Reynold Ruffins, an illustrator, graphic designer and artist who was an early member of Thrust Pin Studios, the impish and buzzy style company launched by his Cooper Union classmates Milton Glaser, Ed Sorel and Seymour Chwast, died on July 11 at his household in Sag Harbor, N.Y. He was 90.

The cause was cardiac arrest, his son Seth reported.

Print advertising and marketing in the early 1950s was a formal, relatively dull affair. Products have been typically hawked working with traditional typefaces paired with romantic or idealized pictures and illustrations on the a single hand, or a chilly, rational European modernist design — exquisite pictures and sans serif variety — on the other.

In witty, faux-nostalgic drawings and lettering, Mr. Glaser, Mr. Chwast, Mr. Sorel and Mr. Ruffins, all illustrators, turned the subject on its head, and in so executing largely created the postmodern self-control of graphic style and design, by having what had been disparate roles — illustration and kind layout — and putting them jointly.

“They built leisure out of design,” mentioned Steven Heller, a former art director at The New York Instances Reserve Assessment and the editor of “The Thrust Pin Graphic: A Quarter Century of Revolutionary Design and Illustration,” a 2004 visible record of the studio’s function. “They did it by applying vernacular sorts like cartoon, and by going back into models like Art Nouveau and Art Deco and reinterpreting them. They introduced passé back. They brought pastiche into the vocabulary of structure and built it awesome.”

In his personal do the job, Mr. Ruffins mined late 19th century and early 20th century European imagery like the posters and illustrations of Emil Pretorius or Heinrich Christian Wilhelm Busch, a German cartoonist and illustrator. The kinetic looniness of the German cartoons and the billowing varieties of artwork nouveau taken up by Mr. Ruffins and the other Drive Pin illustrators prefigured the trippy, psychedelic imagery that would grow to be the signature seem of the late ’60s.

“Reynold performed with the kinds,” Mr. Heller stated. “While they healthy into the 20th century continuum, they are undoubtedly his have.”

As Mr. Ruffins recalled later on, remaining Black built him a rarity in the promoting company — an marketplace that, ahead of the Civil Legal rights era, was an all-white entire world of Mad Guys. Since his perform was his calling card, clientele usually did not know his race.

“After finishing a career, I’d go meet up with an art director and there would be some surprises,” Mr. Ruffins explained to The Sag Harbor Express in 2013. “One-time, I concluded a large work — both physically and financially — and experienced my portfolio below my arm. I was sensation so excellent. The receptionist looked up and said, ‘The mailroom’s that way.’ The assumption was if you have been Black, you had been delivering a little something.”

Reynold Sprint Ruffins was born on Aug. 5, 1930, in Queens. His father, John Ruffins, was an appliance salesman for Consolidated Edison, usually acknowledged as Con Ed, the energy enterprise his mother, Juanita (Sprint) Ruffins, was a homemaker.

Like Mr. Glaser, a large faculty buddy, he went to the Substantial School of Music & Artwork, and then Cooper Union, the remarkably selective and at the time tuition-cost-free arts higher education in downtown Manhattan. Mr. Ruffins graduated in 1951.

One particular summer season, he and his classmates there, Mr. Glaser and Mr. Chwast, formed a graphics small business called Design and style Moreover. They had two clientele, Mr. Chwast recalled. One desired to make a gross of cork position mats (Mr. Ruffins designed the tropical scene they silk-screened onto them) and the other was a monologuist who desired a flier. “Then our vacation was over and we went again to faculty,” Mr. Chwast reported.

Following, Mr. Chwast, Mr. Sorel and Mr. Ruffins experienced the plan to promote by themselves with a digest of type and illustration, a four-web site booklet intended as a parody of the Farmer’s Almanac. They termed it the Force Pin Almanack and despatched it to art directors to drum up work. (Mr. Glaser experienced gone to Europe on a Fulbright.) It was crammed with bits of ephemera — factoids and poems and previous-time treatments for toothache, for case in point — rendered in a neo-nostalgic design and style all their own. Mr. Ruffins made the force pin brand. Copies of the Almanack and its successor, the Push Pin Month to month Graphic, are now collectibles for design fanatics.

In 1954, Mr. Chwast, Mr. Glaser and Mr. Sorel shaped a appropriate style business and named it Drive Pin Studios, though they experienced barely any clientele, and invited Mr. Ruffins to sign up for.

But Mr. Ruffins had married Joan Younger, a classmate at Cooper Union, and they experienced a baby, so he took a position at a far more set up agency. In a sign of the times, Joan was questioned to go away Cooper Union when she was expecting. The dean told her she was squandering a place that could be given to a person. Many years later, the college awarded her a certificate of completion.

When Push Pin Studios founded by itself, Mr. Ruffins returned, and stayed for about five many years, Mr. Chwast stated, ahead of heading out on his individual in 1960. Mr. Sorel, the very well-identified political cartoonist and New Yorker contributor, left early on, far too. Mr. Glaser, of study course, would go on to become a co-founder of New York Magazine, make the “I ♥ NY” brand and other legendary layouts.

Mr. Ruffins contributed types for The Urbanite, a short lived culture magazine for “the New Negro,” out in 1961, place collectively by Byron Lewis, an promoting executive, and other folks. James Baldwin, Lorraine Hansberry, Langston Hughes and LeRoi Jones also contributed.

“We could not attract any paid promotion,” claimed Mr. Lewis, who went on to commence his individual promoting agency, Uniworld, to concentrate on the Black sector. “No mainstream advertiser preferred to market in a Negro publication. That’s what we were known as then. We had been a start-up striving to be different from Ebony and Jet which concentrated on Black stars. Reynold was a pioneer due to the fact he was doing work in the white mainstream promotion globe. That was unheard-of for a Black man then. He was a role design.”

Mr. Ruffins later on started out the style and design studio Ruffins/Taback, Inc. with his close friend Simms Taback. (They had a greeting card enterprise, too, known as Cardtricks, that includes the two men’s expressive, arch drawings.)

He collaborated with Jane Sarnoff, a writer, on 14 children’s guides, which were offbeat and comedic expositions on what ever subject intrigued them in any specified year, from superstitions to chess to riddles.

His illustrations for “Running the Road to ABC,” by Denize Lauture, a Haitian poet, attained Mr. Ruffins honors for illustration in 1997 from the Coretta Scott King Reserve Awards. “Illustrator Reynold Ruffins’ beautiful solitary- and double-webpage gouache shots seize the cadence of Lauture’s rhythmic textual content and the lively shades of the children’s environment,” The Los Angeles Times wrote in 1996.

Joan Ruffins, a painter, died in 2013. In addition to his son Seth, Mr. Ruffins is survived by two other sons, Todd and Ben a daughter, Lynn Cave, and 6 grandchildren.

Mr. Ruffins, who taught for just above a decade in the art division at Queens College, began portray whole time in the early 2000s, joyous, jazzy and generally abstract function he exhibited in Sag Harbor and elsewhere.

“I’ve experienced the great fortune of almost constantly taking pleasure in my do the job, some considerably less of system than other folks,” he told The Sag Harbor Convey. “I almost certainly operate more durable at easel painting than I did as illustrator for the reason that I had the constraints and the need to satisfy the consumer, while it can be practical to know what you simply cannot do.”