Space expanded as purely decorative elements disappeared and margins were opened. As a “first” female allowed on some closely protected male professional turf, Pineles was pleased to be included with all her friends. A few years ago, Wendy MacNaughton and Sarah Rich discovered a painted manuscript at an antiquarian book fair that blew their minds: a vibrant gouache painting of hot pink beets alongside a hand-letteredrecipe for borscht written in script so full of life, it was hard to believe it was more than sixty-five years old. Cipe Pineles was an established designer at Condé Nast when she met William Golden in the late 1930s and helped him get a job with Agha. Cipe Pineles at Condé Nast, late 1930's or 1940's. She asked them to read the whole story and choose what they wanted to illustrate. Image courtesy of Thomas Golden. paperback edition of the Parsons Bread Book, originally a student Photographers are not known. With an AIGA Gold Medal going to Pineles, the three will now be the largest “family” of medalists, each medal bestowed for independent achievement. The clothes for working women were shown in use: at the office, commuting, lunch-hour shopping, and as practical answers for quotidian problems. Until the mid-1950s, when much younger women started making their way into positions of independent responsibility in magazines and graphic design, Cipe Pineles was by herself and a “first” in many respects. Working for the corporation that managed the fundraising and public information for an uneasy consortium of arts groups, she established a graphic system for publications, an identifying mark, and attempted to educated management and the arts groups about the value of a unified visual image and organized information distribution. See more ideas about History design, Magazine cover, Vintage magazines. Cipe Pineles (1908 – 1991) was a very influential albeit unsung graphic designer of the 1930s. print design Photography took precedence over fashion illustration and was reproduced large on the page, bleeding off to create “landscapes” or transgressing across the gutter. 104-105, illustrated She taught you to start with the content of the magazine and then work from there, rather than just think about what design was going to look nice on the page.” Pineles later developed a follow-up course in which students developed, designed, and printed a college “yearbook,” first redefining what a yearbook could be. Neither was Pineles averse to using her own talents. While there were some other women receiving awards, they were always paired with their hovering (male) art director, while Pineles got single credit. She had accumulated innumerable art direction and publication design awards over the years from the Art Directors Club, AIGA, Society of Publication Designers and others. In Pineles's hands, the design of Seventeen followed the more classical tradition of magazine and typographic design. “Agha was the most fabulous boss to work for,” Pineles reported later. design (not used). After a short hiatus during World War II when she worked in Paris on a magazine for servicewomen, Pineles became the art director of the three-year-old Seventeen magazine, a radical invention directed toward a hitherto undefined audience: teenage girls. In support of Valentine's mission to educated teenage girls, Pineles moved Seventeen out of the common idealized and sentimental school of illustration to use the best contemporary artists working in America. Typography was simplified and typefaces such as Futura became common. Burtin, for his part, was a wartime German immigrant who quickly established himself in New York as an art director, corporate designer, teacher, extraordinary exhibitions designer, and a founding member of the Aspen Institute conferences. Some young artists “discovered” by the magazine became well known: Richard Anuskiewicz and Seymour Chwast. and Richard Lindner and Lucille Corcos. Consciously, she turned her professional challenges at Seventeen and Charm into opportunities; less consciously, she turned them into places where, while addressing women's usual beauty and fashion interest, their values and changing roles also might be addressed and supported. She was the first woman inducted into the Art Directors' Hall of Fame and the AIGA, and taught design at Parsons for decades.The painted sketchbook Wendy and Sarah found was completed in 1945, and was a keepsake of her connection to her childhood's Eastern European Jewish food, filled with recipes passed down from her mother. As Pineles put it, “We tried to make the prosaic attractive without using the tired clichés of false glamour. Rising to the position Agha had been preparing her for, Pineles was named art director of Glamour in 1942. Wendy and Sarah knew immediately that they would do everything in their power to get this unseen work published and help lift Cipe Pineles’s name to the forefront of the 20th century design canon. At the same time, Pineles was discovering the intense pleasures of teaching by offering a course in editorial design at Parsons, a course she taught until the mid-1980s. Womens Leadership This book was designed to tell the story of Cipe Pineles, an influencial graphic designer and art director from Seventeen magazine. photographed by William Helburn. I nursed the potatoes, considered the type more carefully, and then tore the whole thing up. Talented, assertive, with charm enhanced by her lingering Austrian accent, Cipe Pineles became the first independent woman American graphic designer. Cover and spreads from the 1974 trade Though she paid her professional dues early and often—awards, juries, panels, presentations, lectures, committees, and boards, including AIGA—and though Dr. Agha had been proposing her for ten years, the New York Art Directors Club would not offer her a membership. Biography All images on this site were illustrated by Cipe Pineles. In the days when American graphic design seemed the province of European immigrants, the men were joined by a young woman born in Austria. Bear in mind, this was during the golden age of magazine design when art directors had thirty pages of uninterrupted editorial well in which to develop their visual ideas in a more cinematically dynamic way than is possible now. Pineles is credited with the innovation of using fine artists to illustrate mass-market publications. Both became members in 1948; she was the first woman member. The club did not budge until faced with this dilemma: it offered membership to William Golden, the energetic design director of CBS, who pointed out that the ADC was hardly a professional club if it had ignored his fully qualified wife (he and Pineles had married in 1942). They learned it was the work of one of the most influential yet unsung graphic designers of the twentieth century, Cipe (pronounced “C. Pineles remained at Seventeen for three years, leaving to art direct Charm magazine in 1950. She was the revolutionary creative force behind Seventeen and Charm magazines. By the late 1960s, Lincoln Center's monetary problems distracted attention. In the Detroit issue, for example, Pineles used the city as a backdrop for the fashion pages, constructing the layouts from photos of building and expressways and in other ways reflecting the city's connection to the automotive industry. Years of rapid growth when it became part of the artwork Nast, late 1930 's or 1940.... 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