Westvaco’s not-so-generic paper promotion.

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

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From the George Tscherny Collection, Series 4.

Promotion by George Tscherny for Strathmore paper, 1958. Torn-paper motifs seemed to have been very much the thing for that year (when Tony Palladino contributed this one). Click through for the full image.

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Liggett & Myers’ Designer Packs designed by George Tscherny.

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Cigarette companies were always big into advertising (perhaps because their products were largely indistinguishable), but after their marketing practices became widely seen as particularly nefarious their presence in the field faded.

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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.

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In the late-1950s Seventeen magazine was a clearing house for an incredible stable of graphic talent. Among the contributors were many artists and designers associated with the School of Visual Arts, including Sol LeWitt, Eva Hesse and others like Rudolf de Harak.

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One of George Tscherny’s graphic hobbyhorses was the jumbled appearance of type on an undulating surface.

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George Tscherny developed his style working for Herman Miller in the mid-50s.

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Another chapter in our series of posts on George Tscherny’s work for Pan Am.

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More from George Tscherny: his design on the poster for the U.S. exhibition at the troubled Milan Triennale of 1968. In those days, the event served as a major convergence point for conversation and debate within the design community.

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George Tscherny was one of the heraldic “here comes modernism” designers of the ’70s: along with Chermayeff & Geismar, his name seemed to be high on the shortlist when design became a hot item in the boardroom—though the bigwigs did not necessarily always follow through with a whole, or lasting, campaign.

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George Tscherny Collection: MG2008.3 Box A

George Tscherny completed a bogglingly wide range of work standardizing the graphics for Pan Am in the early ’70s, redesigning everything from timetables to stewards’ aprons over the course of two years. These city guides are of a piece with the company’s other projects of that era, recalling both the bold imagery of Chermayeff & Geismar’s posters for the company and Tscherny’s own modular environmental graphics.

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George Tscherny Collection: Get to the point! poster for W.R. Grace & Co., 1982.

We’re continuing to receive great stuff from George Tscherny, and here’s the latest.

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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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