But at the end of his presentation, a student in the audience asked what he thought about the MacIntosh. I have the greatest respect for his work and his mind. So the chatter—the dialogue, that conversation in my own head—had to do with them saying my work was personal and not real, serious design.I was going back and forth on what’s personal and what’s public, or what’s a personal agenda versus a client’s agenda. Instead, the giant fold-out poster arrived to subscribers by mail and proceeded to crack the graphic design community wide open. Forgotten Superheroes of design: Does it Make Sense, 1986, April Greiman.
And I got the job.I tried to introduce video as an option to students in my program, and made a proposal to the provost to bring in a couple of Macintoshes. Those tools got me immersed in understanding computers. That’s what made up my “hybrid imagery”—sometimes it was my video images and sometimes it was handset type, traditionally pasted up.I was working freelance at MoMA, and had finished up a project, so I started interviewing.
Instead, the giant fold-out poster arrived to Design Quarterly subscribers by mail and proceeded to crack the graphic design community wide open.
He said he liked me and my work, so he hired me to work for half a year.
She kind of left my dad in the dust to figure out how to wrap things up back East, which is where we were all born and where we lived until 1980. We sold them around the world, to Bloomingdale’s and Macy’s. The Walker Art Center published her edition, titled Does it Make Sense. I was fully prepared for her to say “Whoa, I don’t know about this,” but she was just like, “This is great.” I found the printer, but Mickey got the paper donated, so she had to bring them a full-sized comp and present them my idea. arose from my own internal chatter and imaginations. They asked her why, and she said, “Because it doesn’t smell good like my other art supplies.” I mean that’s so Paula, right? It didn’t allow for any fun or any acknowledgement that there were good things about being a woman.I got some really good work and appreciation from clients because I was easier to work with.
Did things have to make sense along the rigid line that was being drawn by that predominantly East Coast male community of designers who were twice my age?
The school followed through with that, but then when the equipment arrived, they put it right into the film school. It woke up a sensibility in me that I hadn’t really felt in New York, like ever.
I was designing pieces that you could turn upside down. The title, “Does It Make Sense?” was me trying to reconcile with my abilities, my thinking, my skill sets. Everything was always floating. I learned a lot about pasting things up and cutting things and wrapping things and preparing artwork. It was a resignation letter written from me to my boss. Some people realized that there was a thought process and there was a concept behind what I was doing. It emboldened me, and when they asked what kind of fee I would charge, I just came up with something really high. Since they were just appearing for two seconds, the output was video quality—it was much lower res than print. I did that in early summer and I had such a good time here.I wasn’t that long off the boat from Basel, and I liked being free and experimenting and using a lot of color.
My work in the late ’70s and early ’80s was both infamous and highly acknowledged, contributing to a sort of early fame. Meanwhile, I won my first color Mac by entering I could never have afforded it otherwise. I call him the inventor of the drop shadow in graphic design, because anything that he photographed had a shadow, or he would airbrush in a shadow. I just didn’t have any particular track I wanted to focus on. I was at a crossroads in my early career. Greiman stated that she intended the work to be an experimentation of creating “hybrid imagery” instead of creating a one dimension image of a woman. It had its own font library, and you could scan things in and animate them for broadcast. I was a quasi-feminist. The Mac seemed like it mimicked everything those high-end Paintboxes could do.
That’s so brilliant.When I was starting to work on the Mac in the early- to mid-’80s, I was head of the design program at CalArts. It was impossible to cross creative lines; it’s a misnomer, these schools that call themselves multidisciplinary.When I left, I was kind of on a roll with my own design practice. When I asked him about it, he said that he felt like I was developing a stronger personal relationship with this photographer and that I’d rather go into business with him.I worked for three years with Jayme, and we did end up developing a personal relationship. He set up their mainframe computer, which had the air-conditioned room, the platform enclosed in glass, and all that.
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