Make a Wish Foundation Final

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Product of an Art Institute class project. The project instructions were to create a new logo for an already established corporation. We had to show our development of three ideas from brainstorming to completed branding ideas. Printing and usage instructions were normally included.

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Make a Wish Foundation Final

  1. 1. Identity GuideMake A WishFoundation 1
  2. 2. Table of ContentsNon-Profit Synopsis 4Mission Statement 5Taglines 6Logo Specifications and Usage Guide 14Corporate and Personal Stationary Packages 21Advertisement Concept and Design 33Advertisement Applications 43Promotional Items 48Designer Biographies 55 3 Contents
  3. 3. Since 1980, the Make-A-Wish Foundation has enriched the lives of children withlifethreatening medical conditions through its wish-granting work. The Foundation’s missionreflects the life-changing impact that a Make-A-Wish experience has on children, families,referral sources, donors, sponsors and entire communities.The Make-A-Wish Foundation was founded in 1980 after a little boy named Chris Greiciusrealized his heartfelt wish to become a police officer. Since its humble beginnings, theorganization has blossomed into a worldwide phenomenon, reaching more than 161,000children around the world.Although it has become one of the world’s most well-known charities, theMake-A-Wish Foundation has maintained the grassroots fulfillment of its mission.A network of more than 25,000 volunteers enables the Make-A-Wish Foundation toserve children with life-threatening medical conditions. Volunteers serve as wish granters,fundraisers, special events assistants and in numerous other capacities.As the Foundation continues to mature, its mission will remain steadfast. Wish children ofthe past, present and future will have an opportunity to share the power of a wish. 4 Non Profit Synopsis
  4. 4. We grant the wishes of children with life threatening medicalconditions to enrich the human experience with hope,strength and joy 5 Mission Statement
  5. 5. Making wishes come true Experiencing and Fulfilling WishesThe Wishes of Children Made Reality The Dreams of Children are filledWishes are the Mission Our Mission is WishesFulfillment of Wishes Hope Through WishesDreams are Reality Caring for Wishes of ChildrenWishes coming TrueTurning Wishes into Experiences 6 Taglines
  6. 6. 7LogoSamples
  7. 7. 8Logo Samples
  8. 8. Wishes Sickness What do you wish on?Dreams Kids StarsFamily Adults CandlesLove God Shooting StarsCaring Death Released BalloonsTime Goals WellsQuality Friends FountainsTriumph Togeather CoinsOvercoming Working Togeather BubblesFaith Fantisy Dandelions (seed)Hope Fairy Tales PrayersMiracles Needs MetClimbing Mountains HappinessFullfillment JoyMagic Fairy God MotherWishing Well Fairy’sComfort Wands 9 Brainstorming
  9. 9. 10Logo Thumbnails
  10. 10. Make A Wish ake MA W ishMake A WishMake A Wish a ke M A s h Make aMake A Wish W i Wish ke h Ma A is ke M aA Wish W 11 Logo Roughs
  11. 11. Make A Make A Wish Wish Foundation Foundation Make A Wish Make AFoundation Wish FoundationMake A Make A Wish WishFoundation Foundation 12 Logo Refined Roughs
  12. 12. Make A WishFoundation 13 Final Color Logo
  13. 13. Logo Specifications and Usage Guide 14
  14. 14. Make A Wish FoundationOnly Use Pantone Process Coated ColorPantone DS 188-CPantone DS 1-2 C1This logo is completely sizeable for all usesColor logos are useful for many applications including sinage, brochures, promotionalmaterials and on manufactured product. 15 Full Color Logo Specifications
  15. 15. Logo may be used with any colors needed for application. Base Color DS 188-1C Pantone Process Coated Make A Wish Yellow Star DS 1-2 C1 Pantone Process Coat- Foundation edBlack and White Application Base Color Pantone Process Coated Black Make A Wish White Star Foundation Pantone Process Coated White 16 Logo Color Specifications
  16. 16. Base ColorPantone Process Coated Make ADS 91-1C WishGreen StarPantone Process Coated FoundationDS 283-1CBase ColorPantone Process CoatedDS 225-2C Make A WishOrange Star FoundationPantone Process CoatedDS 18-2C The color for the logo may be changed to any Pantone Process color available. No outline may be added. The star should always be used with a compatable contrasting color. Logo may be used in black and white, with the star any additional pantone color required. 17 Variations of Color Applications
  17. 17. Make A Wish Don’t use the logo without the star. Logo must have the star in a Foundation Pantone Process Uncoated Color in all color applications. Don’t skew or rotate the logo. It must remain at 100% straight Do feel free to use the White outlined version of the logo on a black background where necessary.Make A WishFoundation Do use a black and white version of your choice when color is not Make A appropriate. Wish Foundation 18 Logo Do’s and Don’t’s
  18. 18. Make A WishFoundation Variations of the black and white logo are available Make A and very useful for many different applications. Wish FoundationMake A White center with “paper” value should be used Wish when application to colored paper.Foundation The outlined logo can be used on all white or color applications. This is recommended where a more sleek sophisticated look is needed. 19 Other Black and White Variations
  19. 19. Adobe Caslon Pro Adobe Caslon Pro BoldThe Type face chosen for the logo is Adobe Caslon Pro used in a regular andsemi-bold strength. The strength of the semi bold puts an emphasis on theFoundation of the logo and the foundation of the corporation.Adobe Caslon Pro is an open type pro font, offering extended character andlanguage support. Although a different appearance to the corporate make awish typeface of Adobe Caslon Pro is clean, contemporary and flexible. 20 Identity Typefaces
  20. 20. Corporate and PersonalStationary Packages 21
  21. 21. Make A WishFoundation333 Hope Valley RoadNewport Beach, California 92627(714) 555-1212 Make A Wish Foundation Make A Wish Foundation 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 Make A Wish Foundation 333 Hope Valley Road Newpor t Beach, Cal ifornia 92627 p Newport , California 555-1212 (714) 555-12 12 555 1212 Make A Wish Foundation 333 Hope Valley Road Newport Beach, C o wpo t c , California 9 6 7 92627 (714) 555 12 12 555-1212 Make A Wish Foundation 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 James O’Doolan President 22 Corporate Package
  22. 22. Make A Wish Foundation 333 Hope Valley Road Shown here is the corporate Make Newport Beach, California 92627 (714) 555-1212 A Wish Foundation letterhead sheet design. Should be used for all outside company business communications prepared for company mailing. Paper size: 8 1/2 x 11 Paper recommendation Paper type : White, uncoated Paper name : Sweden BondPaper weight: 0gsmUsed in conjunction with your Logo Design, Corporate Identity helps to completethe image of your company. It continues the idea that was created in the logo, andcarries it through to your marketing materials.Beyond the necessary business cards, letterhead and envelopes, the team usesyour corporate vision to create a range of attention getting products.And once created, the team has the experience and knowledge necessary to createtrouble-free reproduction files, whether that includes custom die cuts, special inksand finishes, or just the right paper stock to enhance your image. 23 Corporate Letterhead
  23. 23. Make A Wish Foundation Shown opposite is the standard Make A Wish 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 corporate business card. Make A Wish Foundation Paper size Business card: 333 Hope Valley Road Newport Beac h, Cal ifornia 9262 7 Newpor t Beach, Californi a 92627 California (714) 555 12 12 555-1212 Make A Wish 2 x 3 1/2 Inches Foundation 333 Hope Valley Road p Newport Beach, California 92627 (714) 555 12 12 555-1212 Paper recommendationMake A WishFoundation333 Hope Valley RoadNewport Beach, California 92627(714) 555-1212 Paper type : James O’Doolan White, uncoated President Paper name : Sweden BondPaper Weight: 22 gsm 24 Corporate Business Card
  24. 24. Shown opposite is the Make A Wish corporate envelope. Should be usedMake A for all person to Wish person businessFoundation communications prepared for company mailing Envelope size: 3 1/2 x 6 7/8 Paper recommendation Paper type : White, uncoated Paper name : Sweden BondPaper weight: 0gsm 25 Corporate Envelope
  25. 25. Make A WishFoundation Make A Wish Foundation 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 Jame s O’Doolan J a mes O Do ol a n James O’ D o o l an ola lan 333 Hope Valley Road Newport Beach, California 92627 President Make A e (714) 555-1212 Wish sh Foundation ndatio 333 Hope Valley Road J James O’ D l O’D O’Doolan Newport Beach, California 92627 (714) 555-1212 President Make A ke Wish ish Jame s O’Doolan J a mes O’ D o ol an James O Do o l a ola Foundation undati 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 President Make A Wish Foundation a t i on James O’Doolan President Make A 333 Hope Valley Road ey R o a d Ro Wish Newport Beach, C a l i f orn i a 92627 c h , California o rn n Foundation 2 (714) 555-1212 26 Personal Stationary Package
  26. 26. Make A WishFoundation Shown opposite is the personal Make-A-Wish letterhead sheet design. Should be used for all person to person business communications prepared for company mailing. Paper size: 8 1/2 x 11 in Paper recommendation Paper type : White, uncoated Paper name : Sweden Bond Paper weight: 0gsm 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 27 Personal Letterhead
  27. 27. 333 Hope Valley Road Newport Beach, California 92627 (714) 555-1212 Shown opposite is the standard James O’Doolan oo an ola Make-A-Wish personal business card. 333 Hope Valley Road Newport Beach, California 92627 President Make A e (714) 555-1212 Wishh Paper sizeBusiness card: Foundation 333 Hope Valley Road J James O’ D l O’D O’Doolan 2 x 3 1/2 Inches Newport Beach, California 92627 (714) 555-1212 President Make A ke Wish ish Foundation undati Paper recommendation Jame s O’Doolan J a mes O Do o l a James O’ D o ol an ola333 Hope Valley RoadNewport Beach, California 92627 President(714) 555-1212 Make A Paper type : White, uncoated Wish Foundation ation James O’Doolan President Paper name : Sweden BondPaper Weight: Make A 22 gsm Wish Foundation 28 Personal Business Card
  28. 28. Shown opposite is the Make A Wish personal envelope. Should be used for all person to Make A Wish person businessFoundation communications333 Hope Valley RoadNewport Beach, California 92627(714) 555-1212 prepared for more personal and sensitive mailing. Envelope size: 3 1/2 x 3 7/8 Paper recommendation Paper type : White, uncoated Paper name : Sweden BondPaper weight: 0gsm 29 Personal Envelope
  29. 29. Use of StationaryCorrect use of stationery provides consistency and integrity, supporting our brandmission, its purpose and values. The way we conduct our everyday business providesan important opportunity to reflect all that we are.For users of all Microsoft Office applications, electronic templates are available todownload from www.MAWStationary.com and should be used with all pre-printedstationery items.A complete set of Microsoft Powerpoint templates are also available for downloadfrom maw.com and should be used at all times.For ease of use and consistency, electronic templates provide pre-determinedtypographic sizes, leading and positioning. No other versions should be used. 30 Stationary Usage
  30. 30. Recommended Paper StocksCapitol Bond Paper - 24 lb. Writing Paper Bright White 25% Cotton Light CockleFinish 8.5 x 11Long held as the benchmark in affordable, dependable 25% cotton communicationpapers, Capitol Bond truly is the standard for business and personalcorrespondence. Acid Free, Elemental Chlorine FreeHoward Linen Paper - Bright White Linen 24 lb. Writing Paper 8 1/2 x 11 ReamHoward Linen is the emblem of performance and economical style. With just a hintof texture, its attractive linen finish can be used for a wide range of applications.Acid Free, Elemental Chlorine Free, Produced with 30% Post-Consumer Fibers 31 Recommended Paper Stocks
  31. 31. 32Critic Guide
  32. 32. AdvertisementConcept and Design 33
  33. 33. 34Ad Samples
  34. 34. Wishing wanting patienceMiracles caring virtuesympathy hospitals childlikeemotion nurses innocentlonging doctors youngdreaming paitents oldreaching waiting all ageshappy parents devistationdeserving loved ones desperationfeeling grandparents limitedpeople freinds fulfillmentchildren happiness wonderfamily sickness amazementhopes terminal last chance time 35 Ad Brainstorming
  35. 35. 36Ad Thumbnails
  36. 36. Sick Children make wishes everyday Sick Children make wishes everyday Sick Children make wishes everyday Help us make them come true Help us make them come true Help us make them come trueMake A WishFoundation Make A Wish Foundation Make A Wish Foundation Ad Roughs 37 Concept 1
  37. 37. Sick Chidren make wishes everyday Sick Chidren make wishes everyday Do wishes really come true? Wishes are the missionHelp us make them come true Help us make them come trueDonate Today Donate Today Make A Make A Make A Wish Wish Wish Foundation Foundation Foundation Ad Roughs 38 Concept 2
  38. 38. Sick Children make wishes everyday Sick Children make wishes everyday Sick Children make wishes everyday Help us make them come trueHelp us make them come true Help us make them come true Make A Make A Make A Wish Wish Wish Foundation Foundation Foundation Ad Roughs 39 Concept 3
  39. 39. Ad Finals Concept 1 Sick children make wishes everydaySick Children make wishes everyday Help us make them come true Help us make them come true Make A Make A Wish Foundation Wish Foundation Sick children make wishes everyday Help us make them come true Make A Wish Foundation 40 Ad Finals
  40. 40. Ad Finals Concept 2Sick chidren make wishes everyday Do wishes really come true? Wishes are the missionHelp us make them come truedonate today Make A Make A Wish Wish Foundation Foundation Sick chidren make wishes everyday Help us make them come true donate today Make A 41 Wish Foundation
  41. 41. Ad Finals Concept 3Sick children make wishes everyday Sick children make wishes everydayHelp us make them come true Help us make them come true Make A Make A Wish Wish Foundation Foundation Sick children make wishes everyday Help us make them come true Make A Wish 42 Foundation
  42. 42. Advertisement Applications 43
  43. 43. 44Advertisement Application 1
  44. 44. 45Advertisement Application 2
  45. 45. 46Advertisement Application 3
  46. 46. 47Critic Guide
  47. 47. Promotional Items 48
  48. 48. 49T-Shirt Thumbnails
  49. 49. Concept 1 50 T-Shirt Finals - Concept 1
  50. 50. Concept 2 Make A Make A Make A Wish Wish Wish Foundation Foundation FoundationHelp me make Help me make Help me makea Wish Come a Wish Come a Wish Come True True True 51 T-Shirt Finals - Concept 2
  51. 51. Concept 3Wishes Make A Wishes Wishes Wish Make A Make A Foundation Wish Foundation Wish Foundation are are areReality Reality Reality 52 T-Shirt Finals - Concept 3
  52. 52. Promotional Handbags Foundation Make A Wish Logos and Other variations of promotional products can be labeled with the standard logo Make A Wish or different derivatives. FoundationMake A WishFoundation Promotional Aprons Colors may be adjusted as needed to make colorful or unusual promotional items. Make A Wish Foundation Make A Make A Wish Wish Foundation Foundation 53 Promotional Items
  53. 53. 54Critic Guide
  54. 54. Designer Biographies 55
  55. 55. Chip Kidd is a graphic designer and writer living in New York City and Stonington, Connecticut.His first novel, The Cheese Monkeys, was a national bestseller and a New York Times Notable Book of theYear. His first book, Batman Collected, was awarded the Design Distinction award from ID magazine. Heis the co-author and designer of the two-time Eisner award-winning Batman Animated. He is the editor-at-large for Pantheon, where he has overseen the publication of Chris Ware’s Jimmy Corrigan: The SmartestKid on Earth, Dan Clowes’s David Boring, and the definitive book of the art of Charles Schulz, Peanuts(designed, edited, and with commentary by Mr. Kidd). He has also written about graphic design and popularculture for McSweeney’s, Vogue, The New York Times, The New York Observer, Entertainment Weekly,Details, 2WICE, The New York Post, ID, and Print.His designs have been described as “Monstrously ugly” (John Updike), “apparently obvious” (William Boyd),“Faithful flat-earth rendering” (Don DeLillo), “surprisingly elegant” (A. S. Mehta), “a distinguished parochialcomic balding Episcopal priest” (Allan Gurganus), “Two colors plus a sash” (Martin Amis) and “not a pieceof hype. My book was lucky.” (Robert Hughes).Mr. Kidd is also the lead vocalist, percussionist, lyricist, and co-songwriter in artbreak, a new band describedas “The New Pornographers meet The Cars” (Unbeige).He does not, apparently, sleep. 56 Chip Kidd
  56. 56. David Carson’s retrospective of his past five years, Trek features photography, film, and Webbased projects that shift between personal and commercial. Uniting the content is Carson’s distinctivelyfragmented and layered compositional approach: One example, a photograph of a sun-bleached shack anda notice board that reads “Carson Design inc,” is adorned with graphic sunbursts, leaving the reader towonder how much of the image is real and how much constructed. The jurors commended the fluid, free-associative feel. “David Carson continues to be one of the world’s most distinctive typographic voices muchimitated, but never matched,” Lupton said. She added that the book, which is published by Gingko Press,“effectively presents Carson’ own work in his own style. That could be too much of a good thing, but inthis case, it’s just right.” 57 David Carson
  57. 57. Paul Rand (born Peretz Rosenbaum, August 15, 1914 – November 26, 1996) was anAmerican graphic designer, best known for his corporate logo designs. Rand was educatedat the Pratt Institute (1929–1932), and the Art Students League (1933–1934). He was one ofthe originators of the Swiss Style of graphic design. From 1956 to 1969, and beginning again in1974, Rand taught design at Yale University in New Haven, Connecticut. Rand was inductedinto the New York Art Directors Club Hall of Fame in 1972. He designed many posters andcorporate identities, including the logos for IBM, UPS and ABC. Rand died of cancer in 1996.He is buried in Beth El Cemetery in Norwalk, Connecticut. 58 Paul Rand
  58. 58. 1920 Saul Bass is born in the Bronx district of New York1936 Wins a scholarship to study at the Art Students’ League in Manhattan1946 Moves to Los Angeles to work as an art director at the advertising agency,Buchanan and Company1952 Opens his own studio, named Saul Bass & Associates in 19551954 Designs his first title sequence for Otto Preminger’s Carmen Jones1957 Devises titles for Michael Anderson’s Around The World in 80 Days andPreminger’s Bonjour Tristesse1966 Directs the racing sequences and devises the titles for John Frankenheimer’sGrand Prix1973 Designs the corporate identity of United Airlines1980 Designs the poster for Stanley Kubrick’s The Shining and devises the corporateidentity of the Minolta camera company1984 Creates a poster for the Los Angeles Olympic Games1987 James L. Brooks persuades Bass to return to title design by creating theopening sequence of Broadcast News1990 Begins a long collaboration with Martin Scorsese by creating the titles forGoodFellas1991 Devises the titles for Scorsese’s Cape Fear and a poster for the 63rdAcademy Awards. Bass designs the Academy Awards poster for the next fiveyears.1993 Creates the title sequence for Scorsese’s The Age of Innocence and aposter for Steven Spielberg’s Schindler’s List1996 Saul Bass dies in Los Angeles of non-Hodgkins lymphoma 59 Saul Bass
  59. 59. Neville Brody, the British designer and art director, has now been atthe forefront of graphic design for over two decades.Initially working in record cover design, Brody made his name largely through hisrevolutionary work as Art Director for the Face magazine. Other international magazine directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with London’s The Observer newspaper and magazine. Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression.In 1988 Brody published the first of his two monographs , which became the world’s best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan. In 1994, together with business partner Fwa Richards, Brody launchedResearch Studios, London. Since then studios have been opened in Paris, Berlin withplans to open a New york studio. Clients range across all media, from web to print,and from environmental and retail design to moving graphics and film titles.A sister company, Research Publishing, produces and publishes experimental multi-media works by young artists. The primary focus is on FUSE, the renowned conferenceand quarterly forum for experimental typography and communications. The publication i sapproaching its 20th issue over a publishing period of over ten years. Three FUSEconferences have so far been held, in London, San Fransisco and Berlin. The conferencesbring together speakers from design, architecture, sound, film and interactive designand web. 60 Neville Brody
  60. 60. Peter Max is a multi-dimensional creative artist. He has worked with oils, acrylics, water colors, finger paints, dyes, pastels, charcoal, pen, multi-colored pencils, etchings, engravings,animation cells, lithographs, serigraphs, silk screens, ceramics, sculpture, collage,video and computer graphics. He loves all media, including mass media as a“canvas” for his creative expression.As in his prolific creative output, Max is as passionate in his creative input. Heloves to hear amazing facts about the universe and is as fascinated with numbersand mathematics as he is with visual phenomena. 61 Neville Brody
  61. 61. Armando Testa, the father of Italian advertising.When asked to describe the work of the Turin-born advertising guruArmando Testa in three words “less is more” immediately come tomind.Minimalism effected much of 20th century art and Testa was aminimalist by nature. He based his advertising art - and indeed art itis - on the principles of impact and simplicity. Testa was influenced byabstract art and is perhaps the first modern Italian adman. In his adsthe decontextualised product reigns supreme. Consider, for example,Pirelli’s baby elephant which had a tyre instead of a trunk.Television first made its way into Italian homes in the 1960s. Testaturned his attention to the new medium and embraced it in full, buildingnew uncharted worlds around his geometric creations. Among his mostfamous characters are the Caballero Misterioso, Carmencita, Paulistaand all the inhabitants of planet Papalla who enthralled the public nightafter night in the television phenomenon “Carosello”. (Carosello wasan innovative mix of comic sketches and advertising in which cartooncharacters were associated with differentproducts.)Armando Testa died in 1992, leaving behindhis works (now showcased up until May 13thin a major exhibition in Turin’s Castello diRivoli) and an advertising agency whichstill handles campaigns for clients the likeof supermarket chain Esselunga and theelectoral candidate Francesco Rutelli withhis smiling promises of a better Italy. 62
  62. 62. Adolphe Mouron Cassandre (January 24, 1901 – June 17, 1968) was an influential Ukrainian-French painter, commercial poster artist, and typeface designer. Born Adolphe Jean-Marie Mouron in Kharkov, Ukraine, to French parents, as a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs. Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency calledAlliance Graphique. Serving a wide variety of clientele, during the 1930s, his creations for theDubonnet wine company were among the first posters designed in a manner that allowed themto be seen by occupants in fast-moving vehicles. His posters are memorable for their innovativegraphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso.In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d’ArtGraphique.With typography an important part of poster design, the companycreated several new typeface styles. Cassandre developed Bifur in 1929,the sans serif Acier Noir in 1935, and in 1937 an all-purpose font calledPeignot. In 1936, his works were exhibited at the Museum of ModernArt in New York City which led to commissions from Harper’s Bazaarto do cover designs.In his later years, Adolphe Mouron Cassandre suffered from bouts ofdepression prior to his suicide in Paris in 1968. 63
  63. 63. Herbert F. (Herb) Lubalin (b. 1918,d. 1981) was a prominent American graphic designer. Hecollaborated with Ralph Ginzburg on three of Ginzburg’smagazines: Eros, Fact, and Avant Garde, mother & childand was responsible for the creative visual beauty of thesepublications. He designed a typeface, ITC Avant Garde, forthe last of these; this distinctive font could be described as apost-modern interpretation of art deco, and its influence canbe seen in logos created in the 1990s and 2000s. 64 Herbert F. (Herb) Lubalin
  64. 64. James McMullan (born 1934) is an illustrator and designer of theatrical posters. He is alsothe author of the book High Focus Drawing and creator of the “High Focus” method of figure drawing. 65 James McMullen
  65. 65. Milton Glaser (born June 26, 1929) is a graphic designer, best known for the I Love New York logo,[1] his “Bob Dylan” poster, and the “DC bullet” logo used by DC Comics from 1977 to 2005. He also founded New York Magazine with Clay Felker in 1968. Glaser was educated at New York City’s High School of Music and Art (now Fiorello H. LaGuardia High School of Music & Art and Performing Arts), graduated from the Cooper Union in 1951 and later, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna under Giorgio Morandi. In 1954 Glaser was a founder, and president, of Push Pin Studios formed with several of his Cooper Union classmates. Glaser’s work is characterized by directness, simplicity and originality. He uses any medium or style to solve the problem at hand. His style ranges wildly from primitive to avant garde in his countless book jackets, album covers,advertisements and direct mail pieces and magazine illustrations. He started his own studio, Milton Glaser, Inc, in1974. This led to his involvement with an increasingly wide diversity of projects, ranging from the design of NewYork Magazine, of which he was a co-founder, to a 600 foot mural for the Federal OfficeBuilding in Indianapolis.Throughout his career he has had a major impact on contemporary illustration anddesign and played an influencing role for Howard Milton. His work has won numerousawards from Art Directors Clubs, the American Institute of Graphic Arts, the Society ofIllustrators and the Type Directors Club. In 1979 he was made Honorary Fellow of theRoyal Society of Arts and his work is included in the Museum of Modern Art, the Victoriaand Albert Museum, the Israel Museum and the Musee de l’affiche in Paris. Glaser hastaught at both the School of Visual Arts and at Cooper Union in New York City. He is amember of Alliance Graphique International (AGI). 66 Milton Glaser
  66. 66. German type and book designer Jan Tschichold(1902 1974) revolutionized modern typography through hisbold, asymmetrical designs and use of sanserif typography,both inspired by the work of the Bauhaus. He proclaimedhis new design philosophy through a series of articles andbooks, including Die neue Typographie, published in Berlinin 1928. His international renown came largely as a result ofhis redesign of Penguin’s entire series of paperback novelsjust after World War II. Any graphic designer practicingtoday owes a debt to Tschichold’s innovation. Jan Tschichold: A Life in Typography offers a concisebiography of Tschichold, accompanied by numerous examples of his vast body of work. It servesas an introduction to Tschichold for those who are unfamiliar with his influential style, yet for theexperienced designer it is an excellent collection of the wide range of his designs. Ruari McLean’sbooks on graphic design include Modern Book Design (1958) and Typographers on Type (1995).He is also the translator of Tschichold’s The New Typography and the author of various books onTschichold’s work 67 Jan Tschichold

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