The covers he designed used iconic arrows, angular elements, silhouetted photographs and dynamic shapes. These designs were consistent with Beall's own personal style of design. Beall stated that a designer "must work with one goal in mind "to integrate the elements in such a manner that they will combine to produce a result that will convey not merely a static commercial message, but an emotional reaction as well. If we can produce the kind of art which harnesses the power of the human instinct for that harmony of form, beauty and cleanness that seems inevitable when you see it? then I think we may be doing a job for our clients."" Remington, R. 2003.
A big influence on Beall himself was an associate of his called Fred Hauck. They shared an office space in Chicago. Hauch was probably the major vehicle through which Beall received the European avant-garde designs he used so much in his work, therefore introducing them into American design. He researched much of the design work through Bauhaus books and publications given to him by Hauck.
Between 1937 and 1941 he was commissioned to design a series of three posters for America's Rural Electrification Administration, aiming to improve the standard of living in rural areas of America which were not yet connected to electricity. The design in these posters showed influences from the Soviet Constructivist posters by Klutsis and others in purpose and style. (refer plates 4). These posters were some of Beall's most successful designs.
In 1940 he decided to move his office to Fifth Avenue in New York, working also from his home in Connecticut. He bought a property and farm in 1949, and moved there the next year, working there in the studio space he had installed. During the 1950s and 60s his design office expanded and employed many staff.
Some of the company's biggest projects were launching campaigns advertising corporate identities for large companies.