Milton Glaser, a graphic designer who changed the vocabulary of American visual culture in the 1960s and ’70s with his bright colors. Extroverted posters, magazines, book covers, and record covers. Particularly his 1967 Bob Dylan posters With psychedelic hair and his “I heart NY” , Glaser brought wit, fantasy, narrative. And skillful drawing to commercial art at a time. When advertising was dominated by the harsh restrictions of modernism. On the one hand and the cozy realism of magazines such as The Saturday Evening Post on the other. At Push Pin Studios, which he and several former Cooper Union colleagues formed in 1954. He opened design to countless influences and styles that began to attract the attention of magazines and advertising agencies. Largely through the influential promotional publication of the study, Push Pin Almanack. (later renamed Push Pin Monthly Graphic).
At Push Pin Studios, which he and several former Cooper
Union colleagues formed in 1954, he opened design to countless influences and styles. That began to attract the attention of magazines and advertising agencies. Largely through the influential promotional publication of the study, Push Pin Almanack. (later renamed Push Pin Monthly Graphic). “We were excited by the idea that we could use anything Saudi Phone Arabia Number Data in the visual history of humanity as an influence,” Glaser. Who designed more than 400 posters over the course of his career, said in an interview for the book “The Push Pin Graphic.” A quarter century of innovative design and illustration” (2004). “Art Nouveau, Chinese wash drawings, German wood engravings, American primitive paintings, the Viennese secession and the caricatures of the 1930s were an inexhaustible source of inspiration,” he added. “All the things that the doctrine of orthodox modernism seemed to disdain—ornamentation, narrative illustration, visual ambiguity—appealed to us.”
For Dylan’s poster, a promotional piece included
on the 1967 album “Bob Dylan’s Greatest Hits,” he created a simple outline of the singer’s head. Based on a black-and-white self-portrait silhouette by Marcel Duchamp. And added thick, wavy bands of color for hair, shapes he imported from Islamic art. “I heart NY ,” its logo for a 1977 campaign to promote tourism in Aero Leads New York state, achieved even greater currency. Drawn on the back of an envelope in red crayon during a taxi ride. It was printed in black letters in a chubby font, with a cherry red heart in place of the word “love.” Almost immediately, the logo became an instantly recognized symbol of New York City, as recognizable as the Empire State Building or the Statue of Liberty. “I’m amazed at what happened with this simple little idea ,” Glaser told The Village Voice in 2011.
