33 Facts About Paula Scher

Paula Scher served as the first female principal at Pentagram, which she joined in 1991.

Paula Scher moved to New York City and took her first job as a layout artist for Random House's children's book division.

Paula Scher is credited with reviving historical typefaces and design styles.

Paula Scher left Atlantic Records to work on her own in 1982.

Paula Scher developed a typographic solution based on Art Deco and Russian constructivism, which incorporated outmoded typefaces into her work.

In 1991, after the studio suffered from the recession and Koppel took the position of Creative Director at Esquire magazine, Paula Scher began consulting and joined Pentagram as a partner in the New York office.

Paula Scher received more than 300 awards from international design associations as well as a series of prizes from the American Institute of Graphic Design, The Type Directors Club, New York Art Directors Club and the Package Design Council.

Paula Scher has taught at the School of Visual Arts in New York for over two decades, along with positions at the Cooper Union, Yale University and the Tyler School of Art.

Paula Scher was profiled in the first season of the Netflix docu-series Abstract: The Art of Design.

In 1994, Paula Scher was the first designer to create a new identity and promotional graphics system for The Public Theater, a program that became the turning point of identity in designs that influence much of the graphic design created for theatrical promotion and for cultural institutions in general.

Paula Scher was inspired by Rob Ray Kelly's American Wood Types and the Victorian theater's poster when she created the cacophony of disparate wood typefaces, silhouetted photographs and bright flat colors for the theater's posters and billboard.

From 1993 to 2005, Scher worked closely with George C Wolfe, The Public's producer and Oskar Eustis, who joined as artistic director during the fiftieth anniversary in 2005, on the development of posters, ads, and distinct identities.

In 1994, Paula Scher created the first poster campaign for the New York Shakespeare Festival in Central Park production of The Merry Wives of Windsor and Two Gentlemen of Verona, and was borrowed from the tradition of old-fashioned English theater style.

In 2010, Paula Scher designed the New York Shakespeare Festival in Central Park poster which presented powerful productions of The Winter's Tale and The Merchant of Venice, starring Al Pacino as Shylock.

Paula Scher designed a strong grid to uniform placement of images and types.

Paula Scher designed a new identity and promotional campaign for the New York City Ballet, one of the largest and well-known dance companies, founded in 1933 by Lincoln Kirstein and George Balanchine.

Paula Scher designed with Lisa Kitchenberg of Pentagram and the NYCB's Luis Bravo, to create an identity that linked the company's legacy and location to a modern and dramatic new aesthetic.

Paula Scher cropped the images of City Ballet dancers to create more tension and drama.

Paula Scher worked with associate designer Courtney Gooch to create the identity for Period Equity, a non-profit that is dedicated to providing affordable and safe access to menstrual products in the United States.

Paula Scher worked with Period Equity co-founders, Jennifer Weiss Wolf and Laura Strausfeld, to create the identity.

Weiss-Wolf and Strausfeld initially wanted to call their organization "Menstrual Equality", but Paula Scher saw Period Equity as less off-putting.

Paula Scher used the typeface New Rail Alphabet, designed by Margaret Calvert, for its neutral appearance, but replaced its square-edged punctuation with round.

In 2012, Paula Scher created a new logo for Windows 8 that takes the logo back to its roots as a window.

In 2000, Paula Scher designed an interior design for the New Jersey Performing Arts Center.

Paula Scher created a vibrant space with bold typography font of Rockwell and simple paint to change the life of its students.

Paula Scher enlarged these concepts into super-graphics that help define the interior spaces.

In 2006, an exhibition at Maya Stendhal gallery in New York City, Paula Scher painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contain much textual detail.

Paula Scher created lines that represented the separation of political allies or borders dividing enemies.

Paula Scher created the maps into layers that reference what we think when we think of Japan, Kenya, or the Upper East Side.

Therefore, Paula Scher decided to produce silk-screened prints of The World that contained large-scale images of cities, states, and continents blanketed with place names and other information.

In 2007, Paula Scher created screen-prints of NYC Transit and Manhattan that were printed on hand-made deluxe Lana Quarelle paper.

Paula Scher collaborated with Alexander Heinrici to convey the hand-painted map to represent the rapid economic growth, booming industry, the success of Olympic bid, and superpower status on China.

In January 1970, Paula Scher met Seymour Chwast when she was a senior at the Tyler School of Art.