Delpire
Robert Delpire and Push Pin Studio’s mutual admiration resulted in exhibitions in both New York and Paris.

Robert Delpire and Push Pin Studio’s mutual admiration resulted in exhibitions in both New York and Paris.
Seymour Chwast’s characteristic contour line and flat pastel coloration appears on the packaging of this short-lived late-80s Kosher ice cream, for which his Push Pin Studios also contributed the logo.
Click through for the full image.
Ed McCabe’s characteristically direct copy for Western Union’s spammy-sounding “Computer Letter,” 1983. Click through for more and the full page.
An excellently memorable and surreal campaign photographed by Henry Wolf for Karastan carpets.
Milton Glaser’s watercolors for a French edition of Boris Vian’s I Spit On Your Graves.
In 1988, the School of Visual Arts commissioned Paula Scher—a longtime faculty member but not yet a principal at Pentagram—to redesign its corporate identity.
Malcolm Garrett was the subject of “Ulterior Motifs: An Exhibition of Graphic Devices 1977-1993,” an exhibition held at SVA in 1993 that featured Garrett’s logotypes for clients in the music, publishing, and retail industries.
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.
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.
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.
Milton Glaser got minimal for SVA’s 40th Anniversary logo.
A tribute to the designer whose neon imagery and super sized environmental design changed the landscape of American design.
Chwast’s can for Diet Pepsi for the Christmas season integrated their 1986-1991 logo into Santa’s spectacles. As you can see in this photo, the rims of the glasses were left unpainted shiny aluminum to highlight the logo—the background behind Santa was also a checkerboard of white and silver. (Click through for full frame.)
Masterpiece Theatre was the principal portal into British television for American audiences in the seventies; Mobil, the sponsor, drafted their longtime designers Chermayeff & Geismar to make posters for various features.
Pioneering illustrator Robert Weaver was a major figure at SVA beginning in 1950s.
Tony Palladino created this indelible image for an SVA poster in 1989.
In the 1970s and 1980s Heinz Edelmann designed many posters for the West German public broadcasting station Westdeutscher Rundfunk (WDR).
The BFA Fine Arts department has long shown film or video art in the SVA Amphitheatre. These rough posters, spanning three decades, announce screenings of milestone works.