Friday, September 3, 2010
Wednesday, April 28, 2010
MIlton Glaser- TED convention
http://www.ted.com/talks/milton_glaser_on_using_design_to_make_ideas_new.html
Monday, April 26, 2010
Jobs
http://www.idealist.org/if/i/en/av/Job/377167-253
http://www.idealist.org/if/i/en/av/Internship/151795-297
http://www.idealist.org/if/i/en/av/Internship/148090-51
http://www.idealist.org/if/i/en/av/Internship/151795-297
http://www.idealist.org/if/i/en/av/Internship/148090-51
Influential Designer- refined thesis
Milton Glaser is the modern day "renaissance man" and is an excellent example of someone who has been successful and innovative in constantly seeking new avenues of design to explore.
In my paper and presentation I want to highlight and explain the amazing designs of Milton Glaser, and go a step further to show how he has not limited himself by sticking to one medium or style. His passionate and hard-working attitude has made him successful and inspirational to all up-coming designers. I really like someone like Milton because he never become complacent and always worked harder. I respect a mind like his because I feel he has really "stretched it" and used all of it. I like how he can't be "pinned down" to one style, but is constantly evolving and unafraid to try new things. I want to relate that because we have "liberal" educations were already have a good start at being designers. We have not focused on only one thing, but hopefully our background will be sources of inspiration.
My sources:
"The Design of Dissent" by Milton Glaser
The Thames and Hudson encyclopaedia of graphic design and designers /
by Livingston, Alan.; Livingston, Isabella.
http://rogallery.com/Glaser_Milton/Glaser-bio.htm
http://www.oswego.edu/graphics-projects/art317/glaser2/pages/bio.html
http://metroartwork.com/milton-glaser-biography-artwork-m-218.html
(I'm needing to find more books, waukegan & carthage library don't seem to have books solely on him)
In my paper and presentation I want to highlight and explain the amazing designs of Milton Glaser, and go a step further to show how he has not limited himself by sticking to one medium or style. His passionate and hard-working attitude has made him successful and inspirational to all up-coming designers. I really like someone like Milton because he never become complacent and always worked harder. I respect a mind like his because I feel he has really "stretched it" and used all of it. I like how he can't be "pinned down" to one style, but is constantly evolving and unafraid to try new things. I want to relate that because we have "liberal" educations were already have a good start at being designers. We have not focused on only one thing, but hopefully our background will be sources of inspiration.
My sources:
"The Design of Dissent" by Milton Glaser
The Thames and Hudson encyclopaedia of graphic design and designers /
by Livingston, Alan.; Livingston, Isabella.
http://rogallery.com/Glaser_Milton/Glaser-bio.htm
http://www.oswego.edu/graphics-projects/art317/glaser2/pages/bio.html
http://metroartwork.com/milton-glaser-biography-artwork-m-218.html
(I'm needing to find more books, waukegan & carthage library don't seem to have books solely on him)
Wednesday, April 21, 2010
Influential Designer- Milton Glaser
Milton Glaser is an amazing individual. He is so iconic for numerous reasons. He has become such a respected and well known "renaissance" graphic designer because of his work ethic, his innovation, and curious exploration of new ways to design and express a concept. I think he is the ultimate modern-day "renaissance man" because he has constantly re-invented himself (like Madonna). His designs have been inspired by everything from oriental calligraphy, art nouveau, geometric forms, Persian art, comic books, and contemporary pop. His one-man exhibits have been featured internationally and he has one numerous lifetime achievement awards. This man has never stopped working. Like Geoffry Tory, he has dabbled in nearly every medium. He has been an instructor at the Visual School of Arts in NY since 1961, re-designed supermarket chains, and even designed an educational playground or children. I think he is really a remarkable man, and an inspiration for designers to never get bored with their work and to always look for other places were design can happen. Milton Glaser is a modern-day Renaissance man American's can be proud of.
"You have to be amazingly consistent and persistent. You have to work like hell. You cannot become an excellent practioneer without constantly working hard all your life."- Milton Glaser
Wednesday, April 14, 2010
Before Class 04/14/10
Corporate Identity
After World War II America's economy was thriving. Important corporations were at the fore front of changing techonology and advancements. The head of these corporations realized as consumerism grew and more people were buying their products than ever before, they would need a way to simply and effectivly relate their company to the consumer through a symbol. The Olivetti corporation did their part in creating a "image" by hiring Giovanni Pintori. He joined the publicity team and was in charge of creating a "systematic design program." This did not meant that they had the same logo on everything, but rather the same feeling or style in their promotions because it was done by one person. CBS television was really the leader in creaitng a corporate identity. More people than ever before had television sets, and they knew they needed to make their company known on all things it accompanied ("from shipping labels to press releases") They did not create a single typeface for the company to use but rather a series of intelligent design. They changed their logo or typeface depending on the medium. "Emphasis was placed on concepts that quickly captured teh essence of each program using the connotative power of signs, symbols, and images."(meggs, 401.) Georg Olden was really the innovator behind this idea at CBS. He was the first African-American to gain recognition as a grahic designer. He eventually designed for the United States Post Office. It was a huge honor as he designed the 100th anniversary of the Emancipation Proclamation.
Finally, New Haven Railraod created a systematic style and design for their company that began on letter heads and extended to the fabric of the inside of the train cars. They unified their entire company by style, color, design, and typeface. We can definitly recognize this concept in companies today such as the red and white of the target logo and stores. Their logo is red and their stores have red carts, chairs, and check out counters.
Most interesting to me was AT&T design. I like how they took the idea and image of information bits circling the globe.
We can recognize all of these corporate logos but it's interesting to know the thought processes behind them.
I would be curious to know if it is super difficult to change the logos of companies such as CBS and IBM that have been around forever. They risk a lot by changing what people are familiar with.
After World War II America's economy was thriving. Important corporations were at the fore front of changing techonology and advancements. The head of these corporations realized as consumerism grew and more people were buying their products than ever before, they would need a way to simply and effectivly relate their company to the consumer through a symbol. The Olivetti corporation did their part in creating a "image" by hiring Giovanni Pintori. He joined the publicity team and was in charge of creating a "systematic design program." This did not meant that they had the same logo on everything, but rather the same feeling or style in their promotions because it was done by one person. CBS television was really the leader in creaitng a corporate identity. More people than ever before had television sets, and they knew they needed to make their company known on all things it accompanied ("from shipping labels to press releases") They did not create a single typeface for the company to use but rather a series of intelligent design. They changed their logo or typeface depending on the medium. "Emphasis was placed on concepts that quickly captured teh essence of each program using the connotative power of signs, symbols, and images."(meggs, 401.) Georg Olden was really the innovator behind this idea at CBS. He was the first African-American to gain recognition as a grahic designer. He eventually designed for the United States Post Office. It was a huge honor as he designed the 100th anniversary of the Emancipation Proclamation.
Finally, New Haven Railraod created a systematic style and design for their company that began on letter heads and extended to the fabric of the inside of the train cars. They unified their entire company by style, color, design, and typeface. We can definitly recognize this concept in companies today such as the red and white of the target logo and stores. Their logo is red and their stores have red carts, chairs, and check out counters.
Most interesting to me was AT&T design. I like how they took the idea and image of information bits circling the globe.
We can recognize all of these corporate logos but it's interesting to know the thought processes behind them.
I would be curious to know if it is super difficult to change the logos of companies such as CBS and IBM that have been around forever. They risk a lot by changing what people are familiar with.
Tuesday, April 13, 2010
After Class 04/12/10
New York School
Chuck gave his presentation about the New York School and highlighted the many designers and innovators who changed this modern movement in the 1940's. Paul Rand was an editorial designer who "reduced visual forms to their symbolic essence." He used universal signs that everyone could understand to rely messages. This movement like many others we studied were apart of a series of movements that reduced and simplified the message. Alvin Lustig designed several book covers and used symbols to "capture the essence of the content." He believed form and content were "as one." Bradbury Lustig used recycled resources and typographic expression changing scale and color to rely a message. Saul Bass brought the movement from New York out west to L.A. He reduced images even more to a "singular, all-encompasing image." He was the first to unify print and media for film. Alvin Ersenmann was the first designer to begin a program for graphic design at a major university.
The New York School also experimented with large-format publications, but it was quickly dismissed due to publishing and material costs. The greatest impact we can see this movement had is on magazine covers. New editorial design used one large headline and creative writng in the body of the text. On magazine covers we can see this in "The New Yorker" and "TIME" magazine. They have one headline, or a few at most.
The most interesting thing I learned from the movement was about it's influences on film openings. The combination of text and music can be very powerful and set the mood for the entire film. Sometimes its boring seeing all these people's names pop up on screen who you have no idea who they are, nor care. BUT, when the film has interesting typography and music it makes it much more enjoyable.
Chuck gave his presentation about the New York School and highlighted the many designers and innovators who changed this modern movement in the 1940's. Paul Rand was an editorial designer who "reduced visual forms to their symbolic essence." He used universal signs that everyone could understand to rely messages. This movement like many others we studied were apart of a series of movements that reduced and simplified the message. Alvin Lustig designed several book covers and used symbols to "capture the essence of the content." He believed form and content were "as one." Bradbury Lustig used recycled resources and typographic expression changing scale and color to rely a message. Saul Bass brought the movement from New York out west to L.A. He reduced images even more to a "singular, all-encompasing image." He was the first to unify print and media for film. Alvin Ersenmann was the first designer to begin a program for graphic design at a major university.
The New York School also experimented with large-format publications, but it was quickly dismissed due to publishing and material costs. The greatest impact we can see this movement had is on magazine covers. New editorial design used one large headline and creative writng in the body of the text. On magazine covers we can see this in "The New Yorker" and "TIME" magazine. They have one headline, or a few at most.
The most interesting thing I learned from the movement was about it's influences on film openings. The combination of text and music can be very powerful and set the mood for the entire film. Sometimes its boring seeing all these people's names pop up on screen who you have no idea who they are, nor care. BUT, when the film has interesting typography and music it makes it much more enjoyable.
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