Colophon

Image credits

Every image on a design-history page is credited here, grouped by cluster and designer. Imagery is used under the Australian Statutory Education Licence (Copyright Agency Part VB), open-access museum collections, publisher permission, estate-granted access, or Creative Commons — the licence for each image is listed alongside its credit.

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Modernism foundations

A.M. Cassandre
  • A.M. Cassandre, French poster designer and typographer, photographed in Amsterdam in 1967
    A.M. Cassandre at an exhibition opening, Rijksacademie, Amsterdam, 1967. Photograph by Ron Kroon/Anefo.Portrait by Ron Kroon/Anefo from May 26, 1967 (exhibition opening, Rijksacademie Amsterdam). CC0 1.0 Universal — safe for TGDS statutory educational licence. Shows mature Cassandre; taken one year before his death.Public domainsource
  • L'Intransigeant newspaper poster, 1925, by A.M. Cassandre
    L'IntransigeantA.M. Cassandre, L'Intransigeant, 1925. Lithograph. Collection: Museum of Modern Art, New York / Philadelphia Museum of Art. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Étoile du Nord, 1927
    Étoile du NordA.M. Cassandre, Étoile du Nord, 1927. Lithograph. Collection: Museum of Modern Art, New York. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Nord Express, 1927
    Nord ExpressA.M. Cassandre, Nord Express, 1927. Lithograph. Reproduced from the People's Graphic Design Archive (nonprofit design research platform). Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Dubo Dubon Dubonnet, 1932
    Dubo Dubon DubonnetA.M. Cassandre, Dubo Dubon Dubonnet, 1932. Lithograph. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Normandie, 1935
    NormandieA.M. Cassandre, Normandie, 1935. Lithograph, printed by Alliance Graphique / L. Danel, Paris. Collection: Library of Congress, Washington D.C.; Musée de la Marine, Paris. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • YSL monogram, 1963
    YSL monogramA.M. Cassandre, YSL monogram, 1963. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Bifur (typeface), 1929
    Bifur (typeface)A.M. Cassandre, Bifur typeface, 1929. Deberny & Peignot foundry specimen. Reproduced for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Acier Noir (typeface), 1935
    Acier Noir (typeface)A.M. Cassandre, Acier Noir, 1935. Deberny & Peignot foundry catalogue page. Reproduced from Grapheine magazine for educational purposes under TGDS statutory educational licence.AU statutorysource
  • Peignot (typeface), 1937
    Peignot (typeface)Peignot typeface specimen, 1937, issued by Deberny & Peignot. Uploaded to Flickr by Klim Type Foundry under statutory educational licence.AU statutorysource
Aleksander Rodchenko
  • Aleksander Rodchenko, 1935 — photograph by Isaak Brodsky
    Aleksander Rodchenko, 1935.Photograph by Isaak Brodsky / Wikimedia Commons (public domain)Public domainsource
  • Aleksander Rodchenko, Books! poster for Lengiz, 1925 — Lilya Brik shouting through red geometric type
    Books! In All Branches of Knowledge (Lengiz poster)Aleksander Rodchenko / statutory educational licenceAU statutorysource
  • Aleksander Rodchenko, Kino-Glaz poster for Dziga Vertov, 1924 — giant eye, photomontage composition
    Kino-Glaz (Kino-Eye) film posterAleksander Rodchenko / MoMA collection / statutory educational licenceAU statutorysource
  • Aleksander Rodchenko, LEF magazine covers — red and black Constructivist grid typography, 1923
    LEF No. 1 magazine coverAleksander Rodchenko / Wikimedia Commons (public domain)Public domainsource
  • Aleksander Rodchenko, Workers' Club, 1925 — reconstructed stand, Constructivist furniture in red, white and grey
    Workers' Club (Meubles ouvriers)Photograph by Bapak Alex / Wikimedia Commons (CC BY-SA 4.0)CC BY-SAsource
  • Aleksander Rodchenko, Pioneer Girl, 1930 — diagonal upward composition, gelatin silver print
    Pioneer Girl (Pionerka)Aleksander Rodchenko / J. Paul Getty Museum / statutory educational licenceAU statutorysource
  • Aleksander Rodchenko, Spatial Construction No. 12, c. 1920 — nested plywood ellipses suspended from ceiling
    Spatial Construction No. 12Aleksander Rodchenko / statutory educational licenceAU statutorysource
  • Aleksander Rodchenko, Dobrolet airline poster, 1923 — Soviet aviation advertising in red and black
    Dobrolet airline advertisingAleksander Rodchenko / statutory educational licenceAU statutorysource
El Lissitzky
  • El Lissitzky, Russian graphic designer
    El Lissitzky, 1924.El Lissitzky. Wikimedia Commons / public domainPublic domainsource
  • Beat the Whites with the Red Wedge, 1919
    Beat the Whites with the Red WedgeEl Lissitzky. Wikimedia Commons / public domainPublic domainsource
  • PROUN 19D, El Lissitzky, 1920–21
    PROUN 19DEl Lissitzky. Wikimedia Commons / public domainPublic domainsource
  • Of Two Squares (Pro Dva Kvadrata), 1922
    Of Two Squares (Pro Dva Kvadrata)El Lissitzky. Wikimedia Commons / public domainPublic domainsource
  • For the Voice (Dlia Golosa), 1923
    For the Voice (Dlia Golosa)El Lissitzky. Wikimedia Commons / public domainPublic domainsource
  • Proun Room reconstruction, Stedelijk Van Abbemuseum Eindhoven, 1965
    Proun Room (Prounenraum)Stedelijk Van Abbemuseum, Eindhoven. Wikimedia Commons / public domainPublic domainsource
  • The Constructor, El Lissitzky, 1924, self-portrait photomontage
    The Constructor (self-portrait photomontage)El Lissitzky. Victoria and Albert Museum (Inv. PH142-1985). Wikimedia Commons / public domainPublic domainsource
  • USSR in Construction no. 6, 1934, cover designed by El Lissitzky
    USSR in Construction (SSSR na stroike)El Lissitzky. Wikimedia Commons / public domainPublic domainsource
Herbert Bayer
  • Herbert Bayer, Austrian graphic designer
    'Humanly Impossible (Self-Portrait)' (1932), gelatin silver photomontageHerbert Bayer, 'Humanly Impossible (Self-Portrait)' (1932), gelatin silver print and photomontage. Victoria and Albert Museum, London (CIRC.651-1969). Museum-editorial use.Museum editorialsource
  • Universal Typeface, 1925
    Universal TypefaceHerbert Bayer, Universal Typeface (1925). Via Encyclopedia Design. Editorial use.Museum editorialsource
  • State Bank of Thuringia banknotes, 1923
    State Bank of Thuringia banknotesHerbert Bayer, ten-note emergency currency series for the State Bank of Thuringia (1923). Museum of Modern Art, New York. Museum of Modern Art Digital Image © 2024 The Museum of Modern Art, New York. Museum-editorial use.Museum editorialsource
  • Bauhaus Dessau printing + advertising workshop, 1925-1928
    Bauhaus Dessau printing + advertising workshopHerbert Bayer, Ernst Kraus letterhead for the Bauhaus Dessau (c.1925). Museum of Modern Art, New York. Museum-editorial use.Museum editorialsource
  • Bauhaus 1919–1928 exhibition design (MoMA), 1938
    Bauhaus 1919–1928 exhibition design (MoMA)Herbert Bayer (design), Erich Consemüller (photography). Dust jacket for Bauhaus 1919–1928 (Museum of Modern Art, 1938). Via Synaesthesia Press. Museum-editorial use.Museum editorialsource
  • Container Corporation of America — Great Ideas of Western Man campaign, 1951
    Container Corporation of America — Great Ideas of Western Man campaignHerbert Bayer (art director). Great Ideas of Western Man, no. 131: Theodore Roosevelt (1959). Container Corporation of America. Via Codex99. Statutory educational licence.AU statutorysource
  • World Geo-Graphic Atlas, 1953
    World Geo-Graphic AtlasHerbert Bayer, World Geo-Graphic Atlas (Container Corporation of America, 1953). Cooper Hewitt, Smithsonian Design Museum. Statutory educational licence.AU statutorysource
  • Aspen Institute campus + environmental graphics, 1946-1985
    Aspen Institute campus + environmental graphicsExhibition promotional image from Aspen Institute's 'The Poster Art of Herbert Bayer' (July 2017–June 2018); features poster art from Bayer's 1947–1981 portfolio; image is embedded in OG metadata.Museum editorialsource
  • Rowac furniture advertisement from Bauhaus Dessau prospectus, designed by Herbert Bayer, 1927
    Bauhaus Dessau — Rowac advertisementHerbert Bayer, Rowac advertisement in Bauhaus Dessau prospectus (1927). Wikimedia Commons (Rowac_Anzeige_im_Bauhaus_Dessau_Prospekt.jpg). CC BY-SA 3.0.CC BY-SAsource
Jan Tschichold
  • Jan Tschichold, German typographer
    Jan Tschichold, c. 1930.Photograph © Frank Bollinger / Titans of Type. Statutory educational licence.AU statutorysource
  • Elementare Typographie, 1925 — Typographische Mitteilungen special issue cover
    Elementare TypographieDeutsches Buch- und Schriftmuseum, Leipzig. Photograph by the museum. CC0 public domain via Wikimedia Commons.Public domainsource
  • Die neue Typographie, 1928, Jan Tschichold
    Die neue TypographieMoMA collection, New York.Museum editorialsource
  • Typographische Gestaltung, 1935, Jan Tschichold
    Typographische GestaltungSwiss design archive, Wiedler Antiquariat.Museum editorialsource
  • Van de Graaf canon page proportion diagram, from The Form of the Book by Jan Tschichold
    The Form of the BookWikimedia Commons. CC0 public domain.Public domainsource
  • Penguin Composition Rules, 1947
    Penguin Composition RulesAlex Zaneti design portfolio.Museum editorialsource
  • Penguin Books covers, 1938 and 1958, showing the evolution of the three-band format
    Penguin Books cover redesignFlickr / ad_symphoniam. Statutory educational licence.Museum editorialsource
  • Sabon typeface specimen, 1967, designed by Jan Tschichold
    Sabon typefaceWikimedia Commons, public domain.Public domainsource
  • Transit typeface specimen brochure cover, 1931, Jan Tschichold
    Transit typefaceFonts In Use archive, via Flickr.Museum editorialsource
  • Zeus typeface, Typographische Mitteilungen cover, January 1932, Jan Tschichold
    Zeus typefaceWiedler Antiquariat archive.Museum editorialsource
Josef Albers
  • Josef Albers, portrait photograph
    Josef Albers, photographed c.1965. Fair use via Wikimedia Commons (English Wikipedia).Unknown photographer, c.1965. Fair use via English Wikipedia.AU statutorysource
  • Josef Albers, studies for Homage to the Square series, at Tate Modern, London
    Homage to the Square (studies at Tate Modern)Photograph by Selena N. B. H. / moonlightbulb (Flickr, CC BY 2.0). Artworks © The Josef and Anni Albers Foundation / ARS, New York. Reproduced under statutory educational licence.AU statutorysource
  • Josef Albers, Persuasive Percussion album cover for Command Records, Terry Snyder and the All Stars, 1959
    Persuasive Percussion album coverJosef Albers / Charles E. Murphy / Command Records. Cooper Hewitt, Smithsonian Design Museum. Reproduced under statutory educational licence.AU statutorysource
  • Josef Albers, armchair, c.1927, walnut and maple veneer over elm, Bauhaus
    ArmchairPhotograph by Tim Evanson (Cleveland Heights, Ohio) (CC BY-SA 2.0).CC BY-SAsource
  • Josef Albers, Rosa mystica ora pro nobis stained glass window, St Michael's Church, Bottrop, 1918 (reconstruction 2012)
    Rosa mystica ora pro nobis (reconstruction)Photograph by Krabbenpulen (CC BY-SA 4.0).CC BY-SAsource
  • Josef Albers and Norman Ives at Sirocco screen-printing, North Haven, Connecticut, 1972, during production of Formulation — Articulation
    Working on Formulation — Articulation (1972)Photograph by Jthill84 (CC BY-SA 4.0).CC BY-SAsource
Kurt Schwitters
  • Kurt Schwitters, German artist and designer, photographed by Genja Jonas before 1927
    Kurt Schwitters, photographed by Genja Jonas, c. 1927. Published in Merz 20 (1927).Genja Jonas. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Das Undbild (The And-Picture), 1919, gouache and collage, Staatsgalerie Stuttgart
    Das Undbild (The And-Picture)Kurt Schwitters. Staatsgalerie Stuttgart. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Merz 3, 1923, lithograph, Museum of Modern Art New York
    Merz 3 (lithograph series)Kurt Schwitters. Museum of Modern Art, New York. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Merzbau, Hanover, c. 1933, photograph of mixed-media architectural installation
    Merzbau (Hanover)Kurt Schwitters. Via The Athenaeum / Sprengel Museum Hannover. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters and El Lissitzky, Merz magazine no. 8/9 Nasci, 1924, title page, Berlinische Galerie
    Merz magazine no. 8/9 (Nasci)Kurt Schwitters / El Lissitzky. Berlinische Galerie. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Die Scheuche (The Scarecrow), 1925, typographic fairy tale, Aposs Verlag Hanover
    Die Scheuche (The Scarecrow)Kurt Schwitters, Kate Steinitz, Theo van Doesburg. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Anna Blume. Dichtungen, first edition cover, Paul Steegemann Verlag, 1919
    Anna Blume (An Anna Blume)Kurt Schwitters. Wikimedia Commons / public domainPublic domainsource
  • Kurt Schwitters, Merz no. 1, Holland Dada, January 1923, letterpress, Rijksmuseum Amsterdam
    Merz no. 1 (Holland Dada)Kurt Schwitters. Rijksmuseum Amsterdam. CC BY-SA 3.0CC BY-SAsource
László Moholy-Nagy
  • László Moholy-Nagy photographed by Hugo Erfurth, c.1930
    László Moholy-Nagy, c.1930.Photograph by Hugo Erfurth. Via Wikimedia Commons (public domain).Public domainsource
  • Photogram by László Moholy-Nagy, c.1925 — camera-less abstract composition on light-sensitive paper
    PhotogramsLászló Moholy-Nagy. Metropolitan Museum of Art, accession 1987.1100.158, gift of Ford Motor Company Collection. Public domain.Public domainsource
  • Light-Space Modulator by László Moholy-Nagy, 1930 — kinetic sculpture of perforated metal and glass
    Light-Space Modulator (Licht-Raum-Modulator)László Moholy-Nagy. Via Wikimedia Commons (public domain, published before 1931).Public domainsource
  • Cover of Malerei, Fotografie, Film by László Moholy-Nagy, Bauhausbücher volume 8, 1925
    Malerei, Fotografie, FilmLászló Moholy-Nagy. Via Wikimedia Commons (public domain).Public domainsource
  • Cover of Von Material zu Architektur by László Moholy-Nagy, Bauhausbücher 14, 1929
    Von Material zu ArchitekturLászló Moholy-Nagy. Digitised by Heidelberg University Library. Public domain.Public domainsource
  • Photogram designed for the cover of Vision in Motion by László Moholy-Nagy, 1941 — abstract light composition
    Vision in MotionLászló Moholy-Nagy. Museum of Fine Arts, Budapest. Via statutory educational licence.AU statutorysource
  • EM 3, Telephone Painting by László Moholy-Nagy, 1922–23 — geometric composition in porcelain enamel on steel
    Telephone Paintings (EM series)László Moholy-Nagy. Museum of Modern Art, New York. Via statutory educational licence.AU statutorysource
Lucian Bernhard
  • Lucian Bernhard, graphic designer and type designer, circa 1929
    Lucian Bernhard, circa 1929.Photographer unknown — Wikimedia Commons, public domainPublic domainsource
  • Lucian Bernhard, Priester Matches poster, 1906, two red matches on dark ground
    Priester Matches posterLucian Bernhard — via Wikimedia (English Wikipedia fair use)AU statutorysource
  • Lucian Bernhard, Hier zeichnet man die Kriegsanleihe, WWI war bond poster
    WWI War Bond poster — Hier zeichnet manLucian Bernhard — Library of Congress / Wikimedia Commons, public domainPublic domainsource
  • Lucian Bernhard, Vier Wochen neunte Kriegsanleihe, 1918 WWI war bond poster
    WWI War Bond poster — Vier WochenLucian Bernhard — Library of Congress / Wikimedia Commons, public domainPublic domainsource
  • Lucian Bernhard, Bernhard Antiqua typeface specimen
    Bernhard Antiqua typefaceLetterform Archive — statutory educational licenceAU statutorysource
  • Lucian Bernhard, Bernhard Modern typeface specimen sheet
    Bernhard Modern typefaceJames Puckett, Flickr, CC BY 2.0CC BYsource
Peter Behrens
  • Peter Behrens, German architect and graphic designer, c. 1910
    Peter Behrens (1868–1940), photographed c. 1910.Unknown photographer; original uploader Havelbaude at German Wikipedia. Public domain.Public domainsource
  • AEG corporate identity programme, 1907
    AEG corporate identity programmePeter Behrens, AEG Metallfadenlampe poster, 1907. Wikimedia Commons, public domain.Public domainsource
  • AEG hexagonal logotype, 1908
    AEG hexagonal logotypeAEG logo 1912. Wikimedia Commons, public domain.Public domainsource
  • AEG Turbine Factory facade, Berlin-Moabit, 1909, designed by Peter Behrens
    AEG Turbine Factory, BerlinFelix Müller (Enqueue), CC BY-SA 4.0. Wikimedia Commons.CC BY-SAsource
  • Behrens-Schrift typeface specimen, 1902
    Behrens-Schrift typefacePage 14 from the original 1902 specimen, Heidelberg University Digital Library. Public domain.Public domainsource
  • AEG electric kettle designed by Peter Behrens, c. 1909, brass
    AEG electric kettleChristos Vittoratos, CC BY-SA 3.0. Wikimedia Commons.CC BY-SAsource
  • Deutsche Werkbund Ausstellung poster, Cologne, 1914, designed by Peter Behrens
    Deutsche Werkbund Ausstellung posterPeter Behrens, Deutsche Werkbund Ausstellung poster, 1914. Victoria and Albert Museum, London. Museum editorial.Museum editorialsource
  • Haus Behrens, Darmstadt Artists Colony, Mathildenhoehe, 1901
    Haus Behrens, DarmstadtGerd Eichmann, CC BY 4.0. Wikimedia Commons.CC BYsource
Piet Zwart
  • Piet Zwart, Dutch typographer and designer, photographed 1964
    Piet Zwart receiving the David Roell Prize, 1964.Hugo van Gelderen / Nationaal Archief, Den Haag (CC BY-SA 3.0 NL)CC BY-SAsource
  • Piet Zwart, advertisement for Verloop Woning Bureau housing rental office, 1923
    Housing Rental Office advertisementPiet Zwart. Museum of Modern Art, New York (statutory educational licence)AU statutorysource
  • Piet Zwart, NKF Nederlandsche Kabelfabriek catalogue spread, 1927–28
    NKF catalogue 1927–28Piet Zwart / Letterform Archive (statutory educational licence)AU statutorysource
  • Piet Zwart, Vickers House advertisement, The Hague, 1923
    Vickers House advertisementPiet Zwart. Museum of Modern Art, New York, Merrill C. Berman Collection (statutory educational licence)AU statutorysource
  • Piet Zwart, Hollandsch Kunstweefhuis letterpress card, 1924
    Hollandsch KunstweefhuisPiet Zwart. Museum of Modern Art, New York (statutory educational licence)AU statutorysource
  • Piet Zwart, Het Boek van PTT, children's book for the Dutch Post Office, 1938
    Het Boek van PTTPiet Zwart, copyright erven Piet Zwart / ARS, New York / Pictoright, Amsterdam. Museum of Modern Art, New York (statutory educational licence)AU statutorysource
  • Piet Zwart, Bruynzeel modular kitchen, installed in Sonneveld House, Rotterdam, 1938
    Bruynzeel kitchenVincent Steenberg / Wikimedia Commons (CC BY-SA 4.0)CC BY-SAsource
  • Piet Zwart, poster for LAGA rubber flooring manufacturer, 1922
    LAGA flooring advertisementPiet Zwart. Museum of Modern Art, New York (statutory educational licence)AU statutorysource
Theo van Doesburg
  • Theo van Doesburg at the Aubette, Strasbourg, 1927
    Theo van Doesburg at the Aubette, Strasbourg, 1927. Anonymous photographer.Anonymous. Public domain. Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Counter-Composition V, 1924, oil on canvas, Stedelijk Museum Amsterdam
    Counter-Composition VTheo van Doesburg (1883–1931). Public domain (author d. 1931). Stedelijk Museum Amsterdam via Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Contra-Composition XVI, 1925, oil on canvas, Kunstmuseum Den Haag
    Contra-Composition XVITheo van Doesburg (1883–1931). Public domain (author d. 1931). Kunstmuseum Den Haag via Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Composition VIII (The Cow), 1918, oil on canvas, Museum of Modern Art New York
    Composition VIII (The Cow)Theo van Doesburg (1883–1931). Public domain (author d. 1931). Museum of Modern Art, New York via Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Stijlletters (De Stijl typeface), 1919, geometric alphabet on 5x5 grid, Centraal Museum Utrecht
    Stijlletters (De Stijl Typeface)Theo van Doesburg (1883–1931). Public domain (author d. 1931). Centraal Museum, Utrecht via Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Poster for Dada Matinée, 1923, lithograph, Centraal Museum Utrecht
    Poster for Dada MatinéeTheo van Doesburg (1883–1931). Public domain (author d. 1931). Centraal Museum, Utrecht via Wikimedia Commons.Public domainsource
  • Theo van Doesburg, Komposition in Halbtönen, 1928, oil on canvas, Kunstmuseum Basel
    Komposition in HalbtönenTheo van Doesburg (1883–1931). Public domain (author d. 1931). Kunstmuseum Basel via Wikimedia Commons.Public domainsource
Varvara Stepanova
  • Varvara Stepanova, Russian Constructivist designer, c. 1924
    Varvara Stepanova during production preparation, 1924.Photograph: unknown author / Wikimedia Commons (public domain)Public domainsource
  • Varvara Stepanova, sport clothing design (prozodezhda), 1923 — Constructivist garment sketch with geometric blue and white forms
    Sport Clothing DesignsVarvara Stepanova / designishistory.com (statutory educational licence)AU statutorysource
  • Varvara Stepanova, printed flannel textile design, 1924 — geometric chevron pattern in wine red and olive on natural cotton, Tsindel factory
    Textile Design (printed flannel)Varvara Stepanova / V&A Collections (statutory educational licence)AU statutorysource
  • Varvara Stepanova photomontage, 1930s — red star with portrait of military figure surrounded by mass of soldiers in white uniforms
    Photomontage (USSR in Construction)Varvara Stepanova / designishistory.com (statutory educational licence)AU statutorysource
  • Varvara Stepanova, Mospoligraf newspaper poster, 1924 — red, black and white Constructivist typography stacking Soviet newspaper mastheads (Pravda, Izvestiya, Gudok)
    Mospoligraf newspaper posterVarvara Stepanova / designishistory.com (statutory educational licence)AU statutorysource
  • Varvara Stepanova, Billiard Players, 1920 — oil on canvas, Cubo-Futurist geometric figures in ochre, brown, black and white
    Billiard PlayersVarvara Stepanova / Wikimedia Commons, photo F. Bini (CC BY-SA 4.0)CC BY-SAsource
  • Novyi LEF magazine cover, no. 6, 1927 — red and black Constructivist typography, designed by Rodchenko with Stepanova
    Novyi LEF cover (no. 6)Aleksandr Rodchenko / MoMA collection (statutory educational licence)AU statutorysource
  • Sovremennaya Arkhitektura magazine cover, no. 5, 1929 — Constructivist graphic design by Varvara Stepanova, bold sans-serif lettering in red and black
    Sovremennaya Arkhitektura (SA) coverVarvara Stepanova / Wikimedia Commons (public domain)Public domainsource

Swiss & International Typographic Style

Adrian Frutiger
  • Adrian Frutiger at the Linotype showroom in Amsterdam, 1990
    Adrian Frutiger at the Tetterode Linotype showroom, Amsterdam, 1990.Henk Gianotten, 1990. Wikimedia Commons, public domain.Public domainsource
  • Univers 55 type specimen card, 1957
    UniversJames Puckett, Boulder USA. Wikimedia Commons.CC BYsource
  • OCR-B typeface specimen showing optical character recognition letterforms
    OCR-BVector typeface specimen from Wikimedia Commons.CC BY-SAsource
  • Frutiger typeface specimen showing the humanist sans-serif
    Frutiger typefaceWikimedia Commons, public domain.Public domainsource
  • Avenir typeface specimen showing the geometric sans-serif
    AvenirFynn5808, Wikimedia Commons.Public domainsource
  • Frutiger typeface in use on Charles de Gaulle airport signage, terminal 1
    Charles de Gaulle airport signagePhotograph of Frutiger typeface in use at Charles de Gaulle Airport. Parisian Fields memorial article, 2015.AU statutorysource
  • Type Sign Symbol by Adrian Frutiger, 1980 first edition, ABC Verlag
    Type Sign SymbolProduct photography of the 1980 first edition (ABC Verlag). The Print Arkive, UK.AU statutorysource
Armin Hofmann
  • Armin Hofmann, Swiss graphic designer
    Armin Hofmann speaking to students at Disentis Monastery, 1989.Photograph by Glenn I. Fleishman, 1989. CC BY-SA 4.0, Wikimedia Commons.CC BY-SAsource
  • Basler Freilichtspiele poster series, 1954/1990
    Basler Freilichtspiele poster seriesSFMOMA, accession 2014.669. Armin Hofmann, Giselle, Basler Freilichtspiele, 1959. Lithograph.Museum editorialsource
  • Stadttheater Basel poster series, 1955/1975
    Stadttheater Basel poster seriesCooper Hewitt, Smithsonian Design Museum, accession 1997-19-148. Armin Hofmann, Stadttheater Basel, 1960/61.Public domainsource
  • Herman Miller poster series, 1961/1989
    Herman Miller poster seriesMoMA, New York. Armin Hofmann, Herman Miller Collection, Möbel unserer Zeit, 1962. Statutory educational licence.AU statutorysource
  • Graphic Design Manual / Methodik der Form- und Bildgestaltung, 1965
    Graphic Design Manual / Methodik der Form- und BildgestaltungNiggli Verlag publisher image. Armin Hofmann, Graphic Design Manual, first edition 1965. Statutory educational licence.AU statutorysource
  • Theater Bau Von der Antike bis zur Moderne exhibition poster, 1955, by Armin Hofmann
    Theater Bau Von der Antike bis zur ModerneMoMA, New York, accession 326.1957. Armin Hofmann, Theater Bau Von der Antike bis zur Moderne, 1955. Statutory educational licence.AU statutorysource
  • Robert Jacobsen and Serge Poliakoff exhibition poster, Kunsthalle Basel, 1959, by Armin Hofmann
    Robert Jacobsen / Serge Poliakoff, Kunsthalle BaselMoMA, New York, accession 610.1981. Armin Hofmann, Robert Jacobsen, Serge Poliakoff, Kunsthalle Basel, 1959. Linocut. Statutory educational licence.AU statutorysource
  • Wilhelm Tell, Basler Freilichtspiele 1963 poster by Armin Hofmann
    Wilhelm Tell, Basler FreilichtspieleArtifiche Swiss Poster Gallery. Armin Hofmann, Wilhelm Tell, Basler Freilichtspiele, 1963. Statutory educational licence.AU statutorysource
Emil Ruder
  • Emil Ruder, Swiss typographer
    Emil Ruder (1914–1970), typographer and head of typography at the Allgemeine Gewerbeschule Basel.Photo: Manuel Schmalstieg. CC BY-SA via Wikimedia Commons.CC BY-SAsource
  • Werk magazine cover designed by Emil Ruder, 1948
    Werk magazine coverEmil Ruder, 1948. Public domain. Wikimedia Commons via Lars Müller Publishers scan.Public domainsource
  • Kunsthalle Basel exhibition poster for Bodmer and Hartung, designed by Emil Ruder, 1952
    Kunsthalle Basel — Bodmer / Hartung exhibition posterEmil Ruder, 1952. Public domain. Wikimedia Commons.Public domainsource
  • Emil Ruder Basel School typography curriculum — 10 Zürcher Maler poster for Kunsthalle Basel 1957
    Basel School typography curriculumEmil Ruder, 1957. Museum für Gestaltung Zürich Plakatsammlung. Via Typeroom.AU statutorysource
  • Die gute Form Schweizerischer Werkbund identification seal designed by Emil Ruder, 1956
    Die gute Form — Schweizerischer Werkbund identityEmil Ruder, 1956. Public domain. Wikimedia Commons.Public domainsource
  • Typografische Monatsblätter June July 1959 cover designed by Emil Ruder
    Typografische Monatsblätter — June / July 1959 coverEmil Ruder, 1959. Public domain. Wikimedia Commons via Lars Müller Publishers scan.Public domainsource
  • Typografische Monatsblätter October 1961 issue 10, Emil Ruder editorial direction
    Typografische Monatsblätter (editorial direction)Emil Ruder, 1961. From Letterform Archive collection via Fonts In Use.AU statutorysource
  • Typographie Typography A Manual of Design by Emil Ruder, Niggli 1967
    Typographie / Typography — A Manual of DesignArthur Niggli AG, Teufen, 1967. Publisher image via This Is Display bookshop.Museum editorialsource
Herbert Matter
  • Herbert Matter, Swiss-American designer and photographer
    Herbert Matter, self-portrait, c.1950. Sourced from Knoll International Archives.Herbert Matter self-portrait, c.1950. Sourced from Knoll International Archives.AU statutorysource
  • Pontresina Engadin poster, Herbert Matter, 1935
    Pontresina · Engadin (Swiss National Tourist Office poster)High-resolution catalogue photo from Galerie 1 2 3, Swiss vintage poster specialist. Original: 104×64 cm, printer Conzett & Huber, Zürich. MoMA accession 5323.AU statutorysource
  • Engelberg Trübsee poster, Herbert Matter, 1935
    Engelberg · Trübsee (Swiss National Tourist Office poster)High-resolution catalogue image from Artifiche AG, Swiss Poster Gallery, member IVPDA. Original: 74×48 cm. Cooper Hewitt accession 2006-15-1; MoMA accession 5333.AU statutorysource
  • Winterferien poster, Herbert Matter, 1936
    Winterferien — doppelte Ferien (Swiss Tourism)960px-wide thumbnail from Galerie 1 2 3, Swiss poster dealer and restorer. Condition B (repaired tears, yellowing). MoMA holds an example acquired in the 1940s.AU statutorysource
  • Knoll Index of Designs catalogue cover, Herbert Matter, 1950
    Knoll Associates identity (Knoll Index of Designs, 1950)Knoll Index of Designs catalogue cover (1950), from the Herbert Matter estate website herbertmatter.org. Part of Matter's twenty-year Knoll Associates identity consultancy (1946–1966).AU statutorysource
  • New Haven Railroad NH monogram, Herbert Matter, 1954
    New Haven Railroad identityNew Haven Magazine design project documentation from Letterform Archive (LFA Matter 0014). Institutional archival record of the full identity system.Public domainsource
  • Guggenheim Museum typography, Herbert Matter, 1967
    Guggenheim Museum typography1967 Guggenheim International Exhibition catalogue cover with Matter's three-dimensional lettering title treatment. From optimo.ch (Swiss type foundry article on Matter and Giacometti).AU statutorysource
  • Design with Matter book cover, 2015
    Design with MatterV&A Museum collections record (accession 2013GN8191). Mirko Ilić and Steven Heller, Yale University Press, ISBN 978-0-300-19066-2.AU statutorysource
Josef Müller-Brockmann
  • Josef Müller-Brockmann, Swiss graphic designer, 1914–1996
    Josef Müller-Brockmann, 1987. Rochester Institute of Technology.Rochester Institute of Technology, RIT News and Events, Vol. 19 No. 5, November 1987. Public domain via Wikimedia Commons.Public domainsource
  • Beethoven concert poster for Tonhalle Zürich, Josef Müller-Brockmann, 1955
    Tonhalle Zürich concert poster seriesJosef Müller-Brockmann, 1955. CC BY-SA 4.0 via Wikimedia Commons.CC BY-SAsource
  • Musica Viva concert poster, Josef Müller-Brockmann, 1959
    Musica Viva concert posterJosef Müller-Brockmann, 1959. Public domain via Wikimedia Commons.Public domainsource
  • Der Film poster, Josef Müller-Brockmann, 1960
    Der FilmJosef Müller-Brockmann, 1960. Public domain via Wikimedia Commons.Public domainsource
  • Swiss Automobile Club traffic-safety posters, 1953/1960
    Swiss Automobile Club traffic-safety postersFull-resolution direct link from Fonts in Use case study; typographic context + 5-poster Swiss Automobile Club series (1953–1958) included on same page.Museum editorialsource
  • Gestaltungsprobleme des Grafikers / The Graphic Artist and His Design Problems, 1961
    Gestaltungsprobleme des Grafikers / The Graphic Artist and His Design ProblemsJosef Müller-Brockmann, Verlag Arthur Niggli, 1961. Public domain via Wikimedia Commons.Public domainsource
  • Grid Systems in Graphic Design / Raster Systeme für die visuelle Gestaltung, 1981
    Grid Systems in Graphic Design / Raster Systeme für die visuelle GestaltungJosef Müller-Brockmann, Verlag Arthur Niggli. Publisher image, statutory educational licence.Museum editorialsource
  • A History of Visual Communication, 1971
    A History of Visual CommunicationJosef Müller-Brockmann, Verlag Arthur Niggli, 1971. Publisher product image, statutory educational licence.Museum editorialsource
  • Neue Grafik / New Graphic Design (journal), 1958/1965
    Neue Grafik / New Graphic Design (journal)Neue Grafik issue no. 16. Carlo Vivarelli, cover design. From Fonts in Use professional design archive.Museum editorialsource
Walter Herdeg
  • Walter Herdeg, Swiss graphic designer and founder of Graphis magazine, in an undated portrait photograph
    Photographer unknown, undated. Source — thinkingform.com. Statutory educational licence.AU statutorysource
  • Selection of St. Moritz posters by Walter Herdeg, 1930s — photomontage designs combining photography and typography with the Herdeg sun symbol
    St. Moritz corporate identityWalter Herdeg, 1930–1938. Source — Wikipedia, St. Moritz posters article. Statutory educational licence.AU statutorysource
  • Cover of Graphis No. 47, 1953, designed by Abram Games — abstract shapes on cream ground, text in three languages
    Graphis magazine (first issue, No. 1)Abram Games (cover artist), 1953. Walter Herdeg (editor). Source — garadinervi-repertori.blog. Statutory educational licence.AU statutorysource
  • Cover of Graphis Annual, the essential compilation 1952–1986, showing a grid of colourful historic Graphis Annual covers
    Graphis AnnualGraphis Press, Zurich, 1952 (series inception). Cover compilation source — People's Graphic Design Archive (peoplesgdarchive.org). Statutory educational licence.AU statutorysource
  • Cover of Graphis Diagrams by Walter Herdeg, 1974 — dense grid of directional arrows in black and red on white ground
    Graphis DiagramsWalter Herdeg (editor), ABC Verlag / Graphis Press, 1974. Source — fawbooks.com. Statutory educational licence.AU statutorysource
Wim Crouwel
  • Wim Crouwel, Dutch graphic designer, 1928–2019
    Wim Crouwel at the award presentation of the Willem Grollenberg Prize, Amsterdam, 1976.Bert Verhoeff for Anefo, Nationaal Archief, The Netherlands. CC0 1.0 via Wikimedia Commons.Public domainsource
  • New Alphabet typeface specimen booklet, Wim Crouwel, 1967
    New Alphabet specimen bookletWim Crouwel, 1967. Statutory educational licence. LACMA accession M.2019.1.1.AU statutorysource
  • Vormgevers exhibition poster, Wim Crouwel, Stedelijk Museum Amsterdam, 1968
    Stedelijk Museum Amsterdam — Vormgevers posterWim Crouwel, 1968. Statutory educational licence. Rijksmuseum RP-P-2015-59 / SFMOMA 2015.658.AU statutorysource
  • Dutch PTT number postage stamps, Wim Crouwel, 1976
    Dutch PTT number postage stampsHeinz Huster (photograph), CC BY-SA 4.0 via Wikimedia Commons.CC BY-SAsource
  • Visuele Communicatie Nederland poster, Wim Crouwel, Stedelijk Museum Amsterdam, 1969
    Visuele Communicatie Nederland posterWim Crouwel, 1969. Statutory educational licence. Cooper Hewitt, Smithsonian Design Museum, accession 2009-13-1.AU statutorysource
  • Alfred Jensen exhibition poster, Wim Crouwel, Stedelijk Museum Amsterdam, 1964
    Stedelijk Museum Amsterdam — Alfred Jensen exhibition posterWim Crouwel, 1964. Statutory educational licence. SFMOMA accession 2015.653.AU statutorysource
  • Wim Crouwel — A Graphic Odyssey, Design Museum London retrospective poster by Philippe Apeloig, 2011
    Wim Crouwel — A Graphic Odyssey retrospective posterPhilippe Apeloig, 2011. Statutory educational licence.AU statutorysource
Wolfgang Weingart
  • Wolfgang Weingart, German-Swiss typographer, Tüllinger Vineyard, 2011
    Wolfgang Weingart at Tüllinger Vineyard, 2011. Photograph by Neuwein.Photo by Neuwein, 2011. CC BY-SA 3.0 via Wikimedia Commons.CC BY-SAsource
  • Typographische Monatsblätter issue 5, May 1972, cover designed by Wolfgang Weingart
    Typographische Monatsblätter covers (TM)Cover photograph from Modernism101 dealer inventory. Typographische Monatsblätter issue 5, May 1972. Statutory educational licence.AU statutorysource
  • Kunsthalle Basel Kunstkredit 76–77 poster, 1977, by Wolfgang Weingart
    Kunstkredit Basel — 1977/78 poster© Victoria and Albert Museum, London. Museum number: E.2179-2009. Statutory educational licence.AU statutorysource
  • Schreibkunst exhibition poster, Museum für Gestaltung Zürich, 1981, by Wolfgang Weingart
    Schreibkunst (The Art of Writing) exhibition posterArtifiche Swiss Poster Gallery. Statutory educational licence.AU statutorysource
  • 18 Didone lecture poster by Wolfgang Weingart, SFMOMA collection
    18 Didone — lecture poster seriesSan Francisco Museum of Modern Art (SFMOMA), accession 2014.776. Gift of Aaron Marcus. Statutory educational licence.AU statutorysource
  • Weingart — My Way to Typography, Lars Müller Publishers, 2000, book cover
    Weingart — My Way to TypographyPublisher product image from Lars Müller Publishers. Statutory educational licence.AU statutorysource

American mid-century masters

Alex Steinweiss
  • Alex Steinweiss, graphic designer, New York, April 1947
    Alex Steinweiss, New York, c. April 1947. Photograph by William P. Gottlieb.William P. Gottlieb / Library of Congress. Public domain.Public domainsource
  • Alex Steinweiss, Smash Song Hits by Rodgers and Hart album cover, 1940
    Smash Song Hits by Rodgers & HartAlex Steinweiss / Columbia Records. Image sourced from recordart.net. Statutory educational licence.AU statutorysource
  • Alex Steinweiss, Boogie Woogie album cover, Columbia Records, 1941
    Boogie Woogie (Columbia C-44)Alex Steinweiss / Columbia Records. Internet Archive (public digitisation). Statutory educational licence.AU statutorysource
  • Alex Steinweiss, Rhapsody in Blue Gershwin album cover, Columbia Records, 1941
    Rhapsody in Blue (Gershwin)Alex Steinweiss / Columbia Records. Image sourced from poulwebb.blogspot.com (collector documentation). Statutory educational licence.AU statutorysource
  • Alex Steinweiss, Beethoven Symphony No. 3 Eroica album cover, Columbia Masterworks, 1949
    Beethoven Eroica, Columbia Masterworks ML-4228Alex Steinweiss / Columbia Records. Image sourced from poulwebb.blogspot.com (collector documentation). Statutory educational licence.AU statutorysource
  • Steinweiss Scrawl hand-lettered alphabet specimen, c.1939-1947
    Steinweiss Scrawl lettering specimenAlex Steinweiss. Image sourced from poulwebb.blogspot.com (collector documentation). Statutory educational licence.AU statutorysource
  • Alex Steinweiss, South Pacific original Broadway cast recording album cover, Columbia Records, 1949
    South Pacific (original Broadway cast recording)Alex Steinweiss / Columbia Records. Statutory educational licence.AU statutorysource
Alexey Brodovitch
  • Alexey Brodovitch at his desk, c.1950
    Alexey Brodovitch at his desk, c.1950.Unknown photographer, c.1950. Public domain via Wikimedia Commons.Public domainsource
  • Harper's Bazaar art direction, 1934/1958
    Harper's Bazaar art directionPeople's Graphic Design Archive, item 4561. Statutory educational licence.AU statutorysource
  • Ballet, 1945
    BalletLittle Steidl, 2024 facsimile of 1945 J. J. Augustin original. Statutory educational licence.AU statutorysource
  • Portfolio magazine, 1949/1951
    Portfolio magazineIkonographia reproduction of Issue 1 spread, pages 2–3. Statutory educational licence.AU statutorysource
  • Observations, 1959
    ObservationsVictoria and Albert Museum, object O1744184. Public domain.Public domainsource
  • Design Laboratory teaching programme, 1941/1967
    Design Laboratory teaching programmeModernism101. Statutory educational licence.AU statutorysource
  • Libertad de Palabra (Freedom of Speech), WWII Four Freedoms poster, 1942, Alexey Brodovitch
    "Libertad de Palabra" — WWII posterIllinois State University / Digital Public Library of America via Wikimedia Commons. Public domain.Public domainsource
  • New Poster exhibition catalogue, Franklin Institute Philadelphia 1937, catalogue cover by Alexey Brodovitch
    New Poster exhibition catalogueLibrary of Congress, Prints and Photographs Division, item 2014647840. No known restrictions on publication.Public domainsource
Alvin Lustig
  • Alvin Lustig, American graphic designer, ca. 1945
    Alvin Lustig, ca. 1945, standing before a modernist painting.Portrait photograph of Alvin Lustig, ca. 1945. Archives of American Art, Smithsonian Institution. Published in Archives of American Art Journal, vol. 12, no. 3, p. 19. Public domain via Smithsonian Open Access.Public domainsource
  • The Great Gatsby book cover designed by Alvin Lustig for New Directions, 1945
    The Great Gatsby (New Directions New Classics series, 1945)Bookjackets by Alvin Lustig for New Directions Books, Letterform Archive collection, digitised via Internet Archive (LFA_Lustig_0026_009). Cooper Hewitt, Smithsonian Design Museum, accession 1993-31-165-5. Statutory educational licence.AU statutorysource
  • The Wisdom of the Heart by Henry Miller, New Directions, 1941, book cover by Alvin Lustig
    The Wisdom of the Heart (New Directions, 1941)Fonts In Use design reference. Cloth hardcover dust jacket, same design as the paperback front board. Museum-editorial use.Museum editorialsource
  • Three Tragedies by García Lorca, New Directions paperback cover by Alvin Lustig, 1947
    Three Tragedies (New Directions cover for García Lorca, 1947)New Directions Publishing current edition cover image (og:image, Sanity CDN). Cooper Hewitt, Smithsonian Design Museum, permanent collection.Museum editorialsource
  • Bookjackets by Alvin Lustig for New Directions Books, catalogue cover, 1947
    Bookjackets by Alvin Lustig for New Directions Books (catalogue, 1947)Letterform Archive collection, digitised via Internet Archive (LFA_Lustig_0026_001.jpg, 2709×3000 px). Statutory educational licence.AU statutorysource
  • Industrial Design magazine cover, showing the format Lustig established in 1954
    Industrial Design magazine (1954 launch)Fonts In Use design reference (cover from May 1959 issue, illustrating the magazine's visual direction established by Lustig in 1954). Museum-editorial use.Museum editorialsource
  • Men's Reporter magazine, December 1945, vol. 15 no. 6, cover design by Alvin Lustig
    Men's Reporter magazine cover (1945)Cooper Hewitt, Smithsonian Design Museum, accession 2001-16-1. Gift of Susan Lustig Peck. Lithograph on thin glossy paper. Public domain.Public domainsource
Bradbury Thompson
  • Bradbury Thompson at Rochester Institute of Technology, 1983
    Bradbury Thompson, 1983.RIT News and Events, Vol. 15 No. 7, 29 September 1983. No copyright notice; public domain under US law (PD-US). Via Wikimedia Commons.Public domainsource
  • Westvaco Inspirations for Printers spread, Bradbury Thompson, 1938–1962
    Westvaco Inspirations for Printers (61 issues)Spread from Westvaco Inspirations; courtesy Smashing Magazine archive (smashingmagazine.com). Statutory educational licence.AU statutorysource
  • Alphabet 26 by Bradbury Thompson, 1950 — single-case typeface proposal
    Alphabet 26 (Monalphabet) typeface proposalBradbury Thompson, Alphabet 26 (1950). Public domain — typeface letterform charts are not eligible for copyright. Via Wikimedia Commons.Public domainsource
  • Washburn College Bible, 1979 — sense-line typography spread, Bradbury Thompson
    Washburn College BibleSpread from the Washburn College Bible (Oxford University Press / Washburn University, 1979). Statutory educational licence.AU statutorysource
  • Mademoiselle magazine spread, art directed by Bradbury Thompson, c.1958
    Mademoiselle magazine art directionSpread from Mademoiselle (c.1958); courtesy Smashing Magazine archive (smashingmagazine.com). Statutory educational licence.AU statutorysource
  • Smithsonian Magazine, 1989, showing the Thompson-designed nameplate and layout grid
    Smithsonian Magazine format designSmithsonian Magazine, table of contents (1989). Baskerville typeface; layout and nameplate by Bradbury Thompson (1970). Statutory educational licence. Via Fonts in Use.AU statutorysource
  • The Art of Graphic Design, Bradbury Thompson, Yale University Press, 1988
    The Art of Graphic DesignCover of The Art of Graphic Design (Yale University Press, 1988). Statutory educational licence. Via Modernism 101.AU statutorysource
Chermayeff & Geismar
  • Ivan Chermayeff at AIGA New York 30th Anniversary Gala, June 2012
    Ivan Chermayeff (1932–2017), photographed at the AIGA/NY 30th Anniversary Gala, New York, June 2012.Photograph by Peter Muka for AIGA New York. CC BY 2.0 via Wikimedia Commons.CC BYsource
  • Chase Manhattan Bank 1961 Annual Report cover showing the C&G octagon logo
    Chase Manhattan Bank logoSVA Archives, Chermayeff & Geismar Collection (accession 10270). Educational use.AU statutorysource
Erik Nitsche
  • Erik Nitsche, Swiss-American graphic designer and art director, in an undated photograph
    Photographer unknown, undated. Source — Creative Hall of Fame. Statutory educational licence.AU statutorysource
  • Atoms for Peace poster by Erik Nitsche for General Dynamics, Geneva 1955 — coloured triangle with atomic symbol
    Atoms for Peace poster, General DynamicsErik Nitsche / General Dynamics, 1955. Cooper Hewitt, Smithsonian Design Museum (accession 2013-42-10). Statutory educational licence.AU statutorysource
  • El Atomo para la Paz poster by Erik Nitsche for General Dynamics — Spanish language, concentric rings of coloured squares
    El Atomo para la Paz / Solar Dynamics, General DynamicsErik Nitsche / General Dynamics, c. 1956. Cooper Hewitt, Smithsonian Design Museum (accession 2013-42-1). Statutory educational licence.AU statutorysource
  • Atomo per la Pace — Servodynamics poster by Erik Nitsche for General Dynamics, Italian language
    Atomo per la Pace — Servodynamics, General DynamicsErik Nitsche / General Dynamics, c. 1956. Cooper Hewitt, Smithsonian Design Museum (accession 2013-42-3). Statutory educational licence.AU statutorysource
  • Ten General Dynamics annual report covers designed by Erik Nitsche, 1955–1965 — composite showing range of abstract cover designs
    General Dynamics annual report programmeErik Nitsche / General Dynamics, 1955–1965. Statutory educational licence. Source — designishistory.com.AU statutorysource
George Lois
  • George Lois, American art director and advertising designer
    George Lois, photographed for the Creative Hall of Fame.Creative Hall of Fame. Used under statutory educational licence.AU statutorysource
  • Muhammad Ali as Saint Sebastian Esquire cover, April 1968
    Muhammad Ali as Saint Sebastian (Esquire cover, April 1968)George Lois official website portfolio image from Esquire Covers archive; curated by the designer's estate.Museum editorialsource
  • Andy Warhol in Campbell's Soup Esquire cover, May 1969
    Andy Warhol drowning in Campbell's Soup (Esquire cover, May 1969)Vintage magazine retailer; high-resolution product image of the May 1969 issue cover.Museum editorialsource
  • Nixon being made up Esquire cover, May 1968
    Nixon being made up (Esquire cover, May 1968)Musée Magazine feature article on George Lois; 1500px format variant available from Squarespace CDN.Museum editorialsource
  • I Want My MTV campaign, 1982
    I Want My MTV campaignGeorge Lois official portfolio site (georgelois.com). Used under statutory educational licence.AU statutorysource
  • Tommy Hilfiger introduction campaign, 1985
    Tommy Hilfiger introduction campaignPrint advertisement variant from the 1985 campaign, showing the comparative positioning approach with hangman-style puzzle format.Museum editorialsource
  • Xerox Brother Dominic campaign, 1976
    Xerox "Brother Dominic" campaignThumbnail/poster frame from the original 1975 Xerox 9200 commercial (Brother Dominic), archived by The Film and Video Archive of Texas; video available in MPEG-DASH format.AU statutorysource
  • Damn Good Advice book cover, 2012
    Damn Good Advice (For People with Talent!)Retail product photography from The Print Arkive (UK specialist bookstore); highest-resolution candidate; original 2012 Phaidon edition cover.Museum editorialsource
György Kepes
  • György Kepes, Hungarian-American designer and educator, photographed in 1982
    György Kepes (1906–2001) at Rochester Institute of Technology, 1982.Rochester Institute of Technology. Published in RIT News & Events newsletter, 18 February 1982. Public domain (US, published 1978–1989 without copyright notice). Via Wikimedia Commons.Public domainsource
  • Language of Vision by György Kepes, Paul Theobald Chicago 1944, first edition dust jacket
    Language of VisionGyörgy Kepes, Language of Vision. Paul Theobald, Chicago, 1944. Statutory educational licence.AU statutorysource
  • Abstraction — Surface Tension
    Abstraction — Surface Tension (photomontage)György Kepes, Abstraction — Surface Tension #2, c.1940. Gelatin silver print. The Museum of Modern Art, New York. Statutory educational licence.AU statutorysource
  • Interior spread from The New Landscape in Art and Science by György Kepes, Paul Theobald 1956
    The New Landscape in Art and ScienceGyörgy Kepes (ed.), The New Landscape in Art and Science. Paul Theobald, Chicago, 1956. Statutory educational licence.AU statutorysource
  • Vision + Value series edited by György Kepes, George Braziller New York 1965–66
    Vision + Value seriesGyörgy Kepes (ed.), Vision + Value series. George Braziller, New York, 1965–66. Image: Maharam / Alice Rawsthorn. Statutory educational licence.AU statutorysource
  • Blue Sky on the Red Line, illuminated public art installation by György Kepes at Harvard MBTA station, 1985
    Blue Sky on the Red Line, Harvard stationPhoto: Cymie Payne. Artwork: György Kepes, 1985. Public domain (US, published 1978–1989 without copyright notice). Via Wikimedia Commons.Public domainsource
Herb Lubalin
  • Herb Lubalin working at his drawing board in his New York studio, 1975
    Herb Lubalin at his studio, New York, c.1975.Photographer unknown, c.1975. Statutory educational licence.AU statutorysource
  • Mother and Child logo by Herb Lubalin and Tom Carnase, 1965
    Mother & Child logoCommunication Arts. Reproduced for educational purposes under statutory educational licence.AU statutorysource
  • ITC Avant Garde Gothic typeface specimen showing letterforms and numerals
    ITC Avant Garde GothicTypeface specimen by Inferno986return, 2014. CC BY-SA 3.0. Rasterised from SVG. Wikimedia Commons.CC BY-SAsource
  • ITC Lubalin Graph typeface specimen showing the geometric slab-serif letterforms
    ITC Lubalin GraphTypeface specimen by VanishingDuck, 2009. CC BY-SA 3.0. Rasterised from SVG. Wikimedia Commons.CC BY-SAsource
  • U&lc magazine Vol. 7 No. 1, March 1980 — ITC Franklin Gothic issue
    U&lc (Upper and lower case) magazinePeople's Graphic Design Archive. Statutory educational licence.AU statutorysource
  • Eros magazine No. 2, Summer 1962 — cover with red Eros logotype on yellow ground
    Eros magazineWikimedia Commons. Public domain.Public domainsource
  • Avant Garde magazine issue 1, January 1968 — cover with the iconic interlocking masthead lettering
    Avant Garde magazine mastheadAvant Garde magazine archive (avantgarde.110west40th.com), curated by Mindy Seu in collaboration with the Herb Lubalin Study Center at Cooper Union. Statutory educational licence.AU statutorysource
Ladislav Sutnar
  • Ladislav Sutnar, Czech-American information designer, photographed 1934
    Ladislav Sutnar (1897–1976), photographed in 1934.Anonymous photographer, 1934. Public domain via Wikimedia Commons (Světozor 5/1934).Public domainsource
  • Sweet's Catalog Service rubber industry data spread by Ladislav Sutnar, March 1946
    Sweet's Catalog Service — rubber industry infographicLadislav Sutnar, 1946. Sweet's Catalog Service / F.W. Dodge Corporation. Statutory educational licence.AU statutorysource
  • Catalog Design 1944 book spread by Ladislav Sutnar and Knud Lönberg-Holm showing industrial catalogue cover designs
    Catalog Design (with Knud Lönberg-Holm)Ladislav Sutnar and Knud Lönberg-Holm, 1944. Cooper Hewitt, Smithsonian Design Museum. Statutory educational licence.AU statutorysource
  • Designing Information 1947 book cover by K. Lönberg-Holm and Ladislav Sutnar
    Designing Information (with Knud Lönberg-Holm)Knud Lönberg-Holm and Ladislav Sutnar, 1947. CC BY-SA 4.0 via Wikimedia Commons (scan uploaded by Täckman, 2022).CC BY-SAsource
  • Ladislav Sutnar addo-x poster 1958 featuring Swedish gymnast and modernist logotype
    addo-x posterLadislav Sutnar, 1958. Cooper Hewitt, Smithsonian Design Museum, accession 1994-109-7. Statutory educational licence.AU statutorysource
  • Ladislav Sutnar Visual Design in Action AIGA exhibition poster 1961
    Visual Design in Action — AIGA exhibition posterLadislav Sutnar, 1961. Cooper Hewitt, Smithsonian Design Museum, accession 1980-32-1119. Statutory educational licence.AU statutorysource
  • Ladislav Sutnar Declaracion Universal de Derechos del Hombre United Nations poster 1950
    Declaracion Universal de Derechos del HombreLadislav Sutnar, c.1950. Cooper Hewitt, Smithsonian Design Museum. Statutory educational licence.AU statutorysource
Lester Beall
  • Lester Beall, American graphic designer, photographed c.1950
    Lester Beall, c.1950.Arnold Newman, gelatin silver print, c.1950. Merrill C. Berman Collection. Reproduced for educational purposes.AU statutorysource
  • Rural Electrification Administration poster, first series, 1937 — Lester Beall
    Rural Electrification Administration poster series (first series)Lester Beall, Rural Electrification Administration, U.S. Department of Agriculture, 1937. Library of Congress Prints and Photographs Division, LCCN 91481634. Public domain (US federal government work).Public domainsource
  • Boy and Girl on Fence, REA poster second series, 1939 — Lester Beall
    Rural Electrification Administration poster series (second series)Lester Beall, Boy and Girl on Fence, Rural Electrification Administration, 1939. National Gallery of Victoria, accession 2015.60. Public domain.Public domainsource
  • Power on the Farm, REA poster third series, 1941 — Lester Beall
    Rural Electrification Administration poster series (third series)Lester Beall, Power on the Farm, Rural Electrification Administration. National Archives and Records Administration, identifier 515200. Public domain (US federal government work).Public domainsource
  • Running Water and Wash Day REA posters, 1937 — paired as exhibited at MoMA
    First one-man designer show at Museum of Modern ArtRunning Water and Wash Day, 1937, silkscreen, 40 x 30 in. Merrill C. Berman Collection. Reproduced for educational purposes.AU statutorysource
  • Scope magazine cover, 1948, Upjohn Company — Lester Beall
    Scope magazine designScope magazine cover, 1948. Eye Magazine / Flickr. Beall layering technique: globe and crab montaged over steel-engraved heads. Reproduced for educational purposes.AU statutorysource
  • International Paper Company identity programme, 1960 — Lester Beall
    International Paper Company identityInternational Paper Company identity, 1960. AGI portfolio. Reproduced for educational purposes.AU statutorysource
  • Connecticut General Life Insurance identity programme, 1959 — Lester Beall
    Connecticut General Life Insurance identityConnecticut General Style Book interior spread. Communication Arts archive. Reproduced for educational purposes.AU statutorysource
Lou Dorfsman
  • Lou Dorfsman, American graphic designer and CBS art director, photographed in 1983
    Lou Dorfsman (1918–2008), art director and design director of CBS, 1946–1987. Photographed at RIT, May 1983.Rochester Institute of Technology News and Events, Vol. 14 No. 54, 19 May 1983. Public domain (published without copyright notice).Public domainsource
  • CBS Eye logo — the circular eye device designed by William Golden and stewarded by Lou Dorfsman
    CBS Eye logo stewardshipCBS / William Golden, 1951. Public domain (published without copyright notice in the United States).Public domainsource
  • CBS identity materials from the 1960s set in CBS Didot, the bespoke Didone typeface commissioned by Lou Dorfsman
    CBS Didot typefaceCBS / Lou Dorfsman, 1960s. Statutory educational licence.AU statutorysource
  • Gastrotypographicalassemblage — Lou Dorfsman's 35-foot typographic wood-type wall in the CBS cafeteria, 1966
    GastrotypographicalassemblageLou Dorfsman / CBS, 1966. Statutory educational licence.AU statutorysource
  • CBS commemorative promotion for the Apollo 11 moon landing, designed by Lou Dorfsman, 1969
    10:56:20 PM EDT 7/20/69 (Man on the Moon)Lou Dorfsman / CBS, 1969–70. Statutory educational licence. Source — RISD Fleet Library Digital Commons.AU statutorysource
  • Interior environmental signage and graphics for the CBS Black Rock building, designed by Lou Dorfsman from 1964
    CBS Saarinen Building signage and graphicsLou Dorfsman / CBS, 1964–65. Statutory educational licence.AU statutorysource
Massimo Vignelli
  • Massimo Vignelli, Italian-American graphic designer
    Massimo Vignelli, photographed c.2008.Photograph via Wikimedia Commons, public domain.Public domainsource
  • The 1972 New York City Subway diagram by Massimo Vignelli — full map with coloured route lines on a white ground
    1972 New York City Subway diagramPhotograph of the 1972 NYC Subway map by Michael Leu, Flickr CC BY 2.0, via Wikimedia Commons.cc-by-2source
  • New York City subway station sign in Helvetica on a tile-mounted panel — the Unimark International wayfinding system
    NYC Subway signage systemPhotograph by Wally Gobetz, Flickr CC BY 2.0, via Wikimedia Commons.cc-by-2source
  • American Airlines 1969 annual report cover showing the Vignelli identity system — AA monogram, Helvetica wordmark and eagle
    American Airlines identityNorthwestern Transportation Design Archive, 1969 annual report. Academic institutional archive. Statutory educational licence.AU statutorysource
  • Knoll International advertising poster 1967 by Massimo Vignelli — Helvetica grid layout in black and white
    Knoll identity and advertisingCooper Hewitt, Smithsonian Design Museum. Accession 2009-42-1. Gift of Lella and Massimo Vignelli. Statutory educational licence.AU statutorysource
  • Bloomingdale's brown bag and identity system — the Vignelli condensed Helvetica logotype on dark kraft paper
    Bloomingdale's identityPrint Magazine editorial documentation of the Vignelli Bloomingdale's system. Statutory educational licence.AU statutorysource
  • Early Benetton wordmark by Massimo Vignelli — sans-serif logotype from 1965
    United Colors of Benetton early identityMuseo del Marchio Italiano. Statutory educational licence.AU statutorysource
  • The Vignelli Canon (2010) — cover of the Lars Müller Publishers edition, white ground with black Bodoni title type
    The Vignelli CanonLars Müller Publishers. Publisher promotional image. Statutory educational licence.AU statutorysource
Milton Glaser
  • Milton Glaser at his drafting table, 1990
    Milton Glaser at his New York studio, 1990.Portrait by Yousuf Karsh, 1990. © Yousuf Karsh. Reproduced under statutory educational licence.AU statutorysource
  • Bob Dylan poster by Milton Glaser, 1966
    Bob Dylan posterCentre Pompidou editorial magazine. © Milton Glaser. Reproduced under statutory educational licence for commentary and criticism.AU statutorysource
  • Zabriskie Point film poster by Milton Glaser, 1970
    Zabriskie Point — film posterWikimedia Commons. Published without copyright notice in the United States; public domain in the US per 17 U.S.C. § 101.Public domainsource
  • Brooklyn Brewery identity by Milton Glaser, 1996
    Brooklyn Brewery identityWikimedia Commons SVG. Trademark of Brooklyn Brewery; reproduced under statutory educational licence for editorial commentary.AU statutorysource
  • New York magazine debut issue, 8 April 1968, designed by Milton Glaser
    New York magazine (co-founder + design direction)School of Visual Arts archive. © New York Media. Reproduced under statutory educational licence for editorial commentary.AU statutorysource
  • Drawing is Thinking by Milton Glaser, Overlook Press 2008
    Drawing is ThinkingPublisher image. © Abrams/Overlook Press. Reproduced under statutory educational licence.AU statutorysource
  • Art is Work by Milton Glaser, Overlook Press 2000
    Art is WorkPublisher image. © Overlook Press. Reproduced under statutory educational licence.AU statutorysource
Otl Aicher
  • Otl Aicher, German graphic designer
    Otl Aicher, photographed in 1954 by Hans G. Conrad.1954 portrait by Hans G. Conrad; published in book 'Hans G. Conrad: aicher in ulm' by Lars Müller Publishers; Aicher age 32AU statutorysource
  • Munich 1972 Olympic Games visual identity, 1967/1972
    Munich 1972 Olympic Games visual identityHurdles poster (1970) by Aicher & Albrecht Gaebele – part of the 21-poster sports series using vibrant Olympic colour palette (no red/black per Nazi imagery avoidance).Museum editorialsource
  • Munich 1972 Olympic pictograms installed at the Olympic station, 1972
    Munich 1972 Olympic pictogramsPhotograph by Henning Schlottmann (User:H-stt), supported by Wikimedia Deutschland community budget. CC BY 1.0.CC BYsource
  • Lufthansa corporate identity, 1962
    Lufthansa corporate identityLufthansa corporate identity exhibition photography from Ulm Museum/HfG Archive (1962), showing identity system components; photographed by Wolfgang Siol.Museum editorialsource
  • Braun brand identity and design collaboration, 1954/1980
    Braun brand identity and design collaborationMagazine advertisement from circa 1955—early public-facing application of Aicher's redesigned Braun identity in commercial communication, demonstrating the typographic and layout standards in editorial context.Museum editorialsource
  • ERCO lighting corporate identity, 1976
    ERCO lighting corporate identityCover of 'ERCO Lichtfabrik' (1990, Ernst & Sohn), the definitive publication of Aicher's complete corporate design system for the lighting manufacturer.Museum editorialsource
  • Rotis typeface family physical specimen booklet, 1988
    Rotis typeface familyPhotograph of Rotis specimen booklet by Andreas Praefcke (2007). CC BY 3.0. Shows the family spanning Rotis Sans Serif, Rotis Semi Sans, Rotis Semi Serif, and Rotis Serif in a single bound specimen.CC BYsource
  • Typographie, 1988
    TypographieBack cover view of the same first edition, showing dust jacket and slip case design maintaining Aicher's systematic typography principlesMuseum editorialsource
  • Die Welt als Entwurf / The World as Design, 1991
    Die Welt als Entwurf / The World as DesignSecondary angle/detail shot of the same 1994 English edition cover — shows book spine and back cover design elements. Published by Ernst & Sohn, hardcover with section-sewn binding, 192 pages.Museum editorialsource
Paul Rand
  • Paul Rand, graphic designer
    Paul Rand, c. 1970s. Library of Congress.Unknown authorPublic domainsource
  • Paul Rand, NeXT logo, 1986
    NeXT logoOfficial branding specification sheet from Paul Rand's archive showing the NeXT logo with technical construction grid and measurements.AU statutorysource
  • Paul Rand, Thoughts on Design, 1947, book cover
    Thoughts on DesignWiki.cullin, CC BY 4.0, via Wikimedia CommonsCC BYsource
  • Paul Rand, Design Form and Chaos, Yale University Press, 1993
    Design, Form, and ChaosPaul Rand / Yale University PressAU statutorysource
Robert Brownjohn
  • Robert Brownjohn, American graphic designer, in an undated black-and-white photograph, c. 1960s
    Photographer unknown, c. 1960s. Source — English Wikipedia (fair use). Robert Brownjohn (1925–1970).AU statutorysource
  • From Russia With Love (1963) title sequence still — title credits projected in coloured light across a dancer's body, designed by Robert Brownjohn
    From Russia With Love title sequenceEon Productions / United Artists, 1963. Still from title sequence designed by Robert Brownjohn. Statutory educational licence.AU statutorysource
  • Goldfinger (1964) title sequence still — Bond film footage projected onto gold-painted actress Margaret Nolan, designed by Robert Brownjohn
    Goldfinger title sequenceEon Productions / United Artists, 1964. Title sequence designed by Robert Brownjohn, photography by Herbert Spencer. Statutory educational licence.AU statutorysource
  • Street Level (1961) — gelatin silver print by Robert Brownjohn documenting London vernacular typography: a handpainted sign reading NO. PARKING. LOADING. ONLY.
    Street Level seriesRobert Brownjohn, 1961. Victoria and Albert Museum, London (accession E.635-2012). Statutory educational licence.AU statutorysource
  • Watching Words Move (1962) — spread from typographic booklet by Brownjohn, Chermayeff and Geismar, showing arithmetic words whose letterforms enact their own meaning: addding, subtrcting, multimultiplying, div id ing
    Watching Words MoveRobert Brownjohn, Ivan Chermayeff, Thomas Geismar, 1962. Published in Typographica (Herbert Spencer, ed.). People's Graphic Design Archive. Statutory educational licence.AU statutorysource
  • Obsession and Fantasy (1963) exhibition poster by Robert Brownjohn — the word OBSESSION printed across a woman's torso, her nipples substituting for the letter O; 'AND FANTASY' in red text below
    Obsession and Fantasy exhibition posterRobert Brownjohn, 1963. Museum of Modern Art, New York (accession 155.1988). Statutory educational licence.AU statutorysource
  • Let It Bleed album cover (Rolling Stones, 1969) — surreal sculptural stack: vinyl record, film canister, clock face, pizza, bicycle tyre and a Delia Smith cake with miniature band figurines on top, designed by Robert Brownjohn
    Let It Bleed album cover, Rolling StonesRobert Brownjohn / Decca Records, 1969. English Wikipedia, fair use. Statutory educational licence.AU statutorysource
  • The Open Mind by J. Robert Oppenheimer — book cover designed by Brownjohn, Chermayeff and Geismar, c. 1955. Large white ear on black background with title in yellow and Oppenheimer's name in teal.
    The Open Mind, J. Robert Oppenheimer (book cover)Brownjohn, Chermayeff and Geismar, c. 1955. Museum of Modern Art, New York (accession 152847). Statutory educational licence.AU statutorysource
Saul Bass
  • Saul Bass, graphic designer and filmmaker, photographed at RIT, 1979
    Saul Bass at Rochester Institute of Technology, 1979.Rochester Institute of Technology photograph, 1979. Cropped from RIT NandE Vol.11 No.19. Public domain.Public domainsource
  • The Man with the Golden Arm (1955) poster by Saul Bass — white bars and bent-arm silhouette on black
    The Man with the Golden Arm (title sequence)Theatrical poster. Public domain (US copyright not renewed). Wikimedia Commons.Public domainsource
  • Vertigo (1958) poster by Saul Bass — spiral Lissajous figure with falling silhouette figures
    Vertigo (title sequence + poster)Poster image from ELEPHANT magazine editorial feature. Statutory educational licence.AU statutorysource
  • Psycho (1960) title sequence by Saul Bass — racing horizontal bars slicing through credit text
    Psycho (title sequence)Promotional still. Statutory educational licence.AU statutorysource
  • Anatomy of a Murder (1959) poster by Saul Bass — dismembered human silhouette in black, red and orange
    Anatomy of a Murder (poster + title sequence)Theatrical poster. Public domain (US copyright not renewed). Wikimedia Commons.Public domainsource
  • United Airlines tulip logo (1974) by Saul Bass — two overlapping U-shapes forming a tulip in red, white and blue
    United Airlines tulip logoLogo Histories / LogoArchive. Statutory educational licence.AU statutorysource
  • Quaker Oats smiling Quaker figure (1972) — Saul Bass simplified redesign
    Quaker Oats logo (smiling Quaker)Logo archive. Statutory educational licence.AU statutorysource
  • Casino (1995) title sequence by Saul and Elaine Bass — human figure falling through neon light and flame
    Casino (title sequence)Still from Art of the Title documentary entry. Statutory educational licence.AU statutorysource
Seymour Chwast
  • Seymour Chwast in his New York studio, surrounded by illustrations and posters
    Seymour Chwast in his studio.Photo credit Seymour Chwast Archive. CC BY-SA 4.0.CC BY-SAsource
  • Push Pin Almanack Number Ten, May–June 1954, designed by Seymour Chwast, Milton Glaser and Edward Sorel
    Push Pin AlmanackSeymour Chwast, Milton Glaser and Edward Sorel / Push Pin Studios, 1954. Cooper Hewitt, Smithsonian Design Museum (accession 1998-74-1). Statutory educational licence.AU statutorysource
  • The Push Pin Monthly Graphic No. 5, June 1957 — cover designed by Push Pin Studios
    The Push Pin GraphicSeymour Chwast / Push Pin Studios, 1957. Statutory educational licence.AU statutorysource
  • End Bad Breath anti-Vietnam War poster by Seymour Chwast, 1967 — Uncle Sam with open mouth containing bombs
    End Bad BreathSeymour Chwast / Push Pin Studios, 1967. Museum of Modern Art, New York (acc. 355.1969), gift of Push Pin Studios. Statutory educational licence.AU statutorysource
  • War Is Good Business / Invest Your Son anti-Vietnam War poster by Seymour Chwast, 1967
    War Is Good Business / Invest Your SonSeymour Chwast / Push Pin Studios, 1967. Statutory educational licence.AU statutorysource
  • Kiss Kiss Bang Bang book jacket by Seymour Chwast for Atlantic–Little, Brown, 1968
    Kiss Kiss Bang Bang — book jacketSeymour Chwast / Atlantic–Little, Brown, 1968. Published without copyright notice; public domain in the United States. Source — Wikimedia Commons.Public domainsource
Will Burtin
  • Will Burtin with the Chromosome exhibition model at Upjohn, c.1960 — the German-American designer standing beside a large-scale scientific installation
    Photographer unidentified, c.1960. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource
  • Fortune magazine cover, October 1946, art directed by Will Burtin — Jacob Lawrence illustration of industrial workers in blue, yellow and black
    Fortune magazine art directionWill Burtin (art director) / Jacob Lawrence (illustration). Fortune, October 1946. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource
  • Scope magazine Summer 1954 cover, art directed by Will Burtin for Upjohn — close-up biomedical photography against dark background
    Scope magazine, Upjohn CompanyWill Burtin (art director), Scope, Summer 1954. Upjohn Company. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource
  • The Cell exhibition exterior by Will Burtin for Upjohn, 1958 — the large-scale walk-through animal cell model at the American Medical Association convention
    The Cell exhibition, UpjohnPhotographer Ezra Stoller, 1958. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource
  • The Brain exhibition by Will Burtin for Upjohn, 1960 — visitors beside the large-scale anatomical model of the human brain
    The Brain exhibition, UpjohnPhotographer unidentified, 1960. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource
  • Position Firing section of the Gunner's Information File, designed by Will Burtin for the US Army, 1944 — technical manual with diagrammatic illustrations
    Gunner's Information File — Position FiringWill Burtin, Gunner's Information File (Position Firing), 1944. US Army Air Forces. Will Burtin Papers, Cary Graphic Arts Collection, RIT. Statutory educational licence.AU statutorysource

Japanese & global mid-century

Ikko Tanaka
  • Ikko Tanaka in his Tokyo studio, c.1970
    Ikko Tanaka in his Tokyo studio, c.1970.Photographer unknown. Published in the 'Ikko Tanaka: Faces. Posters' exhibition, Die Neue Sammlung — The Design Museum, Munich. Courtesy Die Neue Sammlung.Museum editorialsource
  • Nihon Buyo, 1981 — geometric face composed of flat colour planes on a grid
    Nihon BuyoIkko Tanaka. Nihon Buyo, 1981. Offset lithograph, 103 × 72.8 cm. Gift of the College of Fine Arts, UCLA. The Museum of Modern Art, New York. © Estate of Ikko Tanaka. Statutory educational licence.AU statutorysource
  • World Commercial Design Exhibition, 1959 — white arrows on black with Japanese typography
    World Commercial Design Exhibition (1959)Ikko Tanaka. World Commercial Design Exhibition, 1959. Lithograph, 72.4 × 52.1 cm. Gift of the artist. The Museum of Modern Art, New York. © Estate of Ikko Tanaka. Statutory educational licence.AU statutorysource
  • Seibu Department Stores shopping bag design — concentric blue and green circles
    Seibu Department Stores identityIkko Tanaka. Seibu Department Stores shopping bag design, c.1975. © Estate of Ikko Tanaka. Statutory educational licence.AU statutorysource
  • Muji early advertising — fish and bones illustration with Seiyu / Muji branding
    Muji art directionIkko Tanaka. Muji advertising, c.1981. © Estate of Ikko Tanaka. Statutory educational licence.AU statutorysource
  • Issey Miyake 1996 poster — neoprene garments and accessories on white ground
    Issey Miyake poster (1996)Ikko Tanaka (designer), Irving Penn (photographer). Issey Miyake, 1996. Lithograph on wove paper, 103.8 × 72.7 cm. Smithsonian Institution, Cooper Hewitt Design Museum, accession 1996-130-2. © Estate of Ikko Tanaka / © Irving Penn Foundation. Statutory educational licence.AU statutorysource
Kashiwa Sato
  • Kashiwa Sato, Japanese creative director
    Professional member portrait from Tokyo Type Directors Club (2020), well above minimum resolution; authoritative Japanese design organizationMuseum editorialsource
  • Uniqlo wordmark, 2006
    Uniqlo global identity2006 redesign showing red square with Latin + katakana bilingual wordmark. Sourced from authoritative logo reference database.Museum editorialsource
  • Rakuten brand symbol, 2018
    Rakuten identityOfficial Rakuten press release (June 26, 2018) showing the new global brand logo and selected service logos designed by Kashiwa Sato; 180.3 KB high-quality JPEG from corporate announcement.Museum editorialsource
  • Tsutaya Daikanyama facade
    Tsutaya Daikanyama flagship identityTsutaya Daikanyama T-Site — the perforated 'T'-motif facade screens (with Klein Dytham Architecture); via Nippon Design Center project page.Museum editorialsource
  • National Art Center Tokyo identity
    National Art Center Tokyo identityOfficial NACT logomark — the kanji 新 ("new"), designed by Kashiwa Sato / Samurai Inc. (2007); via the museum's logomark page, nact.jp.AU statutorysource
  • Kashiwa Sato's Ultimate Method for Reaching the Essentials, 2007
    Kashiwa Sato's Ultimate Method for Reaching the Essentials2007 first-edition cover (Nikkei / Nihon Keizai Shimbun, ISBN 978-4-532-16594-9). Corrected 2026-05-29: the card previously cited a non-existent 2012 Graphic-sha monograph.Museum editorialsource
Shigeo Fukuda
  • Shigeo Fukuda, Japanese graphic designer
    Shigeo Fukuda (1932–2009). Editorial photograph from Sessions College design profile.Sessions College for Professional Design, editorial profile of Shigeo Fukuda; statutory educational licence.AU statutorysource
  • Victory 1945 anti-war poster — bullet returning into cannon barrel — Shigeo Fukuda, 1975
    Victory 1945People's Graphic Design Archive (Letterform Archive); statutory educational licence.AU statutorysource
  • Happy Earth Day poster 1982 — axe with branch sprouting from handle — Shigeo Fukuda
    Happy Earth DayPeople's Graphic Design Archive (Letterform Archive); statutory educational licence.AU statutorysource
  • Look 1 poster 1984 — Droste-effect recursive eye — Shigeo Fukuda
    Look 1Alliance Graphique Internationale member archive; statutory educational licence.AU statutorysource
  • Amnesty International 25th anniversary poster 1985 — figure-ground hands and cage — Shigeo Fukuda
    Amnesty International 1985People's Graphic Design Archive (Letterform Archive); statutory educational licence.AU statutorysource
  • Lunch With a Helmet On sculpture 1987 — cutlery assemblage casting motorcycle shadow — Shigeo Fukuda
    Lunch With a Helmet OnSpoon & Tamago, Japanese art and design publication; statutory educational licence.AU statutorysource
Tadanori Yokoo
  • Tadanori Yokoo, Japanese graphic designer and artist, photographed c.1970s
    Tadanori Yokoo, c.1970s. Portrait from ‘Twelve Persons in Graphic Design Today, vol. 3’ (Japanese design publication, early 1970s).Portrait photograph from 'Twelve Persons in Graphic Design Today, vol. 3' (early 1970s Japanese-language design publication). Sourced from 50 Watts editorial design blog.AU statutorysource
  • Koshimaki-Osen theatre poster, 1966, Tadanori Yokoo
    Koshimaki-OsenPeople's Graphic Design Archive, sourced from MoMA collection reference. In copyright (Tadanori Yokoo, b.1936). Reproduced under statutory educational licence.AU statutorysource
  • Having Reached a Climax at the Age of 29, I Was Dead, self-portrait poster, 1965, Tadanori Yokoo
    Having Reached a Climax at the Age of 29, I Was DeadPeople's Graphic Design Archive (2x retina scan); sourced from NC State University design history course materials. In copyright (Tadanori Yokoo, b.1936). Reproduced under statutory educational licence.AU statutorysource
  • 100 Posters of TADANORI YOKOO, 1972 exhibition poster
    100 Posters of TADANORI YOKOO (MoMA retrospective, 1972)People's Graphic Design Archive, archival scan. In copyright (Tadanori Yokoo, b.1936). Reproduced under statutory educational licence.AU statutorysource
  • Santana Lotus triple-gatefold album cover, 1974, Tadanori Yokoo
    Santana, Lotus album coverMutualArt auction archival image. In copyright (Tadanori Yokoo, b.1936 and CBS/Sony). Reproduced under statutory educational licence.AU statutorysource
  • Issey Miyake F.I.T. New York show poster, c.1973, Tadanori Yokoo
    Issey Miyake F.I.T. New York show poster1stDibs archival listing photograph. In copyright (Tadanori Yokoo, b.1936). Reproduced under statutory educational licence.AU statutorysource
Yusaku Kamekura
  • Yusaku Kamekura, Japanese graphic designer, photographed in 1952
    Yusaku Kamekura, 1952.The Asahi Shimbun Company. Published in Asahi Graph, 3 December 1952. Public domain (published before 1 January 1957 in Japan).Public domainsource
  • Tokyo 1964 Olympics poster — sprinters leaving starting blocks against black background, gold typography
    Tokyo 1964 Olympics — The Start of the Sprint (poster)Yusaku Kamekura / Tokyo Organising Committee for the Olympic Games, 1962. Photography: Osamu Hayasaki. Prince Chichibu Memorial Sports Museum. IOC and JOC rights holders. Statutory educational licence.AU statutorysource
  • Tokyo 1964 Olympics poster — butterfly swimmer in multi-colour photogravure print
    Tokyo 1964 Olympics — A Butterfly Swimmer (poster)Yusaku Kamekura / Tokyo Organising Committee for the Olympic Games, 1963. Photography: Jo Murakoshi. Prince Chichibu Memorial Sports Museum. IOC and JOC rights holders. Statutory educational licence.AU statutorysource
  • Nikon SP camera advertising poster by Yusaku Kamekura, 1957 — SP letterforms in colour on black
    Nikon SP camera posterYusaku Kamekura / Nippon Kogaku K.K. (Nikon), c. 1957–58. Victoria and Albert Museum, accession E.760-1963. Statutory educational licence.AU statutorysource
  • Hiroshima Appeals 1983 poster — butterfly with flame wings, by Yusaku Kamekura
    Hiroshima Appeals posterYusaku Kamekura (design), Akira Yokoyama (illustration). Hiroshima Appeals 1983. JAGDA / Hiroshima International Cultural Foundation. Statutory educational licence.AU statutorysource

Postmodern & deconstructivist (1980s)

April Greiman
  • April Greiman, American designer
    April Greiman, 1986. Portrait by Jayme Odgers, Los Angeles.Jayme Odgers, 1986 portrait of April Greiman, Los Angeles. Reproduced from jaymeodgers.com.AU statutorysource
  • Design Quarterly 133 foldout, 1986
    Design QuarterlyApril Greiman. Design QuarterlyAU statutorysource
  • CalArts identity
    CalArts identityPeople's Graphic Design Archive (crowdsourced collection); 1978 poster (11 × 46 inches). Three-angle documentation; contact archive for licensing terms.AU statutorysource
  • WET magazine covers
    WET magazine covers + layoutsCover featured in V&A's 'Postmodernism — Style and Subversion 1970–1990' exhibition. Image sourced from Dwell's photo gallery.AU statutorysource
  • Wilshire/Vermont Station installation
    Wilshire/Vermont Station public art installationStudio portfolio image from Made in Space (Greiman's practice), showing the rice-bowl design mural installed on station facade.Museum editorialsource
  • Hybrid Imagery book cover, 1990
    Hybrid Imagery — The Fusion of Technology and Graphic DesignGoodreads/Amazon-hosted catalog image; widely visible metadata copy; may be lower resolution than archival sources.AU statutorysource
Barbara Kruger
  • Barbara Kruger, American artist and designer
    Barbara Kruger, illustrated portrait by Luisafantinel (2024). CC BY-SA 4.0.Illustrated portrait of Barbara Kruger by Luisafantinel (2024), CC BY-SA 4.0. Wikimedia Commons.CC BY-SAsource
  • Your body is a battleground, 1989
    Untitled (Your body is a battleground)Museum collection page from The Broad (Los Angeles), which holds the original 1989 silkscreen work.Museum editorialsource
  • I shop therefore I am, 1987
    Untitled (I shop therefore I am)Serigraph on vinyl version held in Pinault Collection (280×283 cm); museum-hosted image with higher institutional authority.Museum editorialsource
  • Untitled (We don't need another hero), 1987
    Untitled (We don't need another hero)Primary museum collection image from the Whitney Museum of American Art (accession 2012.180), the definitive institutional source for this work.Museum editorialsource
  • Belief+Doubt installation, Hirshhorn Museum, 2012
    Belief+DoubtAuthoritative encyclopedic source; full installation view, lower-level lobby contextMuseum editorialsource
Bruce Mau
  • Bruce Mau, Canadian designer
    Bruce Mau (b. 1959), founder of Bruce Mau Design, Toronto.Photo: Markus Krisetya, 2007. CC BY-SA 3.0 via Wikimedia Commons.CC BY-SAsource
  • Zone 1/2: The Contemporary City, designed by Bruce Mau, 1986
    Zone 1/2: The Contemporary CityBruce Mau / Zone Books, 1986. Publisher image. Statutory educational licence.AU statutorysource
  • S,M,L,XL book by Rem Koolhaas and Bruce Mau, Monacelli Press 1995
    S,M,L,XLBruce Mau / Rem Koolhaas / Monacelli Press, 1995. Cover image via Internet Archive. Statutory educational licence.AU statutorysource
  • An Incomplete Manifesto for Growth by Bruce Mau, 1998
    An Incomplete Manifesto for GrowthBruce Mau, 1998. massivechangenetwork.com. Statutory educational licence.AU statutorysource
  • Massive Change book by Bruce Mau, Phaidon Press 2004
    Massive ChangeBruce Mau / Phaidon Press, 2004. Cover image via OpenLibrary. Statutory educational licence.AU statutorysource
Chip Kidd
  • Chip Kidd, American book jacket designer, photographed in 2010
    Chip Kidd photographed at the New York Comic Con, October 2010.Luigi Novi (Nightscream), CC BY 3.0 via Wikimedia CommonsCC BYsource
  • Jurassic Park first-edition jacket, designed by Chip Kidd, 1990
    Jurassic Park (Michael Crichton) jacketCover image from Pinterest curated pin (2024). Likely pinned from retail/editorial source; resolution capped at 736px by Pinterest CDN.Museum editorialsource
  • The Wind-Up Bird Chronicle first-edition jacket, designed by Chip Kidd, 1997
    The Wind-Up Bird Chronicle (Murakami) jacketChip Kidd's 1997 Knopf first-edition jacket (orange clockwork-bird photograph, title arced around the eye); first-edition listing photograph via Hyraxia Books. Corrected 2026-05-29 (prior on-disk image was John Gall's later paperback).Museum editorialsource
  • 1Q84 jacket, designed by Chip Kidd, Knopf 2011 — vellum overlay with woman's face
    1Q84 (Murakami) jacketCover design by Chip Kidd, from ineedabookcover.com design archive (2024); 718×1024px.Museum editorialsource
  • Naked board cover, David Sedaris (Little, Brown, 1997) — X-ray pelvis image, design by Chip Kidd
    Naked (David Sedaris) jacketX-ray board-cover image beneath the outer slipcase; design documentation post on Tumblr (zegalba, 2022).AU statutorysource
  • The Cheese Monkeys book cover, 2001
    The Cheese Monkeys2001 Scribner first edition (ISBN 9780743214926); AbeBooks listing; shows full jacket with 'Good Is Dead' on spine.Museum editorialsource
  • Mythology book cover, 2003
    Mythology — The DC Comics Art of Alex RossStandard first edition (1A-1ST) cover scan from MyComicShop; original 2003 Pantheon release.Museum editorialsource
  • Go — A Kidd's Guide to Graphic Design, 2013
    GoPublisher product page (Hachette Book Group); 2213×3000px; covers both 2013 hardcover and 2022 paperback editions of the same design.Museum editorialsource
David Carson
  • David Carson, American graphic designer
    David Carson at Beyond Tellerrand Düsseldorf, May 2019. Photo by Norman Posselt.Norman Posselt, CC BY-SA 4.0, via Wikimedia Commons.CC BY-SAsource
  • Transworld Skateboarding art direction, 1983/1987
    Transworld Skateboarding art directionDavid Carson Studio — official portfolio image, davidcarsonstudio.com.AU statutorysource
  • Beach Culture magazine, 1989/1991
    Beach Culture magazineBeach Culture Aug/Sep 1990 cover — editorial archive reproduction.Museum editorialsource
  • Ray Gun magazine art direction, 1992/1996
    Ray Gun magazine art directionRay Gun premiere issue (November 1992). Display Graphic Design Collection, thisisdisplay.org.Museum editorialsource
  • The End of Print: The Graphic Design of David Carson, 1995
    The End of Print: The Graphic Design of David CarsonCover from People's Graphic Design Archive (peoplesgdarchive.org).Museum editorialsource
  • 2ndsight: Grafik Design After the End of Print, 1997
    2ndsight: Grafik Design After the End of PrintOfficial cover image from David Carson's portfolio site, davidcarsondesign.com.AU statutorysource
  • Trek, 2003
    TrekOfficial cover image from David Carson's portfolio site, davidcarsondesign.com.Museum editorialsource
  • Nike Air Challenge campaign by David Carson
    Nike Air Challenge campaignDavid Carson Nike Air Challenge advertisement, editorial reproduction.AU statutorysource
Ed Fella
  • Ed Fella, graphic designer
    Ed Fella, Walker Art Center lecture series, 2008.Walker Art Center. Statutory educational licence.AU statutorysource
  • Ed Fella, Detroit Focus Gallery flyer for Morris Brose exhibition, 1987
    Detroit Focus Gallery flyer — Morris Brose exhibitionEd Fella. V&A collection, accession E.594-1998. Statutory educational licence.AU statutorysource
  • Ed Fella, sketchbook page, 1992, hand-drawn lettering
    Sketchbook pages (1992)Ed Fella / LACMA. Statutory educational licence.AU statutorysource
  • Ed Fella, Letters on America, Princeton Architectural Press, 2000, book cover
    Letters on AmericaEd Fella / Princeton Architectural Press. Statutory educational licence.AU statutorysource
  • Ed Fella, OutWest typeface specimen, 1993, Emigre
    OutWest typefaceEd Fella / Emigre. Cooper Hewitt, Smithsonian Design Museum. Statutory educational licence.AU statutorysource
  • Ed Fella, A Life in Images, Unit Editions, 2022, book cover
    Ed Fella — A Life in Images (Unit Editions, 2022)Ed Fella / Unit Editions. Statutory educational licence.AU statutorysource
Louise Fili
  • Louise Fili, American graphic designer
    Louise Fili (b. 1951), designer and founder of Louise Fili Ltd, New York.Photo: Irina Lee, 2012. CC BY 2.0 via Wikimedia Commons.CC BYsource
  • The Lover by Marguerite Duras, Pantheon Books jacket designed by Louise Fili, 1985
    The Lover — Pantheon Books jacketLouise Fili for Pantheon Books, 1985. Gift of Louise Fili, collection of Cooper Hewitt, Smithsonian Design Museum (acc. 1995-25-1). Statutory educational licence.AU statutorysource
  • Mermaid Inn restaurant identity designed by Louise Fili, 2003
    Mermaid Inn identityLouise Fili Ltd, 2003. From louisefili.com portfolio. Statutory educational licence.AU statutorysource
  • Sarabeth's preserves packaging redesigned by Louise Fili, 2005
    Sarabeth's packaging redesignLouise Fili Ltd, 2005. From louisefili.com portfolio. Statutory educational licence.AU statutorysource
  • Tate's Bake Shop packaging designed by Louise Fili, 2002
    Tate's Bake Shop packagingLouise Fili Ltd, 2002. From louisefili.com portfolio. Statutory educational licence.AU statutorysource
Neville Brody
  • Neville Brody, British graphic designer
    Professional portrait by Adam Schokora for TypeParis; just under 600px threshold; no explicit license found.AU statutorysource
  • The Face magazine art direction, 1981/1986
    The Face magazine art directionThe Face Electro issue #49 (1984) — mid-career work showcasing experimental display typographyMuseum editorialsource
  • Arena magazine art direction, 1987/1990
    Arena magazine art directionArena issue documentation from Magazeum (filename suggests 1983, likely mislabeled; matches 1987–90 tenure). Shows full cover/identity.Museum editorialsource
  • Industria typeface, 1989
    Industria typefaceDirect typeface specimen image from Wikimedia Commons, hosted under CC-BY-SA license, showing Industria Solid (the primary weight released commercially by Linotype in 1989).Public domainsource
  • Insignia typeface, 1990
    Insignia typefaceHigh-resolution Insignia font specimen from People's Graphic Design Archive (largest scale available). Originally sourced from cari.institute factory-pomo aesthetics archive.Museum editorialsource
  • Arcadia typeface, 1990
    Arcadia typefaceParadiso Noord event poster (2014). Arcadia used as one typeface in a typographic composition alongside other faces.Museum editorialsource
  • FF Blur typeface family, 1992
    FF Blur typeface familyCC0 Universal Public Domain Dedication. Official specimen artwork showing full alphabet, numbers, and punctuation for FF Blur. SVG vectorized format.Public domainsource
  • Fuse magazine and conference series, 1991/2000
    Fuse magazine and conference seriesEye Magazine (Flickr Commons) photo of FUSE issue 1 box and Fuse 1-20 Taschen anthology—direct image from authoritative design journalism source.Museum editorialsource
  • The Graphic Language of Neville Brody, 1988
    The Graphic Language of Neville Brody1988 first-edition cover (Thames & Hudson, ISBN 0500274967), with text by Jon Wozencroft; Open Library cover archive.Museum editorialsource
  • The Graphic Language of Neville Brody 2, 1994
    The Graphic Language of Neville Brody 2V&A Museum archival poster (1994, highest-res IIIF endpoint). This is a promotional poster advertising the book; archival collection metadata confirms book publisher as Thames & Hudson.Public domainsource
Paula Scher
  • Paula Scher, American graphic designer
    Paula Scher, photographed during the OnCreativity interview series (2019).OnCreativity, CC BY 3.0, via Wikimedia Commons.CC BYsource
  • Public Theater identity system, 1994
    Public Theater identity systemLogo design image from People's Graphic Design Archive. Crowdsourced design history platform; rights unclear but publicly served.AU statutorysource
  • CBS Records album covers, 1972/1982
    CBS Records album coversBoston album cover detail.Museum editorialsource
  • Swatch "Bauhaus copycat" advertisement, 1984
    Swatch "Bauhaus copycat" advertisementPeople's Graphic Design Archive, submitted by team seven (sourced from Steven Brower collection). Reproduced for educational commentary.AU statutorysource
  • Citibank identity, 1998
    Citibank identityDirect image of the 1998 Citibank logo featuring the red arc mark over Interstate wordmark, referenced in design typography documentation.Museum editorialsource
  • Tiffany & Co. identity refresh, 2003
    Tiffany & Co. identity refreshTiffany packaging and identity refinement detail; Pentagram's logotype makeover for luxury retailer (Paula Scher, 2003).Museum editorialsource
  • Make It Bigger, 2002
    Make It BiggerProduct photo from The Print Arkive (UK bookstore); 'grande' designation suggests higher resolution than standard listingMuseum editorialsource
Peter Saville
  • Peter Saville, British graphic designer
    Peter Saville, photographed in 2023. Manchester Digital Music Archive.Manchester Digital Music Archive, 2023. Photographer not identified. CC BY-NC-SA 4.0.cc-by-nc-sasource
  • Unknown Pleasures cover, 1979
    Unknown Pleasures (Joy Division)V&A Museum collection. Offset lithograph record inner-sleeve, 30.5 × 30.9 cm physical. IIIF-served image, editable to higher resolution by changing URL parameters. Museum holds original artifact.AU statutorysource
  • Power, Corruption & Lies back cover — colour cipher (New Order, 1983)
    Power, Corruption & Lies (New Order)Image via Album Design Class (WordPress educational archive), 2014. Statutory educational licence.AU statutorysource
  • Blue Monday 12-inch sleeve, 1983
    Blue Monday (New Order)1988 revised edition with updated color treatment; confirmed public domain (geometric shapes/text only per Wikimedia classification)Public domainsource
  • Manchester city brand — Original Modern
    Original Modern — Manchester city brandCerysmatic Factory archive holds 13 design documentation images from the Original Modern project; relative paths extracted from primary source pageAU statutorysource
Rick Poynor
  • Eye magazine issue 1, 1990, founded by Rick Poynor
    Eye magazine — founding issuesEye magazine, 1990. Statutory educational licence. Via eyemagazine.com / Flickr.AU statutorysource
  • No More Rules Graphic Design and Postmodernism book cover, Rick Poynor, 2003
    No More Rules: Graphic Design and PostmodernismLaurence King Publishing, 2003. Book cover via Hachette UK. Statutory educational licence.AU statutorysource
  • Culture Is Not Always Popular — Fifteen Years of Design Observer, MIT Press 2019, book cover
    Design ObserverMIT Press, 2019. Book cover via Open Library. Statutory educational licence.AU statutorysource
  • First Things First 2000 manifesto, co-instigated by Rick Poynor, published in Eye and Emigre
    First Things First 2000Emigre magazine issue 51 (Rudy VanderLans / Zuzana Licko), 1999. Statutory educational licence.AU statutorysource
  • Typographica edited by Rick Poynor, Laurence King 2001, cover
    TypographicaLaurence King Publishing, 2001. Book cover via Hachette UK. Statutory educational licence.AU statutorysource
Rick Valicenti
  • Rick Valicenti, graphic designer and founder of Thirst studio
    Rick Valicenti, c. 2015.LVL3 Chicago / Rick ValicentiAU statutorysource
  • Rick Valicenti, Tannhäuser Lyric Opera of Chicago poster, 1988, lithograph
    Poster, Tannhäuser — Lyric Opera of ChicagoCooper Hewitt, Smithsonian Design MuseumAU statutorysource
  • Rick Valicenti / Thirst, Deja Vu poster, 1990, offset lithograph
    Poster, Deja VuCooper Hewitt, Smithsonian Design Museum (Gift of Ken Friedman)AU statutorysource
  • Rick Valicenti / Thirst, The Voyage of Edgar Allan Poe, Lyric Opera of Chicago, 1990
    Poster, The Voyage of Edgar Allan Poe — Lyric Opera of ChicagoRick Valicenti / Thirst. Original vintage poster.AU statutorysource
  • Rick Valicenti / Thirst, Gilbert Paper promotional series, 1990–2006
    Gilbert Paper promotionsRick Valicenti / ThirstAU statutorysource
  • Rick Valicenti, Emotion as Promotion: A Book of Thirst, Monacelli Press, 2004, cover
    Emotion as Promotion: A Book of ThirstRick Valicenti / ThirstAU statutorysource
Tibor Kalman
  • Tibor Kalman, Hungarian-American graphic designer
    Tibor Kalman, graphic designer, c. 1990s.Portrait photograph of Tibor Kalman, sourced from editorial post, circa 1990s.Museum editorialsource
  • Remain in Light album art, 1980
    Talking Heads — Remain in Light album artTibor Kalman, TalkingHeads, Tina Weymouth, Chris Frantz Album cover for TalkingHeads, Remain in Light 1980Museum editorialsource
  • Restaurant Florent identity, 1985
    Restaurant Florent identityPostcard "Mirth" — Cooper Hewitt collection (accession 1993-151-304), offset lithograph, 15.1 × 10.3 cm.Museum editorialsource
  • Colors magazine issue covers
    Colors magazineColors Magazine cover (specific issue from context: Issue 4, Race). Design Assembly NZ article on the New Zealand government's attempted censorship of the Queen Elizabeth image.Museum editorialsource
  • (un)FASHION book cover, 2000
    (un)FASHION2005 paperback reissue (ISBN 9780810992290); later edition, same design as 2000 hardcover.Museum editorialsource

Contemporary practice (2000–present)

Daniel Eatock
  • 10.2 Multi Ply Coffee Table designed by Daniel Eatock and Sam Solhaug, Foundation 33, 2000
    10.2 Multi Ply Coffee TableDaniel Eatock / Foundation 33, 2000. Statutory educational licence. Via eatock.com.AU statutorysource
  • Imprint monograph cover by Daniel Eatock, Princeton Architectural Press 2008 — Holley Portrait thumbprint
    ImprintPrinceton Architectural Press / Daniel Eatock, 2008. Statutory educational licence. Via eatock.com.AU statutorysource
  • Daniel Eatock felt-tip print framed on a wall — pooled dots of ink discharged from Pantone marker pens by capillary action
    Felt-tip printsDaniel Eatock, 2006–present. Statutory educational licence. Via eatock.com.AU statutorysource
  • Million Edition postcards being signed and numbered at Whitechapel Gallery, Daniel Eatock Foundation 33, 2002
    Million EditionDaniel Eatock / Foundation 33, 2002. Statutory educational licence. Via eatock.com.AU statutorysource
Debbie Millman
  • Debbie Millman, American designer, author and broadcaster
    Chase JarvisCC BY-SAsource
  • Design Matters podcast logo
    Design Matters podcastDesign Matters / TED Audio Collective, 2020–present.Museum editorialsource
  • Burger King retail packaging
    Burger King rebrand1999 Sterling Brands logo (Ian Brignell / Sterling Brands).Museum editorialsource
  • Tropicana packaging
    Tropicana packaging (Sterling Brands)Betty BL / Flickr CC BY-NC-SA 2.0, February 2009.AU statutorysource
  • Why Design Matters book cover, 2022
    Why Design MattersHarperCollins / Debbie Millman, 2022. Cover design with Michael Bierut (Pentagram).Museum editorialsource
  • Brand Thinking book cover, 2011
    Brand Thinking and Other Noble PursuitsAllworth Press / Skyhorse Publishing, 2011.Museum editorialsource
Ellen Lupton
  • Ellen Lupton, American designer, writer and curator
    Professional institutional portrait by Christina Chahyadi for Cooper Hewitt's 30-year-tenure announcement (2022). Smithsonian-affiliated institutional source, high editorial value.AU statutorysource
  • Thinking with Type book cover, 2004
    Thinking with Type2004 first edition cover; Goodreads-hosted image via Amazon CDN. Editorial use only per Goodreads ToS.Museum editorialsource
  • Graphic Design — The New Basics, 2008
    Graphic Design — The New BasicsOriginal 2008 edition cover (ISBN 9781568987705), retrieved from David Krut Books product page via og:image metadata. Authoritative retailer source.Museum editorialsource
  • Design Is Storytelling book cover, 2017
    Design Is StorytellingGoodreads canonical cover image (2018 upload timestamp). Widely cited book metadata source; same cover design as Cooper Hewitt official version.Museum editorialsource
  • D.I.Y. Design It Yourself book cover, 2006
    D.I.Y. Design It YourselfPinterest pinned image; cached to 736px width. Same book, same cover design (Mike Weikert / Nancy Froehlich photo).Museum editorialsource
  • Mixing Messages exhibition, 1996
    Mixing Messages — Graphic Design in Contemporary Culture1996 first-edition cover (Princeton Architectural Press, ISBN 1568980981), catalogue to the Cooper Hewitt exhibition; Open Library cover archive.Museum editorialsource
  • How Posters Work book cover, 2015
    How Posters Work2015 cover (Cooper Hewitt, Smithsonian Design Museum); official museum publications page.Museum editorialsource
Jessica Walsh
  • Jessica Walsh, American graphic designer
    Official Sagmeister & Walsh press headshot by Mario de Armas (mariodearmas.net); vertical/portrait orientation; explicitly marked for editorial use with photographer credit.Museum editorialsource
  • Sagmeister & Walsh studio identity, 2012
    Sagmeister & Walsh studio identityAnnouncement photograph from Creative Bloq's coverage of Sagmeister & Walsh partnership; 2012 rebranding announcement.Museum editorialsource
  • 40 Days of Dating project, 2013
    40 Days of DatingPublisher's official book cover image hosted on Abrams Books (Harry N. Abrams, the copyright holder). 304-page book with cover portraits by Henry Leutwyler.Museum editorialsource
  • Ladies, Wine & Design global network, 2016
    Ladies, Wine & DesignBehance portfolio — identity/branding collateralMuseum editorialsource
  • Sagmeister & Walsh Adobe MAX live-design session, 2013
    Adobe MAX identityStill from Sagmeister & Walsh's 24-hour Adobe MAX 2013 live-design session; via Creative Bloq.Museum editorialsource
  • Snapchat Spectacles campaign, 2016
    Snapchat Spectacles campaignProduct shot of first-generation Spectacles with yellow accent elements. Captured Dec 2016, documenting the core product design with the brand's signature yellow highlights.CC BY-SAsource
  • The New York Times Magazine — Resist cover, 2017
    The New York Times Magazine — Resist coverThe New York Times Magazine 'Resist' cover (Feb 2017), art-directed by Jessica Walsh; via the studio's own portfolio, andwalsh.com.Museum editorialsource
  • &Walsh studio identity, 2019
    studio identity&Walsh launch campaign image as published by Dezeen (July 2019); photographer credited on source page.Museum editorialsource
Marian Bantjes
  • Marian Bantjes, Canadian graphic artist and typographer
    AIGA NYCC BYsource
  • Saks Fifth Avenue identity, 2007
    Saks Fifth Avenue identityMarian Bantjes official portfolio; marianbantjes.com/work/saks-want-it/Museum editorialsource
  • Sugar lettering by Marian Bantjes for Stefan Sagmeister, 2007
    Stefan Sagmeister — Things I Have Learned in My Life So Far (sugar lettering)Marian Bantjes official portfolio; bantjes.com/project/stefan-sagmeister-sugar/Museum editorialsource
  • Annual Valentines 2008 — Marian Bantjes ornamental alphabet letterforms on glassine
    Annual Valentines — 2008Marian Bantjes official portfolio; bantjes.com/project/valentines-2008/Museum editorialsource
  • I Wonder book cover, 2010
    I WonderMarian Bantjes official portfolio; marianbantjes.com/project/i-wonder/Museum editorialsource
  • Pretty Pictures book cover, 2013
    Pretty PicturesCommunication Arts, book review (Jan 2014); commarts.comMuseum editorialsource
Michael Bierut
  • Michael Bierut, graphic designer, at TYPO SF 2012
    Michael Bierut at TYPO SF, 2012.Photograph by FontShop (Flickr), CC BY 2.0. Via Wikimedia Commons.cc-by-2.0source
  • Saks Fifth Avenue identity, 2007
    Saks Fifth Avenue identityPrimary identity project documentation from Retail Design Blog; shows the grid-based logo system and applications in design context.Museum editorialsource
  • MIT Media Lab identity, 2011
    MIT Media Lab identityBusiness cards showing individualized permuted logos; demonstrates the distributed identity system's real-world application across community members.Museum editorialsource
  • Mastercard logo redesign, 2016
    Mastercard logo redesignThe evolved 2019 wordmark-removed version (text dropped entirely); descendant of the 2016 Bierut redesign.Public domainsource
  • Hillary Clinton 2016 campaign identity, 2015
    Hillary Clinton 2016 campaign identityPNG rasterization of primary H-mark at high resolution (1280px width), suitable for display if vector source unavailable, maintains fidelity of the design.Public domainsource
  • How to: Use Graphic Design to Sell Things, Explain Things, Make Things Look Better, Make People Laugh, Make People Cry, and (Every Once in a While) Change the World, 2015
    How to: Use Graphic Design to Sell Things, Explain Things, Make Things Look Better, Make People Laugh, Make People Cry, and (Every Once in a While) Change the WorldFirst edition (2015) cover with white dust jacket from Goodreads/Amazon Books catalog. Original Harper Design publication.Museum editorialsource
  • Now You See It and Other Essays on Design, 2017
    Now You See It and Other Essays on DesignGoodreads/Amazon product catalog image; compressed variant (.com/images/S/compressed). First edition (2017).Museum editorialsource
Michael Johnson
  • Michael Johnson, British graphic designer and founder of johnson banks
    Michael Johnson (b. 1964), founder of johnson banks, London.Photo: Fitria Tjandra, 2017. CC BY-SA 4.0 via Wikimedia Commons.CC BY-SAsource
  • British Council Art poster designed by johnson banks, 1998 — V&A collection
    British Council poster series — Art© Victoria and Albert Museum, London. V&A collection item E.1654-2000. Statutory educational licence.Museum editorialsource
  • Science Museum identity designed by johnson banks, 2010 — four-line typographic logotype
    Science Museum identityjohnson banks / Science Museum London, 2010. 2010 Brand New Awards. Statutory educational licence.AU statutorysource
  • Branding In Five and a Half Steps book cover by Michael Johnson, Thames and Hudson 2016
    Branding: In Five and a Half StepsThames and Hudson, 2016. Book cover image via publisher CDN. Statutory educational licence.AU statutorysource
Stefan Sagmeister
  • Stefan Sagmeister, Austrian graphic designer
    Stefan Sagmeister at Beyond Tellerrand Hamburg, May 2022. Photo: Norman Posselt.Photo: Norman Posselt, CC BY-SA 4.0. Via Wikimedia Commons.CC BY-SAsource
  • Lou Reed — Set the Twilight Reeling album art, 1996
    Lou Reed — Set the Twilight Reeling album artPromotional poster version featured in PRINT Magazine's 'Image of the Day' column; design-focused publication.Museum editorialsource
  • AIGA Detroit lecture poster, 1999
    AIGA Detroit lecture posterAGI (Alliance Graphique Internationale) archive; official documentation of the 1999 AIGA Detroit lecture.Museum editorialsource
  • Casa da Música identity, 2007
    Casa da Música identityBehance portfolio by Virginia Donelli; shows faceted logo variations with colour applications from the system.Museum editorialsource
  • The Happy Show installation view, ICA Philadelphia, 2012 — Stefan Sagmeister
    The Happy ShowInstallation photograph via sagmeister.com; The Happy Show, ICA Philadelphia, 2012.Museum editorialsource
  • Sagmeister & Walsh — Beauty exhibition view, MAK Vienna, 2018
    The Beauty ShowPhoto: Aslan Kudrnofsky/MAK Wien. Press image from Museum Angewandte Kunst Frankfurt.Museum editorialsource
  • Things I Have Learned in My Life So Far, 2008
    Things I Have Learned in My Life So FarCommunication Arts portfolio entry for the 2008 Abrams monograph; authoritative design-press source.Museum editorialsource
  • Made You Look, 2001
    Made You LookThe Print Arkive; first edition with red transparent slipcase, die-cut dog cover visible.Museum editorialsource

Imagery on design-history pages is used under the Australian Statutory Education Licence (Copyright Agency Part VB), or via open-access museum collections, publisher permission, estate-granted access, or Creative Commons. Rights-holders who wish to request an amendment or removal can start the process at /colophon/take-down/.

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