Milton Glaser “I Love NY” logo designer and the famous Bob Dylan poster with psychedelic hair, has died on Friday, his 91st birthday.
The cause was stroke and Glaser also had kidney failure, his wife, Shirley Glaser, told the New York Times.
In posters, logos, advertisements and book covers, Glaser’s ideas captured the spirit of the 1960’s with simple colors and simple looks. He was the team designer who co-founded New York magazine with Clay Felker in the late ’60s.
“Over at our office, it will always be a small team of men and women and, in the sixties, it will take New York out of the newspaper to make it the biggest American newspaper,” said Glaser.
Soon urban magazines everywhere were sprouting and adopting its simple, intelligent style. When the titan publication Rupert Murdoch pushed Felker and Glaser to New York magazine when they became bored in 1977, the workers came out in solidarity with their departing editors, leaving the issue incomplete three days before the news was published.
“We have brought – albeit little – a change in people’s visible ways,” he told The Washington Post in 1969. “Set the television conditions for people to pretend they want to think that.”
But he said he had to work to keep his style fresh.
“There’s a lot of pressure to repeat past successes. That’s a sure death.” Regarding the motif created in the 60s, he added that he couldn’t make another rainbow “if my life depended on it.”
His sense of display was so powerful, and his designs so influential, that his works in subsequent years were kept by collectors and studied as masterpieces.
But he chose not to use the word “art” at all.
“What I propose is to eliminate the term art and call it everything,” Glaser said in an interview with the Associated Press in 2000, when the Philadelphia Museum of Art hosted an exhibition of his work. “If it’s really a miracle and we deliver it in some way, we call it a good job. We call this the good when it does the job, and we call it the bad when you miss the target. ”
The iconic logo “I (HEART) NY” – cleverly using the words in typewriter as typing – is a dream as part of an ad campaign launched in 1977 to enlarge the image of a state where criminal and budgetary issues dominate the headlines. Glaser made this design for free.
About a quarter of a century later, just days after the terrorist attacks on September 11, he revised it, adding a scarlet scarf to the red heart and “more than ever” to that message.
“I woke up on Wednesday morning and said, ‘God, I have to do something to respond to this,'” she told the New York Times. “When you have a heart attack, half of your heart dies. When you recover, part of your heart goes away, but people in your life become more important. , and there is great awareness of the importance of things. ”
Glaser actually did the design work for the restaurant on the site demolished by the World Trade Center.
Her 1966 image of Dylan, her face in simple black fashion but her hair blossoming with a riot of color in a fashionable dress, emblazoned the 1960s philosophical idea that letting your hair fly was a way to open your mind. (But he wasn’t this drug-inspired image: He borrowed Marcel Duchamp and Islamic art.)
This photo was included on Dylan’s “Biggest” album, so it got into the hands of millions of fans.
“It was a new use of this image – a gift that encouraged people to buy the album,” Glaser told the New York Times in 2001. “Then her own life began, she appeared in films, magazines., Whatever. Not dead, as such types of ephemera often do.”
Among Glaser’s other notable works have been the illustrations that cover Shakespeare’s Synoptic paper versions; Types of projects like Baby Teeth, first used in Dylan’s compilation, and in Glaser Stencil; and the poster of Mostly M