George Tscherny for MoMA and the Family Service Association
MoMA’s 1956 exhibition of posters for the Family Service Association featured the work of George Tscherny, among other artists and designers.

MoMA’s 1956 exhibition of posters for the Family Service Association featured the work of George Tscherny, among other artists and designers.
Several incarnations of Vladimir Nabokov’s most lovable protagonist, Timofey Pavlovich Pnin.
These exhibition catalogs and announcements for the Museum of Contemporary Crafts were created just a year after the museum’s founding in 1956.
Henry Wolf took a variety of approaches to dramatizing the American political process in his magazine design.
SVA’s early subway posters helped raise the school to a new plane of artistic and intellectual pursuits.
Pioneering illustrator Robert Weaver was a major figure at SVA beginning in 1950s.
In 1958 Henry Wolf, newly appointed art director for Harper’s Bazaar, was tapped by the Advertising Typographers Association to write an essay on magazine typography for their bulletin.
Brownjohn, Chermayeff & Geismar’s playful experiments with type placement and scale for Concert Associates.
Everything that enlarges the sphere of human powers, that shows man he can do what he thought he could not do, is valuable. – Samuel Johnson
Chermayeff & Geismar interpreted scientific data for Ciba Pharmaceuticals.
Early in his career, Tony Palladino specialized in book jackets—his style was always restrained, and oscillated between primitive torn-paper graphics and highly simplified visual ideas.
George Tscherny developed his style working for Herman Miller in the mid-50s.
Mid-century editorial illustration from the pages of Seventeen magazine.
Noel Martin was a renown self-taught typographer and designer who studied drawing, painting, and printmaking at the Art Academy of Cincinnati. He later became an instructor there and was the long-time designer for the Cincinnati Art Museum, as well as a prolific free-lance designer. Martin was celebrated for modernizing museum graphics and industrial trade catalogs. In 1953, he was featured in MoMA’s landmark design exhibition, Four American Designers, along with Herbert Bayer, Leo Lionni, and Ben Shahn. His spiral-bound self-promotional piece, Identity Programs, presents some of his iconic minimalist logos.
An assortment of Seventeen magazine advertisements from the ’50s and ’60s.
In 1969, the Mead Library of Ideas presented an exhibition of the work of Push Pin Studios, sharing the design and illustration of its many current and former members.
This detail for a 1956 poster for the Cartoonist & Illustrators School by George Tscherny. Rebranded as the School of Visual Arts later that year, the designer had a long and fruitful relationship with the institution.
Milton Glaser tips his hat to French poet, playwright, and critic Guillaume Apollinaire.
Bob Gill lets Josef Presser’s words speak for themselves in this visually simple but verbally playful announcement for Presser’s exhibition at SVA.
The design firm of Brownjohn, Chermayeff & Geismar established their reputation for brilliant corporate identity work with one of their earliest clients, Pepsi-Cola.