Milton Glaser’s surreal landscapes for Hangar Design Group.
Milton Glaser did this psychedelic poster as a promotion for the Newspaper Advertising Bureau, an organization that briefly printed its own magazine, Creative Newspaper. A relative of Adage, perhaps, judging from its description in WorldCat:
Illustrates newspaper advertising, marketing principles and the winners of the Athena award—“the highest achievement in newspaper advertising creativity.” Includes interviews with advertising executives and their clients.
Click through for the full image.
65 Self-Portraits is one of the best documented of the remarkable series of exhibitions organized by Shirley Glaser while she was director of SVA’s Visual Arts Gallery, 1964-1969.
Milton Glaser designed this LP sleeve for Poppy Records’ original issue of Aaron Lightman’s debut LP. Reissued in 2009 by Wah Wah Records, music mail order boutique Forced Exposure had this to say about this album:
This amazing LP from 1969 is one of the most beautiful hidden gems in the field of pop arranged singer-songwriters. Originally issued on Poppy Records, home of psych heads The Mandrake Memorial among others, Lightman’s LP deserves to be discovered by all the fans of the soft rock, orchestra arranged sounds. Think of an American reply to the early works of Duncan Browne, Bill Fay, Nick Garrie or even Donovan at his most popsike recordings. Fans of the early Bee Gees will also enjoy this LP! Credit for the arrangements and production goes to the great Ron Frangipane and David Christopher, who is also credited as a co-writer of the albums songs. The album came housed in a beautiful Milton Glaser sleeve (Glaser was the main designer at Poppy at that time) which the Wah Wah reissue respects, and featured an insert with the lyrics which is also reproduced on our reissue. Housed in quality sleeves and pressed in 180 gram thick black vinyl for the delight of the most discriminating audiophiles. Limited to 500 copies!
Milton Glaser’s watercolors for a French edition of Boris Vian’s I Spit On Your Graves.
Milton Glaser’s finely detailed sketches for a 7 Up advertising campaign.
Reader Don O’Hara sent us a few additional iterations of the Jem “Classic Series” we featured last week.
Milton Glaser was hired by Deluxe Communications Corporation/Jem to design a set of LP sleeves for oldies releases they called The Classic Series.
Milton Glaser’s menagerie of figures for the School of Visual Arts, 1971.
I’m always interested to see how different artists interpret of the same source material. Zach featured James McMullan’s boxed Alexandria Quartet some months ago, but I’d forgotten that Milton Glaser also created book jackets for at least two volumes (Justine and Balthazar) of Lawrence Durrell’s tetrology for Pocket Books in 1969; I can’t determine whether he also designed jackets for Clea and Mountolive.
While McMullan’s work from the early 1960s is close in spirit to the evocative illustration of his colleagues Robert Weaver and Jerome Martin, Glaser’s late 1960s take shows a pop/psych style then at its height. The art is very much in keeping with other work that Glaser was doing at the time, with its flowing curvilinear lines and high contrast colors, which also, intentional or not, indicate some churning emotional content.
Several incarnations of Vladimir Nabokov’s most lovable protagonist, Timofey Pavlovich Pnin.
Another riff on Milton Glaser’s indefatigable Dylan poster, here for a book by Roots drummer Questlove. It’s interesting the jacket designer also uses a Baby Teeth-esque typeface (though it looks a little wonky?). Anyway, some amusing stories have been bubbling up from this particular volume, including (on Slate) The Time I Went Roller Skating With Prince. Some of earlier, amusingly candid versions of these stories can also be found at the website Questlove’s Celebrity Stories.
Wilfrid Sheed, who died in 2011, was a sharp, flinty prose stylist too often overshadowed by his more explicitly experimental or social-commentary-oriented contemporaries. The acerbic flavor of his art may be best enjoyed in Max Jamison (1970). The next novel, People Will Always Be Kind (named after a line in a Siegfried Sassoon poem) was less heralded but continued to refine his style and adapt it to the world around him (somewhat comparably to Saul Bellow’s middle work). In Dwight Garner’s sensitive appreciation, he emphasizes Sheed’s biting essay style:
“Mushy reviews are a breach of faith,” he declared, and the skin on his compositions was salt-crusted. One review began: “Of Ezra Pound, as of Bobby Fischer, all that can decently be said is that his colleagues admire him.” Another began this way: “Scott Fitzgerald is a sound you like to hear at certain times of the day, say at four in the afternoon and again late at night, and at other times it makes you slightly sick.” Another stated: “Books about suicide make lousy gifts.”
He wanted to live in a world in which one could find “Gershwin playing all night in penthouses, while George Kaufman fired one-liners into the guests and Harpo scrambled eggs in their hats.” Milton Glaser’s cover, with its punchy color combined with austere but evocative line, seems neatly suited to such a world.