![]() ![]() Iconic work for iconic companies, publications and institutions has been coming out of New York for a century, influenced by international design movements, eventually giving rise to East Coast Modernism. If you do come to New York, Glaser suggests, “Work like hell, do it efficiently, and work with people you like.” As one of the founding members of New York’s Push Pin Studios, along with Seymour Chwast, Reynolds Ruffins and Edward Sorel, Glaser was part of the fabric that made the New York graphic design, illustration and art community what it is today. ![]() In terms of population, Milton Glaser has seen things change over his decades in New York, with more and more designers entering the workforce every day. Of all the AIGA chapters, AIGA/NY is the largest at 3,500 members, with San Francisco (1,775), Chicago (1,600), Minnesota (1,395) and Los Angeles (1,200) following. On the whole, although it doesn’t account for every designer, AIGA membership offers some insight into the numbers. There’s every possible industry to work in imaginable.” once you get inducted into some part of the industry, it’s all connected. The networking possibilities still seem boundless to her. moved deeper and deeper into economic downturn in 2008-2009, I realized how grateful I was to be in a larger market during that time period, knowing that if either of us lost our jobs, we were in a city where there was sill greater opportunity for creative professionals.” They were in the right place given the circumstances, according to Jennifer. Jennifer Baker Brown and her husband Neil Brown, of Baker+Brown, moved to New York in 2007, and kept afloat during the economic downturn. There are plenty of doors in New York, especially in the New York graphic design world, and if you play your cards right, you can get into them, networking your way into one after another. Mark Richard Miller, creative director and co-founder of Dark Igloo in Brooklyn, believes in those opportunities wholeheartedly, feeling that New York offers “equal parts access, inspiration and education.” Somehow it suggested to me that designers in New York simply feel more secure with themselves and their position … and therefore they aren’t in the least afraid to meet new designers.” New York Graphic Design as Inspiration “I was able to meet all kinds of designers and art directors at all levels with no trouble. Or maybe it’s the access you get in the New York graphic design world, as San Francisco designer and educator Martin Venezky recounts. Consider Paul Rand, Alvin Lustig, Bradbury Thompson, Alexey Brodovitch, Herbert Bayer and Cipe Pineles. It could be the history, the ghosts of designers past. Given the difficulties-and that border-free democratizing force known as the internet-why do so many designers succumb to the New York graphic design siren call? (Talent helps too.)ĭesigners continue to flock to The Big Apple chasing big dreams, despite the impossible odds facing them or the challenges that dog their every step. Everyone’s New York Dream is different, and when it comes to making it to the city and truly “making it,” enthusiasm and resilience are two ingredients you need for the endeavor. The fantasy goes something like this: You arrive in New York City and start at the bottom, and eventually become partner at a prestigious firm you open your own firm you design for a large publishing house you work in-house for a Fortune 100 company you break into the comic book industry as a successful illustrator and expand your client base to become a freelance illustrator known all over the world or, of course, you. Location, location: How did the Big Apple become the world’s premier design hub-and does it still hold the title?
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