Tuesday, March 10, 2009

Ne  w  WA V   E     D ES IG   N 

At the kansas city art institute Greiman was introduced to the principles of Modernism by Inge Druckrey, Hans Allemann and Chris Zellinsky, all of whom had been educated at the Basel School  of Design in Switzerland. Inspired by this experience,she went to Basel for graduate school. As a student of Armin Hoffman and Wolfgang Weingart in the early 1970's, Greiman explored the international style in depth, as well as Weingarts personal experiment in developing an aesthetic that was less reflective of the  modernist heritage and more representative of a changing, post - industrial society. Weingart introduced Greiman to what is now called New wave Design. This is more an intuitive, eclectic departure from the stark organization and neutral objectivity of the grid that sent shock wave through the design community. Wide letter spacing, changing type weights or styles within a single word and the use of type set on an angle were explored not as mere stylistic indulgence but an effort to expand typographic communication more meaningfully.

Greiman continued to explore typographic meaning and began experimenting with ways to alter the 2d space on the page and reimagine it as a more 3 and 4d continuum of space and time. Greiman extended New Wave's basic vocabulary, using photomontage, digital techniques, overlapping bright colours, stepped shapes and bold patterning.