The great things about having skill in the visual world is if you don’t narrow your objectives you can do so many wonderful things. And they’re not necessarily identical. I’ve designed furniture, interiors, restaurants, all of which have some relation. Now I’m working on a series of rugs. A lot of people become specialized early and they have to be the best people you go to if you want, say, a drawing of a cocker spaniel.

Milton Glaser, (born June 26, 1929, New York, New York, U.S.), American graphic designer, illustrator, and cofounder of the revolutionary Pushpin Studio. Glaser graduated from Cooper Union in New York City in 1951 and studied printmaking with Giorgio Morandi in Italy in 1952–53. Metamorphic Flowers by Milton Glaser. All proceeds will benefit the acquisition fund of the Museum of American Illustration.

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The logo consist of the capital 'I' and a red heart, stacked on top of 'NY,' symbolizing New York in American Typewriter typeface. His inspiration for the logo was Robert Indiana's, with the four letters stacked on top of each other.

As a Fulbright scholar, Glaser studied with the painter, Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. In 1974 he founded Milton Glaser, Inc., where he continues to produce a prolific amount of work in many fields of design to this day. Glaser’s Answers We asked Milton our “Poster Poster Questions” and this is what he had to say: Well hello everybody whoever you are. I am instructed to answer a series of questions about posters. What does the poster mean to you and why do you design posters?

What people don’t know is that the Hudson Valley still is the most incredible bargain for buying a home and starting a new life. You’ve cited Morandi as a big influence. I believe that’s particularly evident in these prints and their attention to form and shape. Can you talk me through your influences for these?

That balance is the balance of life and I must say that at this particular time the emphasis has been mostly on the self – on self-fulfilling activities, on ignoring the needs of others. This Trumpian attitude is so persuasive not only in the United States but all over the world. Finally, we must realise we are with others and they are part of our life. Is capitalism and the need for growth too strong a power against ethics in design?

The lever by which the human imagination moves the world rests on one little word: if — that linchpin of possibility allowing us to question the way things are and imagine better, truer alternatives for how they might be. “‘What if?’ gives us change, a departure from our lives,” Neil Gaiman observed in extolling.

Do good work. It's advice my junior high school teacher once told me after he understood that I was not going to be a scientist.

Here, the prolific designer discusses his latest work, the perils of laziness, and why he keeps computers at arms-length. How has your relationship to the city evolved and inspired your work?

PROFESSIONALISM IS NOT ENOUGH (or THE GOOD IS THE ENEMY OF THE GREAT) Glaser concedes that a record of dependable excellence is something to look for in a brain surgeon or auto mechanic, but for those in the arts, “continuous transgression” is the quality to cultivate. Professionalism does not allow for that because transgression has to encompass the possibility of failure and if you are professional your instinct is not to fail, it is to repeat success. LESS IS NOT NECESSARILY MORE I have an alternative to the proposition that I believe is more appropriate.

In 1974, he established and later, in 1983, he teamed up with Walter Bernard to launch WBMG, a publication design firm that created more than 50 magazines, newspapers and periodicals globally. His artwork has been featured in exhibits and placed in permanent collections in many museums around the world, and he has won many awards. In 2004 he was chosen for the lifetime achievement award of the Cooper Hewitt National Design Museum and in 2009 he was given the National Medal of the Arts from President Barack Obama – the first graphic designer to receive such an accolade. Now he is launching a new book,, celebrating 427 examples of his poster designs from 1965 to 2017. We spoke to Milton about his career so far, his views on the changing industry and why ethics in design is more important than ever. What made you decide to become an artist?