2+1 is a Canadian broadcasting logo from 1967, attributed to Quebec graphic designer Pierre-Yves Pelletier. The mark uses stacked typography that pairs the station’s channel number with a plus sign, forming a compact and direct visual identifier.
Design and History
Pierre-Yves Pelletier (born December 15, 1938, in Montreal) is a Quebec graphic designer who studied graphic arts in Montreal from 1957 to 1960 and worked at Thérien & Frères before joining Société Radio-Canada in 1962, where he created communication tools and about twenty animated films.[1]
From the late 1960s, Pelletier received major commissions, including the logotype for the Fédération des travailleurs du Québec (FTQ) in 1968, which is described as one of his first significant works as a graphic designer.[2] He later contributed to the graphic charter for the 1976 Montreal Olympic Games and designed posters for the Moscow Olympics.[1]
The 2+1 logo, created in 1967, is one of Pelletier’s early broadcast-related works. The mark consists of the numeral “2” combined with a plus sign and the numeral “1” in a stacked arrangement, directly referencing the station’s channel number. The design reflects the era’s shift toward modernist minimalism in media branding, though specific documentation of the logo’s original usage or the station it represented is limited in available sources.
Meaning and Symbolism
The logo’s meaning is primarily literal: the “2” and “1” refer to the station’s channel number, while the plus sign between them creates a simple arithmetic expression. This direct typographic approach makes the mark self-explanatory, requiring no additional iconography or abstract symbolism. The design’s clarity aligns with the modernist graphic design movement of the 1960s, which favored simplicity and functional communication over decorative elements.
Typography and Design
The 2+1 logo relies entirely on typography for its visual impact. The stacked arrangement of the numeral “2” above the plus sign and “1” creates a compact, balanced composition. The design uses bold, straightforward numerals that prioritize legibility at broadcast sizes. While the exact typeface used in the original 1967 mark has not been documented in available sources, the design’s minimalist approach is consistent with Pelletier’s broader graphic design practice, which emphasized clean, functional visual communication.
Logo Index is an independent educational archive covering logos, visual identities and graphic design history. All trademarks and brand assets remain the property of their respective owners.
