Blog Page 3 of 5 | SVA Archives

January 28, 2014

Record labels

Milton Glaser applies his passion for music to record labels.

January 09, 2014

Up in smoke, part 2

Liggett & Myers’ Designer Packs designed by George Tscherny.

January 08, 2014

Justine & Balthazar

While McMullan’s work from the early 1960s is close in spirit to the evocative illustration of his colleagues Robert Weaver and Jerome Martin, Glaser’s late 1960s take shows a pop/psych style then at its height. The art is very much in keeping with other work that Glaser was doing at the time, with its flowing curvilinear lines and high contrast colors, which also, intentional or not, indicate some churning emotional content.

December 17, 2013

Early LeWitt

We love our LeWitt here at Container List, and we recently found some very early exhibition announcements for his work at SVA and other galleries.

December 15, 2013

Seth Siegelaub’s Xerox book

Our latest discovery—strongly recalling the original binder from Mel Bochner’s “Working Drawings…”— is a copy of Seth Siegelaub’s seminal Xerox Book.

December 13, 2013

Life Underground

Milton Glaser and Jerome Snyder ate their way through NYC so you didn’t have to.

December 11, 2013

Paper for packaging

Ten years before the rise of the supermarket generic brand, Champion Papers produced these colorful generic packaging designs for a series of print advertisements.

December 06, 2013

Illustrating ‘Seventeen’

Mid-century editorial illustration from the pages of Seventeen magazine.

December 01, 2013

Identity Programs by Noel Martin

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.

November 30, 2013

Smiling faces

An assortment of Seventeen magazine advertisements from the ’50s and ’60s.

November 24, 2013

Love and joy about letters

Love and Joy About Letters is a testament to Ben Shahn’s love affair with letters: the beauty of the letter forms, the liberating influence hand-lettering, and how the incorporation of letters added meaning to his art.

November 20, 2013

Working drawings

Milton Glaser’s sketch for the Working drawings and other visible things on paper not necessarily meant to be viewed as art poster became a part of the artwork.

November 12, 2013

To see a fine lady upon a white horse

A 1961 exhibition of the work of the SVA Department of Illustration is a who’s who of the practitioners of the new expressive and painterly illustration of the time.

November 03, 2013

Illustrator Jerome Martin

While going through the books myself, I was particularly taken with the three covers done by an illustrator I’d never heard of, Jerome Martin.

November 02, 2013

Squigglyman Meets Captain Cross-Hatch

Squigglyman and Captain Cross-Hatch will be back right after they foil Dr. Ugg, who is about to detonate his diabolical Gloomsday Device.

October 28, 2013

A brief tour of Milton Glaser’s typography

Glaser’s typefaces combine Push Pin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension.

A brief tour of Milton Glaser’s typography

October 21, 2013

Colorvision!

In what essentially looks like a lost issue of the Push Pin Graphic, Colorvision (“an entirely new concept of color in clothing!”) describes the magic of a Blendescent.

October 18, 2013

Up in smoke

Cigarette companies were always big into advertising (perhaps because their products were largely indistinguishable), but after their marketing practices became widely seen as particularly nefarious their presence in the field faded.