Jacqueline casey biography

There are many women designers who deserve to be accepted for their immense contributions get to the field of graphic conceive of, but few so deserving whereas Jacqueline Casey (1927-92).

A 1949 graduate of the Massachusetts School of Art [now known whilst Massachusetts College of Art enjoin Design], Casey joined the Employment of Publications at the Colony Institute of Technology (MIT) be sure about 1955, serving under director Gents Mattill and staffer (and counterpart alumna) Muriel Cooper.

In 1972, Casey took over as official of the renamed Design Service Office, where she created efficient series of iconic posters cast off your inhibitions publicise MIT events and exhibitions along with fellow designers Ralph Coburn and Dietmar Winkler.

She was first-class woman in a man’s planet, not only in the publications office, but also in depiction MIT community that served in the same way her clientele.

Casey’s visual power of speech style was strongly influenced mass the Swiss designers Karl Gerstner, Armin Hofmann and Josef Müller-Brockmann and the International Style.

Thérèse Moll, a young Swiss constructor who had been an contributory in Karl Gerstner’s Basel labour and who briefly worked trudge the MIT publications office turn a profit 1959, is the one supplier Casey credited with her dispatch to the grid and tight design philosophy: ‘She introduced righteousness office to European typography … This use of proportions donation designing publications series became marvellous useful tool for developing MIT’s image.’

Above: poster for ‘Goya: Leadership Disaster of War’, an extravaganza of Goya’s aquatint prints alien the 1810s, 450 x 450mm, 1971.

This makes consummate use of Casey’s metaphorical touch.
Top: poster for ‘Intimate Architecture: Modern Clothing Design’, 590 x 740mm, 1982. Photograph: Robert Mapplethorpe. Put your signature on design: Jacqueline Casey.

Typography plays a fundamental role in Casey’s posters: a complete visual notion can be created entirely cause the collapse of the message content and magnanimity image becomes the message.

‘My job is to stop inseparable I can with an marked or puzzling image, and coax the viewer to read dignity message in small type duct above all to attend goodness exhibition,’ she told Liz McQuiston in Women In Design (Trefoil, 1988).

In each of Casey’s posters, a visual element attracts the viewer and the subject provides information.

She is deem her best when she employs a visual metaphor, as she does so brilliantly with dignity use of a ‘blood splat’ as the solitary image provision her exhibition poster ‘Goya: Character Disasters of War’, where prestige interplay of visual and word-of-mouth ignites our imagination and encourages a more profound understanding announcement its subject.

Above: ‘Six Artists’, 520 x 530mm, 1970.

Poster design: Jacqueline Casey.

In another weird visual statement for a placard announcing the exhibition ‘Intimate Architecture: Contemporary Clothing Design’, Casey, excavations with Robert Mapplethorpe images, chairs the typography without interfering expanse the striking photograph. Her solution incorporated the text by right now following the folds of description dress in a manner rove achieved seamless integration between category and image.

Casey was further known for her word chuck and inventiveness while using magnanimity highly ‘rational’ Swiss design line of attack.

‘Russia, USA Peace, 1985’ shambles a poster commissioned by illustriousness Shoshin Society (also known restructuring the Hiroshima Appeals peace campaign) to commemorate the 40th tribute of the bombing of Hiroshima.

Above: ‘Mediums of Language’, 760 check 610mm, 1977. Poster design: Jacqueline Casey.

Using a predominantly swarthy poster with a clear polished image of the planet Plain-speaking in the upper right-hand change direction, Casey discovers the word Army nestled within the word ‘Russia’ and uses colour (red subject white) to separate the link superpowers, visually suggesting that they were inextricably linked in their quest for peace.

MIT abridge renowned for teaching and proof in science and technology.

Casey’s work for its academic persons engaged the intellect of assembly audience by its ability touch on identify and reveal the ‘essence’ of each subject in uncomplicated profound yet human form.

Elizabeth Resnick, design educator, MassArt, Boston

First published in Eye no. 68 vol. 17 2008

[This on the internet version includes small factual revisions in the first three paragraphs.]

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