Designers for Glaser: International Invitational Exhibition in Homage for Milton Glaser

DESIGNERS FOR GLASER

INTERNATIONAL INVITATIONAL EXHIBITION IN HOMAGE FOR MILTON GLASER

September 16 - October 15, 2021 HATTON GALLERY Visual Arts Building Department of Art and Art History

DE SIGNER S FOR GLASER

INTERNATIONAL INVITATIONAL EXHIBITION IN HOMAGE FOR MILTON GL ASER

HATTON GALLERY R e l ea s e d to a cco m p a ny t h e DE SIGNER S FOR GLASER ex h i b i t i o n

Sept 16 – Oct 15, 2021

John Gravdahl, Co-Director/Curator Colorado International Invitational Poster Exhibition (CIIPE), professor of Graphic Design, Colorado State University, Founder Member.

International Poster Design Committee CIDC. BICeBé jason Frazier, Co-Director/Curator Colorado International Invitational Poster Exhibition (CIIPE), Associate professor Graphic Design, Colorado State University Roberto Muntoreanu, Co-Director/Curator Colorado International Invitational Poster Exhibition (CIIPE), Assistant Professor Graphic Design, Department of Art and Art History, Colorado State University Silvia Minguzzi, Director of the Hatton Gallery and Catalog Designer

ORG ANIZ ER S // B o liv ia Po ste r B i e n n i a l B I Ce B é

DESIGNERS FOR GLASER // Co lo ra do I n te rn a t i o n a l I nvi t a t i o n al Po ste r Ex hi b i ti o n CIIPE // Nat io nal D e si g n B i e n n i a l . U n i ve rsi ty o f Bue n o s A i re s. U BA // G o lde n B e e

// Co ns e j o I n te rn a c i o n a l d e D i se ñ o d e l Car te l | CIDC BICe Bé // D is e ña do re s G rá f i co s B o l i vi a

// Aurea Fo u n d a t i o n fo r Vi su a l A r t s an d De si g n

// FIN A Inte rn a t i o n a l Po ste r Fe st i val U ni ve rsi ty o f Bue n o s A i re s. U BA ACK NOWLE D G E M E N T

// G e rmán M o n t a l vo. M éxi co

// An drew Lew i s. Ca n a d a INTERNATIONAL INVITATIONAL EXHIBITION IN HOMAGE FOR MILTON GLASER // J o hn G ravd a h l . Un i te d S t a te s o f Am e ri ca // S us ana M a ch i c a o. B o l i v i a

September 16 - October 15, 2021 ©202 1 HattoGALLERY n G a l l e r y, D e pa r t m e n t o f A r t A n d A r t Hi sto r y, HATTON Vis ual Ar ts Bu i l d i n g , 55 1 W. Pi t ki n Stre e t , Fo r t Co l l i ns, CO Visual Arts Building ar t .co lo s t a te .e d u / h a tto n - g a l l e r y Department of Art and Art History

Co l o ra d o State U ni ve rsi ty 80524 -17 70

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

Milton Glaser: Renaissance as inspiration A showcase called New York, birthplace of great artists and events, the city of Woody Allen, Andy Warhol, Louise Nevelson, Roy Lichtenstein, Susan Sontag, John Cage, Miles Davis, Luba Lukova, Martin Scorsese, Massimo Vignelli, John Alcorn, everything took place there in the sixties, Pop-Art was being stablished, Bob Dylan’s music def ined a countercultural movement, in the design world, Milton Glaser (1929-2020) was the product of that resonance box.

Every cultural movement generates an offer of happenings, it nourishes the soul and the spirit. I imagine Glaser as a spectator of these events of the most signif icant cultural current of the twentieth century in the United States, including the unwanted Vietnam War, and also characters that he currently disapproves such as Trump. Glaser’s ideological upbringing is remarkable, it has a large congruence range. A student at the Union Cooper, a private university established in 1859 by philanthropist Peter Cooper, in this school people received f ree education through a scholarship without any difference in race or sex, the only requirement was to be the best. The next step in his education was taken by a socially remarkable endeavor, the Fulbright Program, encouraged by Senator J. William Fulbright, who proposed through the military remnants of World War II to use these funds for education as a cultural exchange, it is so that at the age of twenty-three, Glaser traveled to Bologna, Italy, where he studied at the Academy of Fine Arts, which meant his meeting with Giorgio Morandi.

The Gs and the Ms met, the great Italian culture had repercussions in Glaser’s life in a exclusive visual education, close ties, his artistic references were cemented and influenced, among others, by Piero de la Francesca, and of course by Morandi’s classes whom he appreciated for his human quality.

The Deco style that we f requently f ind in Glaser’s work is totally congruent, this artist-designer was born in one of the cities where this style is everywhere, his childhood passes through these geometric lines, the architecture of that city was the f irst lesson as an urban cultural

HAT TO N G A L L E RY

offer that he received, years later as he was studying in Bologna and later living two years in Rome, he assimilates the importance of Renaissance Art. Glaser assumed as a sponge, absorbed everything, and knew how to put it on the stage of design with very high cultural references, a sample of his background can be found in the design made to announce the typewriter Valentine, by Olivetti (1969), that poster is a secular journey, it was made taking into account the Renaissance and modernity, there is a very noticeable trinity: Ettore Sottsass, designer of the typewriter, today a cult object; the dog, taken f rom the painting The Death of Procris (1495-1500), by the painter Piero di Cosimo; and the design by Glaser. The dog is Lélape, with these visual resources Glaser represents the f idelity to that Italian product, this way this artist-designer shows us how to extend the look.

Glaser’s work was inspiring for an entire generation of illustrators and graphic designers.

In the 1970s, having his book Milton Glaser, Graphic Design, published by The Overlook Press was an act of faith for those who had embraced design as a way of life. In that book, with a preface by Jean Michel Folon, the conf irmation of a profession that could take you by the hand to other territories, create cultural bridges was sowed. That book represents being against the banal, all Glaser’s work alludes to universal contents that are like a guide to follow in the footsteps of Bach, Aretha Franklin, Hugh Masekela, Hermann Hesse, El Che, Shakespeare, Cervantes, all of them illustrated by his ink and watercolor in some cases even with psychedelic features.

It is an honor to celebrate this eminent great humanist f rom the Bolivia Poster Biennal BICeBé.

Germán Montalvo | México Founder Member International Poster Design Committee CIDC. BICeBé

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

For Milton Glaser:

It is what’s inside you that counts. Whatever it was that was inside Milton Glaser throughout his prolif ic creative life was a gift to everyone, and he found so many ways to share it. Generations of aspiring young designers around the world studied his work and wondered, “How does he come up with this stuff?” Most of us never stopped wondering. We now move along in our own creative journeys, developing our visions and voices. We look for f resh ways to look ahead and to look around. We sometimes f ind ourselves looking over his shoulder, smiling.

He was a naturally insightful educator. It comes with the territory. Among his mentoring skills was his value as a clear voiced advisor. His advice to graduating design students looking for wisdom f rom the mountaintop once went something like “. . . just don’t look more exciting than your work.”

Direct and meaningful.

Put another way, it’s not about you, it’s about what you do, with what’s inside you.

Cheers to the life of Milton Glaser!

John Gravdahl | United States of America Co-Director/Curator Colorado International Invitational Poster Exhibition (CIIPE) Colorado State University Founder Member. International Poster Design Committee CIDC. BICeBé

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

The Homage «The good is the enemy of the great» said master Milton Glaser and with this, he def ined a life of inexhaustible and inspiring visual and intellectual production that today is a legacy for us as visual creators. Glaser transcended in life with his legacy and with his departure, he has awakened in all of us a yearning for the permanent search to generate -if only- a little of the symbolic charge of his designs.

Glaser was never able to visit Bolivia, but he did know the work of the BICeBé. He participated in signif icant exhibitions for the biennial: 76 Designers for Fukuda, Umberto Eco and the Pendulum, and the unpublished Masters of the USA, an exhibition of the guest country at BICeBé 2019-2021. He always shared wise words and affection with the biennial.

What is certain is that this tribute doesn’t only respond to the will to make one, but to represent in a visual record, the memory of the man, the teacher, the illustrator, the typographer, and the designer; in the same way that he -more than once- taught us the way to reconnect and make the passes with our creative search and profession.

In this purpose, we are deeply honored to have the Colorado International Invitational Poster Exhibition CIIPE, the Golden Bee, the National Design Biennial UBA - Argentina and the International Poster Festival of the University of Buenos Aires UBA, as co-organizers among Diseñadores Gráf icos Bolivia and the Aurea Foundation for the Visual Arts and Design.

This is the f irst activity of the BICeBé’s International Poster Design Council CIDC, which seeks the participation of its founding members and invites referents and designer f riends f rom around the world to share their graphic tribute to master Glaser.

Thank you very much for allowing us to write this memoir and to be part of this tribute.

Susana Machicao | Bolivia Director of the Bolivia Poster Biennial BICeBé Founder member. CIDC International Poster Design Committee

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

Milton Glaser I recall back in art school gazing in wonder at a Graphis Magazine and then discovering an article covering the illustration work of Milton Glaser. What stood out for me was he command of drawing, in particular the anatomy and I was instantly enamored with his work. Over time I came to admire his design work with Push Pin Studios that virtually changed how EVERYONE approached design.

Milton then applied these skills to magazine and newspaper design, which was revolutionary at the time, few were doing this and at the level in which Milton was achieving. Since, I have stood back and marveled at his incredible output and body of work, including being awarded by President Obama the National Medal of Arts. For me though, the magic and mystery of this man lay in the early days when he studied with and continued to behold his mentor, Giorgio Morandi as a source of unparalleled inspiration. Morandi’s work, like Milton himself were meek, still, incredibly simple yet incredibly complex visual and intellectual solutions - a paradox.

These works go so far beyond still life paintings and enter realms of thinking that few of us can truly comprehend, but Milton comprehended these subtleties to their fullest. It is in this stratosphere in which Milton occupied his time and imagination, continually learning, reading and as a result thinking about greater ideas than the minutiae, us simple beings waste our time with daily. His teaching at the School of Visual Arts in New York and lectures always ventured further into deeper and big picture thinking. Those whom had the privilege to study with him will contest to literally being changed by the experience, yet another success few achieve. In the end, Milton Glaser created a f ree standing category in which he alone existed. We are all so grateful for his unsurpassed vision, or dare I say humanism within the realm of art and graphic design.

Andrew Lewis | Canadá Founder Member International Poster Design Committee CIDC. BICeBé

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

AGNIE SZ KA ZIEM ISZEWSKA , POL AN D M for Master Pro ba b l y ever yo n e , n o t o nl y g rap hi c d e si g n e rs, kn ows th e works o f M i l to n G l ase r. Fo r m e , hi s d e si g ns are just p e r fe c t an d ti m eles s .

Wa tch i n g t h e i nte r v i ews wi th Mi l to n G l ase r, I real i ze d that h e wa s a f i g u re t h a t e l ud e s th e wo rd “d e si g n e r ”. L i ste ni n g to hi s sp e ech es , I h a d t h e i m p re ssi o n that g rap hi c d e si g n i s o n e o f th e areas o f p hilos ophy.

Pa r t i c u l a rl y im p o r tant to m e i s what , o n ce , h e sai d ab o ut th e qua lities o f a g o o d d e si g n e r.

H e m e n t i o n ed : v i sual i nte l l i g e n ce , th e ab i l i ty to d eal wi th p roblems , p e rseve ra n ce, an d th e ab i l i ty to l earn n ew thi n g s.

M para Maestro Pro ba b l e m e nte to d o s, n o so l o l o s d i se ña d o re s g ráf i co s, co n ocen l a s o b ra s d e Mi l to n G l ase r. Para m í , sus d i se ñ o s so n p e r fe c tos y a te m p o ra l e s . A l ve r l as e ntrev i stas co n Mi l to n G l ase r, m e d i c uen ta de q u e e ra u n a f i g ura q ue e l ud e l a pal ab ra “d i se ña d o r ”. A l e scuch a r s us d i sc u rso s, t uve l a i m p re si ó n q ue e l d i se ñ o g ráf i co e s una d e la s á rea s d e l a f i l o so f ía. Par ti cul arm e nte i m p o r tante para m í e s l o q ue, un a vez , d i j o so b re l a s cual i d a d e s d e un b ue n d i se ña d o r.

M e n c i o n ó : i n te l i g e n ci a v i sual , l a capa ci d a d d e l i d i ar co n l o s problema s , l a p e rseve ra n ci a y l a capa ci d a d d e ap re n d e r co sas nuevas.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

AGU STINA COSULICH , ARGENTIN A Th ank you, Mil ton Glaser I f I co u l d say so m e thi n g to Mi l to n G l ase r to d ay, i t wo ul d b e simply T H A N K YO U. Thank yo u fo r sh owi n g us th e way ; fo r reaf f i rm i n g th e va l u e o f i n t u i ti o n i n any creati ve p ro ce ss an d th e i m p o r tan ce of d raw i n g a s a way to co nn e c t wi th th e wo rl d an d un d e rstan d it .

I a l ways i m a gi n e d Mi l to n i n hi s stud i o, co n ce ntrati n g o n so m e draw in g, i n t h e m i d d l e o f a New Yo rk that n eve r re sts, creati n g so m e th in g th a t wo u l d l a te r im pa c t th e wh o l e wo rl d . I can hap p i l y say that I on ce pa r t i c i pa te d i n an ex hi b i ti o n wi th hi m . It was i n 2017, i n th e collec tion o f p o ste rs “ U m b e r to Eco y e l p é n d ul o” o rg ani ze d by BICe Bé . Th a t m e m o r y re mai ns i n my h ear t . A n d we are l e f t wi th th e i m m en s e lega cy of him.

Eve r y d e si g n , eve r y wo rd , eve r y i d ea. To Mi l to n G l ase r, thank you.

Gracias, Mil ton Glaser S i h oy p u d i era d e ci rl e al g o a Mi l to n G l ase r, se rí a si m p l e m e nte GR ACI AS .

G ra c i a s p o r ense ñarn o s e l cam i n o ; p o r reaf i rm ar e l val o r d e la in tuición e n to d o p ro ce so creati vo y l a i m p o r tan ci a d e l d i b ujo co m o forma de co n e c t a r co n e l m un d o y co m p re n d e rl o.

Siempre imaginé a Milton en su estudio, concentrado en algún dibujo, en medio de una Nueva York que no descansa, creando algo que luego impactaría en todo el mundo. Puedo decir con alegría que una vez par ticipé en una exhibición junto a él. Fue en el año 2017, en la colección de car teles “Umber to Eco y el péndulo” organizada por la BICeBé. Me queda ese recuerdo en mi corazón. Y nos queda su inmenso legado.

Ca d a d i se ñ o, ca d a pal ab ra, ca d a i d ea. A Mi l to n G l ase r, g ra ci a s .

HAT TO N G A L L E RY

P O S T E R ITY”

“NO ONE CAN CONTROL HIS

ALQ 11

( M I LT O N G L A S E R )

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A L A N L E QUERN EC , FRANCE No on e can control his posteity (Mil ton Glaser)

Nadie puede controlar su posteidad (Mil ton Glaser)

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A L E JA NDRO M AGALL AN ES , M ÉXICO When I was in high school I found myself in the corridors of the Gandhi bookstore, the f irst Milton Glaser monograph. When I started leaf ing through it, what I saw was fascinating: drawings with inks, the letters, the posters, covers, emblems, discs, labels, signs and spaces (f rom carpets to sculptures). Each of the images and processes explained in a clear way by this author, his ideas and references, points of view and story.

Before, as a child, I had been fascinated by the emblem of I love New York, for prints and for the multiple versions that you found in many places adapting that idea to the places f rom here: I love Acapulco, I love DF …

I have many of the books of Milton Glaser monographs, a the ones that I always come back and that I always f ind images and texts that have been become essential in my way of seeing and thinking. I also have one of his posters.

I saw f rom afar a couple of times, but I did not have the fortune to speak with him. And yet I feel him like a close f riend.

Cuando iba en la preparatoria me encontré en los pasillos de la librería Gandhi la primera monograf ía de Milton Glaser.

Cuando la comencé a hojear me fascinó lo que ví: dibujos con ashurados, tintas, las letras, los carteles, las portadas, los emblemas, los discos, etiquetas, letreros y espacios (desde alfombras hasta esculturas). Cada una de las imágenes y procesos explicadas de forma clara por su autor, sus ideas y referencias, puntos de vista e historia.

Antes, de niño, me había fascinado el emblema de I love New York, por estampas y por las múltiples versiones que encontrabas en muchos lugares adaptando esa idea a los lugares de acá: I love Acapulco, I love DF… Tengo muchos de los libros monográf icos de Milton Glaser, a los que siempre vuelvo y en los que encuentro siempre imágenes y textos que se han vuelto imprescindibles en mi forma de ver y de pensar. Tengo también uno de sus carteles.

Le vi de lejos un par de ocasiones, pero no tuve la fortuna de hablar con él.

Y sin embargo, lo siento como un amigo cercano.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A L E JA NDRO ROSS , ARGEN T IN A

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JOE SCORSONE & ALICE D RUED ING , USA Milton Glaser ’s work embodies wit in every sense of the word. At a time when much of design had rejected subjectivity and sentiment, he showed us that humor and feeling endure emotionally and intellectually.

He incorporated style and history into a unique visual language that perfectly captured the present moment.

Our poster is a tribute to Glaser ’s timeless legacy, a body of work that has heart, literally and f iguratively.

El trabajo de Milton Glaser encarna el ingenio en todos los sentidos de la palabra. En un momento en que gran parte del diseño había rechazado la subjetividad y el sentimiento, nos mostró que el humor y el sentimiento perduran emocional e intelectualmente.

Incorporó estilo e historia en un lenguaje visual único que capturaba a la perfección el momento presente.

Nuestro póster es un tributo al legado atemporal de Glaser, un trabajo que tiene corazón, literal y f igurativamente.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A NDR EW LEWIS , CAN ADÁ Inside most of Milton Glaser ’s designs are secret messages mined f rom art history, with coded references and nods of respect to past masters.

His infamous Bob Dylan poster a rif on a 1957 Marcel Duchamp self portrait.

I f ind it mind-boggling that his biggest influence was Giorgio Morandi, with whom he apprenticed with.

Such a stark contrast to the commercial work that occupied Milton’s entire life as a designer. Both the pull of art history being applied to the Mad Men advertising world, for me is both inspirational and comforting, proof that these two worlds can co-exist.

Dentro de la mayoría de los diseños de Milton Glaser hay mensajes secretos extraídos de la historia del arte, con códigos referencias y guiños de respeto a los maestros del pasado.

Su infame cartel de Bob Dylan, un rif en 1957 Autorretrato de Marcel Duchamp. Me parece alucinante que su mayor influencia fuera Giorgio Morandi, con quien aprendió.

Un contraste tan marcado con el trabajo comercial que ocupó Milton toda la vida como diseñador. Tanto el tirón de la historia del arte que se aplica a la publicidad de Mad Men mundo, para mí es tanto inspirador como reconfortante, una prueba de que estos dos mundos pueden coexistir.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A N TO N I O CASTR O, U SA

the way he used space, color, typography, elegance,

Commonality and Milton Glaser

much in tune with the way Glaser saw the world.

but above all the way he dealt with ideas, were very This was something that ultimately influenced my

I had the joy of being exposed to many ar t and

own creative process, because whenever I start a

design books and magazines since I was a child,

project, I try to make sure that the project itself is

this because my father is an illustrator and a

the one that dictates the direction, technique, or

painter, and he had a large book collection

style that I will use, without feeling tied to what I

in his studio. I spent hours and hours leaf ing

have done in other projects.

through these books without realizing that one day I would become a graphic designer and an

Glaser referred to the concept of commonality very

illustrator myself.

f requently, he said, “The pursuit for art and beauty

Among those books and magazines, I found

is all about the commonality of all human beings.

the work of Milton Glaser and that of the Push

We are all the same, our desires and our nature

Pin Studio, which he founded with his fellow

are all the same.” I believe this idea of Glaser

classmates at the Cooper Union in New York City.

has become quite evident to my colleagues Eric Boelts and Erin Wright, and I, of the social poster

Years passed, and already engulfed in the graphic

initiative Posters Without Borders. We have come to

design and printmaking degree, I returned to those

realize that even though we have invited designers

books that entertained me so much as a child, but

f rom different parts of the world to design posters

now I studied them with the curiosity of a student

with specif ic themes such as immigration, the

who was searching for his own visual vocabulary.

right to vote, among others, it is incredible that

It fascinated me that even though Milton Glaser

although each of them works their posters f rom

was educated during the Modernism and

a very personal point of view, in the end we have

International Style era, both he and Push Pin were

always ended up with poster collections that can be

practically sailing against that current. Glaser said

perceived as diverse, but in unison at the same time.

that, during that time, what excited them the most was the idea of being able to use the visual history

We understand that social posters work as a

of humanity as an influence for their work.

barometer, since they indicate the feelings of the

I think it is incredible that the work done over the

different peoples in the world and we realize that

course of 60 years by Milton Glaser, can be easily

no matter where the participants are f rom, the

identif ied even though it is vastly diverse. This is

needs and concerns are the same everywhere, as

due to the commonality that exists between them,

Glaser stated.

HAT TO N G A L L E RY

La comunalidad y Milton Glaser

elegancia, pero sobre todo las ideas, eran muy a la Glaser. Esto fue algo que en def initiva influyó en mi

Tuve la dicha de ser expuesto a muchos libros de

propio proceso creativo, pues siempre que inicio

ar te y diseño desde que era niño, pues mi padre

un proyecto procuro que el proyecto en sí sea el

como ilustrador y pintor, tenía una gran colección

que dicte la dirección, técnica o estilo que habré de

en su estudio. Pasaba horas y horas hojeando

utilizar, sin sentirme atado a lo que haya hecho en

estos libros sin percatarme que algún día me

otras ocasiones.

dedicaría a la profesión del diseño e ilustración.

Glaser se refería al concepto de comunalidad En tre e s o s libro s y rev i st a s, e n co n t ré e l t rabajo

con f recuencia, él decía, “la búsqueda del arte y

de M il to n G las e r y e l P u sh Pi n S t u d i o, m i sm o

la búsqueda de la belleza tienen que ver con la

que fun dó j unto co n su s co m pa ñ e ro s d e c arre ra

comunalidad de los seres humanos.

en la Co o pe r U nio n d e l a c i u d a d d e N u eva York . Pas aro n lo s a ñ o s, y ya e n l a l i ce n c i atura

Todos somos iguales, nuestros deseos y nuestra

de dise ñ o gráf ico y g ra ba d o, vo l ví a e so s l i b ro s

naturaleza son todos iguales.” He venido

que m e e nt re te ní a n t a n to d e n i ñ o, p e ro ah o ra

comprobando que esta idea de Glaser es cierta,

los es t udiaba co n l a c u ri o si d a d d i g n a d e u n

pues tanto mis colegas Eric Boelts y Erin Wright de

es tud iante que bu sc a ba co m o d e m o n i o s l e harí a

la iniciativa de cartel de tipo social Posters Without

pa ra e n co nt rar un vo c a b u l a ri o v i su a l p ro pi o.

Borders, como yo, hemos notado que a pesar de que hemos invitado a diseñadoras y diseñadores de

Me fascinaba que a pesar de que Milton Glaser fuera

distintas partes del mundo a diseñar carteles con

formado durante la época del Modernismo y del

temas específ icos como la migración, el derecho

Estilo Internacional, tanto él como Push Pin iban

a votar, entre otros, es increíble que aunque cada

prácticamente navegando en contra de esa corriente.

uno de ellos trabajan sus carteles desde un punto

Glase r de cía que , e n e se t i e m p o l o q u e a e l l o s l e s

de vista muy personal, al f inal siempre hemos

em oc io naba, e ra l a i d ea d e p o d e r u t i l i z a r co m o

terminado con colecciones de carteles que se

influe n c ia para s u s t ra ba j o s, l a h i sto ri a vi s ual d e

perciben diversas, pero en unísono a la vez.

la humanida d.

Entendemos que los carteles sociales funcionan Con s ide ro que e s i n c re í b l e q u e se p u e d a

como un barómetro, pues indican el sentir

clara m e nte ide nti f i c a r e l t ra ba j o d e G l a ser

de los diferentes pueblos en el mundo y nos

realiz a do durante m á s d e 6 0 a ñ o s a p e sa r d e q ue

percatamos que no importando de donde sean los

és te s ea t an dive rso. Esto se d e b e a q u e ex i ste

participantes, las necesidades y preocupaciones son

un a co munalida d e n t re e l l o s, p u e s l a m a n e ra

las mismas en todos lados, tal como Glaser lo decía.

que u t ilizaba e l e spa c i o, e l co l o r, t i p o g ra f í a,

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

HAT TO N G A L L E RY

Tolerance is essential for humans to embrace.

It is the only antidote for the competitive drive that characterizes our species.

What we really want it to mean is acceptance and generosity.

Milton Glaser

New York (1929 - 2020)

We can change the world and make it a better place.

It is in your hands to make the difference.

We know what has to be done, all that is missing is the will to do it.

Nelson Mandela

Cape Town (1918 - 2013)

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

A R MA NDO M IL AN I, ITALY Tolerance I met Milton Glaser in New York in the 80s when I was working with Massimo Vignelli. It was interesting to note how Massimo with his sparkling and extroverted nature expressed a minimalist design, while Glaser, on the contrary, very reserved and thoughtful, amazed you with his multicolored and explosive design, his poster for Bob Dylan is an absolute masterpiece.

The most fascinating thing about Milton was his moral position, the search through his work of truth to achieve the goal of justice and equal human rights. Therefore I enthusiastically agreed to his request for a poster for his “Tolerance” collection that then became, with the help of Mirko Ilic, a major international traveling exhibition.

I am a Nelson Mandela admirer and I realized that his words dedicated to humanity correspond exactly to Milton’s thought, so I dedicated this poster of mine on Tolerance to them with the hope that one day their dream will come true.

Tolerancia Co n o c í a M i l ton G l ase r e n Nueva Yo rk e n l o s añ o s 80 cuan d o tra ba ja ba co n M a ssi m o Vi g n e l l i . Fue i nte re sante n o tar có m o Massi m o con s u n a t u ra l ez a ch i sp eante y ex trove r ti d a ex p re só un d i se ñ o m i ni ma lis ta , m i e n t ra s q u e G l ase r, p o r e l co ntrari o, m uy re se r va d o y p e nsativo, te a so m b ró co n s u m ul ti co l o r y d i se ñ o ex p l o si vo, su p ó ste r d e Bob Dyla n es u n a b so l u to o bra m a e stra.

Lo más fascinante de Milton fue su posición moral, la búsqueda a través de su obra de la verdad para lograr el objetivo de la justicia y la igualdad de derechos humanos. Por lo tanto, acepté con entusiasmo su solicitud de un póster. por su colección “Tolerancia” que luego se convirtió, con la ayuda de Mirko Ilic, una importante exposición itinerante internacional.

Soy un admirador de Nelson Mandela y me di cuenta de que sus palabras dedicadas a la humanidad corresponden exactamente al pensamiento de Milton, así que les dediqué este cartel mío sobre la Tolerancia con la esperanza de que algún día su sueño se haga realidad.

HAT TO N G A L L E RY

Milton Glaser | Hommage | 1929 - 2020

Yossi Lemel 2021

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

YOSSI L E M EL , ISRAEL I n t h e l a st d eca d e s I ha d th e p ri v i l e g e o f m e e ti n g Mi l to n G l as er a few t i m e s, a n d was i nv i te d twi ce to hi s stud i o i n Manhattan.

D u ri n g my v isi ts h e was ve r y curi o us an d g e n e ro us an d sp e n t a lon g t i m e w i t h m e exchan g i n g i d eas an d co n ce p ts. I real i ze d that beh in d th e l e g e n d a r y n am e th e re was a hum b l e , b ri g ht , hum o ri sti c , wi tty a n d fun p e rso n to b e wi th .

As fo r h i s l e g a cy, hi s i nte re st i n hum an ri g hts, e nv i ro nm e nta l a n d p o l i t i c a l i ssue s as we l l as b e i n g an e d ucato r m a d e hi m , n o doubt , on e o f t h e m o st inf l ue nti al d e si g n e rs o f o ur ti m e .

H i s l o n g c a ree r ha d an i m pa c t o n g e n e rati o ns an d turn e d him in to a n i n te rn a t i o n a l i co n.

I n t h e h o m a g e I d e si g n e d i n hi s m e m o r y I co m b i n e d 2 o f hi s m os t i co n i c wo rks : Th e h ear t ( a real i sti c o n e ) co rre sp o n d i n g wi th th e h ea r t o f “ I l ove N Y ”, cove re d by th e p sych e d e l i c patte rns o f th e hair in th e B o b D yl a n’s p o ste r. Th e ove ral l co n ce p t i s a m e ssa g e o f l ove to Mil ton G l a se r a n d hi s wo rk .

En las últimas décadas tuve el privilegio de conocer a Milton Glaser varias veces, y fui invitado dos veces a su estudio en Manhattan. Durante mis visitas él era muy curioso y generoso, pasó mucho tiempo conmigo intercambiando ideas y conceptos. Me di cuenta que detrás del nombre legendario había una persona humilde, brillante, humorística, ingeniosa y divertida.

En cuanto a su legado, su interés por los derechos humanos, el medio ambiente y las cuestiones políticas. como educador lo convir tió sin duda en uno de los diseñadores más influyentes de nuestro tiempo.

Su dilatada trayectoria repercutió en generaciones y lo convir tió en un ícono internacional.

En el homenaje que diseñé en su memoria combiné 2 de sus obras más icónicas: El corazón (un realista) que se corresponde con el corazón de “I love NY ”, cubierto por los patrones psicodélicos del cabello en el póster de Bob Dylan. El concepto general es un mensaje de amor para Milton Glaser y su trabajo.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

BE L É N MEN A - ECUAD OR Glaser ’s Colorful Mind Milton Glaser has always been one of my most signif icant references.

I think his ingenuity in illustrated graphics as well as his versatility to share commercial and cultural spaces attracted me f rom a young age.

Many of his works reflect his sensitive spirit through his chromatic and play of forms with which I identify a lot.

My poster is a tribute to that colorful mind that invites us to fly.

Mente colorida de Glaser Milton Glaser siempre fue uno de mis referentes más signif icativos.

Creo que su ingenio en la gráf ica ilustrada así como su versatilidad para compartir espacios comerciales y culturales me atrajo desde joven.

Muchas de sus obras reflejan su espíritu sensible a través de su cromática y juego de formas con las que me identif ico mucho.

Mi cartel es un homenaje a esa mente colorida que nos invita a volar.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

C E DOMIR KOSTOVIC , USA We will forever cherish Milton’s creative charisma, wisdom, generosity, and kindness.

Siempre apreciaremos el carisma creativo, la sabiduría, la generosidad y la amabilidad.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

C E L E STE PRIETO, PARAGUAY Milton Glaser is synthesis and at the same time a waste.

H i s a b i l i ty to s a y a l o t w i t h l i tt l e a n d h i s g e n e ro s i t y o f s h a p e s a n d c o l o r s a re p e r m a n e n t i n s p i r a t i o n s t h a t w i l l t r a n s c e n d g e n e r a t i o n s , fa s h i o n s a n d te c h n i q u e s .

His voice of solidarity and his love for the city will continue to be an example until we meet again forever. thanks M.G!

Milton Glaser es la síntesis y al mismo tiempo el derroche.

S u c a pa c i d a d d e d e ci r m uch o co n p o co y su g e n e ro si d a d d e forma s y co l o re s so n p erm an e nte s i nsp i ra ci o n e s q ue trasce n d e rán g e n era cion es , m o d a s y té c n i cas.

Su voz solidaria y su amor a la ciudad seguirán siendo ejemplo hasta que volvamos a encontrarnos eternamente. gracias M.G!

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

C HR ISTO PH ER SCOT T, ECUAD OR

Milton was a visionary who inspired me and many people around the world.

H e w i l l b e rem e m b e re d as th e g reate st g rap hi c d e si g n e r to ever live on this planet.

I 'l l m i ss h i m a l o t .

Milton fue un visionario que me inspiró y a muchas personas de todo el mundo.

Será recordado como el mejor diseñador gráf ico que jamás haya vivido en este planeta.

Lo extrañaré mucho.

HAT TO N G A L L E RY

Cláudio_Gil_01.indd 2

11/06/2021 23:13

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

C L AU DIO GIL , BRAZIL Milton Glaser's influence comes f rom the graphic poetry he wrote rhyming profusion with precision.

Unique design category of it interpolates elements of Baroque and Renaissance with master's degree. These items in Glaser's hands resonated with such force and with a singular f reshness that became a striking signature within the vibrant atmosphere and competition of the always cosmopolitan New York, the showcase of the world.

The master not only bit into the big apple, he gave it a passionate heart.

Many of them fell in love with his work, including me.

La influencia de Milton Glaser proviene de la poesía gráf ica que escribió rimando la profusión con exactitud.

La categoría única de su diseño interpola elementos del barroco y del renacimiento con maestría. Estos elementos en las manos de Glaser resonaron con tanta fuerza y con una f rescura singular que se convirtieron en una f irma sorprendente dentro de la atmósfera vibrante y competitiva de la siempre cosmopolita Nueva York, la vitrina del mundo.

El maestro no solo mordió la gran manzana, le dio un corazón apasionado.

Muchos se enamoraron de su trabajo, incluyéndome a mí.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

CO CO C E RELL A , ARGEN T IN A Why do we love Milton Glaser?

Representative of creative f reedom, intelligence, perseverance and sensitivity put to play to amaze us.

His legacy transcended Design, impregnating the world with ingenuity and talent. Personally, he gave me the most honor great of my career: he put his eye on my work. Being part of the Glaser Archives and being in his book "The Design of Dissent" he far exceeds what was dreamed of.

The people who inspire will never die .. they multiply!

Eternally THANK YOU, Milton Glaser.

¿Por qué amamos a Milton Glaser?

Representante de la libertad creativa, la inteligencia, la perseverancia y sensibilidad puestas a jugar para maravillarnos.

Su legado trascendió al Diseño, impregnando al mundo de ingenio y talento. En lo personal me regaló el honor más grande de mi carrera: Puso su ojo en mi trabajo. Formar parte de los Glaser Archives y estar en su libro “ The Design of Dissent” excede por mucho lo soñado.

Las personas que inspiran no mueren.. se multiplican!

Eternamente GRACIAS, Milton Glaser.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

DA ISU KE KASHIWA , JAPAN Milton’s designs achieves purpose through impactful images.

For example, Milton’s Tomato Music Company poster both advertised the company, and elevated the artistic standard in advertising. On the other hand, the I love NY logo and the Brooklyn Brewery logo are timeless masterpieces that proves his skillful minimalism.

His diverse work would not be possible without a deep knowledge of art history, techniques of painting, and awareness of design’s role in society.

His work teaches me the importance of pursuing excellence.

Los diseños de Milton logran un propósito a través de imágenes impactantes.

Por ejemplo, el cartel de Milton's Tomato Music Company anunciaba la empresa y elevaba el estándar artístico en publicidad. Por otro lado, el logo de I love NY y el logo de Brooklyn Brewery son obras maestras atemporales que demuestran su hábil minimalismo.

Su trabajo diverso no sería posible sin un profundo conocimiento de la historia del arte, las técnicas de la pintura y la conciencia del papel del diseño en la sociedad.

Su trabajo me enseña la importancia de perseguir la excelencia.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

DIEGO BERM UD EZ , COLOM BIA Milton Glaser taught us that designing is f irst and foremost an act of generosity focused to build a better world for all.

With his work we were able to learn that a good project of design should never be separated f rom the essential because it is only an interpreted consequence of our reality.

He taught us that usage is the starting point of every creative process, so when designing we cannot try to pretend what we are not, nor do what is not needed.

Design is a political fact, a hopeful vision of the future.

Milton Glaser nos enseñó que diseñar es ante todo un acto de generosidad centrado en construir un mundo mejor para todos.

Con su obra pudimos aprender que un buen proyecto de diseño nunca debe separarse de lo esencial porque es solo una consecuencia interpretada de nuestra realidad.

Nos enseñó que el uso es el punto de partida de todo proceso creativo, por lo cual al diseñar no podemos tratar de aparentar lo que no somos, ni hacer lo que no se necesita.

El diseño es un hecho político, una visión esperanzadora del futuro.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E DUA R DO DAVIT, URUGUAY Milton said that in one way or another all works are collaborative and that there is nothing more enjoyable than working as a team and being part of a collective effort.

Milton decía que de una manera u otra todos los trabajos son colaborativos y que no hay nada más placentero que trabajar en equipo y formar parte de un esfuerzo colectivo.

HAT TO N G A L L E RY

MILTON GLASER

1929–2020

ELIZABETH RESNICK DESIGN 2021

M I L T N G L A S E R

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E L IZ A BE TH RESNICK, USA The f irst poster I ever thumbtacked to my dorm room wall was Milton Glaser ’s Dylan poster.

The poster was included as an insert in Bob Dylan’s Greatest Hits compilation album released in March 1967. This was my introduction to Milton Glaser ’s work.

Later, I learned of Push Pin Studios, the graphic design and illustration studio formed by Cooper Union classmates Milton Glaser, Seymour Chwast, Reynold Ruff ins, and Edward Sorel in 1954.

From then on, I became a huge fan of Milton Glaser posters and design work.

El primer póster que puse en la pared de mi dormitorio con tachuelas fue el póster de Dylan de Milton Glaser.

El cartel se incluyó como un encarte en el álbum recopilatorio Greatest Hits de Bob Dylan lanzado en marzo de 1967. Esta fue mi introducción al trabajo de Milton Glaser.

Más tarde, supe de Push Pin Studios, el estudio de diseño gráf ico e ilustración formado por los compañeros de Cooper Union Milton Glaser, Seymour Chwast, Reynold Ruff ins y Edward Sorel en 1954.

A partir de entonces, me convertí en una gran admiradora de los carteles y el diseño de Milton Glaser.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E L Z BIE TA CHOJNA , POL AN D Without a doubt Milton Glaser, author of thousands of excellent posters and book covers, was one of the best designers of the 20th century.

However for history he will always be the creator of the famous I

♥ NY logo

and the DYLAN poster, multiplied, redesigned and interpreted thousands and thousands of times.

I suspect that this proof of talent was also the cause of suffering for the artist, who during 50 years had to endure the devastation of his work by pop-culture and the underestimation of his later designs.

Sin duda Milton Glaser, autor de miles excelentes carteles y cubiertas de libros, fue uno de los mejores diseñadores del siglo 20. Sin embargo para la historia siempre será autor del famoso logotipo I

♥ NY y el cartel DYLAN,

multiplicados, re diseñados e interpretados miles y miles de veces.

Sospecho que esta prueba del talento era también la causa de gran suf rimiento del artista, que durante 50 años tuvo que soportar la devastación de su trabajo por la cultura pop y la subestimación de sus obras posteriores.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E R IC BOA LTS , USA Milton Glaser ’s work inspired me as a young designer and he showed me that the combination of illustration and design together is a powerful way to convey the concept.

His work is the epitome of that power.

El trabajo de Milton Glaser me inspiró cuando era un joven diseñador y me mostró que la combinación de ilustración y diseño es una forma poderosa de transmitir el concepto.

Su trabajo es el epítome de ese poder.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E R IC O L IVARES , M ÉXICO LIFELINE Milton was a judge of the 1st Biennial of the Poster in Mexico, in 1990. The jury's exhibition was at the Museum of Modern Art. I was a student. The lines for autographs were endless, I woke up, I went to the garden, I was alone and I sat on a bench. Someone speaking to me in English came up behind me, asking if I could sit down, it was Glaser.

I could not believe it.

I chatted with him and asked for his autograph; "Show me the palm of the hand you draw with," he told me. I extended my right hand to him and he signed it.

For me it was a blessing, which has accompanied me throughout my life.

LÍNEA DE VIDA Milton fue jurado de la 1ª Bienal del Cartel en México, en 1990. La muestra del jurado fue en el Museo de Arte Moderno.

Yo era estudiante. Las f ilas para autógrafos eran inf initas, me desesperé, me fui al jardín, estaba solo y me senté en una banca. Alguien hablándome en inglés llegó por detrás, preguntándome si podía sentarse, era Glaser.

Yo no lo podía creer.

Charlé con él y le pedí su autógrafo; “muéstrame la palma de la mano con la que dibujas”, me dijo. Le extendí mi mano derecha y la autograf ió.

Para mí fue una bendición, que me ha acompañado a lo largo de mi vida.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

FE L IPE COVARRUBIAS , M ÉXICO In 1974 I worked and directed the graphic and editorial design off ice f rom the Department of Fine Arts of the government of my state Jalisco, so I acquired Master Glaser's book whose cover has the iconic illustration of Dylan turned into a chromatic 'jellyf ish', he has always been in my 'bedside' books ready to enlighten me doubts and provide me with your examples graphic inspirations ...

Thank you Don Milton Glaser, now on Olympus.

En 1974 trabajaba y dirigía la of icina de diseño gráf ico y editorial del departamento de Bella artes del gobierno de mi estado Jalisco, entonces adquirí el libro del Maestro Glaser cuya portada tiene la ilustración icónica de Dylan convertido en 'medusa' cromática, siempre ha estado en mis libros 'de cabecera' dispuesto a aclararme dudas y proporcionarme sus ejemplos inspiraciones gráf icas...

Gracias Don Milton Glaser, ahora en el Olimpo.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

FIDE L SC L AVO, URUGUAY One day I showed Glaser a job that I felt proud of, waiting for your approval of him. He told me: It is very good. There is talent, there is technique and skill ... but missing desire.

From there I gave account that it was an essential element.

If it doesn't appear, you have to wait for it. Or sometimes I know I f ind in that f irst impulse that makes us fall in love, and not always we obey. Then it is lost, when trying to perfect a sketch that he already had in himself that primordial and necessary energy.

Un día le mostré a Glaser un trabajo del que me sentía orgulloso, esperando su aprobación. Me dijo: está muy bien. Está el talento, está la técnica y la habilidad ... falta el deseo.

A partir de ahí me di cuenta que era un elemento imprescindible.

Si no aparece, hay que esperarlo. O a veces se encuentra en ese primer impulso que nos enamora, y no siempre obedecemos. Entonces se pierde, al tratar de perfeccionar un boceto que ya tenía en sí esa energía primordial y necesaria.

HAT TO N G A L L E RY

Homage for Milton Glaser_100x70.indd 1

25.05.2021 10.14

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

FINN NYG A ARD, D ENM ARK Milton Glaser, “ The one and only Glaser ” was a master in all graphic design disciplines.

Illustrator and poster designer.

His work is very signif icant and notable and has always been a great inspiration, for me and for my generation. He was a great master. His work will live on.

Milton Glaser, "El único Glaser ”era un maestro en todas las disciplinas de diseño gráf ico.

Ilustrador y diseñador de carteles.

Su trabajo es muy signif icativo y notable y siempre ha sido una gran inspiración, para mí y para mi generación. Él era un gran maestro. Su trabajo vivirá.

HAT TO N G A L L E RY

FRANCESCO DONDINA 2021

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

FR A NC E SCO D ON D INA , ITALY I met Milton Glaser at the 1989 Design Conference in Aspen, Colorado.

I was a young man at that time and shaking his hand I tried to tell him how much I was devoted to his work.

He looked at me peacefully and he tried to make me feel comfortable.

“Do you enjoy the conference, my f riend?” he said to me. “Of course” I said, but I was focused on his little spot in the middle of his forehead and I always asked myself what I was doing there.

Now I know that was his third eye and the center of his energy and his extraordinary creativity.

Conocí a Milton Glaser en la Conferencia de Diseño de 1989 en Aspen, Colorado.

Yo era un hombre joven en ese momento y al estrechar su mano traté de decirle cuánto aprecio su trabajo.

Me miró pacíf icamente y trató de hacerme sentir cómodo.

-“¿Disf rutas de la conferencia, amigo mío?” Me dijo.

-"Por supuesto" dije, pero estaba concentrado en su pequeña mancha en el medio de su f rente y siempre me preguntaba qué estaba haciendo allí.

Ahora sé que ese era su tercer ojo y el centro de su energía y su extraordinaria creatividad.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

FR A NK A RBELO, BOLIVIA The drawing is present in all the work of Milton Glaser. In his own words "when drawing more attention is paid to details when describing what is trying to translate on paper" Mastering this trade gave him many possibilities and alternatives when facing a job, without losing sight of the importance of the message.

He generated all of his work in New York City, the capital of world art at that time, and in the midst of all that creative and artistic whirlwind, he knew how to stand out and somehow establish an authentic link between art and design.

El dibujo está presente en toda la obra de Milton Glaser.

En sus propias palabras “al dibujar se presta más atención a los detalles en el momento de describir lo que se intenta plasmar en el papel” El dominio de este of icio, le daba muchas posibilidades y alternativas en el momento de enf rentar un trabajo, sin perder de vista la importancia del mensaje.

Generó toda su obra en la ciudad de Nueva York, capital del arte mundial en ese momento, y en medio de toda esa vorágine creativa y artística, supo destacar y de alguna forma establecer un vínculo auténtico entre el arte y el diseño.

HAT TO N G A L L E RY

Cláudio_Gil_01.indd 1

06/09/2021 22:15

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

GA BR IE L A IRIGOYEN, BRASIL Like Milton Glaser, I also believe and think that art and design can transform the world. That the artists and designers have an important social role.

Inspired me too much on Glaser when I risk being in constant flux and evolution in terms of materials, experimentations and styles.

He inspires me to venture into various areas, how he did.

That leads us to investigate, experiment and constantly evolve.

Como Milton Glaser, yo también creo y pienso que el arte y el diseño pueden transformar el mundo. Que los artistas y diseñadores tienen un importante papel social.

Me inspiro demasiado en Glaser cuando arriesgo estar en constante cambio y evolución en términos de materiales, experimentaciones y estilos. Él me inspira a aventurarme en diversas áreas, cómo él hacía.

Eso nos lleva a investigar, experimentar y estar en constante evolución.

HAT TO N G A L L E RY

DISEÑO: GERMÁN MONTALVO · MÉXICO · 2021

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

GE R MÁ N M ON TALVO, M ÉXICO Glaser's work was inspiring for an entire generation of illustrators and graphic designers. In the 1970s, having his book Milton Glaser, Graphic Design, published by The Overlook Press was an act of faith for those who had embraced design as a way of life. In that book, with a preface by Jean Michel Folon, the conf irmation of a profession that could take you by the hand to other territories, create cultural bridges was sowed. That book represents being against the banal, all Glaser's work alludes to universal contents that are like a guide to follow in the footsteps of Bach, Aretha Franklin, Hugh Masekela, Hermann Hesse, El Che, Shakespeare, Cervantes, all of them illustrated by his ink and watercolor in some cases even with psychedelic features.

El trabajo de Glaser fue inspirador para toda una generación de ilustradores y diseñadores gráf icos, en los años setenta tener su libro Milton Glaser, Graphic Design, editado por The Overlook Press, era un acto de fe para los que habían apostado por el diseño como forma de vida. Ahí en ese libro con prefacio de Jean Michel Folon, se sembró la conf irmación de un of icio que te podía llevar de la mano a otros territorios, crear puentes culturales, ese libro representa estar en contra de lo banal, todo el trabajo de Glaser alude a contenidos universales que son como una guía para seguirle los pasos a Bach, Aretha Franklin, Hugh Masekela, Hermann Hesse, El Che, Shakespeare, Cervantes, todos ellos ilustrados por su tinta y su acuarela en algunos casos incluso con rasgos psicodélicos.

HAT TO N G A L L E RY

poster design gitte kath

HOMAGE FOR MILTON GLASER

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

GIT TE KAT H, D ENM ARK Milton Glaser the greatest inspiring, artist, designer, teacher and humanist.

He showed all of us that nothing is unimportant.

Milton Glaser el más grande inspirador, artista, diseñador, maestro y humanista.

Nos mostró a todos que nada es sin importancia.

HAT TO N G A L L E RY

GGGRAFIK 2021

1929–2020 Milton Glaser

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

GOTZ GR A M LICH , GERM AN Y Milton Glaser's graphic approach is very inspiring in many ways.

Despite the reduced graphics, his work is insanely emotional and touching, playful. Like the colours, which seem to always match. It looks so simple because everything f its. And that's what makes it (good graphic-design) so diff icult, or rather ingenious.

Apart f rom the formal execution, which is in a league of its own, the most important thing is the underlying idea. And it is fantastic to see how Milton Glaser can f ind abstract images that unfold in our minds and start to play with our thoughts.

El enfoque gráf ico de Milton Glaser es muy inspirador en muchos sentidos.

A pesar de los gráf icos reducidos, su trabajo es increíblemente emocional y conmovedor, lúdico. Como los colores, que parecen siempre partidos. Parece tan simple porque todo encaja. Y eso es lo que lo hace (un buen gráf icodiseño) tan dif ícil, o más bien ingenioso.

Aparte de la ejecución formal, que está en una línea propia, lo más importante es la idea subyacente. Y es fantástico ver cómo Milton Glaser puede encontrar imágenes abstractas que se despliegan en nuestra mente y empezar a jugar con nuestros pensamientos.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

MACA GUSTAVO WOJCIECHOWSKI, URUGUAY The f irst thing was astonishment, admiration. Then I start to realize where the fascination that his designs cause us.

Obviously there is technical prowess, precision; but below or above is the pleasure. An extreme f idelity to himself, and therefore, to beauty.

One perceives that these designs are made with a smile, that while he thought about them and drew them, he smiled, he enjoyed himself. And that transcends, communicates, infects.

Their designs flow, dance, laugh, and we, with them. That is a lesson not only in design.

Thanks.

Lo primero fue el asombro, la admiración. Después empezar a darme cuenta de dónde proviene la fascinación que nos provoca sus diseños.

Obviamente hay destreza técnica, precisión; pero por debajo o por arriba está el placer. Una f idelidad extrema para consigo mismo, y por ende, con la belleza.

Uno percibe que esos diseños están hechos con una sonrisa, que mientras los pensaba y los dibujaba, se sonreía, disf rutaba. Y eso trasciende, comunica, contagia.

Sus diseños fluyen, bailan, ríen, y nosotros con ellos. Esa es una lección no solo de diseño.

Gracias.

HAT TO N G A L L E RY

© HELMUT LANGER,GERMANY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

HE L MUT L ANGER. GERM AN Y

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

HE R NA N BERD ICHVSKY, ARGENTIN A There is no doubt, at least for me as an Argentine, that Maradona was the best player in the story.

I always liked to search (and f ind) the comparison of Maradona with other disciplines. Is James Bond the Maradona of spies? Is Freddie Mercury the Diego of the musicians or maybe because of his personality, should it be more Sid Vicious?

I don't want to put as an example the f igure of Maradona but if above all, make clear the immense genius of him, the enormous magnitude of him in the history of football and that of my country.

A unique player who broadcasts magic, emotion and tears to everyone, whether they speak the language of football or not.

When I compare Maradona with a graphic designer who reaches his f igure, the answer is simple and fast.

The Diego of design is for my Milton Glaser.

Gooooollllllllllllll.

No cabe duda, por lo menos para mi como Argentino, que Maradona fue el mejor jugador de la historia.

Siempre me gustó buscar (y encontrar) la comparación de Maradona con otras disciplinas. ¿Es acaso James Bond el Maradona de los espías? ¿Es Freddie Mercury el Diego de los músicos o quizás por su personalidad, debería ser más Sid Vicious?

No quiero poner como ejemplo la f igura de Maradona pero si por sobre todo, dejar claro su genialidad inmensa, su magnitud enorme en la historia del fútbol y la de mi país.

Un jugador único que transmitió magia, emoción y lágrimas a todo el mundo, hablen o no el idioma del fútbol.

Cuando comparo a Maradona con algún diseñador gráf ico que alcance su f igura, la respuesta es simple y rápida.

El Diego del diseño es para mi Milton Glaser.

Gooooollllllllllllll.

HAT TO N G A L L E RY

milton glaser

más

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

ISIDR O FERRER, ESPAÑA

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

IWO NA RYPESC KOSTOVIC , POL AND - USA The departure of Milton Glaser made it clearly visible that a certain era in graphic design has ended, the era that was marked with his inexhaustible creative spirit.

It evokes a feeling that is associated with the end of the reign of a king who transformed not only his kingdom, but also influenced the whole world.

La partida de Milton Glaser hizo claramente visible que una era en el diseño gráf ico ha terminado, la era que estuvo marcada con su inagotable espíritu creativo.

Evoca un sentimiento que se asocia con el f inal del reinado de un rey que transformó no solo su reino, sino que también influyó en el mundo entero.

HAT TO N G A L L E RY

MILTON GLASER / TRIBUTE // First time I saw Milton Glasers’ posters when he won the First Prize at the International Biennale of Graphic Design in Brno in 1970. Since that he was sending his posters, illustrations and logos to the Brno Biennale many times, but he never came in person. // I met him only once when the first Mexico Biennale of Poster took place (in 1990). He was a member of the Jury, and I was a guest (together with my father Jan Rajlich Sr.) there. At the time, he seemed like a nice person, but also a fairly closed and not very communicative personality. // For me, Milton Glaser will remain one of the brightest poster stars of the second half of the 20th century. // © Jan RAJLICH Jr., Brno, Czech Republic, 202 1 (text, illustration, design) // Hommage to Milton Glaser / The Seventh International Biennial of Poster Bolivia/ BICeBé 202 1

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JA N R A JLICH JR, CZECH REPUBLIC First time I saw Milton Glasers’ posters when he won the First Prize at the International Biennale of Graphic Design in Brno in 1970.

Since that he was sending his posters, illustrations and logos to the Brno Biennale many times, but he never came in person. // I met him only once when the f irst Mexico Biennale of Poster took place (in 1990). He was a member of the Jury, and I was a guest (together with my father Jan Rajlich Sr.) there. At the time, he seemed like a nice person, but also a fairly closed and not very communicative personality.

For me, Milton Glaser will remain one of the brightest poster stars of the second half of the 20th century.

L a p r i m e r a ve z q u e v i l o s c a r te l e s d e M i l to n G l a s e r s f u e c u a n d o g a n ó e l Pr i m e r Pre m i o e n l a B i e n a l I n te r n a c i o n a l d e D i s e ñ o G r á f i c o e n B r n o e n 1 9 70.

Desde entonces, envió sus carteles, ilustraciones y logotipos a la Bienal de Brno muchas veces, pero nunca vino en persona. // Lo conocí solo una vez cuando se llevó a cabo la primera Bienal de Cartel de México (en 1990). Él era miembro del jurado y yo fui invitado ( junto con mi padre Jan Rajlich Sr.) allí. En ese momento, parecía una persona agradable, pero también una personalidad bastante cerrada y poco comunicativa.

Para mí, Milton Glaser seguirá siendo una de las estrellas de carteles más brillantes de la segunda mitad del siglo XX.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JA SO N FRAZIER, USA Milton Glaser – or “Uncle Milton”, as my mentor Cedomir Kostovic would call him – showed me that design can be fun, and funny. That humor and whimsy can be present, they are important for engaging viewers.

To delight is often the point, to create something for the world that makes it just a little bit better, just a little bit more fun.

Glaser was the master at wit with design, and to present powerful messages with such eff iciency and reserve.

His mastery at simplicity was best shown with adapting his own design for New York after 9/11.

I Love NY More Than Ever.

Milton Glaser, o "tío Milton", como lo llamaría mi mentor Cedomir Kostovic, me mostró que el diseño puede ser divertido.

Que el humor y la extravagancia pueden estar presentes, son importantes para atraer a los espectadores.

Deleitar es a menudo el punto, crear algo para el mundo que lo hace un poco mejor, un poco más divertido.

Glaser era el maestro del ingenio con el diseño, y presentar mensajes poderosos con tanta ef iciencia y reserva.

Su maestría en la sencillez se mostró mejor adaptando su propio diseño para Nueva York después del 11 de septiembre I Love NY More Than Siempre.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JOAN N A G ÓRSKA J E RZ Y SKAKUN, POL AND

HAT TO N G A L L E RY

1929-2020

John Gravdahl/USA

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JOHN GR AVDAH L , USA My typographic echo marks the enduring influence of the master on his creative professional descendants.

I looked to his spontaneous yet thoughtful relationship to typography, imagery and context.

Mi eco tipográf ico marca la perdurable influencia del maestro en sus descendientes profesionales creativos.

Miré su todavía espontánea relación reflexiva con la tipograf ía, las imágenes y el contexto.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

JU L ÍA N NARANJO, CH ILE The level of influence of "Uncle" Milton on my work appears everywhere, his thought, eclecticism, and his philosophy are stamped on my skin like person, designer, illustrator and as a teacher.

I met him in 1982 at a workshop he gave in California. Were the days more f ruitful of my life, that experiential level of transfer and clarity in his slow language mesmerized.

I remember with particular clarity and affection the day that he told me -All that you can teach today you must return it and give it to someone else tomorrow - Since then, I have made that commitment, the reason why I am yet another teacher following his path.

El nivel de influencia de "Uncle" Milton sobre mi trabajo aparece por todas partes, su pensamiento, eclecticismo y f ilosof ía, los llevo estampados en mi piel como persona, diseñador, ilustrador y como docente.

Le conocí en 1982 en un workshop que dió en California. Fueron los días más f ructíferos de mi vida, ese nivel experiencial de traspaso y claridad en su pausado lenguaje hipnotizaba.

Recuerdo con particular claridad y cariño el día que me dijo - Todo lo que te pueda enseñar hoy debes devolverlo y entregárselo mañana a alguien Desde entonces he hecho de ese compromiso la razón del porque soy otro profesor más siguiendo su camino.

HAT TO N G A L L E RY

Milton_Glaser 2 copy.pdf

1

8.6.2021

14.33

DESIGN: KARI PIIPPO 2021

C

M

Y

CM

MY

CY

CMY

K

HOMAGE FOR

MILTON GL ASER

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

KA R I PIIPPO, FINL AN D Milton Glaser has a place of honor in the history of graphic design.

His works are diamonds in our visual world.

Milton Glaser tiene un lugar de honor en la historia del diseño gráf ico.

Sus obras son diamantes en nuestro mundo visual.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

KIKO FA RKAS , BRASIL I discovered Milton Glaser when I was a teenager, when I flipped through a book of his posters.

I already liked drawing but I never imagined that there would be a profession in which drawing could be used.

When I saw his work I knew that he could be a designer. There is a fascination that arises f rom the mystery that emanates f rom his drawings and paintings, in the oblique relationship between them and the theme / message of the poster or the cover of the book.

This way of using drawing / image as creative reasoning and eventually the f inal product of a graphic piece also became my way of working.

Descubrí a Milton Glaser cuando era adolescente, cuando hojeé un libro de sus carteles.

Ya me gustaba dibujar pero nunca imaginé que habría una profesión en la que se pudiera utilizar el dibujo.

Cuando vi su trabajo supe que podía ser diseñador.

Existe una fascinación que surge del misterio que emana de sus dibujos y pinturas, en la relación oblicua entre ellos y el tema / mensaje del cartel o la portada del libro.

Esta forma de utilizar el dibujo / imagen como razonamiento creativo y, eventualmente, el producto f inal de una pieza gráf ica también se convirtió en mi forma de trabajar.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

L A Z E TR IPKOV, M ACED ONIA Milton Glaser, is one of the best graphic designers in the world, whom I had the privilege of meeting in person in 2014 at his studio in New York.

My biggest fascination back then was his strong desire to obtain the creative strength at age of almost 90...

I remember when entering his studio, he was working on the visuals for the last season of the series “Mad Men”. Also we spoke about his passion for social design and his latest project “it’s not warming, it’s dying”, asking me to promote it more in my country and region.

That was the biggest “favor ” I was asked… it determined my future input in social design, f ight for injustice and the true admiration for striking and powerful visual art communication.

Work is Art. Art is Work. Milton we miss you more than ever.

Milton Glaser, es uno de los mejores diseñadores gráf icos del mundo, a quien tuve el privilegio de conocer en persona en 2014 en su estudio de Nueva York.

Mi mayor fascinación en ese entonces era su fuerte deseo de obtener la fuerza creativa a los casi 90 años ...

Recuerdo que cuando entró en su estudio, estaba trabajando en las imágenes para la última temporada de la serie “Mad Men”. También hablamos de su pasión por el diseño social y de su último proyecto “no se está calentando, se está muriendo”, pidiéndome que lo promocione más en mi país y región.

Ese fue el "favor" más grande que me pidieron ... determinó mi futuro aporte en el diseño social, la lucha por la injusticia y la verdadera admiración por la impactante y poderosa comunicación de las artes visuales.El trabajo es arte.

El arte es trabajo. Milton te extrañamos más que nunca.

HAT TO N G A L L E RY

MILTON GLASER, 26 JUNE 1929 - 26 JUNE 2020 DESIGNED BY CHUN-LIANG LEO LIN, TAIWAN

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

L EO L IN, TAIWAN Milton Glaser ’s works have shown us the contribution of graphic design to cities and societies and inspired us all.

Las obras de Milton Glaser nos han mostrado la contribución del diseño gráf ico a las ciudades y sociedades y nos han inspirado a todos.

HAT TO N G A L L E RY

er

te

ibu Tr

t

n

lto

i oM

as Gl

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

L EX DR EWIN SKI, GERM AN Y W h e n we t a l k ab o ut Mi l to n G l ase r ' s d e si g n, i t i s i m p o ssi b l e to leave out t h e m u si c .

In his 1966 poster for Bob Daylan he looks through the prism of an experienced designer. The work could be described as psychedelic minimalism.

Cu a n d o h a b l a m o s d e l d i se ñ o d e Mi l to n G l ase r, e s i m p o si b l e d eja r de la do l a m ú si c a .

E n su c a r te l d e 1966 para Bo b Day l an, m i ra a travé s d e l p ri sm a de u n d i se ñ a d o r ex p e ri m e nta d o. El trabajo p o d rí a d e scri b i rse co m o m i n i m a l i sm o psi co d é l i co.

HAT TO N G A L L E RY

Milton Glaser 1929 - 2020

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

LO NNIE RUÍZ , N ICARAGUA When I started my teaching career, I questioned a lot about my role as a designer and the way I was supposed to help my students, the text of Milton Glaser's talk at the 2005 AIGA congress helped me understand that it was also essential to help train citizens willing to make a change for society not only f rom design.

Of teacher I appreciate his sensitivity and beyond his work, every word he left us.

Cu a n d o e m p e c é m i c a r re r a c o m o d o c e n te , m e c u e s t i o n é m u c h o m i ro l c o m o d i s e ñ a d o r y l a f o r m a e n l a q u e d e b í a a y u d a r a m i s e s t u d i a n te s , e l tex to d e l a c h a r l a d e M i l to n G l a s e r e n e l c o n g re s o d e l A I G A d e 2 0 0 5 m e a y u d ó a e n te n d e r q u e e r a i n d i s p e n s a b l e t a m b i é n a y u d a r a f o r m a r c i u d a d a n o s d i s p u e s to s a h a c e r u n c a m b i o p o r l a s o c i e d a d n o s o l o d e s d e e l d i s e ñ o.

Del maestro agradezco su sensibilidad y más allá de su trabajo, cada palabra que nos dejó.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

LO U R DE S ZOLEZZI, M ÉXICO When I think of Milton Glaser, the importance of using design comes to mind, for the generation of a quality of life for people.

His influence is in his conceptual capacity and use of language, directed as a communication channel, where the meaning of words are used as routes to touch people's hearts.

After the violence that was suffered in New York, Glaser offered us the phrase "I love NY", after the terrorist attacks of September 11 "I Love NY More Than Ever" and now f inally "Together" shared to alleviate a little the pain caused by the Covid19 pandemic.

His legacy will be the vision of him before the hopeful world and the constant search for him without fear of failure, embracing reality in i t s e n t i r e t y.

Cuando pienso en Milton Glaser me viene a la mente la importancia de uso del diseño, para la generación de una calidad de vida para las personas.

Su influencia está en su capacidad conceptual y uso del lenguaje, dirigidos como un canal de comunicación, donde el signif icado de las palabras, son usadas como rutas para tocar el corazón de las personas.

Después de la violencia que se suf ría en Nueva York, Glaser, nos of reció la f rase “I love NY”, tras los ataques terroristas del 11 de septiembre “I Love NY More Than Ever ” y ahora f inalmente “Together ” compartida para aliviar un poco el dolor que se ha provocado a raíz de la pandemia de Covid19.

Su legado será su visión ante el mundo esperanzadora y su búsqueda constante sin miedo al f racaso, abrazando la realidad en su totalidad.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

LYLY DÍA Z , CUBA What has always motivated me about Milton's work is his capacity for transgression, the way he faces such dissimilar projects and f rom different f ields.

When I observe his work I see that there are no ties to styles, beliefs and preferences, this fascinates me greatly.

His philosophy of life, his ever-changing thinking, and his questioning skepticism are qualities we should learn to nurture.

Lo que siempre me ha motivado de la obra de Milton es su capacidad de transgresión, la manera de enf rentar proyectos tan disímiles y de campos distintos.

Cuando observo su trabajo veo que no hay ataduras a estilos, creencias y preferencias, esto me fascina grandemente.

Su f ilosof ía de vida, su pensamiento en constante cambio y su escepticismo cuestionador son cualidades que deberíamos aprender a fomentar.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

MAX R OM PO, ARGEN T IN A Two chairs coincide in time. Apparently, the four points at which each one of them leans could not be more distant. But, even so, what falls next to one of them draws shadows where the other lives and she rumbles when she hits the ground.

It is the oblivion undone by falling at one end of the world and memory buried in the other.

If art is work, life too.

Thanks, Milton.

Dos sillas coinciden en el tiempo. Aparentemente, los cuatro puntos en que cada una de ellas se apoya no podrían ser más distantes. Pero, aún así, lo que cae junto a una de ellas dibuja sombras donde vive la otra y retumba al tocar el suelo.

Es el olvido deshecho al caer en un extremo del mundo y la memoria enterrada en el otro.

Si el arte es trabajo la vida también.

Gracias, Milton.

HAT TO N G A L L E RY

1929-2020

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

MIC HE L BOUVET, FRANCE Milton Forever.

At the beginning of my career as a poster artist, I was 25 years old, my f irst and only book of graphic design was about Milton Glaser ’s works.

I was fascinated by his talent and especially by the relationship he developed between painting and graphic design.

In 2014, I was very glad to show his marvelous posters in the exhibition « Paris Invites the World ' ' at the Fête du graphisme. Later, at Edinburgh University where I was leading a workshop, he said via Skype to the students « Forget about glory and money ».

He was a master.

Milton Para Siempre.

Al comienzo de mi carrera como cartelista, tenía 25 años, mi primer y único libro de diseño gráf ico trataba sobre las obras de Milton Glaser.

Me fascinó su talento y sobre todo la relación que desarrolló entre pintura y diseño gráf ico.

En 2014, me alegró mucho mostrar sus maravillosos carteles en la exposición «París invita al mundo» en la Fête du graphisme. Más tarde, en la Universidad de Edimburgo, donde estaba dirigiendo un taller, dijo a los estudiantes por Skype: «Olvídense de la gloria y el dinero». Él era un maestro.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

NIKL AU S TROXLER, SWIT ZERL AN D I t h i n k i n o u r g e n e rati o n Mi l to n G l ase r was o ur al l tea ch e r. He a lways wa s my i d o l , my h e ro. He was a g reat i l l ustrato r, pai nte r as well a s a g rea t ty p o g rap h e r.

His font Glaser Stencil is the best stencil typeface that exists today.

For this dedication poster I use his font to express my respect to the great designer.

I had twice the opportunity to visit his studio with my students. Milton was so kind and took his time to show us his work as well as he was interested how young people think and work.

Thank you, Milton.

Creo que en nuestra generación Milton Glaser fue todo nuestro maestro.

El siempre fue mi ídolo, mi héroe. Fue un gran ilustrador, pintor y un gran tipógrafo.

Su fuente Glaser Stencil es la mejor tipograf ía de plantilla que existe desde hoy.

Para este cartel de dedicación, utilizó su fuente para expresar mi respeto al gran diseñador.

Tuve dos oportunidades de visitar su estudio con mis alumnos. Milton fue tan amable y se tomó su tiempo para mostrarnos su trabajo y le interesó cómo piensan los jóvenes y trabajo.

Gracias, Milton.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

OSVA L DO GAON A , M ÉXICO Milton Glaser transformed my life B e f o re e n te r i n g u n i ve r s i t y, I c a m e a c ro s s a s m a l l b o o k c a l l e d T h e G rea t M a s te r s o f G r a p h i c D e s i g n a n d i n t h e c e n te r p a g e s h e a n d h i s wo r k a p p ea re d , w h i c h t r a n s f o r m e d m e a n d m a d e m e d e c i d e to s t u d y Graphic Design.

The discipline, the drawing, the quality of the line and the high conceptual level changed my way of understanding design.

I met him at a conference and it was like seeing the longed-for idol. The phrase that struck me the most: "You have to look at the universe with a spirit of encounter."

Milton Glaser transformó mi vida Desde antes de ingresar a la universidad, me topé con un pequeño libro que se llamaba Los grandes Maestros del Diseño Gráf ico y en las páginas centrales aparecía él y su obra, misma que me transformó y me hizo decidir a estudiar Diseño Gráf ico.

La disciplina, el dibujo, la calidad del trazo y el alto nivel conceptual modif icaron mi manera de entender al diseño.

Lo conocí en una conferencia y fue como ver al ídolo anhelado. La f rase que más me impactó: “Hay que mirar al universo con espíritu de encuentro”.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PA BLO ITURRALD E , ECUAD OR The influence and importance of Milton Glaser in my work as a designer lies in humanism and the f reedom of his work.

For me, as a graphic designer, daring to get out of the direct line is not easy.

Every decision must be reasoned and measured.

Glaser's work, located between art and communication, proposes daring the adventure of design, using visual metaphors that give the message a subtle discourse that enhances it and makes it special.

La influencia y la importancia de Milton Glaser en mi trabajo como diseñador radica en el humanismo y la libertad de su trabajo.

Para mi, como diseñador gráf ico, atreverme a salir de la línea directa, no es fácil. Cada decisión debe ser razonada y medida.

El trabajo de Glaser, ubicado entre el arte y la comunicación, propone atreverse a la aventura de diseñar, utilizando metáforas visuales que le dan al mensaje un discurso sutil que lo engrandece y lo vuelve especial.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PA BLO SALOM ON E , ARGEN T IN A I was still a student when I attended the Milton Glaser talk at UBA .

He still had doubts about the professional beginning: going down a more plastic path, linked to poetics or along a more rationalist line, close to project thinking.

Meeting Glaser dispelled my doubts: he bridged the two. From reflective lucidity to capture the spirit of a city to give more magic to the magician of songs.

Thanks to him, I understood that design does not exclude both possibilities, but rather enhances them: passionate construction around a work rationality.

Todavía era estudiante cuando asistí a la charla de Milton Glaser en la UBA .

Tenía aún las dudas del comienzo profesional: ir por un camino más plástico, vinculado a la poética o por una línea más racionalista, cercana al pensamiento proyectual.

Conocer a Glaser disipó mis dudas: él unía ambos caminos. Desde la lucidez reflexiva para captar el espíritu de una ciudad como para darle más magia al mago de las canciones.

Gracias a él entendí que el diseño no excluye ambas posibilidades sino que las potencia: una construcción pasional en torno a una racionalidad de trabajo.

HAT TO N G A L L E RY

MIL TON GLA SER

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PAU L BU CKLEY, USA In the world of Art & Design, Milton was our brightest star. Not in Art .. not in Design – but in Art & Design.

He was that rare giant that made combining the two look so effortless.

And he was smart and kind and industrious to a degree most of us have to admit that we not only do not have the energy for, but the guts for.

Somehow his work always showed a sort of kindness and it often had humor, which for me is what I miss in the work of so many.

How do you be that sort of cultural giant while making it all look so fluid, so natural? Very few in any industry achieve this, and most are so quick to leave behind the fun. He simply had the perfect mix of all these things and carried it all so perfectly.

A true hero of our time and an inspiration to so many.

En el mundo del arte y el diseño, Milton fue nuestra estrella más brillante.

No en Arte .. no en Diseño, pero sí en Arte y Diseño. Él era ese gigante raro que hizo que la combinación de los dos parecen tan fáciles. Y era inteligente, amable y trabajador hasta cierto punto. La mayoría de nosotros tenemos que admitir que no solo no tenemos la energía para, sino agallas para.

De alguna manera, su trabajo siempre mostraba una especie de bondad y, a menudo, humor, que para mí es lo que echo de menos en el trabajo de tantos. Como eres eso ¿Una especie de gigante cultural que hace que todo parezca tan fluido, tan natural? Muy pocos en la industria logran esto, y la mayoría se apresura a dejar atrás la diversión. Él simplemente tenía la combinación perfecta de todas estas cosas y lo llevaba todo tan perfectamente.

Un verdadero héroe de nuestro tiempo e inspiración para muchos.

HAT TO N G A L L E RY

IN MEMORIAM

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PE P CA R R IO, ESPAÑ A For me, Milton Glaser is a great reference, a mirror where we should look at ourselves.

Thinker, graphic designer, illustrator.

Of his work I admire before all the f reedom with which he faced the most various projects, where he prioritized reflection and the brilliant idea, always f resh and surprising.

The use of illustration applied to the Communication was one of his great tools.

The f igure of him has marked a way of being in the design graphic.

Para mí, Milton Glaser es un gran referente, un espejo en donde deberíamos mirarnos.

Pensador, diseñador gráf ico, ilustrador.

De su obra admiro ante todo la libertad con la que se enf rentaba a los más diversos proyectos, donde primaba la reflexión y la idea brillante junto a una realización siempre f resca y sorprendente.

E l u so d e l a i l u stra ci ó n ap l i ca d a a l a co m uni ca ci ó n f ue una d e s us g ra n d e s h e rra m i e ntas.

Su f igura ha marcado una forma de estar en el diseño G RÁF ICO.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PE PE ME NÉN D EZ , CUBA

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

PE TE R BANKOV, CZECH REPUBLIC

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R E NZO BORJA , BOLIVIA "Everything is connected. There are no disconnected events in the human experience, but discovering those connections, we call that being creative.”

With this phrase, Milton Glaser engendered in my design practice the need to conceive of all creation as a result of understanding my own existence in relation with the world, with reality, with people and their needs, with time and with the very different ways of being.

In addition, this idea constantly helps me to pay attention to what surrounds me, with the certainty that it is in who I am looking to f ind, to feel, think and create.

“Todo está conectado. No hay sucesos desconectados en la experiencia humana, pero descubrir esas conexiones, a eso le llamamos ser creativo” Con esta f rase, Milton Glaser engendró en mi práctica de diseño la necesidad de concebir a toda creación como resultado del entendimiento de mi propia existencia en relación con el mundo, con la realidad, con las personas y sus necesidades, con el tiempo y con las muy diversas maneras de ser.

Además, esta idea, me ayuda constantemente a mantener atención a lo que me rodea, con la certeza de que está en quién mira encontrar, para sentir, pensar y crear.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R ICCA R DO GUASCO, ITALY Milton’s flower "He was the f irst "illustrator" I heard about in a short lesson about the masters of graphics and illustration when I was attending the art academy.

I did not know his work and I fell in love with his posters and his works for their immediacy and intelligence in solving problems of communication with a drawing, in a clear way, directly, always different.

An illustrator cannot ignore the work of Glaser: f rom him you can learn to always look for new solutions, to experiment with different ways to solve a layout, to pursue an evolution and to throw a seed that will always sprout new ideas...or maybe a flower."

La flor de Milton "Fue el primer" ilustrador "del que escuché en una breve lección sobre los maestros de la gráf ica y la ilustración cuando asistía a la academia de arte.

No conocía su obra y me enamoré de sus carteles y sus obras por su inmediatez e inteligencia en la resolución de problemas de comunicación con un dibujo, de forma clara, directa, siempre diferente.

Un ilustrador no puede ignorar el trabajo de Glaser: de él se puede aprender a buscar siempre nuevas soluciones, a experimentar con diferentes formas de resolver un diseño, seguir una evolución y arrojar una semilla que siempre brota nuevas ideas ... o tal vez una flor. "

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R IK KE HA NSEN, D ENM ARK In 1999, as a design student, I was for tunate to visit Milton Glaser at his design studio.

A ver y inspiring meeting where Milton took the time to show us around, his kindness and his masterful way of orchestrating colors has inspired me ever since.

I love him for his fascination with the "idea of ar t secrets" and his intelligent way of challenging our perception of what is real and what exists in our minds, a continuous play that delightfully challenges and surprises our minds.

En 1999, como estudiante de diseño, tuve la suerte de visitar a Milton Glaser en su estudio de diseño.

Una reunión muy inspiradora en la que Milton se tomó el tiempo de mostrarnos su amabilidad y su magistral forma de orquestar los colores me ha inspirado desde entonces.

Lo amo por su fascinación por la "idea de los secretos del arte" y su forma inteligente de desaf iar nuestra percepción de lo que es real y lo que existe en nuestras mentes, un juego continuo que deliciosamente desaf ía y sorprende nuestras mentes.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R O BE RTO M UNTOREAN U, BRAZIL Glaser is an inspiration for so many generations, and everybody knows that.

He is one of the design stars that crossed the line. People don't need to be a designer to know him and his work.

His work is accessible to everyone, you can have Brooklyn beer, wearing an "I

❤ NY" t-shirt while you listen to Bob Dylan, and observe the iconic special

poster packaged with his greatest hits 1966 album.

Personally, what bright my eyes is the longevity of Glaser's creative work.

Milton shows that creativity and great design are not related to your age or software that you know how to use in society and market that glorif ies the youth. Innovation can happen at any age, the work he did for the city of New York, a few months before he passed away with 91 years called "Together" is proof of that.

Thank you, Milton Glaser

Glaser es una inspiración para tantas generaciones y todo el mundo lo sabe. Es una de las estrellas del diseño que cruzó la línea.

La gente no necesita ser un diseñador para conocerlo a él y su trabajo.

Su trabajo es accesible para todos, puedes tomar una cer veza de Brooklyn, con una camiseta de "I

❤ NY" mientras escuchas a Bob Dylan, y

obser var el icónico póster especial empaquetado con sus grandes éxitos. Álbum de 1966.

Personalmente, lo que me iluminan los ojos es la longevidad del trabajo creativo de Glaser. Milton muestra que la creatividad y el gran diseño no están relacionados con su edad o con un software que sabe cómo utilizar a la sociedad y el mercado que glorif ica la juventud. La innovación puede suceder a cualquier edad, el trabajo que hizo para la ciudad de Nueva York, pocos meses antes de su fallecimiento con 91 años llamado "Juntos" es prueba de eso.

Gracias, Milton Glaser HAT TO N G A L L E RY

milton Glaser.indd 1

02/06/2021 11:11

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R O NA L D CURCH OD, FRAN CE In the late 1970s, he was a graphic designer apprentice.

Push Pin Studio's work has come to life in my eyes forever. He marked our generation with his iconic and pop images.

I love happy colors and Milton Glaser shiny, her curves all over the place.

In his most intimate work, I like the drawing of his paper women extremely sensual. Serene and royal ...

A f inales de la década de 1970, era un aprendiz de diseñador gráf ico.

El trabajo de Push Pin Studio ha cobrado vida en mis ojos para siempre. Marcó a nuestra generación con sus imágenes icónicas y pop.

Me encantan los colores alegres y brillantes de Milton Glaser, sus curvas por todas partes.

En su obra más íntima, me gusta el dibujo de sus mujeres de papel extremadamente sensuales. Sereno y real ...

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

R U BÉ N SA LINAS , BOLIVIA Design is also the mirror in which societies look at themselves.

For generations born after the second half of the twentieth century, the imprint of Milton Glaser in the design, has reflected a good part of the image of our identity as global culture.

In that mixture of hallucinated vision and child's gaze, he knew how to express with lucid the explosive moment of the late sixties and, f rom there, its leap to imperishable.

I believe that this virtue of the timeless, in Glaser's case, is manifesting a kind of instant certainty, optimism and well-being; It is in that feeling of seeing the essential where lies the power of the iconic.

El diseño es también el espejo en el que las sociedades se miran.

Para las generaciones nacidas después de la segunda mitad del siglo veinte, la impronta de Milton Glaser en el diseño, ha reflejado buena parte de la imagen de nuestra identidad como cultura global.

En esa mezcla de visión alucinada y mirada de niño, él supo expresar con lucidez el momento explosivo de f inales de la década del sesenta y, desde ahí, su salto a lo imperecedero.

Creo que esa virtud de lo atemporal, en el caso de Glaser, está en manifestar una suerte de certeza, de optimismo y bienestar instantáneos; es en esa sensación de ver lo esencial donde radica el poder de lo icónico.

HAT TO N G A L L E RY

MILTON GLASER WAS THE WORLD'S MOST FAMOUS GRAPHIC DESIGNER. EVERYONE KNOWS HIM, IF NOT BY HIS NAME, WHICH IS SACRED TO PROFESSIONALS, THEN CERTAINLY BY THE "I LOVE NEW YORK" LOGO. BUT NEITHER FAME NOR MONEY WAS THE MAIN THING FOR HIM. GLAZER REALLY LOVED NEW YORK. HE GREW UP IN AN AREA OF THE BRONX CALLED "LITTLE MOSCOW" MANY OF HIS RELATIVES CAME FROM RUSSIA. IN 2018, I WAS LUCKY ENOUGH TO MEET HIM IN PERSON. HE COMPLETELY CAPTIVATED ME WITH HIS HUMAN CHARM. IT WAS EASY AND NATURAL TO BE WITH HIM. HE DIDN'T WORK AS A DESIGNER, HE LIVED THE DESIGN. HE SAID THAT DESIGN CAN NOT ONLY SERVE THE INTERESTS OF THE CUSTOMER, THE PUBLIC AND THE DESIGNER, BUT ALSO HELP THEM ALL SEE THE SPIRITUAL MEANING OF THINGS, BETTER UNDERSTAND THEMSELVES AND UNDERSTAND LIFE. THE GLAZER SCHOOL IS A SCHOOL OF SPIRIT AND A SCHOOL OF LOVE. SERGE SEROV / RUSSIA

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SE R GE SEROV, RUSSIA Milton Glaser was the world's most famous graphic designer. Everyone knows him, if not by his name, which is sacred to professionals, then certainly by the "I love new york" logo. but neither fame nor money was the main thing for him. glazer really loved new york. He grew up in an area of the Bronx called "little Moscow" many of his relatives came f rom Russia. in 2018, i was lucky enough to meet him in person. he completely captivated me with his human charm. it was easy and natural to be with him. he didn't work as a designer, he lived the design. he said that design can not only serve the interests of the customer, the public and the designer, but also help them all see the spiritual meaning of things, better understand themselves and understand life. the glazer school is a school of spirit and a school of love.

Milton Glaser fue el diseñador gráf ico más famoso del mundo. Todo el mundo lo conoce, si no por su nombre, que es sagrado para los profesionales, ciertamente por el logo de "I love new york". pero ni la fama ni el dinero eran lo principal para él. Glazer realmente amaba Nueva York.

Creció en una zona del Bronx llamada "pequeña Moscú", muchos de sus parientes venían de Rusia. en 2018, tuve la suerte de conocerlo en persona. me cautivó por completo con su encanto humano. era fácil y natural estar con él. no trabajó como diseñador, vivió el diseño. Dijo que el diseño no solo puede servir a los intereses del cliente, el público y el diseñador, sino que también puede ayudarlos a todos a ver el signif icado espiritual de las cosas, a comprenderse mejor a sí mismos y a comprender la vida. la escuela glazer es una escuela de espíritu y una escuela de amor.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SE R GIO OLIVOT T I, ITALY For me Milton is the change f rom the interesting world but also a bit boring f rom the graph Swiss to a world of fantasy, of happiness, of positivity that is the world of dreams and true life.

I imagine it as a portal.

On the left the world is gray. On the right it is full of colors and joy.

Para mi Milton es el cambio desde el mundo interesante pero también un poco aburrido de la gráf ica suiza a un mundo de fantasía, de alegría, de positividad que es el mundo de los sueños y de la verdadera vida.

Lo imagino como una puerta.

A la izquierda el mundo es gris. A la derecha está lleno de colores y alegría.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SHINO SUEFUSA , JAPAN Feel with my eyes, taste with my eyes, think with my eyes, and draw with my hands. Learn and weave my own way.

Siento con mis ojos, saboreo con mis ojos, pienso con mis ojos y dibujo con mis manos. Aprender y tejer a mi manera.

HAT TO N G A L L E RY

studiopanorama.de

New floating pear Designers For Glaser 2021

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

STU DIO PANORAM A , GERM ANY We love Mr Glaser's way of mixing surrealistic complex ideas with striking visuals.

His seemingly never-ending body of work inspired us and generations of graphic designers and artists.

Nos encanta la forma en que el Sr. Glasers mezcla ideas complejas surrealistas con imágenes impactantes.

Su interminable cuerpo de trabajo nos inspiró a nosotros y a generaciones de diseñadores gráf icos y artistas.

HAT TO N G A L L E RY

Designers For Glaser 2021

studiopanorama.de

»You have to embrace failure.« – Milton Glaser

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

STU DIO PANORAM A , GERM ANY We love Mr Glaser's way of mixing surrealistic complex ideas with striking visuals.

His seemingly never-ending body of work inspired us and generations of graphic designers and artists.

Nos encanta la forma en que el Sr. Glasers mezcla ideas complejas surrealistas con imágenes impactantes.

Su interminable cuerpo de trabajo nos inspiró a nosotros y a generaciones de diseñadores gráf icos y artistas.

HAT TO N G A L L E RY

HOMAGE TO

More Than Ever

19 2 9 – 2 0 2 0

MILTON GLASER

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SOPHIA SHIH, TAIWAN

In 1983, with Walter Bernard, Glaser formed a new

Milton Glaser (1929 - 2020) excelled not only as a

and magazines around the world, including The

graphic designer, but also as an educator. Glaser

Washington Post in the U.S., and O Globo in Brazil.

taught for many years at the School of Visual Arts

In this way, Glaser's philosophy of design — his

in New York. That teaching was not just about

engagement with shape, color, history, and culture

passing on knowledge, moreover, but also about

— spread even further.

f irm — WBMG — that re-designed newspapers

how to engage in learning and embody human and societal values in design.

He designed hundreds of posters, carried out interior design projects, and created a typeface,

Glaser graduated f rom the Cooper Union in 1951

known as "Glaser Stencil".

and later won a Fulbright scholarship to study at

In his f inal interview, Glaser noted, "If you were to

the Academy of Fine Arts in Bologna, Italy. Upon his

say, f inally, what was my purpose in life… it would

return to New York, he founded Push Pin Studios,

be to have learned and passed it on." As a designer,

and his career took off f rom there. He devoted his

then, one is responsible for the effect one has on

life to a design philosophy based on drawing, and

the public — a message that is still relevant today

a love for people, the City of New York, the visual

for designers and educators.

arts, and music. This devotion is clearly visible in everything f rom his famous "I Love New York" logo to his poster of Bob Dylan.

In 1968, Glaser founded the admired and often-imitated New York magazine with the editor Clay Felker.

Milton Glaser (1929 - 2020) se destacó no solo como

y a menudo imitada con el editor Clay Felker.

diseñador gráf ico, sino también como educador.

En 1983, con Walter Bernard, Glaser formó una

Glaser enseñó durante muchos años en la Escuela

nueva f irma, WBMG, que rediseñó periódicos

de Artes Visuales de Nueva York. Además, la

y revistas en todo el mundo, incluido The

enseñanza no se trataba sólo de transmitir

Washington Post en los EE. UU. Y O Globo en Brasil.

conocimientos, sino también de cómo participar

De esta manera, la f ilosof ía de diseño de Glaser, su

en el aprendizaje y encarnar los valores humanos y

compromiso con la forma, el color, la historia y la

sociales en el diseño.

cultura, se extendió aún más.

Glaser se graduó de Cooper Union en 1951 y luego

Diseñó cientos de carteles, realizó proyectos de

ganó una beca Fulbright para estudiar en la

interiorismo y creó una tipograf ía, conocida como

Academia de Bellas Artes de Bolonia, Italia. A su

"Glaser Stencil".

regreso a Nueva York, fundó Push Pin Studios, y su carrera despegó desde allí. Dedicó su vida a una

En su última entrevista, Glaser señaló: "Si tuvieras

f ilosof ía de diseño basada en el dibujo y el amor

que decir, f inalmente, cuál era mi propósito en

por las personas, la ciudad de Nueva York, las artes

la vida ... sería haberlo aprendido y transmitido".

visuales y la música. Esta devoción es claramente

Como diseñador, entonces, uno es responsable del

visible en todo, desde su famoso logo "I Love New

efecto que tiene en el público, un mensaje que

York" hasta su póster de Bob Dylan.

sigue siendo relevante hoy en día para diseñadores y educadores.

En 1968, Glaser fundó la revista neoyorquina admirada HAT TO N G A L L E RY

I See MG V2.pdf

C

M

Y

CM

MY

CY

CMY

K

1

29.05.21

14:22

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

STE PHA N BUN D I, SWITZERL AN D I had the idea of something IN eye MG (designed a little differently) designed a year ago and published on Instagram.

"I see the work of Milton Glaser" Visual communication is the art that is conveyed through the eye. The aesthetic implementation is just as important as the visual message, the visual interpretation of a topic. Milton Glaser was an undisputed master of this, a role model.

He was one of those who opened my eyes to my work as a graphic designer.

Tuve la idea de algo que, según mi opinión, MG (diseñado de manera un poco diferente) diseñó hace un año y publicó en Instagram.

"Veo el trabajo de Milton Glaser" La comunicación visual es el arte que se transmite a través del ojo. La implementación estética es tan importante como el mensaje visual, la interpretación visual de un tema. Milton Glaser fue un maestro indiscutible en esto, un modelo a seguir.

Fue uno de los que me abrió los ojos a mi trabajo como diseñador gráf ico.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SU SA NA MACHICAO, BOLIVIA He hated computers, he loved to transgress.

He did it with color, with geometry, composition and without fear. His graphic is current, good things survive to time.

The truth that less is more will be replicated in the voice of the professors who teach young people to hold onto a concept, a strategy, a vision beyond form.

Today the simplicity and complexity of his designs inspire the world as an ineffable reference to a design icon.

Master Glaser managed to give us all that: Inspiration, learning and the new signif icance to a point before being a line.

Finally, here we are to also be lovers of the process.

Odiaba las computadoras, amaba transgredir.

Lo hizo con color, con geometría, composición y sin miedo.

Su gráf ica está vigente, lo bueno sobrevive al tiempo.

Lo cierto es que el menos es más replicará en la voz de los maestros a que enseñan a los jóvenes a sostenerse de un concepto, una estrategia, una visión más allá de la forma.

Hoy la simpleza y la complejidad de sus diseños inspiran al mundo como una inefable referencia de un ícono del diseño.

El maestro ha logrado regalarnos a todos eso: Inspiración, aprendizaje y la nueva signif icancia a un punto antes de ser línea.

Finalmente, aquí estamos para ser también amantes del proceso.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

TA BE R CALD ERÓN, USA Milton Glaser ’s Influence Ever since I started looking at design books in my youth, I realized that I was attracted to various works which happened to be by Milton Glaser.

The influence of the visual and creative material is evident to the entire world. But what attracted and influenced me was that his work went beyond the intention.

Design is to attract the mind - sell a product, promote an event or message.

Milton’s work surpassed that in a way that made me (and many) want to hang up design ephemera on my walls and call it art.

The works are full of wit, intelligence and elegance.

Thank you Mr. Glaser for leaving smart beautiful creations for world to see, forever.

Milton Glaser Influencia Desde que comencé a buscar libros de diseño en mi juventud, me di cuenta de que me atraían varias obras que resultaron ser de Milton Glaser.

La influencia del material visual y creativo es evidente para el mundo entero. Pero lo que atrajo e influyó en mí fue que su trabajo fue más allá de la intención.

El diseño es atraer la mente - vender un producto, promocionar un evento o mensaje.

El trabajo de Milton superó eso de una manera que hizo (y a muchos) que quiera colgar elementos ef ímeros de diseño en mis paredes y llámalo arte.

Las obras están llenas de ingenio, inteligencia y elegancia.

Gracias Sr. Glaser por dejar creaciones hermosas e inteligentes para que el mundo ver, para siempre.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

THIAGO L ACAZ , BRAZIL Milton Glaser's typographic production reflects the variety of influences on his work. The stair-shaped E of Baby Teeth – a typeface he designed in 1964 – was originally discovered by Glaser in a hand painted sign advertisement for a tailor in Mexico. This character was the starting point for the full font family creation, which can be found in many of his projects, including the iconic 1967 psychedelic Dylanposter.

In the piece I designed for this hommage, the different arrangements of the letter in question indicate the multiple visual directions Glaser traced on his long and inspiring career.

La producción tipográf ica de Milton Glaser refleja la variedad de influencias en su trabajo. La E en forma de escalera de Baby Teeth, una tipograf ía que diseñó en 1964, fue descubierta originalmente por Glaser en un letrero pintado a mano para un sastre en México. Este personaje fue el punto de partida para la creación de la familia de fuentes completa, que se puede encontrar en muchos de sus proyectos, incluido el icónico póster psicodélico de Dylan de 1967.

En la pieza que diseñé para este homenaje, los diferentes arreglos de la letra en cuestión indican las múltiples direcciones visuales que Glaser trazó en su larga e inspiradora carrera.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

THIERRY SARFIS, FRANCE 1969, I was a student.

I received a visual shock f rom Milton Glaser and PushPin Studio, Bauhaus and Polish poster design. They are building my expression, my imagination and my social commitment.

1983, working for a pacif iste organisation. I use the famous « heart » what I consider to be the 27th letter f rom the alphabet. 2021, I remember.

En 1969, yo era estudiante.

Los choques visuales de las obras de Milton Glaser y PushPin Studio, la Bauhaus y los carteles polacos construyen mi mirada, mi imaginación y mi compromiso social.

En 1983, trabajando para una organización pacif ista. Utilicé el famoso "corazón" que considero la 27ª letra del alfabeto.

2021, lo recuerdo.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

TO MO KO M IYAGAWA , JAPAN Milton gave his heart to a small poster museum in Ogaki and sent many of his works. Thanks to that, I was able to see his works up close.

His works are always playful and humorous.

I am influenced by the designers who were directly influenced by him.

He may be a great grandfather.

Milton entregó su corazón a un pequeño museo de carteles en Ogaki y envió muchas de sus obras. Gracias a eso pude ver de cerca sus obras.

Sus obras son siempre divertidas y divertidas.

Estoy influenciada por los diseñadores que fueron influenciados directamente por él.

Puede que sea un gran abuelo.

HAT TO N G A L L E RY

FOTOGRAFÍA Y DISEÑO / XAVIER BERMÚDEZ / MÉXICO

IN MEMORIAM

1929 - 2020

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

XAVIER BE RMU DE Z , MÉXICO

9) The tribute poster to the great Ernesto el Chango

Eduardo Terrazas introduced me to Milton and

10) he allowed us his last interview surrounded by

Glaser, his name and surname have 6 letters and 12

close f riends

are the memories I have of this great, generous and

11) he gave us his wisdom and

supportive f riend;

12) the BICM honored him giving him the maximum

Cabral.

medal for career that we grant; The Medal of 1) he founded our Bienal de Cartel

Excellence José Guadalupe Posada in 2018.

2) his conference with Jukka Veistola, Shigeo Fukuda and René Azcuy is part of our story

What else can we receive and remember f rom this

3) he gave us guidance with his star,

great f riend.

4) his poster for the America collection Today 500 years later he enriched the f irst international anti-colonial

Rest in Peace Milton Glaser.

collection published in 1992 in MEXICO 5) in 2011 he allowed us one of his designs to raise funds f rom the tragedy 6) he accompanied us in our 25 years with his tribute poster to Oaxacan textiles 7) He gave us a legacy with 100 of his posters presented for the f irst time in our Museum of the Stamp 8) He left drawings of mariachis and CDMX markets

Eduardo Terrazas me presento a Milton y Glaser su

9) Forma parte de su obra el cartel homenaje al gran

nombre y apellido cuentan con 6 letras y 12 son los

Ernesto el Chango Cabral.

recuerdos que tengo de este gran amigo generoso y

10) Nos permitió su última entrevista

solidario;

rodeada de amigos entrañables 11) Nos brindó su sabiduría

1) fundó nuestra Bienal de Cartel

12) lo honró la BICM entregándole la máxima presea

2) Su conferencia al lado de Jukka Veistola, Shigeo

por trayectoria que otorgamos; La medalla a la

Fukuda y René Azcuy es parte de nuestra historia

Excelencia José

3) nos dio guía con su estrella,

Guadalupe Posada en 2018.

4) su cartel para la colección América Hoy 500 años después enriqueció la primera colección internacional

Que más podremos recibir y recordar de este

anticolonialista editada en 1992 en MÉXICO

gran amigo.

5) en 2011 nos permitió uno de sus diseños para procurar fondos ante la tragedia 6) nos acompañó en nuestros 25 años con su cartel homenaje al textil oaxaqueño 7) Nos dio legado con 100 de sus carteles presentados por primera vez en nuestro Museo de la Estampa 8) Dejó dibujos de mariachis y mercados de la CDMX

HAT TO N G A L L E RY

Descanse en Paz Milton Glaser.

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

ERIN WRIGHT, USA I often tell my art students of the importance of graphic design in society.

Designers have the ability to impact people’s lives and influence their decisions in a way that makes their world better, more beautiful. That’s what Milton Glaser did. I know because I grew up in 1960’s and 70’s and was profoundly influenced by his work.

At the time I didn’t even know who Milton was but I was already copying his style, trying to re-create his illustrations, trying to create something cool and beautiful.

Thank you Milton.

A menudo les digo a mis estudiantes de arte la importancia del diseño gráf ico en la sociedad.

Los diseñadores tienen la capacidad de influir en la vida de las personas e influir en sus decisiones de manera que su mundo sea mejor y más hermoso.

Eso es lo que hizo Milton Glaser. Lo sé porque crecí en los años sesenta y setenta y fui profundamente influenciado por su trabajo.

En ese momento ni siquiera sabía quién era Milton, pero ya estaba copiando su estilo, tratando de recrear sus ilustraciones, tratando de crear algo genial y hermoso.

Gracias Milton.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

SANTIAGO POL, VENEZUELA Milton Glaser.

I've known his posters for about 40 years.

I liked the NON-PERSONAL STYLE of him, he walked with aesthetic elegance in different ways to catch the public's attention.

He was aware that he could not speak the same visual language to all audiences.

I met him personally in Mexico in the early 90's.

The tribute poster that I have redesigned was a self-promotion of his personal show in Belgium.

Milton Glaser has been my silent and distant teacher.

Milton Glaser.

Conozco sus car teles desde hace unos 40 años.

Me gustó su NO-ESTILO PERSONAL , se paseaba con elegancia estética por diferentes maneras de atrapar la atención del público.

Estaba consciente de que no podía hablar el mismo idioma visual a todos los públicos.

Lo conocí personalmente en México a principios de los años 90.

El cartel tributo que he rediseñado fue una auto promoción de su muestra personal en Bélgica.

Milton Glaser ha sido mi maestro silencioso y a la distancia.

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

E D UAR DO BA R R E R A A R A MBA RRI, M ÉXI CO

Scher has done for the Public Theater, also in New York, is now a reference for anyone trying to promote theater.

I clearly remember that in 1980 my parents traveled to the mythical city of New York for the f irst time.

The current logo of Teatro UNAM (National

They came back laden with gifts, many of them

Autonomous University of Mexico) shamefully

commonplace: the blue baseball cap with the white

"resembles" that of the Public Theater. As if no one

Yankees monogram; wind-up toys, prints that they

would notice. The design ‘traveled’, unintentionally

f ramed and hung on the walls, and yes: a white cotton

by the author.

T-shirt with 'I heart NY' printed in black and red.

In the 1990s I discovered that several of the European

Marked with the Milton Glaser logo, my father

poster designers Roman Cieślewicz, Grapus, Piotr

brought many more assorted objects: key rings,

Kunce, Gunter Schmidt, f requently used the Glaser

buttons, a sticker for the rear bumper of the car…

Stencil typeface.

they were so beautiful, so modern, so ‘cool’, and we

The brochures that accompany the Olivetti Valentine

did not know why.

typewriter - a kind of colorful, totally pre-Apple laptop

In the distance, and having dedicated myself to

that I had in high school -, the posters that promoted

this, I now understand why design work fascinates

its sale, so many other designs that make up Milton

"uninitiated" people. And I try to understand how

Glaser's body of work In addition to the more obvious

unstoppable good design is, how it permeates

ones, the I heart NY and the Bob Dylan poster (which

society, how it reached our home and those of our

doesn't drive me crazy) are just the tip of the iceberg.

family and f riends.

Glaser's design has traveled far and wide, and will likely

For example, the influence of the work that Paula

continue to do so for a long time to come.

Recuerdo claramente que en 1980 mis padres viajaron

hacer promoción teatral.

por primera vez a la mítica ciudad de Nueva York.

El actual logotipo de Teatro UNAM (Universidad

Volvieron cargados de regalos, muchos de ellos lugares

Nacional Autónoma de México) se ‘parece’

comunes: la gorra de baseball azul con el monograma

vergonzosamente al del Public Theater. Como si

blanco de los Yankees; juguetes de cuerda, impresos

nadie fuera a darse cuenta. El diseño ‘viajó’, sin

que enmarcaron y colgaron en las paredes, y sí: una

quererlo el autor.

camiseta blanca de algodón con el ‘I heart NY’ impreso

En los años noventa descubrí que varios de los

en negro y rojo.

diseñadores europeos de carteles Roman Cieślewicz,

Marcados con el logo de Milton Glaser trajo mi

Grapus, Piotr Kunce, Gunter Schmidt, utilizaban con

padre muchos más objetos variados: llaveros,

f recuencia la fuente tipográf ica Glaser Stencil.

botones, un sticker para la defensa trasera del

Los folletos que acompañan a la máquina de escribir

coche… eran tan bonitos, tan modernos, tan ‘cool’, y

Olivetti Valentine –una suerte de laptop colorida,

no sabíamos por qué.

totalmente pre-Apple, que tuve en la escuela

En la distancia, y habiéndome dedicado a esto,

secundaria–, los carteles que promovieron su venta,

entiendo ahora porqué el trabajo de diseño fascina

tantos otros diseños que forman el cuerpo de trabajo

a la gente ‘no iniciada’. Y trato de entender cuán

de Milton Glaser además de los más obvios, el I heart

imparable es el buen diseño, cómo permea en la

NY y el cartel de Bob Dylan (que personalmente no me

sociedad, cómo llegó hasta nuestra casa y las de

enloquece), son apenas la punta del iceberg.

nuestra familia y amigos.

Por ejemplo, la influencia del trabajo que Paula Scher

El diseño de Glaser ya viajó por todos lados, y

ha hecho para el Public Theater, también de Nueva

probablemente seguirá haciéndolo por mucho tiempo.

York, es ahora un referente para cualquiera que intente

HAT TO N G A L L E RY

DE SIGNER S FOR GLASER

IN T ER N AT I ON AL I NVI TAT I ON AL EXH I BI T I ON I N HOMAGE FOR M I LTO N G L AS ER

ME HDI SA EED I, USA-IRAN Milton Glaser =Creative, Humble, a Designer for all generations and a master f rom west but with an eastern-spirit!

Milton Glaser = creativo, humilde, un diseñador para todas las generaciones y un maestro del oeste pero con un espíritu oriental.

HAT TO N G A L L E RY

HATTON GALLERY

Visual Arts Building, CSU 551 W. Pitkin Street, Fot Collins, CO 80523 Mon-Fri 10:00 AM - 4:30 PM art.colostate.edu/hatton-gallery