Having no idea how one might define graphic design or what it meant, she nonetheless took his suggestion and was accepted into the program.At KCAI, Greiman was introduced to the principles of Modernism by Inge Druckrey, Hans Allemann, and Chris Zelinsky, all of whom had been educated at the Basel School of Design in Switzerland.

The world has changed and the field is changing to meet it.” Greiman is adamant that we must be open to new paradigms, to new metaphors, to a whole new spirit of design: “It's not just graphic design anymore. April Greiman [Designer]: DESIGN QUARTERLY 133: DOES IT MAKE SENSE? During early 70’s she went to Basel, Switzerland, where she enrolled herself at the Allgemeine … Greiman has taken her passion for science and technology and immersed herself in every detail of the history of flight. April Greiman was among few visionaries who recognized the vast potential of this new medium. “Everything is related, and makes this wonderful loop of interconnection.”Further expanding the very broad scope of her work, Greiman often collaborates with architects on spaces and environments, with most of her contribution in the areas of color, finishes, and materials. Miracle Manor, a business and creative collaboration with architect Michael Rotondi, is an ideal forum for such explorations.Greiman sees the site as an opportunity to explore her own personal interests in color, myth, symbolism, and space in real time. . The perfect opportunity arose when she was invited to design and edit an issue of Design Quarterly (No. I think that this flipping of not on the traditional style but also including an unconventional method of delivering her works is extremely characteristic of Greiman as a whole.

Greiman, April: DESIGN QUARTERLY 133: DOES IT MAKE SENSE? Seeking a new spirit, she moved to Los Angeles and entered a culture that, for better or for worse, had a limited aesthetic of its own at that time. See more ideas about April greiman, Wave design, Postmodernism. She returned to full-time practice and acquired her first Macintosh.Also in 1984, Greiman also completed a poster for Ron Rezek titled “Iris Light” that was significant for its innovative use of video imagery and integration of New Wave typography with classical design elements. Inspired by this experience, she went to Basel for graduate school. Greiman is also credited, along with early collaborator Jayme Odgers , with helping to import the European New Wave design style to the US during the late 70s and early 80s." From 1966–1970, she attended the Kansas City Art Institute and during her undergraduate study in graphic design for the first time. Cambridge: MIT Press/Walker Art Center, 1986. Had it only shown the capabilities of Macintosh design circa 1986, "Does it make sense?" Perhaps, but more clearly an indicator of the departure Greiman had made from the coolly classical to the intensely personal, poetic, and digital, and in particular of the giant step that she had boldly taken into what had been very much a man's world.Greiman sees herself as a natural bridge between the Modernist tradition and future generations of designers. She describes the laboratory as a place for research and exploration in the development of non-commercial images and projects. As a result, April relates, she still knows how to do the cha-cha, mambo, waltz, tango, merengue, fox trot, rumba, and limbo. “In the tradition of graphic design in the twentieth century, you had to be either a great typographer, a great designer/illustrator, or a great poster designer. April Greiman , Design Quarterly issue 133 poster , 1986. A profoundly influential design piece and rare. April Greiman was a designer in New York City in the mid-1970s when she decided to leave the comfort of a design community deeply entrenched in European tradition for an uncertain future on the opposite coast. SCI-Arc LA/LA: Latin America, Summer 1995 Programs poster

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