19-01 Paul Rand, cover for Direction magazine, 1940. The red dots are symbolically ambiguous, becoming holiday decorations or blood drops. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-01 Paul Rand, rebus IBM

19-01 Paul Rand, logos

19-01 Paul Rand, Rebus

19-01 Alvin Lustig, Beverly Hills High School Commencemet announcement

19-01 Bradbury Thompson

19-01 Saul Bass

19-01 George Tscherny

19-26 Ivan Chermayeff, Between the Wars, 1977. The interwar years are represented by Churchill’s hat between two helmets.

19-26 Ivan Chermayeff, paperback cover Chermayeff's cover design for Bertrand Russell's Common Sense and Nuclear Warfare is a high-contrast, photomontage of two black-and-white photographs—a mushroom cloud superimposed on the back of a man's head. These powerful visual metaphors act as a counterpoint and provide the reader with an unnerving and fearsome idea about mankind's vulnerability to nuclear war, even before opening the book. It is a seminal example of the marriage of image, symbol, and word to create powerful and meaningful visual communications. He says, "Great images, to be great, must be original and memorable.

19-26 Ivan Chermayeff, Concert of Overtures, record album Description Collections: Design and Printing for Commerce (1961) Discipline: Package design Format: Album cover Credits Designer: Ivan Chermayeff Artist: Ivan Chermayeff Compositor: Metro Typographers, Inc. Printer: Shorewood Press Paper: CoatedOffset.

19-26 Ivan Chermayeff, Between the Wars, 1977. The interwar years are represented by Churchill’s hat between two helmets. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-45 Norman Ives

19-45 Cipe Pineles

19-45 Leo Lionni

19-45 Otto Storch

19-45 Henry Wolf

19-45 Peter Palazzo

19-45 Bea Feitler

19-45 Mike Salisbury, pages from West, late 1960s. Here the art director became a visual historian, researching and selecting old Levi’s advertisements and products for a pictorial essay. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-45 Mike Salisbury, pages from West, late 1960s. Here the art director became a visual historian, researching and selecting old Levi’s advertisements and products for a pictorial essay. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-45 Robert Gage Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-45 Gene Frederico Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-45 Don Egensteiner Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-56 Herb Lubalin, typogram from a Stettler typeface announcement poster, 1965. Marriage, “the most licentious of human institutions,” becomes an illustration through the joined Rs. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-61 Herb Lubalin

19-56 Herb Lubalin,

19-56 Herb Lubalin, U & lc

19-56 Herb Lubalin, Logos

19-58 Herb Lubalin, proposed New York City logo, 1966. Isometric perspective creates a dynamic tension between two- and three-dimensionality while implying the city’s high-rise architecture. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-59 Herb Lubalin, Ice Capades logo, 1967. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-61 Herb Lubalin, pages from Eros, 1962. Lubalin overlapped and touched letterforms, compressed the space between words, and squeezed words and images into a rectangle. Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

19-61 Gorge Lois Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.