Welcome back—and to 2015
Students will return to SVA next Monday but we’re back and the archives are reopened already. Here’s Seymour Chwast’s cover design for Time‘s promotional calendar for the academic year 1982–1983.

Students will return to SVA next Monday but we’re back and the archives are reopened already. Here’s Seymour Chwast’s cover design for Time‘s promotional calendar for the academic year 1982–1983.
Henry Wolf’s work for Saks hearkened back to his days at Harper’s Bazaar and Show.
Newly unearthed SVA exhibition posters (1969-1970) from Cris Gianakos.
A great one from Tony Palladino, a cleaned-up and stripped-down version of the tear-off fliers that used to proliferate to such an extent that they almost became invisible. This Christmas card both grabs your attention and evokes nostalgia.
Steven Heller collected more than 250 Christmas cards from artists for a 1980s book project. Many of the cards are hand-drawn or painted, but even the reproductions are playful and highly personal.
Several incarnations of Vladimir Nabokov’s most lovable protagonist, Timofey Pavlovich Pnin.
Milton Glaser’s finely detailed sketches for a 7 Up advertising campaign.
Reader Don O’Hara sent us a few additional iterations of the Jem “Classic Series” we featured last week.
Milton Glaser was hired by Deluxe Communications Corporation/Jem to design a set of LP sleeves for oldies releases they called The Classic Series.
Chermayeff & Geismar designed a series of exhibition posters for the Howard Wise Gallery in the 1960s, highlighting the artists’ works. Wise exhibited abstract expressionists including Milton Resnick and Edward Dugmore, and later specialized in kinetic art and light sculputure.
Forever potent and still open to interpretation despite its ubiquity, the skeleton has surfaced many times in the early work of Milton Glaser.
Another chapter in our series of posts on George Tscherny’s work for Pan Am.
In 1964, the Sanders Printing Corporation invited SVA’s graduating class to produce its periodic promotional publication, Folio.
These exhibition catalogs and announcements for the Museum of Contemporary Crafts were created just a year after the museum’s founding in 1956.
Really a sister project of Milton Glaser and Jerome Snyder’s Underground Gourmet column for New York magazine, Glaser’s “Chinese Grocery” poster sought to guide the uninitiated through a Chinatown market, in this case the no longer extant United Supermarket at 84 Mulberry Street.
Henry Wolf took a variety of approaches to dramatizing the American political process in his magazine design.
The tension between the accidental and the controlled is almost always present in the work of George Tscherny.
The 1964 course announcement for Henry Wolf’s and Melvin Sokolsky’s photography course at SVA manages to be both instructive and artful, assembling outtakes of the instructors’ portraits in a way that elevates them.
One regular advertiser in the Push Pin Graphic was Metropolitan Printing.
In 1967, Milton Glaser, Seymour Chwast, and James McMullan produced psychedelic “travel” posters for an issue of The Push Pin Graphic.