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Glaser
Glaser
Glaser
Glaser
Glaser
Glaser
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Glaser
Glaser
Glaser
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Glaser
Glaser
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Glaser
Glaser
Glaser
Glaser
Glaser
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Glaser
Glaser
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Glaser

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Milton Glaser

Milton Glaser

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  • 1. jeudi, 8 décembre 2011
  • 2. Milton Glaser is the embodiment of American graphic design during the latter half of the 21st century. His presence and impact on the profession internationally is formidable. Immensely creative and articulate, he is a modern renaissance man — one of a rare breed of intellectual designer-illustrators, who brings a depth of understanding and conceptual thinking, combined with a diverse richness of visual language, to his highly inventive and individualistic work.jeudi, 8 décembre 2011
  • 3. Born in 1929, Milton Glaser was educated at the High School of Music and Art and the Cooper Union art school in New York and, via a Fulbright Scholarship, the Academy of Fine Arts in Bologna, Italy. He co-founded the revolutionary Pushpin Studios in 1954, founded New York Magazine with Clay Felker in 1968, established Milton Glaser, Inc. in 1974, and teamed with Walter Bernard in 1983 to form the publication design firm WBMG.jeudi, 8 décembre 2011
  • 4. Pushpin Studios In 1954, Milton Glaser, along with Reyonld Ruffins, Seymour Chwast, and Edward Sorel, founded Pushpin Studios. For twenty years Glaser, together with Seymour Chwast, directed the organization, which exerted a powerful influence on the direction of world graphic design, culminating in a memorable exhibition at the Louvres Museum of Decorative Arts in Paris.jeudi, 8 décembre 2011
  • 5. Pushpin Studios Dylan poster 1967jeudi, 8 décembre 2011
  • 6. New York magazine In 1968, Glaser and Clay Felker founded New York magazine, where Glaser was president and design director until 1977. The publication became the model for city magazines, and stimulated a host of imitations.jeudi, 8 décembre 2011
  • 7. New York Logo The "I love NY" slogan and logo was developed to promote tourism in New York State. Glaser went on to create the "I love NY" logo 1977, which has become a fundamental part of the American landscape. The use of a heart as a symbol for the word "love" has been widely imitated since then. He is also responsible for the complete graphic and decorative programs for the restaurants in the World Trade Center in New Yorkjeudi, 8 décembre 2011
  • 8. Milton Glaser inc. Milton Glaser, Inc. was established in 1974. The work produced at this Manhattan studio encompasses a wide range of design disciplines. In the area of print graphics, the studio produces identity programs for corporate and institutional marketing purposes - including logos, stationery, brochures, signage, and annual reports. In the field of environmental and interior design, the firm has conceptualized and site-supervised the fabrication of numerous products, exhibitions, interiors and exteriors of restaurants, shopping malls, supermarkets, hotels, and other retail and commercial environments. Glaser is also personally responsible for the design and illustration of more than 300 posters for clients in the areas of publishing, music, theater, film, institutional and civic enterprise, as well as those for commercial products and servicesjeudi, 8 décembre 2011
  • 9. Milton Glaser inc. Logosjeudi, 8 décembre 2011
  • 10. Milton Glaser inc. Brochuresjeudi, 8 décembre 2011
  • 11. Milton Glaser inc. Fontjeudi, 8 décembre 2011
  • 12. Milton Glaser inc. Magazinejeudi, 8 décembre 2011
  • 13. Milton Glaser inc. Posters Dylan 1967 A poster inspired by a brilliant headline: Full Color Sound. Sometime words trigger the imagination in a powerful way. The image owes a debt to Magritte an all time favorite source of ideas.jeudi, 8 décembre 2011
  • 14. Milton Glaser inc. Posters Sony Full Color Sound 1980 A poster inspired by a brilliant headline: Full Color Sound. Sometime words trigger the imagination in a powerful way. The image owes a debt to Magritte an all time favorite source of ideas.jeudi, 8 décembre 2011
  • 15. Milton Glaser inc. Posters SVA Being Good Is Not Enough 1979 An oversized poster for the School of Visual Arts that shows his interest in the work of the Biggerstaff brothers, two British painters (not brothers) who moonlighted doing posters and produced some of the finest works in the genre.jeudi, 8 décembre 2011
  • 16. Milton Glaser inc. Posters Van Gogh 100 Years 1989 This poster celebrating a Van Gogh anniversary cross references a work by another famous Belgian artist, Magritte. The joke depends on the viewers knowledge of the Magritte painting but my presumption was that art lovers would understand the reference.jeudi, 8 décembre 2011
  • 17. Milton Glaser inc. Posters Mozart Sneezes 1983 This is a poster that depends on the form of a comic strip - and the incongruity of the sublime Mozart acting like an ordinary personage.jeudi, 8 décembre 2011
  • 18. Milton Glaser inc. Posters Juilliard III, Ladder 1989 One of a series of posters for the extraordinary music school in New York. This one suggests the idea of aspiration and creativity. I remembered a painting by Miro that used a ladder leading to the heavens. If youre going to steal, steal from the best.jeudi, 8 décembre 2011
  • 19. Milton Glaser inc. Posters King Lear 1981 This poster of King Lear expresses his blindness by using the representation of his daughters profile as his eye. Stylistically, the boldness and expressive quality of the drawing intend to express the drama of the opera.jeudi, 8 décembre 2011
  • 20. Milton Glaser inc. Posters Great Illustrators 1983 This poster attempts to represent illustration as a product of the eye and the hand. The color variation intends to show the range of different approaches in an exhibition where many illustrators were represented.jeudi, 8 décembre 2011
  • 21. Milton Glaser inc. Posters The Mask 1985 He took a scrap of variegated paper and poked his hand through it to create this curious face that served as an announcement for a show of his work at the Cooper Union.jeudi, 8 décembre 2011
  • 22. Milton Glaser inc. Posters Images of Labor 1981 A poster that creates the image of a liberated bird from a pair of bound hands.jeudi, 8 décembre 2011
  • 23. Milton Glaser inc. Posters Poppy Head Turkey 1968 A rather strange early poster with a surreal intent combining Poppy, a music company, and the idea of Thanksgivingjeudi, 8 décembre 2011
  • 24. Milton Glaser inc. Posters Desig n 1982 A poster for a series of documentaries on designers made for television. The torn fragment with the "N" is repeated as a background motif.jeudi, 8 décembre 2011
  • 25. Milton Glaser inc. Posters Beethoven 1980 A romantically heroic portrait of Beethoven served as the subject for an exhibition of his work.jeudi, 8 décembre 2011
  • 26. Milton Glaser inc. Posters Law 1987 The head of justice is portrayed here in a simplified way. The parallel rules are a reference to the imagery of the Grecian columns that are used so often in legal symbolism.jeudi, 8 décembre 2011
  • 27. Milton Glaser inc. Posters New York Magazine 1978 An early poster made as a promotion for New York Magazine, which was founded by Clay Felker and Milton Glaser in 1968.jeudi, 8 décembre 2011
  • 28. Milton Glaser inc. Posters The world health organizations international AIDS symbol and poster, 1987jeudi, 8 décembre 2011
  • 29. Milton Glaser inc. Milton Glaser Art is Work 2000 This is a rich survey of Glasers influential work in the 25 years since his seminal book, Graphic Design.jeudi, 8 décembre 2011
  • 30. Glaser is personally responsible for the design and illustration of more than 300 posters for clients in the areas of publishing, music, theater, film, institutional and civic enterprise, as well as those for commercial products and services. Milton Glaser is at present design consultant to Stony Brook University, Landsʼ End Direct Merchants, Schlumberger Ltd., Brueggerʼs Bagels and a number of other businesses. From the start of his career, Milton Glaser has been an active member of both the design and education communities. He has been an instructor and a Board Member at the School of Visual Arts, New York since 1961, and is on the Board of Directors at The Cooper Union, New York.jeudi, 8 décembre 2011
  • 31. jeudi, 8 décembre 2011
  • 32. Dissent is an essential part of keeping democratic societies healthy, and our ability as citizens to voice our opinions is not only our privilege, it is our responsibility. Without this dialogue, the backbone of what we have fought for so desperately could easily collapse. Over the past several decades, we have seen the number of democratic societies around the globe increase, and during the past ten years, there has been a heightened awareness of the increasing conflicts and problems that both directly and indirectly affect our everyday lives. With the Middle Easts never-ending conflict, Bushs “war on terrorism,” and numerous financial and environmental crises, peoples sense of safety, power, and representation has diminished, in part, because they feel they have no voice.jeudi, 8 décembre 2011
  • 33. Designers, however, have used their skills to communicate their dissent throughout history and are doing so even more now since the birth of the Web and the increasing ease of distributing posters and other printed materials. It is said that a picture is worth a thousand words, designers have used this adage to their advantage by creating simple yet powerful images that immediately convey poignant messages to their viewers. The Design of Dissent examines graphic work that focuses on social and political concerns from around the globe. The time for this work is certainly ripe, as the US, and the world, flare in opposition to many important issues.jeudi, 8 décembre 2011
  • 34. This is what I have learned byMilton Glaser All I ever wanted to do was to make images and create form. This instinct for form-making seems to be something that is very characteristic of our entire species. Its one of the things that almost defines humankind. I like the idea of cultures that do not have an idea of art as a separate activity from their daily life, such as many African groups, where there isnt a word that approaches the idea of art. They are very interested in containing magic but that is another thing. Among the Balinese, there is no word for art. They just say “wedo things the best that we can.” Which is a nice way to think about what we all do. I am going to tell you everything that I know about the practice of design. It is a sort of collage of bits and pieces that I have assembled over 50 years. It includes a lot of things Ive said before but Ive repackaged them rather attractively. This is what Ive learned.jeudi, 8 décembre 2011
  • 35. 1 YOU CAN ONLY WORK FOR PEOPLE THAT YOU LIKE. This is a curious rule and it took me a long time to learn because in fact at the beginning of my practice I felt the opposite. Professionalism required that you didnʼt particularly like the people that you worked for or at least maintained an arms length relationship to them, which meant that I never had lunch with a client or saw them socially. Then some years ago I realised that the opposite was true. I discovered that all the work I had done that was meaningful and significant came out of an affectionate relationship with a client. And I am not talking about professionalism; I am talking about affection. I am talking about a client and you sharing some common ground. That in fact your view of life is someway congruent with the client, otherwise it is a bitter and hopeless struggle.jeudi, 8 décembre 2011
  • 36. 2 IF YOU HAVE A CHOICE NEVER HAVE A JOB. One night I was sitting in my car outside Columbia University where my wife Shirley was studying Anthropology. While I was waiting I was listening to the radio and heard an interviewer ask ʻNow that you have reached 75 have you any advice for our audience about how to prepare for your old age?ʼ An irritated voice said ʻWhy is everyone asking me about old age these days?ʼ I recognised the voice as John Cage. I am sure that many of you know who he was – the composer and philosopher who influenced people like Jasper Johns and Merce Cunningham as well as the music world in general. I knew him slightly and admired his contribution to our times. ʻYou know, I do know how to prepare for old ageʼ he said. ʻNever have a job, because if you have a job someday someone will take it away from you and then you will be unprepared for your old age. For me, it has always been the same every since the age of 12. I wake up in the morning and I try to figure out how am I going to put bread on the table today? It is the same at 75, I wake up every morning and I think how am I going to put bread on the table today? I am exceedingly well prepared for my old ageʼ he said.jeudi, 8 décembre 2011
  • 37. 3 SOME PEOPLE ARE TOXIC AVOID THEM. This is a subtext of number one. There was in the sixties a man named Fritz Perls who was a gestalt therapist. Gestalt therapy derives from art history, it proposes you must understand the ʻwholeʼ before you can understand the details. What you have to look at is the entire culture, the entire family and community and so on. Perls proposed that in all relationships people could be either toxic or nourishing towards one another. It is not necessarily true that the same person will be toxic or nourishing in every relationship, but the combination of any two people in a relationship produces toxic or nourishing consequences. And the important thing that I can tell you is that there is a test to determine whether someone is toxic or nourishing in your relationship with them. Here is the test: You have spent some time with this person, either you have a drink or go for dinner or you go to a ball game. It doesnʼt matter very much but at the end of that time you observe whether you are more energised or less energised. Whether you are tired or whether you are exhilarated. If you are more tired then you have been poisoned. If you have more energy you have been nourished. The test is almost infallible and I suggest that you use it for the rest of your life.jeudi, 8 décembre 2011
  • 38. 4 PROFESSIONALISM IS NOT ENOUGH or THE GOOD IS THE ENEMY OF THE GREAT. Early in my career I wanted to be professional, that was my complete aspiration in my early life because professionals seemed to know everything - not to mention they got paid for it. Later I discovered after working for a while that professionalism itself was a limitation. After all, what professionalism means in most cases is diminishing risks. So if you want to get your car fixed you go to a mechanic who knows how to deal with transmission problems in the same way each time. I suppose if you needed brain surgery you wouldnʼt want the doctor to fool around and invent a new way of connecting your nerve endings. Please do it in the way that has worked in the past. Unfortunately in our field, in the so-called creative – I hate that word because it is misused so often. I also hate the fact that it is used as a noun. Can you imagine calling someone a creative? Anyhow, when you are doing something in a recurring way to diminish risk or doing it in the same way as you have done it before, it is clear why professionalism is not enough. ited goal.jeudi, 8 décembre 2011
  • 39. 4 PROFESSIONALISM IS NOT ENOUGH or THE GOOD IS THE ENEMY OF THE GREAT. After all, what is required in our field, more than anything else, is the continuous transgression. Professionalism does not allow for that because transgression has to encompass the possibility of failure and if you are professional your instinct is not to fail, it is to repeat success. So professionalism as a lifetime aspiration is a limited goal.jeudi, 8 décembre 2011

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