Beatriz (Bea) Feitler (1938–1982) was a Brazilian graphic designer who worked for Harper’s Bazaar, Ms., Rolling Stone, and a number of other magazines.
Bea Feitler. We haven’t established the author of this image. Please contact us if you are the rights owner.
She was the first art director to feature a black model in a major fashion magazine. Bea was also a key figure behind the relaunch of Vanity Fair in the early 1980s. She died of cancer slightly before the first issue was out of print, only 44 years old.
Cover of Harper’s Bazaar US April 1965 issue art directed by Bea Feitler.
In 1963, at only 25-years old, Feitler became an art director at the American Harper’s Bazaar. In 1972, after 10 years at Bazaar, Feitler became an art director at Ms.—the magazine of the women's liberation movement. “In one sense, Feitler was always the original feminist,” recalls her longtime associate Carl Barile, who worked with her at Bazaar, Ms., and Rolling Stone. In 1981–1982, Feitler was working closely with Condé Nast editorial director Alexander Liberman to create the prototype for a new incarnation of Vanity Fair. The premiere issue of the revived Vanity Fair was made by Feitler and appeared after her death.
Сover of Ms. issue from December 1972.
Vanity Fair cover from 1982 art directed by Bea Feitler.
As a child Rosmarie Tissi (born 1937) was fascinated with chemistry, but her personal inventions were to be made on paper.
Rosmarie Tisi, 1985. Photo by Sigi Odermatt.
Rosmarie has developed a personal style full of fresh visuals, distinctive proportions and undogmatic thinking and has received numerous awards, among them a gold medal at the 11th International Poster Biennial in Warsaw in 1986 and the Swiss Grand Award for Design in 2108. For several decades, she shares a studio with graphic designer Sigi Odermatt under the name Odermatt + Tissi.
Poster for Merce Cunningham Dance Company, 1991. © Rosmarie Tissi, Zurich.
After finishing at the School of Applied Art in Zurich, Tissi joined a design consultancy, though this job didn't offer much creative challenge. She started looking for a new place and soon met designer Sigi Odermatt, known for his bold style and rebellious attitude towards industry rules. He had his own studio and hired Tissi as an apprentice. After a decade, she became a business partner. In 1974, Rosmarie Tissi created Sinaloa—a logotype style typeface with strong geometric forms. Each character has a striped stroke which helps keep the letters legible and gives the typeface its eye-catching appearance. “I have always reduced my design to the essential, employed only few elements and played with the proportions and the empty spaces,” Rosmarie Tissi once said. Rosmarie Tissi's style has been evolving throughout her career: from the pure functionality of grid-based Modernist design to a very individualistic aesthetic with vivid colors, peculiar proportions and experimental layouts.
Sinaloa font. © Rosmarie Tissi, Zurich.
Cover for Japanese design journal IDEA, 1992. © Rosmarie Tissi, Zurich.
Poster for the International Music Festival in Lucerne, 1994. © Rosmarie Tissi, Zurich.