Cook and Shanoski: Roger Cook is an internationally known American graphic designer, photographer and artist, president of Cook and Shanosky Associates, a graphic design firm he founded in 1967. The firm produced all forms of corporate communications including: Corporate Identity, Advertising, Signage, Annual Reports and Brochures. His graphic design and photography have been used by IBM, Container Corporation of America, Montgomery Ward, Bristol Myers Squibb and many more.

Saul Bass: (American) Bass has done films, packaging, products, architecture, corporate logo. His work surrounds us. Pick up the telephone and you're hard-pressed not to recall Bass's ubiquitous Bell System symbol and look. Take a plane—United, Continental, Frontier: Saul Bass. Go to a film—Psycho, Anatomy of a Murder, Exodus, Spartacus, The Man With the Golden Arm, Advise & Consent, Such Good Friends: Saul Bass. In the supermarket or in the kitchen—Wesson, Quaker, Alcoa, Lawry's, Dixie: Saul Bass. Relax with a magazine, read a book, watch TV, take some pictures—Saturday Evening Post, Warner, Minolta: Saul Bass. Give to charity—The United Way, Girl Scouts: Saul Bass. Strike an Ohio Blue Tip match. Bass images are too urgent to refine, too strong and emotional in their effect to fuss with. At the distant other end of the axis is the attention to numbing detail and mastery of formidable scale best exemplified by the Bell System program, the largest and one of the most successful corporate identification design programs ever conceived and implemented.

Paul Rand: (American, 1914-1996) Is best known for his corporate logo designs. Rand was educated at the Pratt Institute and the Art Students League. One of the originators of the Swiss Style of graphic design, Rand was in charge of Directions Magazine during the 1940’s. He taught design at Yale University and conceived many posters and corporate identities, including the logos for IBM, UPS, ABC and many more.

George Lois: (American, 1931-) Called the enfant terrible of American mass media. Lois believed design- a harmony of elements- had no place on a magazine cover. Instead, he opted for the cover as a statement capable of capturing the reader with a spirited comment on a major article. An ability to stay closely ion touch with one's times is a vital requirement for visual communications. He designed over 92 Esquires covers in collaboration with Carl Fischer. These covers helped recapture the magazine's audience and by 1967, Esquire was turning $3M profit.