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April 04, 2016

First Look, part 2: James McMullan

An incredible array of new material from James McMullan.

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October 09, 2014

Accidents will happen

The tension between the accidental and the controlled is almost always present in the work of George Tscherny.

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September 14, 2014

Paris in your pocket

Seymour Chwast’s designs for Bic Parfum.

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July 12, 2014

First Look: Paul Sahre

We are thrilled to add the work of Paul Sahre to our Design Study Collection.

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June 06, 2014

Crowd control

Tony Palladino, along with Chermayeff & Geismar, was enlisted by Mobil to design the poster for Cotton Bowl advertisements in the late-80s and 90s. We don’t actually have this poster in our collection, though we have two others (which will follow shortly); only this slide of it. The others also make use of the visual appearance of a crowd as a way to play with perception of figure and ground. This slide didn’t go through properly the first time so I don’t have a good image of it, but if you click through I’ve included a smaller picture for reference.

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June 03, 2014

On the same wavelength

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.

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June 01, 2014

Six ways of looking at a piano

Ivan Chermayeff uses collage and collections to create texture and dimensionality, continually exploring modernist ideas about bringing process to the forefront.

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April 27, 2014

Eileen Boxer for Ubu Gallery

Eileen Boxer created sublime conceptual mail art to promote exhibitions at Ubu Gallery.

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April 19, 2014

First Look: Deborah Sussman

Next in our Design and Illustration Study Collection is the work of environmental design pioneer Deborah Sussman.

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March 05, 2014

Urban Outfitters’ Slant, part 2

Some remarkable art and writing from the corporate zine.

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March 02, 2014

Spot on

James McMullan is best known for his gorgeous posters for Lincoln Center theatrical productions, but he applies the same care to his spot illustrations for The New Yorker theater reviews.

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February 24, 2014

The world of Windows On The World

The continuing story of the Windows On The World restaurant and its satellites in the World Trade Center, designed by Milton Glaser in 1976 and redone in 1996.

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February 01, 2014

Urban Outfitters’ Slant

In the early 1990s, Urban Outfitters fully embraced a retro, anti-consumerist consumerism, snarky and winking – alternative style gone mainstream.

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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.

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September 03, 2013

George Tscherny’s brushwork

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.

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April 28, 2013

Alan Fletcher’s “Feedback”

Among the ephemera in the Henry Wolf Collection are five early editions of Pentagram’s Feedback — guidebooks for globetrotting designers. Excerpts from David Hockney, Olivier Morgue and Bob Gill follow.

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March 31, 2011

McMullan at NYPL

Go see James McMullan’s Lincoln Center Theater posters at the New York Public Library for the Performing Arts.

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April 03, 2009

P22 Type Foundry, Toy Box extras

The P22 Type Foundry, based in Buffalo, New York, packaged a typeface called Toy Box (originally named Child’s Play) with a set of extra glyphs including a collection of animal line-drawings based on children’s drawings. Commissioned by the London Transport Museum for a children’s exhibition in 1996, it was digitized by P22 founder Richard Kegler, with Michael Want, Mariah Kegler, Kevin Kegler, and Jennifer Kirwin-Want. Steven Heller included it in his book as an example of vernacular type.

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All names, logos, trademarks and/or copyrighted images are the property of their respective owners and their appearance on this site is merely intended to illustrate certain of the content available for educational purposes in the Milton Glaser Design Study Center and Archives of the Visual Arts Foundation and is not intended in any way to imply or suggest that the respective owners of these names, logos, trademarks and/or copyrighted images consent to, approve, endorse, sponsor, or intend to associate with the Visual Arts Foundation or any of its affiliates.

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All names, logos, trademarks and/or copyrighted images are the property of their respective owners and their appearance on this site is merely intended to illustrate certain of the content available for educational purposes in the Milton Glaser Design Study Center and Archives of the Visual Arts Foundation and is not intended in any way to imply or suggest that the respective owners of these names, logos, trademarks and/or copyrighted images consent to, approve, endorse, sponsor, or intend to associate with the Visual Arts Foundation or any of its affiliates.