April Greiman in 1985, produced her groundbreaking project for Design Quarterly. The magazine unfolded accordion-style into a single page that measured two feet by six feet. The central image was a life-size, digitized, nude self-portrait of Greiman. It was no conventional collage; many of the technological advances that followed in the graphic design community can be directly traced back to this daring issue.
'Does it make sense' 1985
Greiman mixes still photography with video imagery, artwork, calligraphy, and animation. The technique provides Greiman with an entirely different palette of patterns, colors, and forms including diagonals, lowercase type, and color bars.
While studying at the Kansas City Art Institute, Greiman was introduced to the principles of Modernism. 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. Weingart introduced his students to concepts such as wide letterspacing, changing type weights or styles within a single word, and the use of type set on an angle were explored, not as mere stylistic indulgences but in an effort to expand typographic communication more meaningfully.She continued to explore typographic meaning and began experimenting with ways to alter the two-dimensional space of the page and reimagine it as a more three- and four-dimensional continuum of time and space. Greiman's collaboration with Jayme Odgers formed a creative partnership that produced some highly visible work. These projects included a 1979 poster for California Institute of the Arts, and a poster, designed in 1982, for the 1984 Olympics.