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Milton Glaser compromises ten autographed pictures of his career

With the death of Milton Glaser at the age of 91, New York lost a beloved son. His design, especially the design of a son, exudes the vitality and diversity of his beloved hometown. Over the past seventy years, he has produced countless high-impact graphic images: First, in the anti-cultural and politically involved design company Push Pin Studios, which he established with Seymour Chwast and others. Later in the “New York” magazine he co-founded; then became an independent designer, his experience has never been strengthened into a signature style.

Mr. Glasser’s design may be interesting, even comics, but his deep understanding of tact and invention is a deep understanding of art history and design power. Before Google Images became a children’s game to discover and redeploy the metaphorical language of the early centuries, Mr. Glasser did his best to absorb the art of the past and distribute it in forgotten posters, logos, book covers and Font neutralization style. Here, we have collected some highlights of his eclectic eclectic works, in which Dürer and Duchamp, the Islamic decoration of African textiles are fused-all filled with the vibrant vitality of New York .

Milton Glaser enjoyed the opportunity to design a mass market version of Bard’s play, whose cover in paperback (unlike the hardcover at the time) could be printed in full color. Signet’s Shakespeare edition retailed for 50 cents, offsetting the tedious classroom content in Shakespeare’s textbooks, and using controlled color spray paint to enhance the delicate line drawing, thanks to the Kanby style of Aubrey Beardsley. My favorite is still Mr. Glasser’s “Storm” illustration: Miranda’s face is full of curls, and her father Prospero sprouts from above her head, casting spells with Technicolor.

The New York Magazine, co-founded by Mr. Glasser and Clay Felker, brought the bright colors and bold fonts of bookstands to newsstands. The magazine still uses the rich serif set he designed for the first issue of the magazine. In the hours before printing, Mr. Glaser painted many of the initial covers of New York, including this classic bagel fish. Indeed, Mr. Glasser did not just design the cover, but he also wrote the first story with Jerome Snyder, which praised the city’s best smoked salmon, migraine and ha Tile, and treat sable as “poor s fish”.

Mr. Glasser designed this deadly, concise poster, printed on cheap paper, and distributed it as widely as possible to support a five-year strike by California farm workers to protest their low pay and exposure to carcinogenic pesticides. Below the pile of grapes reshaped into a skull, the designer printed a letter from Cesar Chavez to the chairman of the California Grape and Tree Fruit Alliance. It condemned discrimination for the following reasons: “Our skin color, our culture and the language of our native lineage,” and insisted that they will win a nonviolent “inhumane death struggle against humanity against humanity.” Civil rights organizations persuaded grocery stores to withdraw non-aligned grapes, and by 1970, American United Farm workers had won new contracts to ensure fairer working conditions.

To promote the performance of South African jazz trumpeter Hugh Masekela in New York, Mr. Glasser woven the silhouettes of the apartheid era giants in the pan-African red, green and black palettes, engraved with Bizarre flowers and stripes, he then placed it on a bold geometric background inspired by Xhosa textiles. He printed Masekela’s name in his typeface, called “Baby Teeth”, and his fat but stingy characters also appeared on Mr. Glasser’s more famous Bob Dylan poster. The letters take an approximately abstract form: G, nearly round; A, a pyramid pierced by the entrance of the shark fin.

Switzerland is generally not considered a destination for hedonism, but at the premier jazz festival in the Alps, Glaser portrays a woman with her long hair falling off a wide-brimmed floppy hat, satisfied From smoking, falling into a treble clef. Despite all the weirdness of counterculture, this is a model of Mr. Glasser’s messy design desires, especially in the early 20th century. The crumbling music fan sat on the chair by Marcel Breuer’s famous Bauhaus design, while the floral flowers on the dress were reminiscent of Gustav Klimt and his Vienna separation Send colleagues a decorative overload.

The city is full of crime and garbage. President Ford has told us to die. The state’s tourism bureau knew it was a difficult climb. At the rear of the taxi, Mr. Glasser scribbled a preliminary sketch of a new citizen logo on the outside of a tattered envelope. Its four characters have not been broken down into familiar squares. In the sterilized Big Apple today, Mr. Glasser’s initial achievements in the campaign were overshadowed; this design not only tells tourists that we are already in business, but also convinces citizens of a metropolis on the verge of bankruptcy to look up.

The Italian typewriter manufacturer was Apple at the time, and its typewriters provided promotional materials for leading graphic artists for design-conscious consumers. Mr. Glasser has produced many posters for Olivetti, and my favorite is the work released in 1977, whose floats, surreal hands and empty, receding terrain borrowed from George Kirico (Giorgio de Chirico) or Carlo Carrà metaphysical alienation. Please note the banded marble staircase in the lower left corner: in the Olivetti showroom in Venice, Carlo Scarpa is full of decorative, echoes of the classic architecture of modern conferences.

Mr. Glaser has designed numerous advertisements for the performing arts organization in New York, but my favorite is the advertisement at the Moestly Mozart Festival. The designer draws heavily on Pop’s tradition here: the series of images are reminiscent of Warhol, while the solid pieces of fuchsia, coral and sky blue echo the French narrative image, and the frame-by-frame story proudly imitates a comic book. But this is not the source of simple counterculture. This is the gentleness of the classic composer, and even the humanity full of love, as all of us are prone to allergies.

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