Milton Glaser Fonts (Luca De Michele)

Glaser’s typefaces combine Pushpin-era Deco motifs with conventions adapted from hand-painted signs, but share a tendency to imbue generic letterforms with geometric dimension. Across the six examples here, he achieved a robust body of varied typefaces that nonetheless all reflect at once his graphically rigorous mode of thinking and the more shapely and expressive character of his illustration.

American Typewriter is the font used by Milton Glaser for the famous I love NY

Babyteeth is one of Glaser’s earliest and most successful typefaces — used in his most famous poster —alongside many other notable music promotions, such as this poster for Mahalia Jackson at Lincoln Center.

The Hologram typeface was an idea Glaser says had been in his head for a while before he had a chance to actually make use of it. He found his oppo

rtunity in a poster for a festival for United Artists
This one was a proprietary face for the Rainbow Room in NYC; It had two styles: wide and narrow.

Einstein Bold was done for the album cover of Einstein on the Beach by Philip Glass.

Another typeface called The Sesame Place, that was based on an earlier typeface of his called Houdini.

Here's two weights of Filmsense from the Photo-Lettering One Liner manual (1988). I'll see if I can scan in examples showing the multiple weights variations of Houdini and Eightway a bit later.

http://www.typophile.com/node/2547
http://e-daylight.jp/design/fonts/designers/m/milton-glaser.html
http://containerlist.glaserarchives.org/index.php?id=138

http://www.designerstalk.com/forums/graphic-design/47025-ten-things-milton-glaser-has-learnt.html

http://christineparkdesign.com/blog/?tag=milton-glaser