“Nathan Garland's marketing strategy, identity and brochure for a complex new multidisciplinary clinical program at our medical center was highly successful. His commitment to excellence, degree of engagement and focus on both editorial content and message led to the high quality of his work (both writing and design). An excellent listener and clear communicator, Nathan understood our needs and accurately characterized a variety of programmatic and technological advances. He also got the most and the best out of all those with whom he collaborated. We felt fortunate to have retained him.”

Richard J. Gusberg, MD
Professor of Surgery and Radiology,
Vice Chair, Surgery
Yale University School of Medicine

“The design of the book was important to me . . . I was dealing with principles of clarity and simplicity and grace. . . . and I wanted the design to reflect those values. . . . for the jacket I recruited Nathan Garland, a graphic artist that I had worked with in New Haven, admiring his lean solutions to problems that most designers would weaken with fussy ornamentation. . . . The jacket that he created was both simple and elegant . . . instantly establishing the identity that On Writing Well would present to the world.” (Writing Places, pp. 133 – 134)

William Zinsser
(Re: the book jacket for On Writing Well)

“Nathan Garland's logo and tag line for our initiative that addresses the Israeli-Palestinian conflict is sensitive to difference yet powerfully evocative of possibility and necessity. Nathan's success is based on artistic talent, eager openness to learn, patient pursuit of deep understanding of mission, and an ongoing discussion that begins with his research and initial design ideas. It is a learning experience to work with him.”

Bruce E. Wexler, MD
Founder and President, A Different Future
Professor of Psychiatry
Yale University School of Medicine

“Thanks for all your help and support. You have helped guide me in this adventure and I feel very fortunate to have found you.”
(Re: naming, logo design and branding)

Margie B. Gillis
Literacy How, Inc.

“. . . you know my feelings very well about the amazing job you did on the book, the obvious passion and intensity you devoted to it, about how much I valued our extraordinary collaboration which was sheer joy for me, and how pleased and proud I am with the result—a feeling totally shared by Ab and Francine. . . ” (Re: Vintage Years: A Memoir)

Edwin Simon
Nephew of Abdallah Simon

“Thank you, from the bottom of my heart for the extraordinary work you did for the Rwanda project. Your creative contribution raised the project to a whole new level—instilling sophistication while retaining all the intrinsic heart, soul and mystical power.” (Re: naming, logo design and branding)

Willa Shalit (with Macy's)
Rwanda: path to peace

“Everyone is crazy about the catalogue—I think we have a winner. Congratulations on the great job.” (Re: Faces of Arabia)

Giraud Foster
Author, collector, publisher

“Nathan Garland, my most distinguished editor and designer, seemed somehow preordained to shepherd this project through from concept to completion. It was not only his unfailing design sense and artistic awareness which was so invaluable, but most especially his profound empathy and sympathy with the original intent of the book. I was indeed privileged to have had the chance to work with such a gifted collaborator.” (Continental Drift, p.6)

Peter Pettus
Photographer, potter, painter, writer

“Nathan was somehow able to incorporate our varied needs in the design process and the logo design was enthusiastically approved as a result.  One year later, our enthusiasm continues to grow; the logo only gets better with time.”

Julie Greenwood
Executive Director
Squash Haven

“Zenos and I consider it a privilege to work with Nathan. He is the supreme designer with perfect pitch, balance, exquisite taste and sound judgment. He is a consummate professional from whom we learned so much during our first project together.”

Rosalie Frudakis
President, Frudakis Studio, Inc.

“Your work on the annual report was again top notch. But I know that you do not approach any job in any other way. As I said on the telephone, I am convinced that you work with two standards—outstanding and still better.”

Richard Priebe
Director of Public Affairs
Cross & Trecker Corporation

“I am very proud of the publications I have produced for the Whitney Museum, and none more so than the ones you worked on. The 'Joel Shapiro' and 'New Image Painting' stand out in my mind. Of course, the most recent, 'Jean-Michel Basquiat' is a triumph! . . . many thanks for your contributions to my long and wonderful career.”

Doris Palca
Head, Publications & Sales
Whitney Museum of American Art

“To work again with Nathan Garland, one of the finest graphic designers of our age, was not only a source of great professional satisfaction but a personal one, too, for it was he who designed the catalogue 'Jean-Baptiste Greuze/1725-1805' just over a quarter of a century ago.” (Greuze the Draftsman, p.9)

Edgar Munhall
Curator Emeritus
The Frick Collection

“SplitTheDifference, Inc. has benefited greatly from the logo and identity program that you developed . . . . The breadth of your skills set is awesome—enhancing the effectiveness of my firm's communication approach far beyond the original expectations . . . . you bring the value of a much larger design firm to the engagements that you select for your intimate practice.”

R. S. Ophir, President
SplitTheDifference, Inc.

“We would like to express our particular thanks to Nathan Garland who provided an outstanding design for this publication.” (Anselm Kiefer, p.9)

Mark Rosenthal, Curator, Philadelphia Museum of Art
Neal Benezra, Curator, The Art Institute of Chicago

“... an ingenious and sensitive design provided by Nathan Garland.” (Paul Cezanne, Two Sketchbooks, p.7)

Anne d'Harnoncourt
The George D. Widener Director
Philadelphia Museum of Art

“I want to express my admiration for the work you did. Not only does it look great but you managed to bring it all together so smoothly.”

Sam N. Antupit, Vice President
Director, Art & Design, Harry N. Abrams, Inc.
(Re: Artists at Gemini G.E.L.)

“Your brochure effectively and elegantly expresses our story to a very diverse client base worldwide. The piece accurately positions us within our markets, strengthens our brand credibility and enhances our reputation.”

Laurence Rosen
Upper South Studio, Inc.

“November 2002 was the sixth anniversary of our capabilities brochure. . . . It continues to function and accurately represent the scope of what our firm provides. The piece endures. . . . Its success was ultimately made possible by our complete trust in your craft and direction, and your genuine desire to fully understand our business.”

Charles Rutan
Assistant Vice President
Ocean Surveys, Inc.

“To say that Nathan Garland expertly designed the catalogue would be extreme understatement of his contribution. He immersed himself in the vision of 'The Tiger's Eye' and has produced a book that truly lives up to the ideals espoused by the publication it honors. He has also been an unusually attentive listener and insightful commenter on ideas pertaining to all aspects of this project, and in addition an incredibly generous teacher regarding matters of book design.” (The Tiger's Eye: The Art of a Magazine, p.8)

Pamela Franks
The Florence B. Selden Fellow
Yale University Art Gallery

“I write to tell you how pleased I am with the way that 'Wood Turning in North America Since 1930' looks. It really is an outstanding publication. Furthermore, the process of working on this publication with you was very gratifying . . . You continually clarified the basis of design decisions in reference to the aspirations and the budget. . . . had the patience and willingness to maintain a dialogue with the whole team. . . . exercised vigilance in seeing that we got the best quality printing. This very methodical approach coupled with your superb command of graphic design has made a book that the Art Gallery and the Wood Turning Center can be proud of. I convey my deepest thanks for your dedication to this project.”

Patricia E. Kane
Curator of American Decorative Arts
Yale University Art Gallery

“Nathan Garland's impact on this catalogue is immediately apparent. We applaud the exceptional design he has brought to the catalogue, and the dedication, collaborative spirit, and good humor with which he has overseen its production. Above all, we appreciate his willingness to enter into the world of the Romans in order to give the book an authentic feel.” (I CLAVDIA, p.8)

Diana E. E. Kleiner, Dunham Professor of Classics
Deputy Provost for the Arts, Yale University
Susan B. Matheson,Curator of Ancient Art
and the History of Art, Yale University Art Gallery

“I wanted to write this note to express my appreciation for your excellent work . . . You worked very hard to refine the design and have pulled off another great piece. I have heard nothing but accolades from our donors, Board, and public.” (Re: A Defining Generation)

Joseph D. Ketner
The Henry and Lois Foster Director
The Rose Art Museum
Brandeis University

“I am most of all indebted to: Nathan Garland. He has been devoted to this work from the start and has contributed much more to it than the graphic design alone. The many hours of work with him have deepened my respect for his skills and my admiration for his heart.” (In the Camps, p.111)

Erich Hartmann
Photographer / Magnum