Ed McCabe’s characteristically direct copy for Western Union’s spammy-sounding “Computer Letter,” 1983. Click through for more and the full page.
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An excellently memorable and surreal campaign photographed by Henry Wolf for Karastan carpets.
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Milton Glaser’s finely detailed sketches for a 7 Up advertising campaign.
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These Perfectos cigarette ads, designed by Tony Palladino in 1965, caught my attention because they’re so markedly different in style from the typical tobacco ads of the 1960s.
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In the late-1960s Henry Wolf produced a number of advertisements for Olivetti, which touched on two of his favorite devices: the use of celebrity and the distortions of scale and context used to dreamlike effect.
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From the James McMullan Collection, a look at some of the best illustrators who got their start the 1950s and 60s.
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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
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George Tscherny developed his style working for Herman Miller in the mid-50s.
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Ten years before the rise of the supermarket generic brand, Champion Papers produced these colorful generic packaging designs for a series of print advertisements.
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Pictured: Sandy Kiersky, media director for Trahey/Wolf advertising and her fantastic eyeglasses. Click through for the full frame of this shot and pictures of their futuristic mid-century office at 477 Madison Avenue.
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Wolf shot the photograph for this ca. 1980s Papermate ad, which was originally a full magazine spread. Presumably the art direction credit here includes the choice of this outrageous but strangely compelling combination of magenta boots, purple legwarmers, and high-cut acid-wash jeans. Against their layered, cool-tone palette, the yellow barrel of the pen stands out, its silver clip echoing the silver italic copy. The only snag here, in my opinion, is the affected rhythm of “Think, Re-think, State, Re-state,” which falls too comfortably into the exhausted “Big Idea” voice that was so prevalent in advertising a few decades before, and doesn’t really achieve any meaningful interaction with the image.
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James McMullan designed and illustrated this piece for Caprolan nylon during his first year at Push Pin; it appeared in the September 7, 1966 issue of Women’s Wear Daily.
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I cannot count how many times I tore through this sparse bachelor pad on packages of XLII tapes. The translation to TV (here, courtesy of YouTube) isn’t quite the same, since however loud-sounding “Ride of the Valkyries” may be, it cannot be as powerful as the imagined decibels conveyed by the print ad, with tie and lampshade frozen permanently in full blow-back amid gusts of high-fidelity.
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SVA Publications and Institutional Records
Gail Anderson Collection
Ed Benguiat Collection
Chermayeff & Geismar Collection
Seymour Chwast Collection
Stephen Doyle Collection
Heinz Edelmann Collection
Roger Ferriter Collection
Louise Fili Collection
Cris Gianakos Collection
Milton Glaser Collection
Keith Godard Collection (depricated)
Keith Godard Collection
Steven Heller Collection
David Mazzucchelli Collection
Ed McCabe Collection
James McMullan Collection
Tony Palladino Collection
Stefan Sagmeister Collection
Paul Sahre Collection
Deborah Sussman Collection
Fred Troller Collection
George Tscherny Collection
Henry Wolf Collection
SVA COVID Collection