Close

The Container List Blog

March 30, 2015

Paula Scher’s identity for SVA

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.

Paula Scher’s identity for SVA Continue Reading Read more
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.

Identity Programs by Noel Martin Continue Reading Read more
September 14, 2013

First Look: Louise Fili

Next up in our newly-hatched Design Study Collection: the supremely elegant Louise Fili.

First Look: Louise Fili Continue Reading Read more
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.

George Tscherny’s brushwork Continue Reading Read more
August 12, 2013

Desk set

Chermayeff & Geismar’s promotional work for General Fireproofing’s steel office furniture neatly represents how they adapted their dominant styles to suit the needs of their corporate clients.

Desk set Continue Reading Read more
May 25, 2013

Pepsi Generation

The design firm of Brownjohn, Chermayeff & Geismar established their reputation for brilliant corporate identity work with one of their earliest clients, Pepsi-Cola.

Pepsi Generation Continue Reading Read more
May 23, 2013

Don’t make ’em like this anymore

I especially like identity systems when they are applied to things that might seem outside of the purview of corporate promotions. So with this SVA check designed by George Tscherny, circa 1956.

Don’t make ’em like this anymore Continue Reading Read more
May 10, 2013

The many trademarks of Chermayeff and Geismar

Chermayeff and Geismar published a spiral-bound portfolio of their trademarks in 1979, a precursor to the 2000 volume TM, published by Princeton Architectural Press.

The many trademarks of Chermayeff and Geismar Continue Reading Read more
April 20, 2013

A stricter side of Palladino

Tony Palladino worked for Siegel & Gale in the mid-1970s — one of the accounts he worked on was Conrail, a new railroad organization created by the federal government.

A stricter side of Palladino Continue Reading Read more
March 12, 2013

Burgers for breakfast

An envelope showing the logo for slider chain Krystal, ca 1980s, designed by Chermayeff & Geismar. Doggie bag follows.

Burgers for breakfast Continue Reading Read more
February 27, 2013

Galeonen Bar, Hamburg

Milton Glaser designed this irregularly-shaped, cut-out menu in 1973 for Galeonen Bar, at the Plaza Hamburg hotel. Their vintage cocktail menu follows.

Galeonen Bar, Hamburg Continue Reading Read more
February 10, 2013

How do you Prang?

If you’ve ever found yourself wondering what a Prang is, your worries are over.

How do you Prang? Continue Reading Read more
February 02, 2013

The Dual Ladder

Which ladder will you climb at Xerox?

The Dual Ladder Continue Reading Read more
January 25, 2013

More of that PBS guy

So last time we looked at a slide I’d happened upon by chance in the Push Pin slide library, for the font used in the PBS logo by Lubalin Studio. In the end of the post, I briefly mentioned that Chermayeff & Geismar updated the logo in 1984, taking the “P-head” from Lubalin’s logo…

More of that PBS guy Continue Reading Read more
January 16, 2013

First look: George Tscherny Collection

We’ve just received the first installment of our new George Tscherny Collection, which includes gorgeous modular displays for Pan Am terminals, corporate style manuals, and branded promo items and service uniforms.

First look: George Tscherny Collection Continue Reading Read more
August 17, 2011

Apply today

Another great example of SVA’s forms from the early George Tscherny identity system. Its almost stuffily balanced width is softened a tiny bit by the lowercase “application.” Love the setting of the serif type and the letter-spaced gothic below. We need to get a vitrine for this whole system (see also: 1 and 2).

Apply today Continue Reading Read more
June 26, 2009

The Push Pin corporate identity

This label, stuck authoritatively on the back of a mounted board as a bit of corporate identity — complete with the overrule, grotesk “Group Incorporated,” and high-contrast logotype — exploits its context to achieve a kind of reflexive wit, a kind of acknowledgment of what is being put over, that gives it a unifying effect (it is at once more than, and no more than, a “bit of corporate identity”). This is achieved with an unusually unaffected air — a combination that I think has always characterized Chwast’s work.

The Push Pin corporate identity Continue Reading Read more
March 10, 2009

Like a record

From the Chermayeff & Geismar Collection comes this Norlin Annual Report shaped like an album cover. Inside, along with the actual report, is the record Norlin Salutes The Music in America, which includes works by Morton Gould, Samuel Barber, Aaron Copland, Leonard Bernstein, and William Schumann.

Like a record Continue Reading Read more
March 03, 2009

First look, part 2: George Tscherny

We’ve just received our next batch of materials from George Tscherny: a wonderful case study of his identity work for W.R. Grace. Video after the jump!

First look, part 2: George Tscherny Continue Reading Read more
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.