Milton Glaser Screening

• Wanted to do work that everyone could see, public, and on the streets.
• Created the ‘I heart NY’ design.
• Loves doing posters.
• His closeness to culture and civilization allowed him to change the design world.
• Milton liked when work wasn’t designed, but looked as though it just happened.
• Made a book with Jean Michael Folon called The Conversation, composed of drawings that represented their friendship in that it was a series of misunderstandings.
• Probably has the most international reputation of any designer living today, in large part because he was at the center of such culturally explosive things, culturally diverse things, starting in the 60’s.
• Did a lot of designing for supermarkets, like Grand Union.
• A trip to Italy greatly changed his view.
• His love for food is prominent in some of his work, such as restaurant menus and restaurants.
• He has done a number of children’s books with his wife Shirley.
• Worked with Brooklyn Brewery.
• Increasingly thinking about world issues and wants to design in a way that can help the causes that he’s interested in.

Purgatory I, 1999, Milton Glaser

I Heart New York logo, Milton Glaser

Poster designed to raise awareness of the Darfur crisis and

benefit the International Rescue Committee, Milton Glaser 

Bob Dylan poster, 1966, Milton Glaser 

 The Secret of Art, 2001, Milton Glaser

Herbert Matter Screening

• He was an influential artist, designer, photographer and filmmaker.
• His use of photography transformed the profession.
• He wasn’t just an artist or a witness at the sidelines of the exciting birth of the mid-century modern design and art, he was instrumental in shaping it while collaborating with icons such as Charles and Ray Eames.
• Was an influence to Jackson Pollock.
• Born in 1907, Engelberg, and was born in a place of stark contrast, a large white canvas.
• At the age of 17, Herbert gets a chance to live out the unachievable dream of his artistically inclined father and is sent to Geneva.
• Attends the prestige Ecole des Beaux-art for four semesters.
• 1927, he goes to Paris.
• Adolphe Cassandre greatly influences Matter.
• Experimenting with a photo camera, matter discovers a new tool for expressing his artistic vision.
• New visual form culminates in what is called photomontage or photographic, a masterful combination of various photographic elements that end the reign of pure illustration.
• Company Fretz embraced Matters expressionistic ways.
• Trudi Hess was used by Matters in his work quite often.
• 1931-1934, before color photography exists, Herbert creates a series of groundbreaking brochures and posters for the Swiss tourism office in the style of photographic.
• Goes to New York where he was hired at late notice as a photographer for a dance tour.
• 1936, discovering his new home of New York through his camera.
• Bazaar.
• Began working for Plus.
• 1939, Worlds Faire, held in New York, Herbert creates the Switzerland Pavilion.
• Mercedes Carles becomes his muse, and in 1941, they marry.
• Seek safe haven in 1943 with the chaos of the war making life difficult for the family.
• Was invited by Charles Eames to work on a furniture design, post war furniture, in California.
• He also worked for Arts and Architecture magazine.
• Herbert left the Eames office along with others after the Eames Exhibit because they didn’t receive any credit.
• Becomes very successful in post-war America and in great demand.
• After the Matters moved back to New York, their friendship intensifies with Lee Krasner and Jackson Pollock.
• Directed film on friend Alexander Calder, whose work he loved.
• In the mid 60’s, the ascent of a new social and cultural language permeates not only graphic design, photography, and advertising but also the art world.
• For all Herbert Matters accomplishments and the trailblazing in his work, there was also a price. His dedication to his profession has left him little time for much else. Anything beyond the passion of his work would have to take the backseat.
• Died April 19, 1984 in South Hampton, New York.

L'Atlantique, Adolphe Cassandre

 Number 6, 1949, Jackson Pollock

 Swiss Tourism Poster, 1934, Herbert Matter

 Rouge Triomphant, 1959-1963, Alexander Calder

Vogue Cover, 1948, Herbert Matter

Charles and Ray Eames Screening

• Ray made paintings out of everything she saw around her.
• They were introducing people to look at the world differently. Put joy back in life.
• Gave shape to 20^th century America.
• Four decades, 901 Washington Boulevard, Venice Beach, California was one of the most creative addresses on Earth.
• Modern design was born from the marriage of art and industry.
• Eames office was born from the marriage of Ray, a painter who rarely painted, and Charles, an architectural school dropout who never got his license.
• It all began with a chair; Time magazine called it the greatest design of the 20^th century, but it didn’t start out that way. It began as a failure.
• The chair that Eames and Saarinen designed for a competition, which won, couldn’t really be manufactured because no existing machine could exactly mold the plywood into the shape of the chair.
• After many attempts, Eero gave up, but Charles continued with a new partner, Ray.
• Charles was already married to Catherine when he began writing love letters to Ray.
• Charles wanted a world where life and work were blended together.
• The U.S Military needed better splints. The splints were metallic and the vibration of the wounded being carried would make the wound worse. Would’ve been better off grabbing a stick off the ground and using that instead.
• Charles and Ray decided to try and design a new splint out of plywood.
• They made over 150 thousand splints.
• With the war coming to an end, Charles and Ray thought about applying the plywood splint method to the chair.
• They studied the shape and posture of many different people.
• Plywood furniture was good to go in 1946.
• They wanted to make the best for the most for the least.
• Would become one of the greatest success stories during the post-war era.
• Eames furniture became like Victoria furniture, because like Victoria represents an attitude, Eames furniture embodied a certain approach to life and to thinking.
• By the early 1950’s, Charles had grown an outsized reputation as an icon of modernism, fighting to inject an ethical dimension into American capitalism.
• Charles reputation had grown larger than life in the outside world but within the Eames office, there was always the lingering question of credit. Some people felt that they were never recognized as much as they should’ve been.
• He wasn’t the only designer involved.
• Charles and Ray were often mistaken as brothers, but they were married and they were partners.
• Charles depended on Ray, as an artist, to work with color in their work because she had an eye for it.
• They were cultural icons.
• Charles and Eero designed what was called the Bridge House, but it was never built with the war because they were unable to get the needed materials.
• Charles and Ray redesigned the Bridge House and began construction.
• Herman Miller wanted him to make more and more chairs but Charles didn’t want to think of himself or have others think of him as just a chair designer.
• He knew where his center was. Knowing where his center was, meant working for powerful clients without compromising his ideals. And making a film to represent the United States in communist Russia in 1959 would put that philosophy to the test.
• The Moscow show made Charles and Ray more than furniture designers. It made them communicators.
• IBM turned to Charles and Ray to solve the PR problem. The two of them set out to humanize the computer.
• As Charles and Rays reputation as visual communicators grew, so did their list of corporate clients.
• Powers of ten the most known Eames film.
• Charles became more and more engaged with Math and Science as time went on.
• Franklin and Jefferson show at the Met was the first time Eames had been criticized and it hit Charles hard. The show was huge and tiring, trying to look at everything.
• Ray found her voice as one of the most influential women of design.

Plywood Leg Splint, 1943, Eames

1940, Ray Eames 

 IBM Pavilion, 1964-1965

 Chair, Charles Eames and Eero Saarinen

 Swirly paintings on Charles and Ray Eames' ceiling, Hans Hofmann

Psychedelic Poster Art (Midterm)

Rachel and I did our midterm project on Psychedelic Poster Art. We focused on three of the most popular artists of the 1960's—Rick Griffin, Victor Moscoso, and Wes Wilson—and created a poster for each, representing the style and characteristics that were generally seen in their work. We also provided information on the psychedelic art movement as a whole, including its origins and the characteristics that defined the art.

Rick Griffin:

Eclectic typefaces

Borders

Brilliant colors

Made many posters for Grateful Dead

“Flying Eyeball” famous artwork

Made posters for the Avalon Ballroom

Family Dog Productions

“Griffin” font

Victor Moscoso:

Contrasting colors

Visual intensity

Neon Rose imprint

Born in Oleiros, Spain

Went to Yale, influenced by teacher Josef Albers
Zap Comix artist

Made posters for the Matrix and Avalon Ballroom

Family Dog Productions

“Victor Moscoso” font

Wes Wilson:

“Psychedelic experience”

Influential letting

He picked colors while on LSD

Began making posters 1966

Worked for Contract Printing press & Bill Graham

Bands that he made posters for often

Made posters for The Fillmore

Family Dog Productions

“Shagadelic” font

Works Cited

“Bill Graham presents in dance-concert, Jefferson Airplane, Quicksilver Messenger Service,

         Dino Valenti.” Illustration. 1967. Virginia Library. Web. 15 Oct. 2012.

         <http://www2.lib.virginia.edu/exhibits/sixties/gifindex.php?line=170>.

“Country Joe & the Fish and the Grateful Dead Poster.” Illustration. The California Museum. California

         Museum. Web. 15 Oct. 2012.

         <http://www.californiamuseum.org/exhibit/central-valley-turns-psychedelic-poster-art-1965-1975>.

Cuba, Larry. “Media Art in the 60s: The Abstract, The Spiritual and The Psychedelic.” Iota. Kinetica, Web. 13 Oct. 2012.<http://www.iotacenter.org/visualmusic/articles/kinetica4/mediaart>.

Dourgarian, Doug. “Psychedelic Art, Psychedelic Posters.” World Famous Paintings, Art Prints and Posters, Pencil Drawing. Web. 13 Oct. 2012. <http://www.dougsartgallery.com/psychedelic-art.html>.

Exploding Acorn Utopia. Illustration. John Meilner. Death by squirrel. Web. 16 Oct. 2012. <http://www.deathbysquirrel.com/Portfolio/Posters/acorn.html>.

Heyman, Therese Thau. Posters American Style. New York: Harry N. Abrams, Inc., 1998. Book.

“Graphic Design History: Sixties’ Psychedelia .”  Parkland. Web. 12 Oct. 2012.

         <gds.parkland.edu/gds/!lectures/history/1960/psychedelia.html>.

Graham, Bill. Procol Harum/Pink Floyd Fillmore/Winterland Concert Poster. Illustration. 1967.

         Heritage Capital Corporation. Heritage Auctions. Web. 18 Oct. 2012.

         <http://entertainment.ha.com/c/item.zx?saleNo=648&lotIdNo=74005>.

Graham, Bill. Jefferson Airplane, Jimi Hendrix Fillmore Concert Poster. Illustration. 1967. iCollector

         Technologies Inc. icollector. Web. 18 Oct. 212. <http://www.icollector.com/Jefferson-Airplane-Jimi-Hendrix-Fillmore-Poster_i7317563>.

Nair, Tulika. “Psychedelic Art Movement.” Buzzle. 8 Mar. 2011. Web. 12 Oct. 2012.

         <http://www.buzzle.com/articles/psychedelic-art-movement.html>.

Maclean, Bonnie. Eric Burdon & The Animals, Mother Earth. Illustration. 19-21 Oct. 1967. Good Reads. Web. 16 Oct. 2012. <http://www.goodreads.com/topic/show/405982-60-s-psychedelia>.

Maclean, Bonnie. Yadbirds, Doors, Fillmore Auditorium. Illustration. 1967. Bill Graham   Archives, LLC.

         Denver Art Museum. Web. 16 Oct. 2012.

         <http://exhibits.denverartmuseum.org/psychedelic/the-posters/bonnie-maclean-yardbirds>.

Mark. “Poster designed to promote a concert by the 13 ^th Floor Elevators and Conqueroo at the Austin City 

         Coliseum.” Illustration. 2 Oct. 1967. Classic Posters. Classic Posters. Web. 18 Oct. 2012.

         <http://www.classicposters.com/13th_Floor_Elevators/poster/Miscellaneous/ACC.1967.0  2.10>.

Moscoso, Victor. Chambers Brothers Matrix. Illustration. 1967.1967 Neon Rose. Denver Art Museum.

         Web. 16 Oct. 2012.

         <http://exhibits.denverartmuseum.org/psychedelic/the-posters/victor-moscoso-chambers-brothers>.

Moscoso, Victor. Steve Miller (Blues) Band. Illustration. 1966/67. Borin Van Loon. Borin Van Loon.

         Web. 16 Oct. 2012. <http://www.borinvanloon.co.uk/inspirations.html>.

“Poster of a woman influenced by works by Wes Wilson and Gustave Klimt.” Illustration.  Work Is

         Branding. Web. 16 Oct. 2012. <http://www.workisbranding.com/index.php?/work/psichedelic-poster/>.

Psychedelic Concert Poster. Illustration. 28 March 210. ~muses-nightmare. DeviantArt. Web. 16 Oct. 2012. <http://muses-nightmare.deviantart.com/art/Psychedelic-Concert-Poster-158794367>.

Sharp, Martin. Mister Tambourine Man Bob Dylan. Illustration. 1967. Julia Santen Gallery. Julia Santen

         Gallery. Web. 15 Oct. 2012.

         <http://www.juliasantengallery.com/posters/item/1908/Mister_Tambourine_Man_Bob_D  ylan.html>.

Stephenson, Tim. A Brief Biography of Rick Griffin. 2012. Myraltis. Web. 22 Oct. 2012.

         <http://www.myraltis.co.uk/rickgriffin/bio.htm>.

Taking Woodstock Poster. Illustration. 2009. Movie Poster. Web. 16 Oct. 2012.

         <http://www.movieposter.com/poster/MPW-41875/Taking_Woodstock.html>.

Teater, Richard D, and Cummings G. Walker. The Great Poster Trip: Art Eureka. Menlo: Coyne &

         Blanchard, Inc., 1968. Book.

Uhlig, Daniela. Art Noveau. Illustration. 2010. Templates.com. Web. 22 Oct. 2012.

         <http://www.templates.com/blog/inspiring-illustrations-style-alphonse-mucha/>.

Wilson, Wes. “Poster designed for Fillmore Auditorium Concert.” Illustration. 1967. Classic Posters.

         Classic Posters. Web. 18 Oct. 2012.

         <http://www.classicposters.com/Buffalo_Springfield/poster/Bill_Graham/61>.

Wilson, Wes. Moby Grape, Chambers Brothers, Winterland/Fillmore Auditorium. Illustration. 1967.

         1967 Wes Wilson, Bill Graham Archives, LLC. Denver Art Museum. Web. 15 Oct. 2012.

         <http://exhibits.denverartmuseum.org/psychedelic/the-posters/wes-wilson-moby-grape>.

Wilson, Wes. New Generation, The Jaywalkers, Charlatans. Illustration. 13-14 May 1966. Fillmore, San 

         Francisco. Nielsen Business Media, Inc. Billboard. Web. 18 Oct. 2012.

        <http://www.billboardlists.50webs.com/billboard-25-best-rock-posters-of-all-time.html>.

Wilson, Wes. Young Rascals. Illustration. BobTheil. Web. 18 Oct. 2012.

         <http://www.bobtheil.com/psychotron/usapsychposters.htm>.

Wilson, Wes. “Poster designed for the Bill Graham Presents Company to promote a dance.” Illustration.

         1960s. Wes Wilson. Wes-Wilson. Web. 15 Oct. 2012. <http://www.wes-wilson.com/?page_id=592 >.

Wilson, Wes. “Poster designed for the Bill Graham Presents Company for a show in San   Francisco’s

         Fillmore Auditorium with Grateful Dead, The Canned Heat Blues Band and Otis Rush.” Illustration.

         1960s. Wes Wilson. Wes-Wilson. Web. 15 Oct. 2012. <http://www.wes-wilson.com/?page_id=592 >.

Wilson, Wes. “Poster designed for the Bill Graham Presents Dance Concert at the Fillmore Auditorium.”

         Illustration. Wes Wilson. Wes-Wilson. Web. 15 Oct. 2012. <http://www.wes-wilson.com/?page_id=592 >.

Woman Silhouette with Arms Open Vector Graphic . Harbo Arts. Web. 22 Oct. 2012.

         <http://harboarts.com/blog/vector-graphics/woman-silhouette-with-arms-open-vector-graphic/>.