Милтон Глейзер, дизайнер логотипа «Я люблю Нью-Йорк», умер в возрасте 91 года


NEW YORK — Milton Glaser, the groundbreaking graphic vogue designer who decorated Bob Dylan’s silhouette with psychedelic hair and summed up the feelings for his native New York with “I (HEART) NY,” died Friday, his 91st birthday.

The trigger became a stroke and Glaser had furthermore had renal failure, his wife, Shirley Glaser,told The New York Cases.

In posters, trademarks, adverts and book covers, Glaser’s solutions captured the spirit of the 1960s with about a straightforward colours and shapes. He became the vogue designer on the crew that basically based New York magazine with Clay Felker within the gradual ’60s.

“Spherical our place of job, of direction, he’ll forever be no doubt one of the major diminutive crew of guys and females that, within the gradual sixties, yanked New York out of the newspaper morgue and turned it into a large American magazine,” themagazine’s obituaryof Glaser mentioned.

Rapidly city magazines all over had been sprouting and aping its straightforward, witty impact style. When publishing titan Rupert Murdoch forced Felker and Glaser out of New York magazine in a opposed takeover in 1977, the staff walked out in team spirit with their departing editors, leaving an incomplete scenario three days old to it became due on newsstands.

“We now have precipitated — on the other hand diminutive — a commerce within the visible habits of of us,” he told The Washington Submit in 1969. “Television conditions of us to quiz of creativeness.”

But he mentioned he had to work to preserve his style new.

“There’s a large stress to repeat past successes. That’s a obvious death.” Relating to a beloved ’60s impact motif, he added that he couldn’t attain one more rainbow “if my existence depended on it.”

His pictorial sense became so profound, and his designs so influential, that his works in later years had been preserved by collectors and studied as shapely art.

But he preferred no longer to make exhaust of the time frame “art” at all.

“What I’m suggesting is we put off the time frame art and make contact with all the pieces work,” Glaser mentioned in an Associated Press interview in 2000, when the Philadelphia Museum of Art work hosted an show conceal on his profession. “When it’s in level of truth contemporary and moves it in a sure manner, we name it large work. We name it appropriate when it accomplishes a job, and we name it corrupt when it misses a target.”

The doughty “I (HEART) NY” tag — cleverly the usage of typewriter-style letters as the typeface — became dreamed up as a part of an ad advertising and marketing and marketing campaign begun in 1977 to desire the utter’s portray when crime and funds troubles dominated the headlines. Glaser did the impact free of trace.

With regards to a quarter-century later, correct days after the Sept. 11 wretchedness attacks, he revised it, adding a darkish scar to the crimson heart and “extra than ever” to the message.

“I wakened Wednesday morning and mentioned, ‘God, I in truth resolve on to achieve something to answer to this,’” he told The New York Cases. “Must you’ve got a heart attack, a part of your heart dies. Must you recover, a part of your heart is long past, however the of us in your existence change into noteworthy extra major, and there may per chance be a bigger consciousness of the value of issues.”

Glaser in truth had performed impact work for the restaurants on the destroyed World Commerce Heart advanced.

His 1966 illustration of Dylan, his face a straightforward sunless silhouette however his hair sprouting in a rebel of colours in curvilinear vogue, build in graphic produce the 1960s philosophy that letting your hair wing free became a manner to free your mind. (For him, though, it wasn’t a drug-impressed portray: He mentioned he borrowed from Marcel Duchamp and Islamic art.)

The poster became inserted in Dylan’s “Ideal Hits” album, so it made its manner into the fingers of hundreds of thousands of fans.

“It became a new exhaust of the poster — a giveaway that became purported to aid of us to make a selection the album,” Glaser told The New York Cases in 2001. “Then it took on a existence of its dangle, showing up in movies, magazines, regardless of. It did no longer die, as such varieties of ephemera on the total attain.”

Among Glaser’s different noteworthy initiatives had been duvet illustrations Signet paperback editions of Shakespeare; model designs corresponding to Exiguous one Tooth, first used on the Dylan poster, and Glaser Stencil; and a poster for the Mostly Mozart Competition that contains a colourful Mozart sneezing. His designs furthermore impressed the playbill for Tony Kushner’s “Angels in The united states”

Glaser became born in 1929 within the Bronx and studied at New York’s Cooper Union art college and in Italy.

In 1954, he co-basically based the innovative graphic impact firm Push Pin Studios with Seymour Chwast and others. He stayed with it 20 years old to founding his dangle firm.

The Cooper-Hewitt, Smithsonian Make Museum awarded him a lifetime fulfillment award in 2004. In 2009, he became awarded the National Medal of Arts.

“I correct esteem to achieve all the pieces, and I became all the time in seeing how a ways I could per chance rush in stretching the boundaries,” he mentioned.


Polly Anderson, a outmoded staffer of The Associated Press, became the main creator of this obituary.

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