideas Rand pushed in Thoughts on Design was the practice of creating graphic works capable of retaining recognizable quality even after being blurred or mutilated, a test Rand routinely performed on his corporate identities.

During Rand's later career, he became increasingly agitated about the rise of postmodernist theory and aesthetic in design. In 1992, Rand resigned his position at Yale in protest of the appointment of postmodern designer Sheila Levrant de Bretteville, and convinced his colleague Armin Hofmann to do the same. In justification of his resignation, Rand penned the article "Confusion and Chaos: The Seduction of Contemporary Graphic Design," in which he denounced the postmodern movement as "faddish and frivolous" and "harbor[ing] its own built-in boredom".

Despite the importance graphic designers place on his book Thoughts on Design, subsequent works such as From Lascaux to Brooklyn (1996), compounded accusations of Rand being "reactionary and hostile to new ideas about design." Steven Heller defends Rand's later ideas, calling the designer "an enemy of mediocrity, a radical modernist" while Favermann considers the period one of "a reactionary, angry old man." Regardless of this dispute, Rand's contribution to modern graphic design theory in total is widely considered intrinsic to the profession's development.

Modernist influences

The core ideology that drove Rand's career, and hence his lasting influence, was the modernist philosophy he so revered. He celebrated the works of artists from Paul Cézanne to Jan Tschichold, and constantly attempted to draw the connections between their creative output and significant applications in graphic design. In A Designer's Art Rand clearly demonstrates his appreciation for the underlying connections:

From Impressionism to Pop Art, the commonplace and even the comic strip have become ingredients for the artist's cauldron. What Cézanne did with apples, Picasso with guitars, Léger with machines, Schwitters with rubbish, and Duchamp with urinals makes it clear that revelation does not depend upon grandiose concepts. The problem of the artist is to defamiliarize the ordinary.

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Paul Rand (born Peretz Rosenbaum; August 15, 1914 - November 26, 1996) was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design.

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Brand Manualเป็นคู่มือที่จะกำหนดตัวตนของ Brand หรือ Corporate Identity (CI) ให้เป็นแนวทางเดียวกัน

เมื่อแบรนด์หรือองค์กรถูกสร้างขึ้น ผ่านการวางตำแหน่งทางการตลาด การกำหนดอัตลักษณ์ที่น่าสนใจ สร้างจุดเด่นที่แตกต่างจากคู่แข่งแล้ว การนำมาใช้เพื่อการสื่อสารก็เป็นอีกปัจจัยสำคัญในการขับเคลื่อนแบรนด์ให้ไปสู่การรับรู้แก่กลุ่มเป้าหมาย

การใช้อัตลักษณ์ของแบรนด์ ซึ่งรวมถึง โลโก้ ฟอนต์ โทนสี วิชวล ชุด อุปกรณ์ ภาพรวมของแบรนด์ ยังต้องเป็นไปในทิศทางเดียวกัน เพื่อไม่ให้เกิดความสับสนในแบรนด์ สร้างจุดเด่นให้แตกต่างจนเกิดการรับรู้ สร้างจุดยืนของแบรนด์ และสามารถแยกความแตกต่างจากคู่แข่งได้อย่างชัดเจน

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PROJECT : Identity Design of Learning Health centers influence from the Sufficiency Economy, Natural Medical camp, Na Boon Forest, Mukdahan... See More

PROJECT : Identity Design of Learning Health centers influence from the Sufficiency Economy, Natural Medical camp, Na Boon Forest, Mukdahan... See More

Connecting content to people.

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PROJECT : Identity Design of Learning Health centers influence from the Sufficiency Economy, Natural Medical camp, Na Boon Forest, Mukdahan.

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True appreciators of identity guidelines, since 2012 publishing imprint Standards Manual has collated together doorstops of books, delving into the manuals of Nasa, New York City's transit authority and EPA. With the aim to archive and preserve guidelines of the past, the team behind Standards Manual are refocusing their attention to how designers work now, with the release of Standards: a new tool to design brand guidelines, "that takes the best from the past, and is built from design today."

In piecing these books together Jesse Reed and Hamish Smyth, the founders of Standards Manual as well as partners at design office Order, noticed that as much as these brand guidelines were design gems, the approach to making them "was stubbornly stuck in the past, too". Teaming up with Seattle-based design and development agency Shore, the pair have been working to create a tool to shape the way brand guidelines are developed now: "No more templates, clunky PDFs, or static asset handoffs to clients," explains Standards' press release.

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Standards is a helpful tool to aid the process of identity guidelines, from Standards Manual

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True appreciators of identity guidelines, since 2012 publishing imprint Standards Manual has collated together doorstops of books, delving into the manuals of Nasa, New York City's transit authority and EPA.

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Rebranding หรือ การปรับภาพลักษณ์องค์กร คือกลยุทธ์หนึ่งทางการตลาด โดยที่องค์กรใดองค์กรหนึ่งได้ทำการปรับภาพลักษณ์หรือรูปแบบธุรกิจใหม่ และนำไปสู่การปฏิบัติในทุกมิติขององค์กร ด้วยการสื่อสารที่ชัดเจนต่อเนื่อง อาจมีการเปลี่ยนวิสัยทัศน์หรือเปลี่ยนวิธีคิดของคนในองค์กร เพื่อให้คนในองค์กรร่วมกันขับเคลื่อนแบรนด์ใหม่ให้เข้าถึงกลุ่มเป้าหมายได้สำเร็จ โดยองค์กรที่ควรรีแบรนดิ้งมีอยู่ 3 กลุ่ม คือ

กลุ่มที่ไม่เคยมีแบรนด์ (Under Branding)

กลุ่มที่มีแบรนด์แต่ยังไม่ชัดเจน (Confused Branding)

กลุ่มที่มีแบรนด์ผูกติดกับสินค้าประเภทใดประเภทหนึ่งมากเกินไป จนไม่ครอบคลุมสินค้าและบริการอื่น ๆ ขององค์กร (Over Branding)

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Rebranding ทำอย่างไรที่จะไม่ล้มเหลวในการทำ Rebranding

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การทำแบรนด์เมื่อถึงจุดหนึ่งที่กลยุทธ์การทำแบรนด์ไม่สามารถตอบสนองความต้องการของผู้บริโ๓คได้หรือไม่สามารถตามสภาพความเป็นไปของสังคมได้ ทำให้แบรนด์นั้นดูเก่าแก่ ตกสมัย และคนรุ่นใหม่ๆ ไม่อยากใช้ ...

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The first Logo was made in 1952 when the fast food resteraunt was opened by Colonel Harland Sanders. Sanders died in 1980 but his face remained part of the logo. Replaced in 1978 with a similar logo of the Colonel smiling for better sales. In 1991 it changed again to a more appealing logo with red stripes. In 1997 it changed to a bigger picture of the Colonel wearing a white suite. In 2010 it changed to a logo including the Colonel with an apron on. While through the changes of the logo the Colonel and the Red colour remained to make KFC a well known logo. KFC to make the logo bigger so in 1978 they added chunkier, bold and bigger writing. In 1991 colour was added to make the logo stand out more. After the Colonel died the name Kentucky Fried Chicken was changed to KFC in attempts to make the company to look healthier. the colonel and the colour red became the face of KFC. before 1997 a bigger picture of the colonel was displayed with his white suite. The Colonel was never seen in public without his suit and this was a representation of his life. later after 2006 the Colonel was shown in an apron to remind the public of his culinary skills. Personally I prefer the before 1997 logo. It was a much more accurate representation of the colonel and I think the white, red and blue works better than the black, white and red.

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The first Logo was made in 1952 when the fast food resteraunt was opened by Colonel Harland Sanders. Sanders died in 1980 but his face remained part of the logo. Replaced in 1978 with a similar logo of the Colonel smiling for better sales.

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Another brand is getting a makeover in 2021. Rebranding is important for any brand as it repositions it in the market. A brand goes through this process to keep up with the changes that are occurring; it enables it to connect with its customers and to be on the same level as its competitors.

It was announced earlier this month that the fast-food brand Burger King is rebranding itself. The brand is going through a whole process of rebranding as it changed its logo, packaging, and even its employees' uniform.

Stick with us, we will tell you all about the changes and the consumer's opinions.

Back to Basics: The New Old Logo

This is the first time the brand goes through rebranding in over 20 years as its last logo change was in 1999.

The brand removed the blue curve and the shining buns; in fact, the new logo is inspired by an old one that was used from 1994 to 1999; this one has a few touches of modernization though. The brand changed its font to feel modern as it made it more rounded, which is inspired by their food.

The fast-food brand also used in their rebranding shades of the color brown, red, yellow, and green colors that are inspired by their famous Whopper.

According to Reuters, the global marketing director for Restaurant Brands International, owner of Burger King, Fernando Machado said "Updating our visual identity would help signal to our consumers that this is a brand that is evolving."

The brand updated its logo on the UK and US websites and it will be out internationally over the upcoming months.

A Whiff of Nostalgia

As we mentioned earlier the logo looks similar to an older one from the 90s but with a modern touch. The designer of the logo, Jones Knowles Ritchie stated that they indeed took inspiration from the old logo to give it a nostalgic feeling.

"We were inspired by the brand's original logo and how it has grown to have an iconic place in culture. The new logo pays homage to the brand's heritage with a refined design that's confident, simple, and fun."

The logo sparked a little bit of controversy as some people admired it while others thought it was the exact same and that it's not creative.

Packaging and Employees' Uniform

The brand didn't just change its logo, it changed the packaging and employees' uniform.

The packaging is different as its new designs are playful and colorful. The designs are illustrations of the ingredients and it includes words such as "Tasty" and "Crispy" to attract the eye.

As for the employees, the uniforms will vary by country and location but it will be a mix between contemporary and comfortable. Also, they will be out slowly.

One of the changes the brand is making is that this year its Whopper burgers won't have artificial preservations and colorings as it wants to offer healthier options.
So, in the end, Burger King is not just rebranding itself but also changing its food to be healthier.

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2021 Rebranding: Burger King revamps brand for first time in over 20 years

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Another brand is getting a makeover in 2021. Rebranding is important for any brand as it repositions it in the market. A brand goes through this process to keep up with the changes that are occurring; it enables it to connect with its customers and to be on the same level as its competitors.

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The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.

Frank O'Hara was at the center of the group before his death in 1966. Because of his numerous friendships and his post as a curator at the Museum of Modern Art, he provided connections between the poets and painters such as Jane Freilicher, Fairfield Porter, and Larry Rivers (who was O'Hara's lover). There were many joint works and collaborations, particularly between poets such as O'Hara, Kenneth Koch, John Ashberry, and James Schuyler: Rivers inspired a play by Koch, Koch and Ashbery together wrote the poem "A Postcard to Popeye", Ashbery and Schuyler wrote the novel A Nest of Ninnies, and Schuyler collaborated on an ode with O'Hara, whose portrait was painted by Rivers.

Ron Padgett and Ted Berrigan both came to the group from Tulsa, Oklahoma.

Koch, O'Hara, Schuyler, and Ashbery were quite different as poets, but they admired each other and had much in common personally:

Except for Schuyler, all overlapped at Harvard University,

Except for Koch, all were gay, but this is yet to be proven to be correct

Except for Ashbery, all did military service,

Except for Koch, all reviewed art,

Except for Ashbery, all lived in New York during their formative years as poets.

All four were inspired by French Surrealists such as Raymond Roussel, Pierre Reverdy, and Guillaume Apollinaire. David Lehman, in his book on the New York poets, wrote: "They favored wit, humor and the advanced irony of the blague (that is, the insolent prank or jest) in ways more suggestive of Jasper Johns and Robert Rauschenberg than of the New York School abstract expressionist painters after whom they were named."

Concerning the New York School poets, critics argued that their work was a reaction to the Confessionalist movement in Contemporary Poetry. Their poetic subject matter was often light, violent, or observational, while their writing style was often described as cosmopolitan and world-traveled.

The poets often wrote in an immediate and spontaneous manner reminiscent of stream of consciousness writing, often using vivid imagery. They drew on inspiration from Surrealism and the contemporary avant-garde art movements, in particular the action painting of their friends in the New York City art world circle such as Jackson Pollock and Willem de Kooning.

Poets often associated with the New York School include John Ashbery, Frank O'Hara, Joe Brainard, Kenneth Koch, James Schuyler, Barbara Guest, Ted Berrigan, Bernadette Mayer, Alice Notley, Kenward Elmslie, Frank Lima, Ron Padgett, Lewis Warsh, Tom Savage and Joseph Ceravolo.

The New York School which represented the New York abstract expressionists of the 1950s was documented through a series of artists' committee invitational exhibitions commencing with the 9th Street Art Exhibition in 1951 and followed by consecutive exhibitions at the Stable Gallery, NYC: Second Annual Exhibition of Painting and Sculpture, 1953; Third Annual Exhibition of Painting and Sculpture, 1954; Fourth Annual Exhibition of Painting and Sculpture, 1955; Fifth Annual Exhibitions of Painting and Sculpture, 1956 and Sixth New York Artists' Annual Exhibition, 1957.

Included in the New York School were Bradley Walker Tomlin, Robert Goodnough, Rosemarie Beck, and Philip Guston.

The Anita Shapolsky Gallery in New York City specializes in 1950s and 1960s New York School art, and exhibits expressionism, geometric abstraction, and painterly abstraction. It most frequently exhibits works in oil and acrylic, as well as sculpture. The Tibor de Nagy Gallery and Stable Gallery have also exhibited New York School art, and in 1998, the Gagosian Gallery also in New York City presented an exhibit of New York School art.

The term also refers to a circle of composers in the 1950s which included John Cage, Morton Feldman, Earle Brown and Christian Wolff. Their music influenced the music and events of the Fluxus group, and drew its name from the Abstract Expressionist painters above.

During the 1960s the Judson Dance Theater located at the Judson Memorial Church, New York City, revolutionized Modern dance. Combining in new ways the idea of Performance art, radical and new Choreography, sound from avant-garde composers, and dancers in collaboration with several New York School Visual artists.

The group of artists that formed Judson Dance Theater are considered the founders of Postmodern dance. The theater grew out of a dance composition class taught by Robert Dunn, a musician who had studied with John Cage. The artists involved with Judson Dance Theater were avant-garde experimenatalists who rejected the confines of ballet technique, vocabulary and theory.

The first Judson concert took place on July 6, 1962, with dance works presented by Steve Paxton, Freddie Herko, David Gordon, Alex and Deborah Hay, Yvonne Rainer, Elaine Summers, William Davis, and Ruth Emerson. Seminal dance artists that were a part of the Judson Dance Theater include: David Gordon, Steve Paxton, Yvonne Rainer, Trisha Brown, Lucinda Childs, Deborah Hay, Elaine Summers, Sally Gross, Aileen Passloff, and Meredith Monk. The years 1962 to 1964 are considered the golden age of the Judson Dance Theater.

During the 1950s, 1960s, and 1970s New York School artists collaborated with several other choreographer / dancers including: Simone Forti, Anna Halprin, Merce Cunningham, Martha Graham, and Paul Taylor.

Philip Pavia; Natalie Edgar, Club without walls: selection from the Journals of Philip Pavia, New York: Midmarch Arts, 2007.

Irving Sandler, ''The New York School: the painters & sculptors of the fifties,'', New York; London: Harper and Row, 1978. ISBN 0-06-438505-1, ISBN 978-0-06-438505-3

Irving Sandler, '' The triumph of American painting: a history of abstract expressionism'', New York; London: Harper and Row, 1977. ISBN 0-06-430075-7, ISBN 978-0-06-430075-9

Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (New York School Press, 2003.) ISBN 0-9677994-1-4

Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6

Statutes of Liberty, The New York School of Poets, Geoff Ward, Second Edition, 2001.

The New American Poetry, 1945-1960, Donald Merriam Allen, 1969.

An Anthology of New York Poets, Ron Padgett (ed.) and David Shapiro (ed.), 1970.

Marjorie Perloff, Frank O'Hara: Poet Among Painters, University of Texas Press, 1977.

The Last Avant-Garde: The Making of the New York School of Poets, David Lehman, 1998.

Maurice Tuchman (ed.), The New York School, Los Angeles: Los Angeles County Museum of Art, 1965.

Dore Ashton, The New York School: A Cultural Reckoning, Penguin Books, 1979.

Serge Guilbaut, How New York Stole the Idea of Modern Art : Abstract Expressionism, Freedom, and the Cold War, Chicago : University of Chicago Press, 1983.

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The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.

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ในทศวรรษ 1960 เป็นการระเบิดของแบรนด์ Cambrian ตั้งแต่บุหรี่ไปจนถึงสบู่ ที่มาเพื่อกำหนดการตลาดสมัยใหม่ การทำความเข้าใจว่าแคมเปญการตลาดเหล่านั้นเริ่มต้นอย่างไร ช่วยอธิบายได้ว่าทำไมผลิตภัณฑ์ที่มีตราสินค้าจึงแพร่หลายมากในปัจจุบัน

กำเนิดแบรนด์สมัยใหม่

การเปลี่ยนจากผลิตภัณฑ์ธรรมดาไปเป็นแบรนด์ไม่ได้เกิดขึ้นอย่างกะทันหันหรือหลีกเลี่ยงไม่ได้ คุณสามารถโต้แย้งได้ว่ามันเติบโตจากมาตรฐานของผลิตภัณฑ์คุณภาพสำหรับผู้บริโภคในช่วงกลางศตวรรษที่ 20 ซึ่งกำหนดให้บริษัทต่างๆ ต้องหาวิธีใหม่ในการสร้างความแตกต่างจากคู่แข่ง

ในปี 1950 บริษัทสินค้าอุปโภคบริโภค เช่น Procter and Gamble, General Foods และ Unilever ได้พัฒนาวินัยในการจัดการตราสินค้า หรือการตลาดอย่างที่เราทราบกันในปัจจุบัน เมื่อพวกเขาสังเกตเห็นระดับคุณภาพของผลิตภัณฑ์ที่นำเสนอโดยคู่แข่งรอบตัวพวกเขาดีขึ้น ผู้จัดการแบรนด์จะต้องรับผิดชอบในการมอบเอกลักษณ์ให้กับผลิตภัณฑ์ซึ่งแตกต่างจากคู่แข่งที่แทบจะแยกไม่ออก

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The Nike swoosh looms large over the footwear industry. This uncontested giant of the field has built itself up through high-profile endorsements, sleek designs, and PR campaigns successful enough to etch its way into pop-culture history. But the brand of Lebron James, Tiger Woods, and Michael Jordan didn't come from nowhere. To understand Nike requires understanding a story that began with a self-described average track runner coming out of college and a coach obsessed with the connection between speed and design.

How Was Nike Founded?

The story of Nike begins with the story of Blue Ribbon Sports back in 1964. Around that time, Phil Knight had just gone through University of Oregon followed by a stint at Stanford for his MBA, leaving him with two crucial experiences that set the trajectory of his future.

At University of Oregon, he ran for the school's track and field team, putting him into contact with their coach, Bill Bowerman. Aside from an intensely competitive ethos, Bowerman displayed a fascination with optimizing his runners' shoes, constantly tinkering with different models after learning from a local cobbler.

According to Nike, Knight was the first student to try one of Bowerman's shoes. Seeing him as a safely-unimportant runner to test his shoes on, Bowerman offered to take one of his shoes and fix them up with his custom design. Knight accepted the offer, and, supposedly, the shoes worked so well that his teammate Otis Davis took them and ended up using them to win gold in the 400-meter dash in the 1960 Olympics. Otis Davis insists to this day that Bowerman made the shoes for him.

After the University of Oregon, Knight went through Stanford's MBA program, during which he wrote a paper theorizing that the production of running shoes should move from its current center in Germany to Japan, where labor was cheaper.

Knight got the chance to put this theory to the test with a trip to Japan shortly after his 1962 graduation. He struck a deal with a group of Japanese businessmen to export the country's popular Tiger shoes into the U.S.

Coach Bowerman, who long believed that German shoes, though the best on the market, weren't anything too special to be replicated or even improved on, supported Knight's venture, entering into a 50-50 business deal for ownership of their new company, Blue Ribbon Sports, established in Eugene, Oregon, on Jan. 25, 1964.

History of Nike

After founding Blue Ribbon Sports, Knight tested the waters for his imported shoes, initially selling them out of his car when he came back to the States. It quickly became clear that a demand existed for these cheaper but still high-quality alternatives to the Adidas ( (ADDYY) and PumasPUMSY) that dominated the market.

In 1965, the ever-inventive Bowerman proposed a new shoe design to the Tiger shoe company, one that sought to provide the right support for runners with a cushioned innersole, soft sponge rubber in the forefoot and top of the heel, hard sponge rubber in the middle of the heel, and a firm rubber outsole.

This design would turn out to be both a major success and source of conflict between Blue Ribbon and its Japanese supplier. Dubbed the Tiger Cortez, the shoe dropped in 1967 and became an instant hit for its comfortable, sturdy, and stylish design.

Around the time of its success, though, relations soured between Blue Ribbon and Tiger. Knight claims that the Japanese company was seeking a way out of its exclusivity deal with Blue Ribbon and sought to sink the company. Tiger claims to have discovered Blue Ribbon Sports selling their own version of the Tiger Cortez under a new line of shoes they called "Nike."

Either way, the two formally split in 1971 with a lawsuit from Tiger following. A judge eventually settled that both companies could sell their own versions of the model, leading to the only sneaker to become a best-selling model for two different shoe companies as the Nike Cortez and the Tiger Corsair (now sold by Tiger's modern incarnation, Asics).

Following the split with Tiger, Blue Ribbon Sports fully rebranded itself as Nike. Phil Knight initially wanted to call the company "Dimension 6," but Jeff Johnson, thankfully, got the inspiration for Nike after seeing the Greek goddess of victory's name in a dream. Before this though, the new brand needed its own logo.

They reached out to a design student at the nearby Portland State University, Carolyn Davis, to provide sketches. Phil Knight reluctantly settled on a swoosh design, reportedly saying, "Well, I don't love it, but maybe it will grow on me." Davis charged $2/hour and received a total of $35 for the logo. In 1983 Phil Knight, apparently having come around to the logo, held a party for Davidson and awarded her 500 shares of stock, speculated to be worth roughly $1 million today.

After coming into existence proper on May 30, 1971, Nike, Inc. continued the success of Blue Ribbon Sports, helped first by the success of the Tiger Cortez and then by Bowerman's innovative "Waffle" sole design. While thinking over breakfast on a way to give running shoes more traction, the coach saw the grooves in the waffle his wife made him and wondered what it would look inverted. Not one to pass on an idea, Bowerman poured melted urethane into his waffle iron. Unfortunately, he forgot to add any anti-stick agent onto the iron and it glued shut. But nevertheless, the idea had taken root, and with the help of another waffle iron and presumably a good spray, he designed his ideal sole and the iconic "Waffle Trainer" was born.

This shoe was a major success for Nike, the first of many to come as the company maintained a strong and steady growth through its early days, culminating in its 1980 IPO, which immediately made Phil Knight a millionaire with shares worth $178 million.

Since then, the company has only continued to grow, helped on in part by a series of clever ad campaigns, most famously the 1988 "Just Do It" ad campaign (apparently inspired by the last words of American murderer Gary Gilmore before the firing squad, "Let's do it.")

The company's other greatest asset has been its celebrity endorsements. They struck big signing athletes like Tiger Woods, Kobe Bryant, and Lebron James in the early stages of their career.

By far the most lucrative endorsement Nike has ever had, both for the company and its sponsor, has been with Michael Jordan. Spotting potential, Nike tried to swoop in for an endorsement from Jordan before the start of his first season with the pros in 1984. Despite having never worn a pair of Nikes before and harboring hope for a deal with Adidas, Jordan ended up signing on with Nike after a meeting in which they promised the soon-to-be star $500,000 a year for five years, two die cast Mercedes cars, and shoes customized to his specific requests.

The deal proved a smash hit for Nike, with Jordan quickly rising to super stardom and his shoe line, Air Jordans, hitting the market to make over $100 million in revenue by the end of 1985. Air Jordans continue to be a cash cow for Nike. Despite some recent declines in sales, the brand still nets the company a staggering $2.8 billion in sales for 2018. Jordan continues to make roughly $100 million a year in Nike royalties alone.

Nike Timeline

1964 - Phil Knight and Bill Bowerman found Blue Ribbon Sports.

1971 - Cutting ties with Onitsuka Tiger (now Asics), Blue Ribbon Sports becomes Nike Inc., using swoosh logo created by Portland State University student Carolyn Davis for $35

1971 - Bowerman comes up with iconic sole pattern for Waffle Trainers after putting rubber into a waffle iron

1972 - Romanian tennis player Ilie Nastase becomes the first athlete to sign an endorsement with Nike.

1979 - Nike introduces patented "Air" technology with new Tailwind shoe.

1980- Nike completes IPO with a price of 18 cents a share.

1984 - Nike signs Michael Jordan, launching Air Jordan series.

1987 - Nike drops ad for new Air Max shoes set to The Beatles' "Revolution," making it the first ad to use the band's music.

1988 - First "Just Do It" campaign launches with ad featuring 80-year-old running icon Walter Stack running across the Golden Gate Bridge.

1989 - "Bo Knows" ad campaign drops featuring baseball and football star Bo Jackson.

1990 - First Niketown store opens in Portland, Oregon.

1991 - Activist Jeff Ballinger publishes report exposing low wages and poor working conditions among Indonesian Nike factories. Nike responds by instating its first factory codes of conduct.

1996 - Nike signs Tiger Woods.

1998 - In the face of widespread protest, Nike raises the minimum age of its workers, increases monitoring, and adopts U.S. OSHA clean-air standards in overseas factories.

1999 - Nike co-founder Bill Bowerman dies at 88.

2002 - Nike acquires surf-apparel company Hurley.

2003 - Nike signs Lebron James and Kobe Bryant.

2004 - Nike acquires Converse for $309 million.

2004 - Phil Knight steps down as CEO and president of Nike, but retains chairman role as William D. Perez becomes the company's new CEO.

2008 - Nike signs Derek Jeter.

2012 - Nike becomes official supplier for NFL apparel.

2015 - Nike becomes official supplier for NBA apparel.

2018 - Nike unveils ad campaign featuring athlete and political activist Colin Kaepernick, garnering a mix of public approval and backlash.

Controversy

Sweatshops

Nike has faced a long history of controversy over its labor practices. The company was founded on a principle of finding cheaper labor to produce same-quality goods and followed this unfailingly, till it finally came back to bite them.

Nike's factories were initially in Japan, but then moved to cheaper labor in South Korea, China, and Taiwan. As the economies of these countries developed, Nike again shifted, moving away from labor in South Korea and Taiwan to focus on China, Indonesia, and Vietnam.

Not much was noted of this until activist Jeff Ballinger published a report in 1991, documenting the poor working conditions of Nike's operations across Indonesia. This was followed with a popular article in Harper's Magazine, detailing the life of an Indonesian Nike employee who worked for 14 cents an hour.

Outrage fermented among the public, with protests against the shoe ware giant at the 1992 Olympics and an increased media scrutiny on the plight of sweatshop workers. This came at the same time the company sought to expand its Niketown retail stores, resulting in mass protests around the planned expansions.

With protests around college campuses, calls for boycotting the company, and pressure put on its stars like Michael Jordan to denounce the brand, Nike made a concerted effort in 1998 to improve the labor conditions of its factories.

It included raising the minimum age among workers, increasing the monitoring of factory conditions, and enforcing U.S. standards for clean air. This was followed by Nike's creation of the Fair Labor Association in 1999, and audit of roughly 600 factories between 2002-2004, and the public disclosure of all of its factory locations in 2005.

While reports of abuse at the Nike factories still persist, many human rights activists have acknowledged Nike's efforts to have minimized the worst problems at these factories, and the public outcry today over the company's labor conditions is a shadow of what it once was.

Colin Kaepernick

On Labor Day of 2018, Nike made a huge splash, tweeting a photo of NFL player Colin Kaepernick as the new face of its brand.

The 49ers quarterback had become a lightning rod for controversy after being the first football player to take a knee during the national anthem in protest of police brutality toward black Americans. He received a mix of support and backlash from the public, with some calling him a hero and others criticizing his actions as "un-American."

This controversy only intensified with Donald Trump making criticism of the protest Kaepernick started a central talking point in his campaign and, later, presidency. 49ers management consequently did not renew Kaepernick's contract and no other NFL team signed him. Fittingly, the ad overlay of the black-and-white photo of Kaepernick's face with the text, "Believe in something. Even if it means sacrificing everything," and the classic Nike slogan, "Just Do It." below.

The ad garnered a predictable mix of support and controversy. Some, seeing Nike's endorsement of Kaepernick as a betrayal of patriotic values, chose to quite publicly announce their boycott of Nike by posting videos of themselves burning their Nike shoes.

This proved largely ineffectual, with most people mocking Nike boycotters on social media, and the company's stock soaring, increasing by over $6 billion less than a month after the campaign began.

Some on the left also took issue with the ad, citing it as an example of "commodity activism," whereby corporations co-opt a social movement for profits.

How Green is Nike?

While Nike's taken strides to increase its eco-friendliness, joining the Sustainable Apparel Commission and implementing a number of reusable materials in its clothing, it still has a way to go.

The primary environmental criticism following Nike has been its refusal to eliminate hazardous materials from its supply chain. As pointed out by Greenpeace, this affects everything from factory workers to waterways to consumers. The hazardous chemicals pollute the environment, threaten to poison those who work with them, and allow a potential health risk to persist among users of Nike's apparel.

Nike has claimed to be working toward elimination of these toxic chemicals. While these claims have been met with dubiousness over the past couple years, in 2018, Nike showed some serious signs of growth, expanding its PFC-free portfolio to 93% of products.

What's Happening in 2019?

Over 2019, most news on Nike has revolved around its political stances. Days before the Fourth of July, the company canceled the release of a sneaker bearing the 13-star American flag of Betsy Ross on the shoe's heel. Reportedly, this decision came after Colin Kaepernick privately voiced his criticisms of the design to Nike, seeing as the 13-star flag represented America during a time of slavery and has been used in tandem with the Confederate flag by hate groups including the Ku Klux Klan.

The choice to drop the shoe nevertheless sparked a media firestorm with conservative pundits and social media commentators criticizing Nike for its lack of patriotism.

Outside of the political sphere, Nike has also unveiled plans for a subscription service for kids. This comes at a time when apparel companies are increasingly looking toward subscription-based models to attract customers. It'll be Nike's first test of this and opens the door for kids 2 through 10 to have varying access across a selection of roughly 100 shoes for a monthly fee.

Nike Stock

As with many companies in 2019, Nike's fate has been closely tied to the ongoing speculation over tariffs in the current China-U.S. trade war. Given that Nike manufactures roughly 27% of its apparel in China, the prospect of increasing tariffs poses a real problem to its supply chain. The company has been proactive in dealing with this issue, slowly shifting more of its operations from China into Vietnam.

Regardless of these looming threats, Nike has weathered 2019 relatively unscathed, even landing among the top 15 analyst picks among the Dow.

Nike closed at $81.03 a share, down 2.75%, on Aug. 14.
It's never too late - or too early - to plan and invest for the retirement you deserve. Get more information and a free trial subscription to TheStreet's Retirement Daily to learn more about saving for and living in retirement. Got questions about money, retirement and/or investments? Email Robert.Powell@TheStreet.com.

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How did what started as one man selling shoes from the back of a car grow into the sportswear giant we all know today?

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We take portable music for granted these days. Any commuter in any big city in the world is more likely than not to have a pair of earbuds or headphones on as they walk, bike, or ride to their destination. The thing is, personal portable music didn't exist for most of human history, at least not in any mainstream fashion. Not until the Sony Walkman came along.

The first of Sony's iconic portable cassette tape players went on sale on this day, July 1st, back in 1979 for $150. As the story goes, Sony co-founder Masaru Ibuka got the wheels turning months before when he asked for a way to listen to opera that was more portable than Sony's existing TC-D5 cassette players. The charge fell to Sony designer Norio Ohga, who built a prototype out of Sony's Pressman cassette recorder in time for Ibuka's next flight.

After a disappointing first month of sales, the Walkman went on to become one of Sony's most successful brands of all time, transitioning formats over the years into CD, Mini-Disc, MP3 and finally, streaming music. Over 400 million Walkman portable music players have been sold, 200 million of them cassette players. Sony retired the classic cassette tape Walkman line in 2010, and was forced to pay a huge settlement to the original inventor of the portable cassette player, Andreas Pavel. But the name lives on today in the form of new MP3 players and Sony's Walkman app. They heyday of the Walkman may be over, with kids today baffled and disgusted by the relative clumsiness of cassettes. But the habit it spawned - listening to music wherever and whenever you want - is bigger than ever.

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The history of the Walkman: 35 years of iconic music players

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We take portable music for granted these days. Any commuter in any big city in the world is more likely than not to have a pair of earbuds or headphones on as they walk, bike, or ride to their destination. The thing is, personal portable music didn't exist for most of human history, at least not in any mainstream fashion.

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Founded in 1972, Pentagram continues to be one of the world's most influential design studios. Comprising of twenty-five collaborative interdisciplinary designers working together as equals, partners' work spans graphics and identity, architecture and interiors, products and packaging, exhibitions and installations,...Read more Pentagram ›

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Whether Apple was actually started by two guys in a California garage may be debatable, but what's certain is that the pioneering computer maker turned consumer electronics juggernaut has come a long way.

Forty-three years after Steve Jobs and Steve Wozniak set out to turn computers into a tool that anyone could use, Apple has become one of the most valuable brands in the world, with some of the most successful products ever made.

Apple has shaped countless industries, from computing to music, and its former employees have gone on to innovate and create new tech industries around everything from enterprise software to smart thermostats.

It has reinvented itself numerous times, changing from Apple Computer to the iPhone maker. Apple now is going through another transition as smartphone sales slow. The company is making a bigger push in services, with its first TV streaming, game streaming, news subscription and credit card offerings unveiled during an event in March.

At its heart, Apple has always been about creating elegant, easy-to-use products we never even knew we wanted.

"It was love at first sight when I first encountered the Apple II at the inaugural West Coast Computer Faire in April 1977," said Andy Hertzfeld, one of the original members of the Macintosh team who designed the system's software. "I continue to be thrilled by new Apple products to this day."

Other former Apple executives and partners shared their favorite memories of the company and Jobs, who was, to many people, the driving force behind its success. They include former finance execs Debi Coleman and Susan Barnes, ex-Apple designer Clement Mok, technical visionary Alan Kay, chief evangelist Guy Kawasaki, and Jobs' marketing mentor, Regis McKenna.

Here's what they had to say.

90 hours a week and loving it

Apple's first success came from the Apple II computer, and it tried to follow that up with the Lisa. But early Apple became better known for another computer, the Macintosh. The Mac started as a research project in the late '70s with only four employees before becoming Jobs' pet project by January 1981.

There was a lot of competition between the Apple II, Lisa and Mac teams. For one off-site retreat, the Mac group, which flew the pirate flag over its offices, had gray hoodies printed up. They read: "90 hours a week. And loving it," in a red and black font, recalled Coleman, who joined Apple in 1981 as finance controller for the Mac.

Every member of the Mac team, about 100 people at that time, got the hoodie. It was a hit. (See the photo, courtesy of Mok, at the top of this story.)

"Within a week of coming back [from the retreat], the Lisa group had a shirt that said 'Working 70 hours a week. And shipping product,'" Coleman said. "A week later, the Apple II group, which was making all the money hand over fist, had a shirt that said, 'Working 50 hours a week. And making profits."

"Who knew it was going to cause a reaction across the entire campus?" Coleman added.

She became head of Mac manufacturing in 1984 and was one of the highest-ranking women in the tech industry. She took over the role of Apple chief financial officer in 1986. At a November reunion of some women on the Mac team, Coleman attributed a big part of Apple's success to Jobs, saying he made people at Apple believe they could change the world.

Look and feel like The Beatles

As he was getting ready to launch the Mac, Jobs wanted the computer "to look and feel like The Beatles. Not the late Beatles, but the early Beatles," remembered Mok, a designer hired by Apple to work on branding for the Mac launch. "Tom Hughes [the creative director on the Mac team] and myself scratched our heads. What the hell is that?"

They decided it meant there was a certain rawness to the Mac, but with a sense of passion and artistry. "It's an artistic expression of technology," said Mok, who joined Apple in 1982. "This product has been crafted."

(They were so successful in giving Apple a Beatles feel that Apple Corps, the company that owned the rights to the Beatles music, sued the Cupertino, California, company for trademark infringement. The two sides had a long-running legal tussle, but ultimately reached a settlement in 2007 and in 2012 sorted out ownership of the logo.)

Mok became co-manager of Apple Creative Services in 1985 and served as creative director for corporate and the education market. He's one of the people responsible for the iconic imagery of Apple in its marketing and packaging, including the squiggly line drawings gracing early Mac promotional materials.

But one aspect of the Mac, that squiggly line design, didn't feel as much like The Beatles to Mok as it felt like Joni Mitchell. Jobs wanted to mimic the logo for the now-defunct Ciao Restaurant in San Francisco's Financial District.

"I tried but couldn't for the life of me put it together," Mok recalled. Apple ended up hiring the man who created the Ciao logo in the first place, John Casado. What came from the team is what's known as the Macintosh Picasso logo. Some branding elements from the first Mac live on today, including the minimalist white packaging used for Apple's devices.

Find a way

Early Apple employees, most in their 20s and 30s, were given big responsibilities.

"Let's just do it. Find a way and don't be afraid of the consequences."

"Steve used to have a saying, 'We hire smart people to tell us what to do, not hire them to tell them what to do,'" said Susan Barnes, who joined Apple in 1981 as financial controller of the Mac division.

She worked closely with Coleman in her early days at Apple and ended up reporting directly to Jobs for a decade. Barnes co-founded NeXT Computer with Jobs in 1985 and became its CFO.

At one point in early 1985 while still at Apple, Jobs called Coleman and Barnes on a Friday night and said he wanted to buy a chunk of Adobe Systems. Apple and Adobe were closely linked in their early history, with the two working together to develop desktop publishing technology.

"It's something we really needed in the Mac days," Barnes said of Adobe's software and fonts. "Laser printing is something that really made the Mac take off."

Barnes and Coleman went to the law library late at night, trying to figure out how to buy a stake of another company. "How do we do this?" Barnes said. "This is usually what you ask senior management. And we were like, 'Oh, we are senior management.' It sort of hit you."

Apple ended up investing $2.5 million for a 19.99 percent stake in Adobe in early 1985. In 1989, it sold the stake, which had been diluted to about 16 percent, for $84 million.

"When you're in corporations later, it's so easy to hide behind, 'Let me check with that person,'" Barnes said. At Apple, it was "No, it's you. Let's just do it. Find a way and don't be afraid of the consequences."

Orwellian 1984

Jobs recruited John Sculley in the early 1980s to help him grow Apple as a company. Sculley was CEO of Pepsi and helped it overtake Coca-Cola as the top beverage maker. Jobs famously convinced Sculley to take the CEO role at Apple in 1983 by asking if he wanted to "sell sugar water for the rest of his life" or if he wanted to "come with me and change the world." Sculley, who was close with Jobs before ousting him in 1985, served as Apple's CEO for a decade until being forced out himself.

In the fall of 1983, Sculley, Jobs, other Apple executives and two members of the Chiat/Day advertising firm -- Lee Clow and Steve Hayden -- were brainstorming about the Mac launch campaign. Business Week had run a cover story that week saying, "The winner is IBM."

"We hadn't even come out with the Mac, so we were all a little bit down in the dumps," Sculley said. "What can we do that will stop the world and get people to pay attention to the fact the game wasn't over? It hadn't even started yet."

The group started talking about the big things that would happen in 1984, and the obvious reference to George Orwell's dystopian novel, "1984," came up. They debated, thinking that many marketers might play off the "1984" reference. But they hoped to get the leap by coming out with something in January -- perfect timing with the Super Bowl.

"If we do something absolutely heart-stopping on the launch in January, then we'll preempt it, and nobody else will want to use it because it will look like they've stolen the idea," Sculley said.

The Chiat/Day executives had a week to come up with a campaign like "no one had ever seen before." The 60-second "1984" commercial they created turned out to be one of the most celebrated ads of all time.

But Apple's board hated it. "At the end of the 60-second commercial, there was dead silence in the room," Sculley said. "Two directors put their heads on the table. Then they turned to me and said, 'You're not going to run that, are you?' I said, 'Absolutely. It's the best commercial I've ever seen.'"

The commercial cost $500,000 to produce, which was about five to 10 times the normal expense, Sculley said. And Apple paid $1 million for 2 minutes of airtime during the Super Bowl. The board told Chiat/Day to sell the time, but they could only offload 1-minute, so the commercial ran.

"We ended up getting $45 million of estimated free advertising because the networks kept running it over and over in its full length," Sculley said. "It turned out to be an amazing start for the Macintosh."

Apple is a religion

Apple knew the first Mac wouldn't succeed unless there was software for it. Getting developers to write software for the computer fell to Guy Kawasaki, who joined Apple in 1983 as the Mac's first chief evangelist.

"It was easy to get people to begin writing software because we were breaking new ground for the marketing of computers and opening a new market for computers," he said. "We provided a good alternative to the IBM PC and ... developers could write software they always dreamed about writing."

But it wasn't easy to get developers to actually finish writing their software. They were working with an immature platform and dealing with the Mac's new graphical user interface.

Kawasaki avoided Jobs as much as he could because Jobs "scared the shit" out of him. One day, Jobs came to Kawasaki's cubicle to introduce him to someone and to ask Kawasaki what he thought of a company. "I say, 'It's mediocre, and the product is crap,'" Kawasaki said. "At the end of my diatribe, he says, 'This is the CEO of the company.'"

"I passed the Steve Jobs test," Kawasaki added. "Probably he knew the company was crap. If I had said it was great, it could have been my last day at Apple."

Kawasaki ended up leaving Apple in 1987 to start his own company. He returned as an Apple Fellow in 1995, "when Apple was supposed to die."

"The very fact they brought me back was because the cult was dying," Kawasaki said. Getting people excited about Apple again "wasn't easy, but it also wasn't impossible."

"There's a core of people who never lost faith in Apple," Kawasaki said. "Apple is a religion."

Bill Gates to the rescue

When Jobs left Apple in 1985, he started NeXT, a new computer company focused on workstations for universities, financial institutions and other businesses. While the computer didn't sell well (PCs running Microsoft Windows were the most popular at the time), NeXT had very interesting software.

"Steve called me and he said, 'Hey, I'm starting this new company. It's an amazing computer for education,'" said Tom Suiter, who served as Apple's first director of Creative Services and helped launch the Mac in 1984. He left Apple after Jobs' departure in 1985 but kept in touch with Apple's co-founder over the years. That included the time Jobs was setting up NeXT.

"I could not believe how many times [Bill Gates] was using 'next' in such a positive way. I counted them up and said 'next' would be a cool name for a company."

Suiter remembers his conversation with Jobs about naming the new company.

"I said, 'Congrats, it's great. What are you going to call it?'

Jobs said: 'Two.'

I said: 'What do you mean?'

Jobs said: 'It's my second company.'

I said: 'Everybody's going to go, what happened to one?'

Jobs said: 'That's exactly why I'm talking to you. I need some help.'

I said, 'Let me think about it.'"

That weekend, Suiter flew to Seattle to attend a CD-ROM conference hosted by Microsoft and keynoted by co-founder Bill Gates. "I could not believe how many times he was using 'next' in such a positive way. I counted them up and said 'next' would be a cool name for a company."

When Suiter got home on Sunday, he called Jobs and said he had the perfect name for his new company.

"He goes, 'Hey, what is it?'

I said, 'It's NeXT.' There was like this silence.

Then he said,' I love it!'

The rest is history ... The irony is it actually came from the mouth of Bill Gates to help Steve."

Suiter never told Jobs his inspiration for the NeXT name. "It probably would have diluted the brilliance of what the name was," he said, laughing.

Microsoft didn't just unwittingly help out Apple. It also invested $150 million in the company in the summer of 1997 to keep Apple afloat as it was close to going out of business. As part of the deal, Apple made Microsoft's then-underdog Internet Explorer the default browser for the Mac. And Gates agreed to develop future versions of Microsoft Office and development tools for the Mac -- an arrangement that helped Apple win over customers tied to Microsoft's software.

Jobs hired Suiter again in 1998, while Suiter was at Silicon Valley advertising agency CKS Group, to lead marketing communications for all Apple products, including the launch of the iMac.

Inventing the future

In the 1970s, Alan Kay, one of the fathers of computing, worked at Xerox PARC, the Palo Alto, California-based research group that inspired the Mac user interface and other early Apple products. Kay joined Apple in 1984, a few months after the Mac was unveiled.

Kay famously said "the best way to predict the future is to invent it."

He remembers Jobs' ouster by Apple's board of directors and the company's struggle to recover:

"It is not easy to summarize 'what could have beens' and 'what should have beens' because Steve both had some vision and was also seriously nutty along a number of lines. He and I were friends despite this -- as much as he could have a friend.

"A few years later I was contacted by some long-standing colleagues in computer graphics -- who were then at Lucasfilm, and wanted to get out. I drove up to NeXT and briefed Steve on these folks, and then I took Steve up to Marin County to meet the people who became Pixar. The funding of Pixar and hanging in with the serious talent they had was almost certainly Steve's finest period."

Kay, however, has been critical of Apple's reinvention after Jobs returned to Apple in 1997.

"The return of Steve to Apple and his transformation of the company into one mainly aimed at consumer marketing, was only successful from a business standpoint. The ideals that Apple had in the early '80s about 'wheels for the mind' were now long gone ...

"I talked with Steve off and on since then until his death, and he would periodically send me stuff for my opinion, invite me to product openings, etc.

"I would periodically try to get him back to being 'centrally serious' about education, etc. I once tried to get him to remember what he had said to John Sculley to get him away from Pepsi ('Do you want to sell sugar water all your life, or do you want to change the world?') -- the point being that Steve's largest preoccupation after coming back was to get Apple to be a success primarily by selling 'sugar water' to consumers!"

Funny how things turn out

When Jobs and Wozniak were starting Apple, they knew they needed savvy marketing and public relations help to launch the world's first personal computer. They liked Intel's campaigns so asked the chipmaker who was doing work for it. Intel told them it was Regis McKenna.

That began a relationship between Jobs and McKenna that lasted from 1976 until Jobs' death in 2011. McKenna's firm, Regis McKenna Inc., helped launch the Mac in 1984. Though the formal relationship between the firm and Apple ended in the early 1990s, McKenna stayed close with Jobs and spoke with him about once a month for the duration of the Apple co-founder's life.

"He said, 'I think these products we have coming are pretty good.' He didn't say great. He was a little bit skeptical until the first iMacs, the colorful ones, took off like crazy."

That included the period after Jobs' return to Apple. Jobs rejoined Apple in February 1997 after the company bought NeXT for $429 million and he was asked to serve as a consultant to then-CEO Gil Amelio. Less than five months later, Jobs convinced the board to fire Amelio and name him interim CEO.

"He went from when he had no position on the board and was not an adviser and ended up taking over the company," said McKenna. "Those people, Amelio and others, quite frankly, didn't know what hit them."

Jobs didn't stay interim CEO for long. But he faced a daunting task. "Apple was in horrible shape," McKenna said. Jobs "wasn't sure he could fix it. People don't realize it took several years for him to get it off the ground. It didn't just happen."

Jobs ultimately turned Apple around by dramatically cutting the company's product line and introducing one hit product after another -- the colorful iMac computers, then the iPod music player, iTunes Store, iPhone and iPad.

"They cut out 50 percent or 60 percent of the products being developed," McKenna said.

"Steve calls me up. ... They were just about to launch their online store, just about to launch iTunes ... He was all excited. He said, 'I think these products we have coming are pretty good.' He didn't say great. He was a little bit skeptical until the first iMacs, the colorful ones, took off like crazy."

Most people involved with Apple's early years never expected it to grow as big as it is today, Jobs among them. After he returned to Apple and it was successful and growing, "one of the things he said was, 'Funny how things turn out.'" McKenna said.

"He was just reminiscent. It surprised him. He didn't expect these things...Up until a product was successful, he always questioned if it was good enough. He never felt, when he launched a product, [that it was good enough] but he would sell it as if it were. In fact, he always felt there could be more or better [features]. His comment of 'funny how things turn out' was a sort of comment by him that it all surprised him."

Concentrate on industrial design

Apple's colorful iMac line, and Jobs' close relationship with designer Jony Ive, helped the company recover from near-death. Tim Bajarin, a longtime industry analyst focused on Apple, remembers what Jobs vowed to do to save his company when he first returned to Apple.

"When Steve came back to Apple, I met with him the second day he came back," said Bajarin, who began following Apple in 1981 for the firm Creative Strategies. "I asked, 'How are you going to save Apple?' The first thing he said was, 'I'm going to go back and take care of the core needs of our customers -- engineering and graphics designers. I'm going to go back and make sure we take care of those customers.' The next generation of the Mac was more powerful and had more support for that particular group.

"Then he told me -- at the time what I thought was one of the craziest things I'd heard -- that 'I'm going to concentrate on industrial design.' I remember walking away and saying, 'How in the world is industrial design going to save Apple?' As you know, it ended up being a core tenet of Apple's success. A year later, Apple introduced the candy colored, all-in-one Apple iMacs."

Ive became the lead designer behind Apple's most important products, including the iPhone. Cook named him chief design officer a year ago. Bajarin, meanwhile, continues to follow Apple for Creative Strategies.

Will anyone show up?

Ron Johnson, the company's onetime retail chief, said one of his most notable memories at Apple was the opening of the first Apple Store in McLean, Virginia. He remembered the moment exactly: May 19, 2001, at 10 a.m.

Johnson helped dream up the concept of the stores' bright, simple look with long wooden tables holding a handful of Apple devices that people could test. The design was a departure from the typical stores, with aisles and aisles of shelves filled with products. Apple's retail approach has since been copied by others, including Microsoft.

Thirty minutes before the first store opened, Johnson got a call from Jobs, who asked how many people were in line outside. Johnson told him there were about 50 customers. Unhappy with the low turnout, Jobs said they should've marketed the opening -- the company sent out an email and press release but hadn't done any advertising. Johnson assured Jobs folks would show up.

By the time the store opened, there were 1,500 people in line.

"It went from 50 people to 1,500 in a 30-minute period of time," Johnson said. "It was really fun."

Now with over 500 Apple Stores worldwide, Apple's stores have become hubs for fans to camp out, often waiting in long lines for the newest gadgets to go on sale. While many other retailers are closing locations amid weak store traffic, Apple Stores bring in the highest sales per square foot of any retail locations in the US, according to eMarketer.

Johnson said Jobs sought to create retail stores "so we can market innovation face-to-face" with customers. Johnson saw that mission in full effect when he witnessed the iPhone launch in 2007. He was among a huge crowd at the company's iconic Fifth Avenue store in Manhattan.

"It really showed Steve's genius at its peak," Johnson said. "It was the marriage of an incredible product strategy with the ability to communicate with an unparalleled customer experience."

That 'aha moment'

What impact has Apple had on society? You can see it when an 8-year-old boy swipes at a microwave screen, puzzled that nothing happens. You can't really fault him. After all, we all instinctively use our fingers and gestures to control our phones and computers, so why not other gadgets with big screens?

That child's uncle, AT&T Vice Chairman Ralph de la Vega, can trace our reliance on our fingers back to the first time Jobs showed him the iPhone, which he calls his "aha moment." He was one of the first people to see the device and had to sign a nondisclosure agreement, vowing not to tell anyone about the phone including the CEO and board of AT&T -- or his wife.

De la Vega's first question when seeing the iPhone was "Where's the stylus?"

"[The iPhone] dramatically changed how users interfaced with the device," de la Vega said. "It really highlights how it changes the expectations of people."

While there had been touchscreens before the iPhone, Apple was the first to show the benefits of ditching a stylus, a move that had a massive impact on the tech industry. Without Apple, we might all still be mashing physical buttons.

"Apple accelerated the pace so dramatically it changed everything," de la Vega said.

AT&T became the first wireless carrier to sell the iPhone, something that helped the carrier attract millions of customers. And the iPhone has helped Apple become the biggest company on the planet.

On to the next 40.
CNET's Roger Cheng and Ben Fox Rubin contributed to this report. This story was part of CNET's coverage of the 40th anniversary of Apple's founding. For more stories in this package, click here.

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Apple's origins: An oral history from inside the loop

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Whether Apple was actually started by two guys in a California garage may be debatable, but what's certain is that the pioneering computer maker turned consumer electronics juggernaut has come a long way.

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