48
born in New York
70
19
it's not graphic design anymore. we just don’t have a new name for it yet. —april greiman
Identity, business cards, hang tags, and postcards for Vertigo, 1979.
from new york to L.A. via basel
After failing to get into art school, April Greiman applied and was accepted at the Kansas City Art Institute. There she was introduced to Modernist principles, which became her first serious design influence and inevitably led her to their mecca, the Basel School of Design in Switzerland. In addition to her very rigorous academic training there, Greiman was also exposed to New Wave experiments in Wolfgang Weingart’s studio—and eventually toward the looming gap that she would help fill by her hybridization of typography and imagery.
April Greiman and Tom Ingall. Temporal, Contemporary, Spatial, Dynamic. Poster, 1977. Photo courtesy of Cooper Hewitt.
Greiman & Odgers. WET Magazine, Sept/Oct, cover, 1971.
April Greiman and Raul Vega. Art Direction Magazine, July, cover, 1978.
Greiman & Odgers—Poster CalArts, 1977.
Please please me. Any one will do! Poster for Pacific Coast Films, 1977.
the people who are designing photoshop or after effects are not the ones designing with it. they are not solving the kinds of problems we are. so you have to wade through and get stuck in somebody else’s quicksand of engineering and technology. —april greiman
