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June 04, 2010
Subscribe to Push Pin Graphic
The thing that fascinates me most about Push Pin Graphic is how unpredictable they manage to be all the time. Even apart from the contents of each issue, every promotion contains — no matter how generic the thing as a whole may be — some off-kilter element that has a defamiliarizing effect on the whole endeavor. The Cherie Currie-esque figure here has no other reference anywhere on the page, she’s just hanging out in the margin of the tearaway.
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August 14, 2009
The Pancake King
In 1971, Phyllis La Farge and Seymour Chwast collaborated on the children’s book The Pancake King, which described the rapid ascent of a young master of the griddle pan. It spoke of the joy of breakfast, the perils of fame, the importance of family and of maple syrup. More spreads from The Pancake King are viewable on Flickr (thanks to Norman Hathaway), and show Chwast’s dexterous use of scale and bleed between spreads, and tidily-set Bodoni. The book was included in AIGA’s Fifty Books of the Year.
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July 10, 2009
Seymour Chwast for McDonald’s
In 1979, McDonald’s hired Seymour Chwast to contribute one version of the packaging for the introduction of their new product, the Happy Meal. The promotion cost one dollar, and comprised a hamburger or cheeseburger, twelve-ounce soft drink, a small order of french fries, and a McDonaldland Cookie Sampler (not pictured). Along with their comestibles, the first customers could look forward to discovering either a McDoodler stencil, puzzle book, a McWrist wallet, an ID bracelet or McDonaldland character erasers.
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June 26, 2009
The Push Pin corporate identity
This label, stuck authoritatively on the back of a mounted board as a bit of corporate identity — complete with the overrule, grotesk “Group Incorporated,” and high-contrast logotype — exploits its context to achieve a kind of reflexive wit, a kind of acknowledgment of what is being put over, that gives it a unifying effect (it is at once more than, and no more than, a “bit of corporate identity”). This is achieved with an unusually unaffected air — a combination that I think has always characterized Chwast’s work.
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By Collection
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School of Visual Arts Archive
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SVA Historical Event Recordings
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Gail Anderson Collection
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SVA COVID Collection
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Ed Benguiat Collection
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SVA Publications and Institutional Records
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Ivan Chermayeff Collection
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Ralph Caplan Collection
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Chermayeff & Geismar Collection
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Seymour Chwast Collection
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Stephen Doyle Collection
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Heinz Edelmann Collection
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Richard Wilde Papers
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Roger Ferriter Collection
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Louise Fili Collection
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Cris Gianakos Collection
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Bob Gill Collection
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Milton Glaser Collection
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Keith Godard Collection
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Steven Heller Collection
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David Mazzucchelli Collection
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Ed McCabe Collection
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James McMullan Collection
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Tony Palladino Collection
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Stefan Sagmeister Collection
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Paul Sahre Collection
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Deborah Sussman Collection
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Fred Troller Collection
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George Tscherny Collection
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Henry Wolf Collection