But he remains best known for his red-hearted I Love New York logo, created to encourage tourism when his native city was down and out in the late 1970s. To execute all this work, Glaser (1929-2020) designed numerous whimsically named typefaces, including Babycurls, Babyfat, and Babyteeth. Cleopatra's colorful striped headdress and exotic eyeliner evoke Elizabeth Taylor in the 1963 film. Glaser's illustration of Antony and Cleopatra remains a standout, with the ill-fated lovers drawn in closely overlapped silhouettes, like a pair of ice dancers. They're still available, at least online, at $5.95 each. Most were under a dollar each when he created them in 1963. If you went to high school in the last 60 years, chances are that your introduction to Shakespeare was through Signet Classic paperback editions, whose covers feature Glaser's distinctive ink sketches enhanced by pops of color. So, too, were his covers for New York magazine, which he co-founded with Clay Felker in 1968. Glaser's posters, advertisements, record album covers, and book covers were ubiquitous. Flipping through this book, you'll be inclined to agree with the authors that Glaser's "collaborative virtuosity" with artist Seymour Chwast in their Push Pin Studio "did for illustration and graphic design what John Lennon and Paul McCartney did for pop music." It's a period that includes his famous Bob Dylan poster, with the silhouetted singer topped with wavy ribbons of multi-colored hair. Milton Glaser POP, by Steven Heller, Mirko Ilic and Beth Kleber, explores the phenomenally prolific graphic designer's pop era work, which spanned the 1960s and 1970s. Monacelli Press An image made by Milton Glaser, as seen in Milton Gllaser: Pop.
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