References

Jacket Design

Table of Contents

Title Page

Refined Spread (Spread 2)

Refined Spread (Spread 1)

Refined Spread for Pages 1-2

Test Spread for Final Book: Pages 1-2

Preliminary Table of Contents

Secondary Spreads

Preliminary Spreads

The Mac is Not a Typewriter

       In "The Mac is Not a Typewriter", the author aims to differentiate the capabilities of the typewriter and the Mac by outlining the vast typographic functions offered by the Mac to instruct the reader on how to skillfully manage it's many possibilities. The two sub-sections of the article I found most informative offered insight into line justification and leading.

      The information on justified text helped me because I had no prior knowledge on the negative visual effects of "overly justified" in a book design. I am able to apply this knowledge to my current project because of my overuse of justified text which consequently made visually displeasing "rivers" between my text. I found the information on leading very helpful because it emphasized a problem I had not previously taken into account, uneven line spacing, and how it is detrimental to the overall design.

Milton Glaser Logos

Milton Glaser Book Designs

Milton Glaser

     

           American graphic designer and illustrator Milton Glaser was born in New York City, New York in 1929. After attending the High School for Music and Design in New York, Glaser went on to study at Cooper Union and finally the Academy of Fine Art in Bologna. After graduating from the Academy, he went on to establish Push Pin Studios in 1954, New York Magazine in 1968, Milton Glaser Inc. in 1974, and finally WBMG in 1983.

            Milton Glaser’s legacy began midway through the 20^th century with the establishment of Pushpin Inc. alongside his fellow Cooper graduates Seymour Chwast, Edward Sorel, and Reynold Ruffins. With the company under the direction of Glaser and Chwast, Pushpin Inc. became a guiding light in the world of graphic design and illustration. The studio’s contributions to design eventually earned Glaser (and Push Pin Inc.) an exhibition titled “The Push Pin Style” at the Louvres in Paris.

            Following Push Pin, Glaser along with Clay Felker founded New York Magazine in 1968, where Milton was president and design instructor for the next nine years. Glaser’s next venture led him to establishing WBMG, a publication design firm headed by Walter Bernard in 1983. WBMG provides design consulting for the Washington Post, TIME Magazine, Windows, and more.

            In 1974, Glaser established his Manhattan based studio, Milton Glaser, Inc. providing a wide gamut of design advice by encompassing a variety of formal design principles in offering consultation and development in graphic design, illustration, architecture, interior design, etc. Under Milton Glaser Inc., he was able to establish his prolific logo designing abilities with his generating of signage for FedEx, IBM, UPS, ABC, and the most viewed, and imitated, graphic of all time, “I [Heart] New York”.

 In addition to his commercial undertakings, Glaser’s independent achievements include complete creative control of the restaurants in the World Trade Center, one-man exhibitions at the Centre Georges Pompidou and the MoMA, and receiving the Lifetime Achievement Award from the Smithsonian Cooper-Hewitt, National Design Museum for his influence on the contemporary practice of design. Milton Glaser’s abilities expand outside of design and into education with his instructing and advising at the School of Visual Arts, New York, Cooper Union, and the American Institute for Graphic Arts. Personal works by Glaser are currently held at the MoMA in New York, the National Archive, and the Smithsonian Institute in Washington D.C.

           

Cite Sources

·         "Milton Glaser." Web log post. Milton Glaser. Milton Glaser Inc., n.d. Web. 10 Apr. 2014. <http://www.miltonglaser.com/milton/>.

·         Airey, David. "Iconic Logo Designers." Iconic Logo Designers. David Airey, n.d. Web. 10 Apr. 2014. http://www.logosdesigners.com/.

Making a Book

       In this project, students are asked to make two double-page spreads reflecting the style of an accomplished graphic designer or illustrator to include in a book with three other students. For my designer I chose Milton Glaser.

Final Collage

       The reason I chose to display my final composition in this broken and abstracted manner is because I believe it truly captures the dynamism of time and space better than if I had rendered it as a closed, obviously structured, composition. With my final collage I wanted to dismantle the idea of Lippincott Hall as a static and unchanging structure by forming a conceptual map reflecting the dynamism of my experience with the environment. In ordered to emphasize the areas I found most noteworthy or interesting, I employed techniques of repetition, layering, and hierarchical order.

Photography as Documentation: Expanding Ideas Pt. 2

Continuing with the concept of mapping the process of aging, I arranged photos of my father and myself on a grid system to experiment with how the abrupt breaks would effect the spacial and transitional qualities of the composition. Although I do not intend to directly pursue this concept, the process of creating it helped me to generate new ideas for how I want to use this idea to depict time and space.
After visiting the Spencer and viewing Elliot Erwitt's Diana, I developed an idea in which the transition from me to my father is not only represented in a physical manner (aging), but also by using receding, compartmentalized areas (similar to Erwin's) to indicate stages of life.

This is a concept in which I combined formal elements from Erwitt's Diana with the process of aging emphasized by receding space in the composition. Each 20 year division in the collage would be composed of photographs reflecting that period in one's life. Instead of arranging a composition emphasizing the differences between my and my father's faces, I wanted to treat our lives as parallel's and map the process of a man's life by incorporating photos of my father, brother, and I as the same person.

Photography as Documentation: Expanding Ideas

This image is a continuation of my preliminary concept involving the statues and architecture of Lippincott Hall. With this composition I hope to create a conceptual map which depicts my personal interpretation and interaction with different environmental factors (architectural, spacial, textural, etc.) of Lippincott Hall.
 The purpose of this composition is to break down the concept of Lippincott as a static structure and build an image which focuses on the dynamism of the viewers (mine) own interest and experience with the structure.

Spencer Archive Photographs

Elliot Erwin depicts depth of field in his 1979 photograph Diana by capturing an image of space being visually broken apart by the framework of successive showrooms spanned by an unbroken walkway. The picture plane is set within a showroom at one end of the walkway and sets the motif of spacial recession by framing the next level of depth (the next showroom) within the door frame of its predecessor.
Diana is intriguing because it involves formal and technical elements which I tried to capture in my preliminary "Embedded Images" idea. To begin, I had not placed the original composition on a grid which made it difficult to read. In order to break it apart, I placed the image on a vertical grid. With the visual breaks in the composition I was able to achieve a greater sense of spacial recession and legibility. Erwin also employs obvious visual breaks when separating space to compartmentalize the successive showrooms within the framework of the one before it.
 Similar to how Erwin uses the walkway as an unbroken plane to the vanishing point, I also wanted the sidewalk of the "Embedded Images" idea to guide the viewers eye to through the image to the vanishing point.
Erwin's inclusion of the archer statue in the foreground and the man in the middle-ground also emphasize the images depth by displaying the hierarchy of forms in perspective.

Photography as Documentation

 Over the course of this project, I am going to create a photo-montage to display the relationship of time and space within the environments I photograph. The concept of time and space come together to emphasize the idea of a process as well. By compressing, extending, cutting, and pasting different images together into one composition, I hope to convey my own personal encounter and process of observing and existing within certain environments.

 This composition consists of embedding five different photographs I took while walking to class. The images are arranged so that the first creates the border for the fourth, and the fourth for the third, until the final image in the middle. What makes this composition effective are the lines of perspective created by the wall, sidewalk, and road. So as you view the image, it is similar to watching the entire walk in one frame. I also used a grid pattern in order to break the images apart, to make it more readable.

This image is a collage of photos of my father and I doing many exaggerated expressions. In this piece I hoped to convey the idea of shared family traits and the process of aging.

In the image above I wanted to show the process of creating a painting. In order to do this, I layered preliminary sketches and modeling images on top of the final piece. This idea for a composition is intriguing to me because I love to paint and I find it an interesting notion to be able to track an artists step by step process of creating while still being able to observe the piece.

The idea behind this composition is to create a map-like image from the view of my dorm room in which the major landmarks between myself and the horizon are superimposed so the viewer may easily interpret relative spacing of each structure.

In order to convey the process of my own personal experience with the statues and architecture of Lippincott Hall, I arranged elements of the photographs in a manner which renders the aspects I found most noteworthy and relatable in a heiratic order.

Final Container

Model of Container