Now her vibrant legacy comes to light in the new book Leave Me Alone With the Recipes: The Life, Art & Cookbook of Cipe Pineles (Bloomsbury, 2017) featuring dozens of unpublished paintings, recipes, and stories of her remarkable life and work. was art director at Conde Nast in the 1930s-60s, heading up design … She is credited with blending fine art and lively, colorful illustrations (especially of food, her passion) and hand lettering within her design – especially in her work on magazines. He was always sending you back to outdo yourself, to go deeper into the subject.” He told his staff to visit galleries and museums and bring back new ideas. Pictures and the selection of pictures as satisfying an editorial concept or not.” Creative people doing one thing were urged to take on another medium to gain new perspective. She is credited with other “firsts” as well: being the first art director to hire fine artists to illustrate mass-market publications; the first woman to be asked to join the all-male New York Art Directors Club and later their Hall of Fame. Agha at Condé Nast in 1932, working on Vogue and Vanity Fair magazines. The Contempora job was Pineles's first since graduating from Pratt Institute in 1929. She is often credited with having been the first art director to commission fine artists for editorial illustration (Ben Shahn, Andy Warhol, and others). Editorial spread, Seventeen, April 1950 issue, pp. Headlines and text could be anywhere on the page. While there were some other women receiving awards, they were always paired with their hovering (male) art director, while Pineles got single credit. 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. 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. 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. She asked them to read the whole story and choose what they wanted to illustrate. Cipe Pineles (1908-1991) moved to New York from Vienna in 1923 with her family. 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. Pineles, in addition to handling design and spot illustration, was one of his talent scouts for new illustrators and photographers. Image courtesy of Thomas Golden. Several current art directors are products of this course; one—Melissa Tardiff, AD of Town and Country in the '80s—described the Pineles approach in this way: “She didn't teach style—she taught content. By the late 1960s, Lincoln Center's monetary problems distracted attention. 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. 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. But when Cipe Pineles was looking for her first design job, prospective employers were interested in her portfolio—until they learned that the unusual first name belonged to a woman. See more ideas about History design, Magazine cover, Vintage magazines. She became the director of publications for an extensive promotional program. The clothes for working women were shown in use: at the office, commuting, lunch-hour shopping, and as practical answers for quotidian problems. Watching and listening to Agha, Pineles also learned how to be an art director: “He spent a lot of time talking with his creative people?about problems related to type. In Charm (as in Seventeen), surrounded by the advertisements that reflected society's limits on girls and women, the editorial pages showed something different: ways for American females to see themselves involved in the wider world and in possession and control of knowledge, money, and their destinies. Award-winning Potatoes illustration by Cipe Pineles, from Seventeen, “Nothing you did satisfied him. yearbook. Also in 1948, Pineles and Golden became the first couple to win individual Gold Medal awards in the same year. Cipe Pineles was one of the most influential yet unsung art directors of the 20th century. P.”) Pineles, a name you may have heard, although too few people have. Biography Art Director. As an art director, she provided an encouraging, enthusiastic, and collaborative model: as a professional woman in a predominantly male field, she was a model for the next generation of women in design. Cover of Seventeen, July 1948 issue, photographed by Ben Somoroff. covers, May 1953 and January 1952 issues. For editorial and fashion pages, the type was more playful, even showing early tendencies in American figurative typography where objects replace letters as visual puns. Icons of Graphic Design: Cipe Pineles Today, women make up around half of the graphic design profession. Photography took precedence over fashion illustration and was reproduced large on the page, bleeding off to create “landscapes” or transgressing across the gutter. As Pineles put it, “We tried to make the prosaic attractive without using the tired clichés of false glamour. print design Working with Agha on the design of Vogue and Vanity Fair, she learned how to be an editorial designer. The conceit of identifying New York and Los Angeles with apples and oranges was probably the most powerful hit on the public's consciousness, though there were many smaller taps. All images on this site were illustrated by Cipe Pineles. Pineles was a great illustrator who had a strong yet feminine side within her designs, which is exactly what I wanted to ex…. Using students, faculty, and others to supply art and photography, Pineles established a strong, colorful, often amusing and varied visual identity for the school. Cipewas art director at Conde Nast in the 1930s-60s, heading up design for numerous major publications. The most famous product of that course, the Parson's Bread Book, went into a trade edition and was named one of the AIGA's Fifty Books of the Year in 1975. Pineles had piqued Nast's interest with some shoebox-sized models for store window fabric displays she had developed for Contempora, a design collaborative willing to tackle projects ranging in scale from a coffeepot to a World's Fair. We are proud to share the result of this wonderful collaboration, LEAVE ME ALONE WITHTHE RECIPES (Bloomsbury Publishing; October 17, 2017; Hardcover / $27.00). (He was a posthumous AIGA Gold Medalist in 1988.) She mentored her assistants and later formally taught a generation of designers at Parsons. Although these rewards were late in coming, Pineles was of a generation and demeanor that were gracious and patient. Cipe Pineles (1908 – 1991) was a very influential albeit unsung graphic designer of the 1930s. He received the AIGA Gold Medal in 1971. Within two years, Pineles married the recently widowed Will Burtin, who with his wife and daughter had been very close friends of the Goldens. Through the 1930s and early 1940s, Pineles learned editorial art direction from one of the masters of the era, and became (at Glamour) the first autonomous woman art director of a mass-market American publication. A friend and colleague to legions of creative people across the globe, Cipe Pineles was always ready with good food and lively conversation as well as advice, a letter of support, a contact, or a commission. 104-105, illustrated As a “first” female allowed on some closely protected male professional turf, Pineles was pleased to be included with all her friends. 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. Parsons Bread book, originally a student yearbook may have heard, although too few people have 2016 - Samantha... 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