Skip to main content

Milton Glaser (RIP) Explains Why We Must Overcome the Fear of Failure, Take Risks & Discover Our True Potential

Milton Glaser died last week at the age of 91, a long life that included decade upon decade as the best-known name in graphic design. Within the profession he became as well-known as several of his designs did in the wider world: the Bob Dylan poster, logos for companies like DC Comics, the Glaser Stencil font, and above all  I ? NY. Glaser may have become an icon, but he didn't become a brand — "one of my most despised words," he says in the interview clip above. He also acknowledges that specialization, "having something no one else has," is the sine qua non of "financial success and notoriety." But "the consequence of specialization and success is that it hurts you. It hurts you because it basically doesn't aid in your development." When we succeed we usually do so because people come to rely on us to do one particular thing, and to do it well — in other words, never to fail at it.

But as Glaser reminds us, "development comes from failure. People begin to get better when they fail." As an example of development through failure he holds up Pablo Picasso: "Whenever Picasso learned how to do something, he abandoned it, and as a result of that, in terms of his development as an artist, the results were extraordinary."

We may, of course, question the relevance of this comparison, since many would describe Picasso as an artistic genius, and not a few would cast Glaser himself in similar terms. Surely both of them, each in his own way, inhabited a world apart from the rest of us. And yet, don't the "the rest of us" wonder from time to about our our own potential for genius? Haven't we, at times, felt nearly convinced that we could achieve great things if only we weren't so afraid to try.

Glaser breaks this fear down into constituent threats: the "condemnation of others," the "criticism of critics and other experts and even your friends and relatives," the prospect that "you won't get any more work." But "the real embarrassing issue about failure is your own acknowledgment that you're not a genius, that you're not as good as you thought you were." We can't bear to acknowledge "that we really don't exactly know what we're doing," an inescapable reality in the process of self-development. But there is a solution, and in Glaser's view only one solution: "You must embrace failure, you must admit what is, you must find out what you're capable of doing and what you're not capable of doing." You must "subject yourself to the possibility that you are not as good as you want to be, hope to be, or as others think you are." And as the famously never-retired Glaser surely knew, you must keep on doing it, no matter how long you've been celebrated as a professional, a master, an icon, a genius.

Related Content:

Milton Glaser’s 10 Rules for Life & Work: The Celebrated Designer Dispenses Wisdom Gained Over His Long Life & Career

Saul Bass’ Advice for Designers: Makes Something Beautiful and Don’t Worry About the Money

Paulo Coelho on How to Handle the Fear of Failure

The Long Game of Creativity: If You Haven’t Created a Masterpiece at 30, You’re Not a Failure

“Try Again. Fail Again. Fail Better”: How Samuel Beckett Created the Unlikely Mantra That Inspires Entrepreneurs Today

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

Milton Glaser (RIP) Explains Why We Must Overcome the Fear of Failure, Take Risks & Discover Our True Potential is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3eJD4QB
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu...

Ishkur’s Guide to Electronic Music: An Interactive, Encyclopedic Data Visualization of 120 Years of Electronic Music

In a very short span of time, the descriptor “electronic music” has come to sound as overly broad as “classical.” But where what we (often incorrectly) call classical developed over hundreds of years, electronic music proliferated into hundreds of fractal forms in only decades. A far steeper quality curve may have to do with the ease of its creation, but it’s also a factor of this accelerated evolution. Music made by machines has transformed since its early 20th-century beginnings from obscure avant-garde experiments to massively popular genres of global dance and pop. This proliferation, notes Ishkur—designer of Ishkur’s Guide to Electronic Music —hasn't always been to the good. Take what he calls “trendwhoring,” a phenomenon that spawns dozens of new works and subgenera in short order, though it’s arguable whether many of them should exist. Ishkur, describes this process below in an excerpt from his erudite, sardonic “Frequently Unasked Questions”: If fart noises were sudde...

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their...