In this new studio structure, each collaborator is an expert in his or her field, with Greiman as the tie that binds.
April Greiman is an American designer widely recognized as one of the first designers to embrace computer technology as a design tool. April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast.
“Sounds pretty bleak.” He dragged her along anyway, and within hours she found herself seduced by the landscape. Greiman recalls her mother as a calm, grounding influence and her father as a curious, wandering explorer who was easily distracted by whatever interesting thing crossed his path; affectionately, they called him “the original astronaut” because he was perpetually lost in the space of his own imagination. Later that year, with her business booming, she decided to switch gears and become a student rather than an educator, to study the effect of technology on her own work. “Everything is related, and makes this wonderful loop of interconnection.”Further expanding the very broad scope of her work, Greiman often collaborates with architects on spaces and environments, with most of her contribution in the areas of color, finishes, and materials. April Greiman is an influential contemporary American graphic designer. She studied art in Switzerland at the Basel School of Design, and at the Kansas City Art Institute. Besides, four honorary doctorates were awarded to her by different institutes, including Kansas City Art Institute, Art Center College of Design, The Art Institute of Boston and Academy of Art University.
Neighbors called her family “The Flying Greimans” because they were always looking up, searching for interesting phenomena, and traveling by air.A professional dancer with the Fred Astaire Dance School in New York City, Renee Greiman performed on television and taught classes, often enlisting the young April as a dance partner. Biography.
In her work, she continued to explore typographic meaning and began experimenting with ways to alter the two-dimensional space of the page and reimagine it as a more three- and four-dimensional continuum of time and space. April Greiman (born March 22, 1948) is a U.S. American designer widely recognized as one of the first designers to embrace computer technology as a design tool. I felt as if, for the first time, my eyes were wide open to the process of evolution, to growth, to change.”Design Quarterly 133, Does It Make Sense? Given her classical education at KCAI and graduate studies with Hoffman and Weingart at Basel, she possesses the knowledge and skills of the Modernist tradition. An avid fan of tools and technologies since childhood, Greiman quickly established herself as a pioneer of digital communications design. April Greiman * 1948 New York The graphic designer April Greiman was born in New York in 1948 in New York. Miracle Manor, a business and creative collaboration with architect Michael Rotondi, is an ideal forum for such explorations.Greiman sees the site as an opportunity to explore her own personal interests in color, myth, symbolism, and space in real time.
“I don't hire graphic designers anymore. She made use of pixelation and other digitization “errors” as integral parts of digital art. April Greiman. Museums and galleries were few and it was impossible to get a decent cup of coffee. Greiman is the director of a design consultancy, Born on September 10, 1948, April Greiman grew up in the New York City. 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. This fascination comes from the core of her being, a core of perpetual curiosity and questioning that fuels her desire to explore and inspires the cutting-edge design work that places her at the helm of integrated design at the close of the twentieth century.Born during the baby boom and raised in New York, Greiman was endowed with a curious spirit from the beginning, and grew up in a house where questioning was encouraged and adventure was a part of life.
postage stamp commemorating the Nineteenth AmendmentIdentity, business cards, hang tags, and postcards for Vertigo, 1979April Greiman, self-titled Bullethead 1997, original photo: AtilaWorkspirit journal, front/back cover, logo, and table of contents spread, 1988Greiman'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 Before the appearance of “Does It Make Sense?” designers widely considered bit-mapped type and imagery not only unorthodox but unacceptable, straying too far from the clean, crisp precision of the Intermational Style. While teaching there, she also examined in greater depth the effects of technology on her own work.Greiman bought her first Macintosh and later received the Grand Prize in Currently, April Greiman is appointed at the Woodbury University, School of Architecture as an art instructor. Though she failed miserably on the part of the application that required her to draw a pair of old boots, the dean of admissions pointed out that her portfolio was very strong in graphics and suggested that she apply to the graphic design program at Kansas City Art Institute. 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. The California Institute of the Arts appointed her the head of the design department, in 1981. Having no idea how one might define graphic design or what it meant, she nonetheless took his suggestion and was accepted into the program.At KCAI, Greiman was introduced to the principles of Modernism by Inge Druckrey, Hans Allemann, and Chris Zelinsky, all of whom had been educated at the Basel School of Design in Switzerland. Of the video image, she says, “Instead of looking like a bad photograph, the image was gestural.