Seymour Chwast
Recent articles about Seymour Chwast
The stuff they like
Issue 43, Spring 2002
The Fall 2000 issue of The Ganzfeld was a 152-page pocket book; the latest is…
Look away
Issue 38, Winter 2000
‘The South’, Seymour Chwast’s special civil rights issue of Push Pin Graphic, was a virtuoso…
Changing of the guard
Issue 8, Autumn 1993
American graphic design is divided. The once rebellious avant-garde has become the status quo…
Recent blog posts by Seymour Chwast
Talented talent-spotter
17 January 2017
Unit Editions’ second book about Herb Lubalin zeroes in on his ‘expressive typography’ and his gifted collaborators
Unit Editions’ Herb Lubalin: Typographer is a slimmer, more compact volume than the publisher’s popular blockbusters on Supergraphics, Henrion and Lubalin himself, writes John L. Walters.
Kemistry’s greatest hits
13 March 2015
Kemistry Gallery’s brief pop-up exhibition at Protein Studios gives visitors a chance to sample its quirky approach to design and graphic art
Kemistry Gallery occupied a small space in Shoreditch for ten years, and in that time, they showed a series of stimulating exhibitions.
Seymour and Milton
1 October 2013
A poster show at Kemistry Gallery celebrates two founders of New York’s Push Pin studio
A current exhibition at the small Kemistry gallery in Shoreditch features posters by Seymour Chwast and Milton Glaser, two of the founders of New York’s celebrated Push Pin studio. We asked Kemistry founder Graham McCallum about his love for their work.
Private fears of public speaking
3 June 2013
A report from day two of the inaugural Point conference in London
Conference themes are often loosely interpreted by speakers and the themes themselves leave space for interpretation, writes Sarah Snaith in the second of two reports from the conference (see John O’Reilly’s ‘Talking about the A-word’ on the Eye blog).
Divine Noir
2 September 2010
From Hell to Heaven in Seymour Chwast’s graphic take on Dante
Seymour Chwast’s first graphic novel, published next week, sees the designer / illustrator tackle Dante Alighieri’s fourteenth century masterpiece the Divine Comedy. In this graphic re-telling of the medieval poem, Dante dons a Dick Tracy trench coat and fedora, while Virgil (his guide) sports a tuxedo, bowler hat and cane.