Pioneering Women of Graphic Design

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CIPE PINELES

APRIL GREIMAN

ZUZANA LICKO

PAULA SCHER

a

O

riginally born in Austria, Cipe Pineles immigrated to the United States of America, and became the pioneer of magazine design. Pineles began her career studying at the Pratt Institute, and accepted her first job as an assistant to Conde Nast’s art director Mehemed Fehmy Agha in 1932. She worked for them for fifteen years, and designed magazines for Vogue, and Vanity.

Eventually making a name for herself, and becoming the art director at Glamour in 1942, Seventeen, and Charm in 1950. Which made history, because Pineles was the first female to hold a position as an art director at a major American magazine.

b

“Cipe Pineles played a pioneering role in the development of graphic design during the era in which the field was just beginning to deine itself.�

-Martha Scotford Cipe Pineles: a Life of Design c

a

Many of Pineles designs, and the magazines she worked for directed their content towards the teenage adolescence, and the glamours of being a working woman. Pineles wanted to liberate women to be their own person, to dress with style, and to live life to the fullest.

She said “You might say we tried to convey the attractiveness of reality, as opposed to the glitter of a never-never land.”

After a great run in editorial design, Pineles ended her career by teaching editorial design at Parsons School of Design from 1962 to 1987.

She taught her students to value the content before the style while creating designs.

Receiving her most prestigious award during that time at Parsons. Pineles was inducted into the New York Art Directors Club and elected to its Hall of Fame as the first woman in 1975.

Later passing away in 1991 at the age of 83. e a. “She Works in Detroit” Charm issue, April 1956 b.Charm cover and complete sequences on Miracles, January 1954 c. Seventeen cover, March 1948 d. Seventeen cover, July 1949. e. Charm cover, July 1951

d

APRIL GREIMAN f

a

While studying at Kansas City Art Institute, Greiman went outside the organization of design.

Encouraged by Wolfgang Weingart to break the grid-based approach of design, April Greiman later became known for her New Wave design era in the United States. New Wave design included elements of layering type, letting type float in space, and making the type illegible.

b

Out of school Greiman brought these ideas to her home city of New York, New York, yet her clients didn’t accept her non-rigid and mathematical way of design. So she moved to San Francisco and opened a studio in 1976.

“April Griman is internationally recognized as one of the most daring and experimental graphic designers in the world” c

-Eric Martin Hybrid Imagrey

d

a

Soon after in 1982, Greiman began teaching at California Institute of the Arts; which gave her access to high tech computers and video equipment. This gave her the idea to combine print, video, and type all into multiple layers, creating a new form of collage. Which was highly recognized and appreciated when she created a design cover for Walker Art Center, called Design Quarterly in 1986. c

This was Greiman’s defining moment as a designer because she is now considered the pioneer of computer design, and digital collage. Still alive today April Greiman is currently making her designs for buildings and outside spaces everywhere.

e

a. Los Angeles Olympic Games, 1984 b. Dance Ensemble c. Design Quartly, 1986 d. Digital Revolution, 1986 e. “The Magazine of Gourmet Bathing” issue of WET Magazine, 1979 f. Cal Arts, 1978

ZUZANA LICKO a

D

Zuzana Licko who was Bratislava, Czechoslovakia, studied at the University of California at Berkeley. There esigner

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Mrs. Eaves. Other Barry Deck, Jonathon Barnbrook, Elliot Earls, and Ed Fella did make appearances mous

fonts;

typeface designers like

occasionally throughout the years of publication.

However, in 2005 Licko, and Vanderlans decided the cease the Emigre publication. Even Though she has stopped designing for Emigre, Zuzana Licko still continues to create typefaces today.

b

e

As a student at Tyler School of Art in Philadelphia, Paula Scher found her entrance to the graphic design world. Scher’s teacher Stanislas Zagorski pushed her to think about type in a conceptual way. Making the type the image instead of the just the information. This inspiration lead Scher in a direction which helped her establish her aggressive, persuasive, and expressive type styles

a

Out of school, Paula Scher was hired as an art director for CBS and Atlantic records. During the 1970s her job was to design both big-budget, and small-budget album covers. Scher loved the smallbudget ones more because she was allowed to use more of her own artwork. One thing stood out to Paula Scher through those years, and that is that she hated the typeface Helvetica. She felt it was too sterile, and this lead her to experiment and combine older type styles from the art deco, the mid-century modern, and the constructivist eras.

b

c

e

In 1991 She joined a significant graphic design company by the name of Pentagram. Three years later in 1994, Paula Scher took a job for the new identity of the New York City’s Public Theater (Shakespeare in the Park). She didn’t know it then,but this was one of the defining moments of her career. Even today when people look at the logo, they know the name Paula Scher.

Since the creation of the Public logo, Scher still designs the posters for the shows that are being performed at the Public theater. Besides that, Scher’s most recent projects have been building designs, and her incredibly detailed United States of America map paintings.

f

“In fact, the whole style of theater advertising changed” - Paula Scher Make It Bigger

d a. Trust Elvis, 1981 b. Toulouse-Lautrec’s Death, 2001 c. Bring In ‘Da Noise, Bring In’Da Funk, 1995 d. Public Theater 2014/15 Season, 2014 e. Public Theater Identity, 1994 f. The Diva is Dismissed, 1994

Designed and written by Bailey McGowan Composed in Helvetica designed by Max Miedinger in 1957, Arial Black designed

by Robin Nicholas in 1990, Essonnes designed by James Todd in 2015, Serenity designed by Rian Hughes in 2016, LoRes 9 OT designed by Zuzana Licko, and Franklin Gothic URW Comp. designed by Morris Fuller Benton in 1902.

Copyright Š 2017 Bailey McGowan, Portland, Maine, Maine College of Art