A subjective history of graphic design (not necessarily the canon and certainly not in chronological order) by NCSU students for GD203 Graphic Design History course Design quarterly is a prestigious magazine from Walker Art Center that for over 50 years has been featuring designers and their work in the fields of contemporary architecture, landscape architecture, urban planning, and product and graphic design. Technically, her issue did not resemble a … Explorations of image, word, color as objects in time & space, grounded in the singular fusion of art & technology, are the basis for her multi-media, multi-scaled body of work. Now we are confronted with motion graphics, the World Wide Web, and interactive applications. It’s the kind of image that might have broken the internet if the internet was a thing in 1986. Inspired by this experience, she went to Basel for graduate school.
By also exploring the philosophical and personal ramifications of digital design, this piece reached greatness. Design quarterly is a prestigious magazine from Walker Art Center that for over 50 years has been featuring designers and their work in the fields of contemporary architecture, landscape architecture, urban planning, and product and graphic design. April Greiman , Design Quarterly issue 133 poster , 1986. “Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. She began using video and analogue computers to hybridize, combining different elements through the new media. After the publication of Greiman warmly recalls receiving a phone call from Massimo Vignelli soon after he saw the poster. 1986 If you are planning a visit to SFMOMA to see a specific work of art, we suggest you contact us at Only a portion of SFMOMA's collection is currently online, and the information presented here is subject to revision. April Greiman was among few visionaries who recognized the vast potential of this new medium. April Greiman los angeles, CA. The theme of the issue was “Does it make sense?” which is inspired by a notation by philosopher Ludwig Wittgenstein“If you give it a sense, it makes sense.” Grieman thought that this could tie into the tools and technologies that she was using to make her work, familiar tools will lead to familiar viewpoints and outcomes. But the lack of an established design practice created a unique opportunity to explore new paradigms in communications design.Soon after she settled in Los Angeles, a friend offered to take her to the desert. Image courtesy of April Greiman. Please practice hand-washing and social distancing, and check out our resources for adapting to these times. April Greiman, Design Quarterly issue 133 poster, 1986 &m…. See more ideas about April greiman, Postmodernism, Wave design. 1986. She sees these three- and four-dimensional collaborations as yet another aspect of hybridizing, in which she considers ideas of integration of building and landscape, interior and exterior, inner and outer selves. Oct 2, 2015 - Explore Divine S.'s board "April Greiman", followed by 190 people on Pinterest.
Please contact us at This resource is for educational use and its contents may not be reproduced without permission. The perfect opportunity arose when she was invited to design and edit an issue of Design Quarterly (No. The idea of having such a big life sized digital portrait is something that today we take for granted but at the time that Greiman made her designs for Design Quarterly she was working with some of the earliest computers, including the original Macintosh that ran on 125 Kb of memory.
"Does It Make Sense?" Cambridge: MIT Press / Walker Art Center, 1986. “While most processes occur at an invisible or microscopic level, the desert reveals its evolution in its very existence. “I don't hire graphic designers anymore. Front side ‘Does It Make Sense’, Design Quarterly. “The digital landscape fascinates me in the same way as the desert,” she says.
April Greiman’s apartment, From Freestyle, 1986. The files were so large, and the equipment so slow that she would send the file to print when she left the studio in the evening and it would just be finished when she returned in the morning . Greiman's California New Wave typography and mixed-media design had been rocking the Modernist boat for a few years when she undertook a major assault upon the design community's sensibilities and preconceptions of what constitutes design in 1986, in an issue of Design Quarterly. The reproduction process had flattened her and the light was strange. This collaboration with Odgers would lead to two experiences that would greatly influence the direction that her life would take—he introduced her to the desert, a journey that would forever influence her way of thinking and being; and shortly after, they formed a creative partnership that was to last for four years and produce some highly visible work. Poster is unmarked and very clean. Perhaps, but more clearly an indicator of the departure Greiman had made from the coolly classical to the intensely personal, poetic, and digital, and in particular of the giant step that she had boldly taken into what had been very much a man's world.Greiman sees herself as a natural bridge between the Modernist tradition and future generations of designers. A fine poster (folded as issued) enclosed in a nearly fine folder with trivial soiling to white uncoated folder. .
I hire collaborators who are specialists in their own fields—a web master, a researcher, a production artist—depending on the project.” As a generalist, she is involved in all phases of the projects.
Some critics found it to be thoughtless, self-indulgent, and lewd.