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Milton Glaser

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Title: Milton Glaser


1
Milton Glaser
  • Graphic Designer

2
Credits
  • First I must give credit Chip Kidd a Graphic
    Designer and his interview with Milton Glaser.
  • This interview gave me more information on Milton
    Glaser then just his interviews that can be found
    on You Tube.

3
Milton Glaser as a child.
  • I was born in 1929, a critical year in the United
    States at the beginning of the Depression. And I
    grew up in the Bronx, in a radical left-wing
    neighborhood that was called Little Moscow by
    people outside of the area. It was a climate of
    left-wing activity, the beginnings of the labor
    movement, the beginnings of the civil rights
    movement, in the first integrated housing in the
    U.S.
  • I feel this has an impact on who Milton is. We
    are the sum of our parts.
  • (Gesture theory in art.)

4
Milton age Five
  • How do you know at the age of five that thats
    what you want to be-what have you seen, what have
    you heard? Its very mysterious. Particularly
    when this decision occurs in early childhood,
    with nothing to do with anything except the sense
    of pleasure I derived from doing it. I was
    overcome I just wanted to do nothing else.
  • ( Here Milton talks about the desire to be an
    artist at that age, and about his parents.)

5
Milton's Parents
  • Yes. I tell the story At the age of five I made
    that decision. In my parents I had the perfect
    combination-a resistant father and an encouraging
    mother. My mother convinced me I could do
    anything. And my father said, Prove it. He
    didnt think I could make a living. Resistance
    produces muscularity. And it was the perfect
    combination because I could use my mothers
    belief to overcome my fathers resistance. My
    father was a kind of a metaphor for the world,
    because if you cant overcome a fathers
    resistance youre never going to be able to
    overcome the worlds resistance. Its much better
    than having completely supportive parents or
    completely resistant parents.

6
Milton age Eight.
  • When I was eight I had rheumatic fever and I was
    in bed for almost a year. And my life consisted
    of working on a wooden board that my mother would
    bring to me-it was a plank about this tall-and
    several pounds of clay. And every day I would
    make either a city or an army, or animals or
    figures, and so on. At the end of every day I
    would pound them down hits table and I would
    spend the night dreaming of starting again the
    next day. And I realized that art had redeemed my
    life, because I was never bored for a minute that
    whole year.

7
Milton age Twelve
  • I never had a construct in my mind what being an
    artist meant obviously, you have to learn that
    later. And I never had an idea that painting was
    a way for me to be in the world, because I
    couldnt imagine the idea of making things to
    sell to people. I just couldnt get that-you make
    a painting and someone buys it because its shown
    in the gallery. But I loved the idea of making
    things that were useful to people. And I started
    out doing comic strips, like most people do.

8
So why not become a cartoonist?
  • I would have loved that, and I thought that was
    what I was going to be. Early on I had obtained
    the name of a cartoonist-what was his name?
    Sheffield?-who was a cousin of somebody. So I
    took my comic strips down to 42nd Street, where
    he had an atelier-a room about half this
    size-covered with cigarette butts. I went up to
    see him I was wearing a blue double-breasted
    suit and a vest, and it was a day like
    this-eighty-five degrees-midsummer.
  • I was twelve and I got on the subway from the
    Bronx. Sweating. I came there about two hours
    early, I was so excited. I lugged this portfolio
    up to see him. And he was smoking a cigarette,
    doing these dreadful drawings, whatever he was
    doing, and he opened my portfolio and he looked
    at it, and he said, Kid, the next time you do
    one of these strips, use a ruler for the boxes.
  • That was it. (MY comment WOW!)

9
Milton age Fourteen
  • But thats what I wanted to do I wanted to be a
    cartoonist. I went to an extraordinary high
    school here, the New York High School of Music
    and Art, which in those days was fantastically
    interesting and sophisticated. I met kids who
    were from every kind of family in the city,
    because it was, I suppose, a meritocracy
    Everybody who had the talent got in.

10
New York High School of Music and Art
  • It was a marvelous school, very high academic
    grading you did art or music for half a year,
    four hours a day. It was fantastic. I remember
    the first day I went to school, the teacher was
    giving a lecture on Cezanne. I was fourteen or
    fifteen years old. And by the time I got through
    with music and art, I realized there was another
    kind of world that went beyond my dream of being
    a cartoonist. I didnt know exactly what it was
    yet, that there was such a thing called design.
  • (Wow enter the world of design.)

11
Entering the world of Design
  • Chip Kidd So you did learn about design at that
    point.
  • Milton Glaser Yes, I did, they had courses on
    poster design, and other kinds of design, as well
    as painting.
  • Chip Kidd And dealing with type?
  • Milton Glaser The beginning of typography, not a
    lot of it, because there werent enough people
    teaching it in those days.
  • Chip Kidd I wouldnt think so.
  • Milton Glaser So at that time I began to see
    that there was a range of opportunities. In
    between cartooning and painting there was a lot
    of other stuff going on that also interested me.
    After I got out of school, I flunked the entrance
    examination to Pratt.

12
Interesting
  • Milton will create a type face of his own later.
    Glaser stencil, 1967 a font family tree displays
    different foundries versions of basically the
    same typeface design.

13
So he flunked the entrance examination to Pratt
  • I was promised a scholarship but I flunked the
    entrance examination, so I went to the dean and I
    said, You promised me a scholarship. He said,
    I cant give you a scholarship if you cant even
    pass the entrance exam. So I said, What can I
    do, I didnt apply to anyplace else. So he says,
    Well, I have an idea. Take the night school
    entrance examination. Youll come to school,
    youll go for a year, then Ill give you a
    scholarship to the daytime. So I took the
    nighttime examination, and I failed that. Laughs

14
WHY?
  • Chip Kidd Wait a minute. What are you failing,
    are you failing math, English, what?
  • Milton Glaser No, the art exam!
  • Chip Kidd What?!
  • Milton Glaser Yes, the art exam. It was a
    series of five questions that you filled out I
    thought I did them rather well.
  • Chip Kidd That seems impossible to me.
  • Milton Glaser No, its not. Thats what
    happened, who knows why.

15
Now what!
  • So then I went to work, because I hadnt applied
    to any other school, and I took a job at a
    packaging company. I also attended the Art
    Students League at the same time. Then I learned
    a little about professional life-I was an
    apprentice, and at the end of the year, they made
    me the art director of this packaging outfit. But
    of course I was doing the same thing whether they
    called me an art director or an apprentice-I was
    wrapping packages and schlepping them to the post
    office. But it gave me a real sense of what I
    wanted to be doing professionally. Then I went to
    Cooper Union. And there I got a wonderful
    education.

16
Cooper Union
  • At Cooper, I got a terrific grounding in
    typography, and in design, and I continued
    painting. Cooper really is a superb school.
  • It was full of interesting people and completely
    devoted teachers, teaching out of passion and
    devotion to their ideals. In fact, my education
    in New York has been superb. I got the most
    fabulous education in this city. It really shaped
    my life. But after that I got a Fulbright, and
    went to Bologna for a couple of years, and I
    studied etching with Giorgio Morandi. That was a
    big influence on me. After I was married I went
    back and lived in Rome and did lithography for a
    while, but I came back here and started Pushpin.

17
Recap
  • Born in 1929
  • Went to school at New York City High School of
    Music and Art
  • Graduated from Copper Union in 1951
  • Got a Fulbright scholarship and went to the
    Academy of fine Arts in Bologna, Italy.
  • In 1954 Push Pin Studios is founded

18
Push Pin Studios
  • Push Pin Studios was started in 1954 with
    Miltons classmates from Copper Union Seymour
    Chwast, Ed Sorel and Reynold Ruffins.
  • Chip Kidd When you first started Pushpin, did
    you find it hard to work up a big client base?
    Was it hard to get started?

19
Getting Started
  • Yes, it was, but not any harder than it is for
    anyone just entering the field. We had the great
    advantage of having the little publication we
    produced-at first the Pushpin Almanac and then
    the Pushpin Graphic. That was, in retrospect, a
    tremendous device for getting clients.
  • It was tremendously beneficial to us. It really
    was the single thing that accounted, I think, for
    our success. Because it was constant. It came out
    every month or two, whereas everybody else would
    send out a promotion and then wouldnt send out
    anything for a year. The frequency of the Pushpin
    Graphic made a big difference.

20
Milton Glasers Art Style
  • 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.

21
1966
  • Bob Dylan with the kaleidoscope hair, poster for
    CBS records, that was included in the singer's
    greatest hits album, 1966.

22
1968
  • In 1968, Glaser and Clay Felker founded New York
    Magazine. Glaser was president and design
    director until 1977 (as well as its underground
    gourmet - writing about good, cheap restaurants
    in N Y). publication design had become a big
    interest.
  • Poster on right
  • olivetti ad, 1968

23
  • CHIP KIDD You write in Art is Work that the very
    famous I Heart New York logo you designed was
    originally proposed as something else.
  • It was just a little typographical solution with
    two lozenges and a word in it, two ovals, and the
    word inside it it was not in any way
    distinguished. But I always thought the whole
    thing was going to be a three-month campaign.

It was like one of those things you bang out
because it didnt seem to merit any more
attention.
24
But even so, I said, This the first solution
isnt good enough, And I tell the anecdote. You
just never understand what makes certain ideas
that you have cling to people. I have to say that
when you do something that you really feel is
useful-when you have a positive social effect-it
makes you feel great. Milton Glaser did this
logo Pro-Bono (No Money)
25
9/11 adaptation of the logo
  • I woke up one day, a few days after 9/11. I
    thought, you know, I love New York isnt the
    story anymore. Something happened. And I realized
    that what had happened was an injury, like when a
    friend of yours, somebody you love, gets terribly
    sick. You suddenly become conscious of how much
    you care for them. Thats the inevitable
    consequence of somebody you have affection for.
    And I realized that my feeling about the city had
    deepened

26
9 -11 Logo
  • The black mark on the heart represents where the
    trade center had once been. Milton called in a
    lot of favors from old friends to have this
    poster produced and distribute all the city.
  • Pro bono again many people worked for free to get
    this new logo into circulation.

27
Could we use it in a fundraiser?
  • I said, Great, and Ill sign some for you, and
    you can offer it on the air to raise money. So
    they offered it for a hundred dollars unsigned or
    a thousand signed. That little piece of dreck!
  • And they raised 190,000.
  • Every penny that was made on it went to either
    the firemens fund, or to restore the antenna on
    WNYC or something.

28
No good deed goes unpunished.
  • Long story yet as an artist you must be careful.
    Seems Milton had no right to use the logo the way
    that he did. New York City Commerce Department at
    one point wanted to use the logo without the
    black mark. Milton said no. They let him know he
    was in violation of a trade mark. Got ready to
    sue him. But in the end dropped it and lets just
    forget about us getting ready to sue you for
    using that logo that way.
  • ( This was interesting to read about, but in the
    end it had a happy ending. That poster raised a
    190,000.)

29
Recap
  • Pushpin Studios 1954 - 1974
  • Bob Dylan poster 1966
  • Glaser stencil 1967
  • New York magazine 1968 - 1977
  • I heart New York Logo 1973
  • Milton Glaser, Inc 1974

30
Milton Glaser, Inc
He started his own studio, Milton Glaser, Inc, in
1974. This led to his involvement with an
increasingly wide diversity of projects, ranging
from the design of New York Magazine, of which he
was a co-founder, to a 600 foot mural for the
Federal Office Building in Indianapolis.
31
So much about Milton
  • Throughout his career he has had a major impact
    on contemporary illustration and design. His work
    has won numerous awards from Art Directors Clubs,
    the American Institute of Graphic Arts, the
    Society of Illustrators and the Type Directors
    Club. In 1979 he was made Honorary Fellow of the
    Royal Society of Arts and his work is included in
    the Museum of Modern Art, the Victoria and Albert
    Museum, the Israel Museum and the Musee de
    l'affiche in Paris. Glaser has taught at both the
    School of Visual Arts and at Cooper Union in New
    York City. He is a member of Alliance Graphique
    International (AGI).

32
(No Transcript)
33
He has so many posters done.
This one from the world health organization's
international AIDS symbol and poster, 1987
34
  • hummingbird,
  • celebrity created holiday cards -world hunger
    year, 2003
  • inside may your holiday be full of beautiful
    surprises

35
Any plans to retire?
  • Oh god, no. There is nothing I fear more than the
    idea of having to retire. I fear retirement more
    than death.

36
any advice for the young ?
  • it's a tough business,you have to be amazingly
    consistent and persistent.you have to work like
    hell.you cannot become an excellent practioneer
    without constantly working hard all your life. it
    is not an easy way to earn your money.and... you
    have to be well trained and you have not to be
    narrow to references, because everybody else is
    doing that at the same time.the richness of
    understanding comes from the deep historical,
    philosophical idea.

37
Identity Projects
38
Full Credits
  • CHIP KIDD
  • http//www.believermag.com/issues/200309/?readint
    erview_glaser
  • Wikipedia
  • http//en.wikipedia.org/wiki/Milton_Glaser
  • Designboom
  • http//www.designboom.com/eng/interview/glaser.htm
    l
  • Milton Glaser Inc.
  • http//www.miltonglaser.com/pages/identproj/id_ind
    ex.html

39
Movies can be found at.
  • http//testing123.info/milton_glaser.html
  • This report was done in 2008
  • By Gloria Cochran for class project
  • CGR 230 Modesto Junior College.
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