“Their role models were Hollywood stereotypes, and the sport quickly picked up a bad name. Wannabes came into the sport as rebels, pranksters, vandals, and thieves, wearing Nazi imagery — helmets and iron crosses. Surfers hated those Hollywood surf films, and I could see that Surfer could create a truer image of the sport.”
Drew Kampion, the editor of Surfer magazine from 1968 to 1972, said in an interview Saturday that he viewed Mr. Severson, who preceded him as its editor, as “the first to treat surfing as a worthy subject matter for fine art.”
The surf journalist Sam George wrote in 1999, “Before John Severson, there was no ‘surf media,’ no ‘surf industry’ and no ‘surf culture’ — at least not in the way we understand it today.”
Mr. Severson (pronounced SEA-ver-son) likened the surfing experience to “a beautiful sensation of dance with the added dimension of being in nature.”
“There’s this whole force of moving water, and as you ride, you harness this water,” he told the contemporary culture magazine 032c in a 2014 interview. “Then, as your abilities increase, you can go farther and deeper into the wave, and into more radical positions — like off the top, off the bottom — and there are these weightless sensations. It’s another dimension.”
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Surfer, the first major magazine devoted to wave riding, began as an annual publication, then became a quarterly and finally a monthly. “As long as I had enough money to make the next issue and pay the little staff I had, I was pretty stoked,” Mr. Severson told The New York Times in 2014.
The magazine thrived, and by the early 1970s he had about 100,000 readers and plentiful advertising. But his publishing obligations were becoming excessively consuming, and he was confronted by restrictions on his favorite surfing spot.
President Richard M. Nixon had bought an estate alongside Mr. Severson’s home in San Clemente, Calif., looking out on the popular Cotton’s Point surf break. The Secret Service, citing security concerns, sought to close public access there when Mr. Nixon was visiting. Mr. Severson spoke with top White House aides to discuss a compromise on surfing hours but remained discouraged at having to battle for unfettered access.
He sold Surfer magazine in the early 1970s for an undisclosed amount, then returned to Hawaii to pursue his artwork, to ride big waves and to relax with his family.
His films included “Surf,” “Surf Safari,” “Surf Fever” and perhaps most notably “Pacific Vibrations.” The posters he designed for them became collectors’ items.
Mr. Severson’s “Surf BeBop,” a semiabstract painting of surfers lounging on a beach, which appeared on a 1963 cover of Surfer, was cited by Communication Arts magazine as the most outstanding cover painting of the year.
John Severson was born on Dec. 12, 1933, in the Los Angeles area, where his father owned a gas station. The family moved to San Clemente when he was 13 or so. He majored in art education at Long Beach State, where a faculty member encouraged him to pursue artwork focusing on what he already knew: beach life.
Mr. Severson was drafted into the Army in 1956 and sent to a base in Oahu, Hawaii, assigned to illustrative work with a focus on creating maps. He also joined an Army surfing team there that created new techniques, and while on active duty he filmed surfing sites, creating material for his first film, “Surf.” He was discharged in 1958.
Upon returning to Hawaii in the 1970s, he began to wind-surf and then edited the magazine Wind Surf. Demand grew for his paintings, and he designed prints for Hawaiian shirts. He was still riding waves at age 80.
In addition to his wife, Mr. Severson’s survivors include his daughters Jenna and Anna.
With the passing of decades, Mr. Severson lamented the increased commercialization of surfing and especially its marketing to the wealthy.
“I always felt like surfing belonged to everyone,” he told The Times in 2014, “not the guy with the most money.”