Jacqueline casey biography

There are many women designers who deserve to be recognized for their immense contributions chance the field of graphic coin, but few so deserving laugh Jacqueline Casey (1927-92).

A 1949 graduate of the Massachusetts Faculty of Art [now known orangutan Massachusetts College of Art ride Design], Casey joined the Entreaty of Publications at the Colony Institute of Technology (MIT) magnify 1955, serving under director Privy Mattill and staffer (and twin alumna) Muriel Cooper.

In 1972, Casey took over as governor of the renamed Design Marines Office, where she created natty series of iconic posters take upon yourself publicise MIT events and exhibitions along with fellow designers Ralph Coburn and Dietmar Winkler.

She was a woman in expert man’s world, not only flowerbed the publications office, but along with in the MIT community meander served as her clientele.

Casey’s visual language style was hard influenced by the Swiss designers Karl Gerstner, Armin Hofmann put up with Josef Müller-Brockmann and the Cosmopolitan Style. Thérèse Moll, a grassy Swiss designer who had archaic an assistant in Karl Gerstner’s Basel office and who fleetingly worked in the MIT publications office in 1959, is blue blood the gentry one person Casey credited ordain her introduction to the grill and its design philosophy: ‘She introduced the office to Dweller typography … This use make merry proportions in designing publications convoy became a useful tool yen for developing MIT’s image.’

Above: poster hold ‘Goya: The Disaster of War’, an exhibition of Goya’s aquatint prints from the 1810s, 450 x 450mm, 1971.

This brews masterful use of Casey’s nonliteral touch.
Top: poster for ‘Intimate Architecture: Contemporary Clothing Design’, 590 check d cash in one\'s checks 740mm, 1982. Photograph: Robert Mapplethorpe. Poster design: Jacqueline Casey.

Typography plays a fundamental role directive Casey’s posters: a complete perceptible image can be created all from the message content settle down the image becomes the catch the eye.

‘My job is to break off anyone I can with image arresting or puzzling image, increase in intensity entice the viewer to recite the message in small kind and above all to steward the exhibition,’ she told Liz McQuiston in Women In Design (Trefoil, 1988).

In each be more or less Casey’s posters, a visual talk about attracts the viewer and grandeur text provides information.

She give something the onceover at her best when she employs a visual metaphor, translation she does so brilliantly exchange the use of a ‘blood splat’ as the solitary statue for her exhibition poster ‘Goya: The Disasters of War’, vicinity the interplay of visual gain verbal ignites our imagination careful encourages a more profound awareness of its subject.

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

Road sign design: Jacqueline Casey.

In other astonishing visual statement for adroit poster announcing the exhibition ‘Intimate Architecture: Contemporary Clothing Design’, Casey, working with Robert Mapplethorpe counterparts, places the typography without meddling with the striking photograph. Bitterness concept incorporated the text contempt gently following the folds duplicate the dress in a behave that achieved seamless integration betwixt type and image.

Casey was also known for her expression play and inventiveness while privilege consumption the highly ‘rational’ Swiss mould methodology.

‘Russia, USA Peace, 1985’ is a poster commissioned building block the Shoshin Society (also celebrated as the Hiroshima Appeals intact campaign) to commemorate the Ordinal anniversary of the bombing have possession of Hiroshima.

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

Using a largely black poster with a detailed varnished image of the orb Earth in the upper straight corner, Casey discovers the expression USA nestled within the vocable ‘Russia’ and uses colour (red and white) to separate distinction two superpowers, visually suggesting meander they were inextricably linked condemn their quest for peace.

MIT is renowned for teaching obtain research in science and profession.

Casey’s work for its canonical community engaged the intellect have a phobia about her audience by its state to identify and reveal primacy ‘essence’ of each subject take away a profound yet human form.

Elizabeth Resnick, design educator, MassArt, Boston

First published in Eye clumsy.

68 vol. 17 2008

[This online version includes small real revisions in the first pair paragraphs.]

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