Milton Glaser’s creativity was deep, and wide. Born in the Bronx, he co-founded New York magazine, designed the 1968 record cover for Bob Dylan’s Greatest Hits, drew posters for Mad Men, and created logos for the Brooklyn Brewery, the World Health Organization, and the Pulitzer Prize–winning play Angels in America, among countless others.

His signature whimsy, inventive use of color, and thoughtful narrative differentiated his work at a time when commercial art was dominated by realism and modernism, and permeated everything he touched. The designer, who died on June 26, on his 91st birthday, spoke to Surface in 2018. He reflected on a lifetime of experiences, including the problem with advertising, his earliest commissions, and the difference between art and design.

“So many people go through life with their eyes closed and don’t see anything except what they already know. Pay attention to what is, in the Buddhist sense, which means recognizing what is really going on, and not an illusion that is established to make you feel better about what you do. Self-examination, questioning whether or not you’re causing harm, whether you’re willing to lie in order to survive—all of those things are more important than which typeface you use.” Read more.

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Surface Summer School, our summer partnership with UPenn’s Stuart Weitzman School of Design in which students design a mobile Covid-19 testing unit, launched earlier this month. Headed by Miller Professor and Chair of Architecture Winka Dubbeldam, the program has been bolstered by a digital lecture series that features prominent design-world figures such as Yves Behar, Thom Mayne, and Marion Weiss. Tune in this evening for a talk by Dror Benshetrit, the founder of Studio Dror and SuperNature Labs.

When: Until Aug. 1

Where: Xavier Hufkens, Brussels

What: Inaugurating the Belgian gallery’s third outpost (designed by Bernard Dubois) is a powerful ensemble of wooden bricolages that Sterling Ruby assembled from his own studio scraps. Resembling crossbars, each piece showcases his ongoing exploration of the window, drawing from his WIDW series of paintings that were first exhibited at the gallery in 2018.

To mark the tenth anniversary of the Bouroullec Brothers’ collaboration with Established and Sons, the British brand has released two new variations of the Lighthouse lamp in a run of 50. Perhaps its most defining feature is a bent aluminum arm that balances a removable mouth-blown orb, informed by the shape of a lighthouse lens, on its tip. While the core design remains the same, the stem is now formed by one of two hard-to-obtain types of marble—Rouge du Roi, quarried in France and used extensively in Versailles’s Royal Chateau, and Dark Emperador, a Spanish stone marked by its dark brown hue and green-and-cream veins. Surrounded by its transparent colored top, it doubles as sculpture—a multipurpose piece that’s quintessentially Bouroullec.

You aren’t allowed to criticize Goldman Sachs in its new font, Goldman Sans.

Here’s a handy visual guide to navigating the ins and outs of city budgets.

This erstwhile newspaper documented LAPD brutality in the ‘60s and ‘70s.

NASA creates an intriguing ten-year timelapse of the sun’s outermost layer.