|FORTUNE illustration December 1949 Natural Gas - Whoosh|
|FORTUNE The hormones at a glance May 1951|
|FORTUNE FEB.1949, portrait and copy|
|FORTUNE cover FEB.1949|
|LETTER TO PHIL BEARD|
|GRAPHIS NO 99 1955|
|GRAPHIS NO 26 1949|
|ART AND INDUSTRY September 1939|
|DAVISON CHEMICAL CORP.|
|PLOVER BOND 1960 (SINGLE)|
|MERRITT CHAPMAN PAINTS (single)|
|RAYTHEON "I'll be phoning you..."(single)|
|ETHYL, What Goes up Must Come Down, FORTUNE Dec 1942|
|VICTORY PLASTICS March 1945|
|NATIONAL BANK OF NEW YORK (2)|
|FIRST NATIONAL CITY BANK, ELECTRIC POWER 1952|
|FIRST NATIONAL Leisure time|
|A.D.C. ANNUAL, JACKET 1954|
|INTERIORS MAGAZINE 1952|
|re Giusti Forty Illustrators, ERNEST WATSON 1948|
|BURTIN ON GIUSTI|
George Giusti (1908-1990) trained at the Reale Accademia e Belle Arti in Milan. He worked in Lugano before opening his own studio in Zurich. In 1938 he emigrated to the United States, beginning a long and productive career as a designer His style changes regualrly to adapt to the tenor of the times, later loosing some of his simple directness kin modish flourish.
"Giusti works almost exclusively in tempera. He uses the airbrush but with considerable reserve. He is careful not to lose the distinction of his own incisive brushline. Usually he carries his designs as far as possible with the sable brush, then applies the airbrush where needed for soft gradations and very smooth tones. He uses colored inks in his airbrush, spraying them over the tempera."See E.W.Watson, FORTY Illustrators and How They Work , Watson Guptill 1946, for a well illustrated survey of Giusti's work.
Edward S. “The Man Who Signs His Work Giusti,” CA:
The Magazine of the Communication Arts, July/August 1965, pp. 24-35
His papers are lodged with Roger Remington at the Rochester Institute of Technology and give a glimpse of the huge range of his output, including his work in sculpture.
Giusti first worked for FORTUNE in 1941 three years after coming to America. He had had a successful career in advertising in Milan and Zurich. He found early success in posters and design . An early success was working with Herbert Matter on the Swiss Pavilion for the 1939 New York World’s Fair. Allied to terrific visual flair was an intelligent understanding of mechanical structures which he could express simply but accurately for the reader.