bit-mapped

 

Greiman’s first experiments with digital were done using CalArts’ analog computers and video equipment. Despite their limitations, Greiman was intrigued. Soon she attended Alan Kay’s TED talk and, story has it, went from the lecture directly to Macy’s department store and bought her first Macintosh (quite an expensive purchase at the time). Back then, graphic designers laughed at the idea of creating work with a machine rather than their hands. The design community was unanimously opposed to the notion. Greiman decided that she had to convince her colleagues of the tremendous potential of the new medium.

Pacific Wave poster. Distorted words Pacific Wave with an image of wave

Poster, Pacific Wave, 1987.

Pikes Peak Big Fishy poster. An image of a big fish looking sideways

Pikes Peak Big Fishy, 1994.

It's Not April What You Think It Greiman Is. Poster for the exhibition in Bordeaux
Business card for Michael Brandes, SCI-Arc

Business Card, SCI-Arc, ca, 1990.

It's Not April What You Think It Greiman Is. Poster for the exhibition in Bordeaux, 1994.

Sci-Arc, Changing Concepts of Space in Architecture and Art. A poster
SCI-Arc Making Thinking. A poster depicting blue pixelated hand and green eyes

Sci-Arc, Changing Concepts of Space in Architecture and Art, 1986.

SCI-Arc Making Thinking, 1990.

Created with Sketch.

i don’t hire graphic designers. the idea of many designers working in virtual isolation is no longer relevant. i hire collaborators who are specialists in their own fields: a webmaster, a researcher, a production artist—depending on the project.
—april greiman

April Greiman’s apartment

April Greiman’s apartment, From Freestyle, 1986.

design quarterly #133

To start a serious conversation about computers, Greiman had to expose their potential. The perfect opportunity arose when she was invited to design and edit an issue of Design Quarterly (No. 133) in 1986. Technically, her issue did not resemble a magazine at all. It was, instead, a 3-foot tall fold-out poster. Using MacVision, the designer generated an image of her naked body and a variety of graphic symbols, all under the title, “Does It Make Sense?” For many it did not, but the first step toward the digital transformation of graphic design had been taken.

Design Quarterly magazine in a case with words Does it make sense?

Design Quarterly, no. 133, “Does It Make Sense?”, folded in case, 1987.

Centerfold from Design Quarterly magazine

Design Quarterly, no. 133, “Does It Make Sense?”, front, 1987.

Centerfold from Design Quarterly magazine

Design Quarterly, no. 133, “Does It Make Sense?”, back, 1987.

design with Readymag

editor-in-chief
diana kasay

editor
zhdan philippov

creative director
anton herasymenko

layout designer and art director
stas aki

issue designer
sergey kovalchuk

text author
anna filippova

photo editor
yulia lukina-kuranova

content manager
tsvetelina miteva

stories. april greiman

Readymag is a design web tool that helps create immersive digital experiences without hassling with code.

design with Readymag

editor-in-chief
diana kasay

editor
zhdan philippov

creative director
anton herasymenko

layout designer and art director
stas aki

issue designer
sergey kovalchuk

text author
anna filippova

photo editor
yulia lukina-kuranova

content manager
tsvetelina miteva

stories. april greiman

Readymag is a design web tool that helps create immersive digital experiences without hassling with code.