SVA Flower painting by George Tscherny
Each year the iconic SVA logo designed by George Tscherny directs thousands of new students to the doors of the College to embark on the study and practice of art and design. With the start of the new school year and SVA marking its 70th anniversary, we're looking back at the history of the College with the launch of the SVA Subway Series Hall of Fame, a new video series in which some the College's most revered designers and faculty members, past and present, reflect on the posters they have created for SVA and give some insight into their work. First up is Tscherny himself, a decorated veteran of graphic design who describes his style as “maximum meaning with minimum means.”
Tscherny designed the first SVA poster in 1956 (he’s done 14 more since) and taught the first course in graphic design at the College in the mid-1950s. He also created the famous “flower” logo in 1997 for SVA’s 50th anniversary, establishing the College’s strong visual presence throughout New York City. His work bridges fine art and commercial design, surprising the eye with simplicity and wit. As SVA’s late founder and chair Silas H. Rhodes put it, his work is “elegant but never chic, serious but never pretentious, disciplined but never dull, his posters, annual reports, etc., delight the eye and revive the spirit. They shatter once and for all the myth of the incompatibility of commercial enterprise and graphic integrity.”
Tscherny designed the first SVA poster in 1956 (he’s done 14 more since) and taught the first course in graphic design at the College in the mid-1950s. He also created the famous “flower” logo in 1997 for SVA’s 50th anniversary, establishing the College’s strong visual presence throughout New York City. His work bridges fine art and commercial design, surprising the eye with simplicity and wit. As SVA’s late founder and chair Silas H. Rhodes put it, his work is “elegant but never chic, serious but never pretentious, disciplined but never dull, his posters, annual reports, etc., delight the eye and revive the spirit. They shatter once and for all the myth of the incompatibility of commercial enterprise and graphic integrity.”
Over 30 years ago, George Tscherny decided that the real “kick” of design was to keep his hands firmly on all projects, not to supervise other designers' work. He is now, as he always has been, the sole proprietor of a small office located on the ground floor of his narrow New York City brownstone where he, his wife Sonia (“the conscience of the office”), and two or three assistants attend to the communications needs of some of America's most prestigious corporations...
Descriptions of George Tscherny’s work always seem to focus on the simplicity and aptness of his designs. No matter what the prevailing style, Tscherny’s work is timeless. “Over the past four decades, American graphic design has displayed a dazzling vitality,” said designer, professor, and author Philip B. Meggs at a ceremony honoring Tscherny with the American Institute of Graphic Arts medal in 1988...
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Born in Budapest, son of Hungarian mother and Russian father, he grew up in Berlin from the age of 2. After the Kristallnacht, at 14 years old he fled with his younger brother to The Netherlands. In 1941, three years later, they gathered together with their parents and left for the U.S.A. The following year he was drafted into the U.S. Army and ordered overseas...
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Tscherny Family in 1986
Herman Miller
Poster
1953
School of Visual Arts
Poster
1960
Herman Miller comes to Dallas
Poster
1955
Turning PointPoster
1968
SVA Dusty Award trophie design
Masters Series Exhibition at the SVA Museum, 1992
From 2016 May to 2017 May, I was fortunate to be an assistant to George Tscherny. George taught me unforgettable fundementals in graphic design.
Ranging from using X-Acto knife to prototyping through image transfer, George showed me how a designer should always pay attention to the details.
Everytime I walked down to a stiff staircase to the basement of his office, I saw and felt his life long works of graphic design ranging from an envelope design to a wall size posters. The entire basement filled with cardboard boxes each labeled and neatly organized dating back to 1951. I saw the evidence of an artist being true to his expression throughout his life. From this experience, I always remind myself to continue being true to myself and my work.
Ranging from using X-Acto knife to prototyping through image transfer, George showed me how a designer should always pay attention to the details.
Everytime I walked down to a stiff staircase to the basement of his office, I saw and felt his life long works of graphic design ranging from an envelope design to a wall size posters. The entire basement filled with cardboard boxes each labeled and neatly organized dating back to 1951. I saw the evidence of an artist being true to his expression throughout his life. From this experience, I always remind myself to continue being true to myself and my work.
Creating aluminum wayfinding plates
SVA Masters Series Award trophy prototyping