2
A
“ s designers or communicators we are constantly informing the public, transmitting information, and affecting the beliefs and values of others.”
From top to bottom, left to right: Mostly Mozart Festival Poster, 1983. Peace Works Poster. Poster for Olivetti, 1977. Juilliard IV, Ladder, 1989. Poster for the Philadelphia Orchestra. AMC’s Mad Men Poster. Newport Jazz Festival Poster, 1978. Dylan Poster, 1967. Aretha for Eye Magazine, 1968. Pushpin and Beyond for Suntry Museum. Doors, 1967.
3
4
Milton Glaser On Ethics in Design
stands strong among the most celebrated graphic designers of our time. As an illustrator, painter, designer, and scholar, Milton has received countless awards and achievements for his work; the Cooper Hewitt, Fulbright Association, and AIGA Gold Medal to name a few. He has had an affluent influence on graphic design internationally and is well known for his focus on the ethics of design.
5
ETHICS IN DESIGN Not only is Milton Glaser a master of design, he is a master of ethics and pays close mind to supporting ethical causes.
6
What Happens in Darfur Happens to Us for the International Rescue Committee, 2007. We Are All African for the School of Visual Arts, 2005. Poster for the IRC funded by the School of Visual Arts, date unknown. Logo for climate change, 2014.
7
8
Above: Big Nudes from 1967 were originally used for an exhibition at the School of Visual Arts.
Above: Foreshortened Nudes from 1976 were originally used for a personal show in Belgium.
O
TELL THE TRUTH
� ne must start with the presumption that telling the truth is important for human survival, but at this moment of relativism and virtuality, I’m not sure how many would agree on what truth is or how important it is in our private and professional lives.�
To Glaser, telling the truth is not only essential, but is a basic responsibility as a designer and a communicator. Not only does his work speak honestly, but also focuses on wholesome communication.
9
“To design is to communicate clearly by whatever means you can control or master.�
10
A
mong his most famous work is the I love New York logo. Glaser designed the logo for the state of New York’s 1980 advertising campaign. Though it lives on in history, it’s life began as a simple sketch on an envelope. There was such little lust for the design by Glaser himself that he offered it pro bono. However, it’s implications have today remained strong and it is massively reproduced. Seeing its effect brings Glaser back
COMMUNICATION HAS IMPLICATION to his focus on ethics and the importance of understanding how work communicates with the world and the implication that may have.
“We’re beginning to realize that all aspects of communication, whatever the form, have extraordinary implications to the community receiving the information. And so we can’t afford not to pay attention to the quality of information that is distributed. [...] It’s important to have a critical view of these artifacts because they are so terribly significant in establishing the mythology and the ethos of a people.”
Left to Right: I Love New York More Than Ever, 2001. Original sketch for the I love NY campaign, 1976.
11
T
o inform the audience through design is an essential ethical aspect laced through all of Glaser’s work. Through his posters, advertisements, and even logos, Glaser takes great care to use his work to inform the public of the truth.
DESIGN TO INFORM He speaks about it in written essays as well. In his essay “Ambiguity & Truth,” Glaser highlights this importance.
“Make it clear. This fundamental assumption of communication would seem to be an attainable goal. Objectify the audience, understand their desires—appeal to their interests, eliminate the extraneous and presto--effective communication.” In partnership with The World Health Organization in 1987, this poster created conversation about AIDS in the 1980s.
12
In partnership with Architecture for Humanity in 2011, this limited edition poster supported rebuilding efforts in Japan.
“The role of design is not to persuade, it’s to inform. If you try to persuade people to do something that is not in their own good, you’re committing a dreadful act against the culture and against civilization.” Image from a poster for the School of Visual Arts.
13
Above is Glaser in his studio by Katharina Poblotzki. Typestyles from top to bottom: Baby Fat, 1960. Kitchen, 1996. Babyteeth, 1964. Hologram Shadow, 1977.
14
M
ilton Glaser still lives and creates in New York City. When asked why he still works at age 89 he replied,
“It’s the greatest source of pleasure in my life. I am so thrilled by making something that didn’t exist before. There’s nothing, nothing even close. I never go to the theater, I never go to concerts, I no longer go to movies. I don’t do anything except work. It’s like magic.”
15
Designed and written by Ann Finkel. Composed in Futura, a typeface designed by Paul Renner in 1927. Printed with Kyocera TASKalfa 3252ci onto Hammermill 80# text. Copyright Š 2018 Ann Finkel, Portland, Maine, Maine College of Art.
Sources: Graphic Design by Milton Glaser www.miltonglaser.com/ www.itsnicethat.com eyeondesign.aiga.org/design-history-101 www.miltonglaser.com containerlist.glaserarchives.org www.nytimes.com www.aiga.org/remembering-911-then-and-now www.artsy.net/article/artsy-editorial-logo-made-love-new-york