It's a magic carpet ride
Sesame Street magazine of the 1970s put the stylized pop-psychedelic style of the TV program's animated sequences in kids' mailboxes.

Sesame Street magazine of the 1970s put the stylized pop-psychedelic style of the TV program's animated sequences in kids' mailboxes.
An excellently memorable and surreal campaign photographed by Henry Wolf for Karastan carpets.
Henry Wolf’s work for Saks hearkened back to his days at Harper’s Bazaar and Show.
Henry Wolf took a variety of approaches to dramatizing the American political process in his magazine design.
The 1964 course announcement for Henry Wolf’s and Melvin Sokolsky’s photography course at SVA manages to be both instructive and artful, assembling outtakes of the instructors’ portraits in a way that elevates them.
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.
Henry Wolf created this School of Visual Arts course announcement for his friend, photographer Melvin Sokolsky.
Comment was a promotional periodical produced by consortium of printers in the early sixties. Issue 200 included contributions from Saul Bass, Will Burtin, and Henry Wolf.
Duane Michals photographed George Balanchine for Show magazine.
Wonder was the product of Henry Wolf’s class, Making a Magazine, at the School of Visual Arts. Conceived, designed, and written over the course of the Fall 1961 and Spring 1962 semesters, this one-off children’s magazine communicated with its audience in an exuberantly playful manner that never condescended. And it’s certainly the coolest-looking kids magazine I’ve ever seen. Wolf’s students included William Ingraham, Walter Bernard, Sullivan Ashby, Robert Giusti, Herbert Migdoll, Shirley Glaser, David November, Antonio Macchia, and Henry Markowitz.
Milton Glaser and Henry Wolf’s magazine workshop pays tribute to the landmark erotic publication Eros.
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.
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.
(Esquire casually omits Ray Eames’ credit on the DCM.)