Seymour Chwast is an elder statesman of the design community and is among the most influential designers and illustrators of our time. Together with Milton Glaser and Edward Sorel, he cofounded the legendary Push Pin Studios in 1954, and became its director when the studio changed its name to The Pushpin Group in the early ’80s.
Seymour’s design and illustrations have been used in advertising, animated films, corporate and environmental graphics, books, packaging, and record covers. His posters are in the permanent collection of New York’s Museum of Modern Art, the Cooper-Hewitt National Design Museum, and the Library of Congress. He was inducted into the Art Directors Club Hall of Fame in 1984, and the American Institute of Graphic Arts gave him its prestigious Medal a year later.
When I e-mailed Seymour the questions I planned to ask him for this book, he replied that he wouldn’t tell me about his likes and dislikes because “lists…smack of idolatry. I will not tell you what I wear in bed.” Instead, Seymour described things that are far more interesting, and a lot less tangible: listening to his conscience, keeping up with the latest trends, and finding unconventional design solutions. He also describes “painting on weekends in the country with a Marx Brothers movie on the tube” and his disdain for rejection.
What was your first creative memory?
Drawing a lady’s head with an eyebrow pencil while waiting for my mother in a beauty parlor.
When you were little, what did you want to be when you grew up?
A cartoonist working for Walt Disney, partially because I had seen Snow White and Pinocchio.
When did you realize that you wanted to be a graphic designer?
In high school in Brooklyn—where my art teacher who emigrated from Germany in the ’30s taught us about the great poster designers and forced us to enter every poster competition. At that time, I was introduced to Gebrausgraphik, the first graphic design magazine.
What did you study in college?
At the Cooper Union School of Art, I studied what was called “Advertising Art.” I have an honorary PhD in Fine Art from the Parsons School of Design.
How would you define the term “graphic design”?
Everything that’s printed, including illustration, photography, and drawn art for animation.
Do you typically work alone or with other people?
I work with art directors, entrepreneurs, editors. I design by myself or with my designer.
Do you work primarily by hand or with a computer?
I draw on paper with my designer executing the drawings, and other work, on a computer.
Do you find that you have a “process” for initiating your design work?
At first, I search for metaphorical symbols until I find those most appropriate for the project. Inspiration comes from illustrated books and Google. With an illustration project, I search for the right style or method of execution, which involves looking at the work of others.
How do you know when something you’ve created is good?
I never know if anything I’ve created is good, but I know I’m done when I give up looking for other ideas.
How important to your work is writing?
My illustration is a reaction to stories conveyed as words. Sometimes the design problem is described verbally.
Do you feel you are an intuitive designer or are you more intellectual in your approach?
After my mind has done its job, Mr. Hand takes over.
Do you keep a book or files for inspiration?
A file with inspiration is silly when you have a library and computer.
Do you feel that your education has fundamentally influenced your design ability or would you say that you are more self-taught?
Education in the broadest sense—meaning exposure to all aspects of our history and culture—has been vital to my design ability; technique and craft have to be learned as well.
Who has most influenced you in your career as a graphic designer?
Saul Steinberg, André François, Paula Scher, Milton Glaser, Winsor McCay, and Erik Nitsche.
Would you consider your work to be influenced by contemporary culture?
My work is influenced by culture—especially design and art of 100 years ago—up to but not including the present day.
How much, if any, research do you do before starting a project?
One should do as much research as necessary.
At a point, I find it useful to let my mind wander and land on something, an unconventional solution.
Tell me about some of the things you like and dislike.
A list of likes and dislikes is very Japanese if you include, “What is your favorite flower and tree?” Lists like this smack of idolatry. I will not tell you what I wear in bed.
Where do you see yourself in five years?
At a drawing table.
Are you afraid of anything?
I am afraid of being exposed.
What is your favorite thing to do?
Play with my dogs. The best thing is painting on weekends in the country with a Marx Brothers movie on the tube.
Do you regret anything?
I regret not going into real estate.
What do you think of the state of contemporary graphic design?
It’s good and bad, as always, but I shouldn’t judge because the generational difference makes it hard for me to relate to “contemporary” design.
Do you think graphic designers have any obligation to create design that inspires social change?
There is no obligation—but we must follow our conscience and human sensibilities.
What do you love most about being a graphic designer?
I love seeing my work in print. I also enjoy seeing other people seeing my work in print.
Is there anything you dislike about being a graphic designer?
Having to keep up with the latest “trends.” And I hate rejection.