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+1 917 544 0776
jaypetersalvas@gmail.com
@jaypetersalvas

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Jay Peter Salvas is a New York City–based creative director, graphic designer, and visual artist.

Grounded in the principles of the International Typographic Style (Swiss Style) and informed by his training at the Rhode Island School of Design, Salvas works within—and occasionally challenges—this ideology to create thoughtful, dynamic design systems for commercial and cultural institutions.

He started his career as a book designer at Chronicle Books in San Francisco, CA. Since then, he’s worked in a variety of creative industries where he’s focused on brand identity, print and digital design, campaigns, packaging, typography, directing a team of creatives, and experimental making.

He has extensive experience leading and mentoring multidisciplinary design teams at all levels while fostering collaboration, innovation, playfulness, and a positive team culture.

He has received creative recognition from numerous publications such as How, Print, Communication Arts, Step, Type Design: Radical Innovations and Experimentation by Harper Collins International, and the British Journal of Photography; and such institutions as the American Institute of Graphic Arts (AIGA), the San Francisco Art Institute (SFAI), the Art Institute of Boston, San Francisco Center for the Book (SFCB), Rhode Island School of Design (RISD), and Yale University. He has served on occasion as a visiting designer at Parsons The New School for Design, School of the Art Institute of Chicago (SAIC), and San Francisco Art Institute (SFAI).

He holds a Master of Fine Arts (MFA) from Yale University, and a Bachelor of Fine Arts (BFA) from Rhode Island School of Design.

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This website’s visual system and backend respond to timeframes designated for daytime and nighttime in Brooklyn, NY.

In dedication to the legendary Wolfgang Weingart.

+1 917 544 0776
jaypetersalvas@gmail.com
@jaypetersalvas

+++

Jay Peter Salvas is a New York City–based creative director, graphic designer, and visual artist.

Grounded in the principles of the International Typographic Style (Swiss Style) and informed by his training at the Rhode Island School of Design, Salvas works within—and occasionally challenges—this ideology to create thoughtful, dynamic design systems for commercial and cultural institutions.

He started his career as a book designer at Chronicle Books in San Francisco, CA. Since then, he’s worked in a variety of creative industries where he’s focused on brand identity, print and digital design, campaigns, packaging, typography, directing a team of creatives, and experimental making.

He has extensive experience leading and mentoring multidisciplinary design teams at all levels while fostering collaboration, innovation, playfulness, and a positive team culture.

He has received creative recognition from numerous publications such as How, Print, Communication Arts, Step, Type Design: Radical Innovations and Experimentation by Harper Collins International, and the British Journal of Photography; and such institutions as the American Institute of Graphic Arts (AIGA), the San Francisco Art Institute (SFAI), the Art Institute of Boston, San Francisco Center for the Book (SFCB), Rhode Island School of Design (RISD), and Yale University. He has served on occasion as a visiting designer at Parsons The New School for Design, School of the Art Institute of Chicago (SAIC), and San Francisco Art Institute (SFAI).

He holds a Master of Fine Arts (MFA) from Yale University, and a Bachelor of Fine Arts (BFA) from Rhode Island School of Design.

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This website’s visual system and backend respond to timeframes designated for daytime and nighttime in Brooklyn, NY.

In dedication to the legendary Wolfgang Weingart.

Plants and Their Application to Ornament by Eugène Grasset

Published in association with the Museum of Fine Arts, Boston, Plants and Their Application to Ornament: A Nineteenth-Century Design Primer is a 104-page book showcasing Eugène Grasset’s 1897 botanical illustrations.

Context

The design of Plants and Their Application to Ornament employs historically relevant typography, tea-stained paper that replicates an aged substrate, and printing techniques that enhance the luxurious coffee table book.

Book Exterior

Plants and Their Application to Ornament represents the summation of Grasset’s teaching on the decorative arts.

Book Interior: Front Matter

The interior, typeset in the serif typeface Caslon Old Style, designed in 1722 by William Caslon, contains an Introduction by David P. Becker and Foreword by Eugène Grasset.

Book Interior: Plates

The Plates chapter reflects three variations on each of twenty-four plant forms, for a total of seventy-two illustrations.

Plate: 47 and 48, Glycine

Plate: 62 and 63, Periwinkle

Plate: 2, Iris (Detail)

Platee: 4, Poppy (Detail)

Plate: 7, Water Lily (Detail)

Plate: 24, Cyclamen (Detail)

Endsheet

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