All entries tagged ‘milton glaser’
12 Feb

Significant figures

Milton Glaser’s menagerie of figures for the School of Visual Arts, 1971.

More

08 Jan

Justine & Balthazar

Milton Glaser Collection Box 111 Folder 4. Pocket Books, 1969.

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.

20 Nov 2013

Working drawings

Milton Glaser’s sketch for the Working drawings and other visible things on paper not necessarily meant to be viewed as art poster became a part of the artwork.

More

29 Jul 2013

Tea for two

Milton Glaser for the Russian Tea Room.

More

12 Jul 2013

Man in the shadows

Milton Glaser’s cover design for Wilfrid Sheed’s People Will Always Be Kind, Farrar, Straus & Giroux (1973)

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.

25 Jun 2013

Candy men

Fanciful candy packaging for Audience magazine.

More

15 Apr 2013

Everyday is like Sunday

Milton Glaser’s take on Seurat.

More

20 Feb 2013

Cameo gallery

Seymour Chwast Collection: Series 5, Item E33. Photograph by Carl Fischer.

In 1995, the Cooper Union celebrated the 40th anniversary of Pushpin Studios with an exhibition and special sale of drawings and paintings by the three founders, pictured above: Seymour Chwast, Edward Sorel, and Milton Glaser; along with works by John Alcorn, Sam Antupit, Michael Aron, Vincent Ceci, Paul Davis, George Leavitt, Tim Lewis, Jim McMullan, Reynold Ruffins, Jerold Smokler, Richard Mantel, “and others.” This reminded me of another similar device that captured a group that is also heavily represented by the Archive.

More

20 Feb 2013

Love is a sign

Vernacular signage from the first year of the Push Pin Graphic.

More

27 Nov 2012

Something Soft

Another foray by Milton Glaser into the realm of expressive typography.

More

21 Nov 2012

Odd bird

Milton Glaser Collection. Drawer 21, Folder 11: poster for Poppy records, 1968.

Looks like a regular ocellated fellow, with one significant difference. Cross-reference for flowers sprouting from heads: Utopia Records, and this poster for Push Pin Graphic. (Typeface is Glaser Stencil, which appeared on other Poppy productions as well.)

13 Nov 2012

Skeleton key

Forever potent and still open to interpretation despite its ubiquity, the skeleton has surfaced many times in the early work of Milton Glaser.

More

07 Sep 2012

Changing lights

Milton Glaser’s architectural lighting and three-dimensional design for restaurants.

More

29 Aug 2012

Story arc

Milton Glaser got minimal for SVA’s 40th Anniversary logo.

More

17 Aug 2012

Type cast

Some type-based design from Milton Glaser and Seymour Chwast.

More

01 Aug 2012

All together now

Shades of Yellow Submarine in Gian Carlo Menotti’s sci-fi opera for children Help, Help, The Globolinks!

More

31 May 2012

The Elementary Doctor Watson

Milton Glaser created this album cover in 1972 for legendary guitarist and folk singer Doc Watson.

More

09 May 2012

Cross-hatch

Milton Glaser explored an undersea terrain for Sports Illustrated in 1961.

More

30 Mar 2012

For the pleasure and edification of all

Before Push Pin Studios, before the Push Pin Graphic, there was the Push Pin Almanack.

More

23 Mar 2012

Milton’s menus, part 3: return to Subseries G

Descending into Series II, Subseries G, we take another look at some of Milton Glaser’s logos and menus for restaurants.

More

21 Mar 2012

Childcraft

In 1970, Childcraft Education Corp. turned to Milton Glaser to design their flagship store at 150 E. 58th Street.

More

13 Mar 2012

Saturday’s Generation

Are you a member of Saturday’s Generation?

More

25 Jan 2012

Milton Glaser’s menus for the World Trade Center

One curious feature about the Glaser collection is its organizational style, which was based on the way the materials were donated by the designer. Subseries G of his Printed Materials contains many of the menus he did for businesses at the World Trade Center.

More

04 Aug 2011

Champion Papers

The Glaser Archives is chock full of gorgeous promotional pieces for paper companies, dating from a time when they provided a steady stream of work and creative freedom to the designers and illustrators who were also their customers.

More

22 Jul 2011

Layer cake

One of the central features of the Push Pin generation of designers — mainly Seymour Chwast and Milton Glaser — was a continued inspiration from, and reliance upon, physically layered compositions (using e.g., cello-tak) and photographic compositing.

More

20 Jul 2011

Hot potato

Milton Glaser plays with fire for Poppy Records.

More

08 Jun 2011

Don’t it drag on

Milton Glaser teamed with celebrated photographer Duane Michals in 1972 to create this metaphysical album cover for bluesy folkie Chris Smither.

More

12 Apr 2011

They might be giants

Icons of culture and folklore are interpreted by the artists of Push Pin.

More

25 Mar 2011

Let me hear your balalaikas ringing out

Chermayeff & Geismar Collection: USIA “Graphic Trends” portfolio: Robert Weaver

The United States Information Agency deploys its secret weapon in the Cold War: designers and illustrators.

More

16 Mar 2011

The Cook

Milton Glaser created this 1965 book jacket for The Cook, a satirical horror novel about a mysterious chef, Conrad Venn, who seduces and manipulates the wealthy Hill and Vail families with food.

More

11 Feb 2011

Love letter to NY

Just in time for Valentine’s Day, the BBC has just posted a 30-minute radio documentary on the history of Milton Glaser’s iconic I ♥ NY logo. The logo has become so ubiquitous that I think we sometimes forget the fact that it was actually designed by someone. The program traces the genesis of the project back to 1977, when NYC was not the tourist magnet it is today. The New York Chamber of Commerce turned to Glaser to help reverse the state’s economic fortune; Glaser created the logo pro bono. Of course, no one foresaw its enormous cultural impact.

The piece will be available for free for the next six days at the BBC web site.

09 Feb 2011

Dim sum

The Nom Wah Tea Parlor, the venerable Chinatown dim sum purveyor that uses Milton Glaser’s illustrations on its menu, reopened in time for the Chinese New Year.

More

13 Dec 2010

Life Underground

Milton Glaser and Jerome Snyder ate their way through NYC so you didn’t have to.

More

02 Dec 2010

Milton on Milton

It’s always a pleasure to hear Milton Glaser talk about his work, so here for your viewing delight is a short video of Glaser discussing some of the pieces that appeared in last year’s exhibition, Milton Glaser’s SVA: A Legacy of Graphic Design. The film is also available for download from iTunes U.

28 Oct 2010

A brief tour of Milton Glaser’s typography

Glaser’s typefaces combine Pushpin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension.

More

15 Oct 2010

Exploding coffee table

Milton Glaser Collection Drawer 18 Folder 18: Detail from Knoll Sottsass poster, 1982.

While we’re on the subject of the Memphis Group, better take cover; that table’s gonna blow.

More

06 Oct 2010

A Grand Union

Milton Glaser Collection Box 57 Folder 6: Grand Union on E. 86th Street, New York City, 1988 (pear sculpture by Jordan Steckel)

In the mid-1970s, Milton Glaser was approached by Sir James Goldsmith to take on a dramatic redesign of the supermarket chain Grand Union.

More

21 Sep 2010

Go ask Alice

Milton Glaser Collection Box 65, Folder 1: Detail from poster for The Push Pin Graphic No. 52, 1967.

In 1967, Milton Glaser, Seymour Chwast, and James McMullan produced psychedelic “travel” posters for an issue of The Push Pin Graphic.

More

16 Aug 2010

First Look: The Design of Dissent

We’ve just received materials from the 2005 exhibition The Design of Dissent donated by designer Mirko Ilić, who, along with Milton Glaser, collected the materials and created a book on the project.

More

12 Aug 2010

Concrete Poetry

Milton Glaser Collection Box 112 Folder 24. Push Pin Graphic No. 11, December 1957.

Milton Glaser tips his hat to French poet, playwright, and critic Guillaume Apollinaire.

More

16 Jul 2010

Milton Glaser’s geometries

Milton Glaser is closely associated with a visual style emphasizing expressive illustrations and resonant cultural symbols, but revisiting different periods in his career one is reminded that he was constantly developing new approaches, and in the Glaser Collection one can find an astonishingly wide range of approaches to design problems.

More

14 May 2010

107 graphic designers

The most recent addition to the Chermayeff & Geismar Collection is twelve boxes of old and rare art books, ranging from annuals to architecture; Switzerland to Japan. As always, there were plenty of surprises: one was the catalog for an AGI exhibition from 1976, which featured, alongside reproductions of their work, dramatic photos of the designers.

More

05 May 2010

Esquire’s Gift Catalog

Milton Glaser Collection: Esquire’s Christmas Gift Catalog, n.d.

Push Pin’s nutty and sweet Christmas Gift Catalog for Esquire exemplifies the eclectic spirit of that studio.

More

23 Apr 2010

The Sound of…

Milton Glaser Collection Box 108, Columbia Records: Jazz Odyssey Vol. II: The Sound of Chicago, 1964.

Milton Glaser’s early album covers express his understanding of the ineffable qualities of music.

More

15 Mar 2010

Do you see what I see?

Milton Glaser Collection: The Art of Seeing announcement, 1962.

A symposium of “provocative visual material” inspired Milton Glaser to come up with some of his own.

More

04 Mar 2010

Talk about the Passion

School of Visual Arts Collection: Passion cover, 1970.

Milton Glaser and Henry Wolf’s magazine workshop pays tribute to the landmark erotic publication Eros.

More

16 Feb 2010

Outside the box

Milton Glaser Collection: Milton Glaser for Container Corporation of America.

Everything that enlarges the sphere of human powers, that shows man he can do what he thought he could not do, is valuable. – Samuel Johnson

More

21 Oct 2009

Colorvision!

Milton Glaser Collection, Box 93 Folder 27: Colorvision for Phoenix Clothes and Hanover Hall, 1963.

In what essentially looks like a lost issue of the Push Pin Graphic, Colorvision (“an entirely new concept of color in clothing!”) describes the magic of a Blendescent.

More

31 Aug 2009

Milton Glaser’s SVA: A Legacy of Graphic Design

Milton Glaser Collection: Box 68 Folder 14. Visual Arts Gallery Announcement: The Private Press, 1966.

A retrospective of Milton’s Glaser’s design work for SVA opens today at SVA’s Visual Arts Gallery (601 W. 26th Street, NYC).

More

24 Aug 2009

Department of the newly uncovered

SVA Collection RG 15: Exhibitions, 1966

We just stumbled across a long-lost poster for the seminal conceptual art exhibit, Working drawings and other visible things on paper not necessarily meant to be viewed as art (Visual Arts Gallery, December 2 – December 23, 1966). Initially asked by gallery director Shirley Glaser to organize a Christmas show of drawings, Mel Bochner collected notes, sketches, and diagrams from artist friends (as well as mathematicians, biologists, choreographers, and engineers). He ultimately photocopied the working drawings (using SVA’s brand new Xerox machine), placed them into four identical binders, and mounted them on pedestals in the gallery.

More

07 Aug 2009

Twen at the Visual Arts Gallery

SVA Collection, RG 15 Exhibitions

Milton Glaser designed this poster for an exhibition at the Visual Arts Gallery in late 1965. Twen, a West German magazine for “people in their twenties: from 15 to 30,” was wildly influential in design circles worldwide—with a grid system composed of twelve small modules combined in an internally regular but widely varying page layouts, and liberal full-bleed spreads photographed by Art Kane, Will McBride, Irving Penn, Richard Avedon and others (and illustrations by Heinz Edelmann). It introduced many design students to Willy Fleckhaus, the magazine’s art director and sometime editor, who became famous for his virtuosic combination of close-set typography and tightly-cropped images. The rigid geometry of this poster, though not usually associated with Glaser, was a mode he employed often for SVA exhibition posters (more can be seen here and here). Though the graphic austerity is a contrast to his earlier work, the underlying expression of concepts through tactile visual representation is, I think, unmistakable Glaser.

20 Jul 2009

Inside the Big Apple

Milton Glaser Collection: Box 3, Folder 12

One of the main attractions of the archive as a research tool is as a document of artistic process. (The effect of the overwriting of drafts by computers is a subject I have written about elsewhere.) There were several stages to Milton Glaser’s development of a poster for the Visual Arts Gallery exhibition “Inside the Big Apple” (1968) — the above shows his collage of different versions of the figuration, which arrangement ended up contributing the composition that he used in the final version (other versions and the final poster follow).

More

07 Jul 2009

Glaser for RCA Computers

Milton Glaser Collection: Drawer 20, Folders 10-12.

In 1970, Milton Glaser did a series of three posters for RCA’s Computer Division entitled Memory Unbound. They express the abstract promise of technology that was at least a decade away for most people.

More

21 Apr 2009

Inside Dylan’s brain

In a graphic for the May 2008 issue of Vanity Fair, Andrew Nimmo and Beth Bartholomew tabulated the topics of Bob Dylan’s XM Radio Show, Theme Time Radio Hour. (And they gracefully reference the source of their riff, the famous poster by Milton Glaser.)

31 Mar 2009

The furniture people of Stanley VanDerBeek

Milton Glaser Collection: Box 112, Folder 24, Push Pin Graphic (undated)

Stan VanDerBeek (1927-1984) was best known as an experimental filmmaker but he was also a gifted painter and sculptor. This undated issue of the Push Pin Graphic features photographs of VanDerBeek’s whimsical creations.

More

27 Mar 2009

Chasing skirt

Milton Glaser Collection: Box 48, Folder 13

Milton Glaser worked on many book jackets for Philip Roth (both with Penguin and Houghton Mifflin), including the original Zuckerman trilogy; American Pastoral; Goodbye, Columbus; and others. Above is the sketch for his cover to Portnoy’s Complaint (1969). I really like the figuration of hands, and the Goreyesque flowing coat, gently bulbous in high early-Milton style. Though I think it may be a bit literal as jacket covers go, it does directly engage the controlling principle of the book, as listed on the first page (as if an imaginary a psychology encyclopedia entry) —

Portnoy’s Complaint n. [after Alexander Portnoy (1933- )] A disorder in which strongly-felt ethical and altruistic impulses are perpetually warring with extreme sexual longings, often of a perverse nature.

Flying after apparently-unoccupied parachute-like skirts at full sprint is a kind of perversion I guess.

17 Mar 2009

Opera News

Milton Glaser Collection: Box 77, Folder 9: Opera News, March 22, 1969 — Turandot.

In the category of personal favorites go these beautiful Opera News covers, done by Milton Glaser between 1966 and 1970, while he was at Push Pin.

More

27 Feb 2009

Galeonen Bar, Hamburg

Milton Glaser Collection, Series 2: Box 106, Folder 9

Milton Glaser designed this irregularly-shaped, cut-out menu in 1973 for Galeonen Bar, at the Plaza Hamburg hotel. Their vintage cocktail menu follows.

More

16 Jan 2009

Inspiration: XTC and Milton Glaser

Milton Glaser Collection: Drawer 11, Folder 26

XTC’s Andy Partridge readily admits to using Milton Glaser’s 1966 poster for radio station WOR as the inspiration for the cover art for XTC’s 1989 album Oranges and Lemons (viewable here). He has also professed his love of the work of Yellow Submarine art director and designer Heinz Edelmann, who is also a new addition to the archives — sneak peek to come!