Summer 2021

Jacqueline Casey. Science and design

Jacqueline Casey was instrumental in developing what became known as the MIT Style. By Elizabeth Resnick [EXTRACT]

When the United States entered the Second World War, after the bombing of Pearl Harbor in December 1941, traditional roles for women changed forever as women began working outside the home while the men were away at war. Women who had held jobs before the war were now allowed to fill positions that were better paid than those previously available to them. This combination created more work opportunities for women well into the 1950s, and one young woman who directly benefitted from this was graphic designer Jacqueline S. Casey (1927-92) …

One of two poster designs – black on red background and vice-versa – for ‘MIT Open House’, 1974. 559 x 432mm.

Jacqueline Casey__MIT Open House_black type_1974

Poster for gospel concert, ‘There is no greater love’, featuring the MIT Gospel Choir, 30 April, 1988. Casey loved experimenting with different printing techniques. Casey’s colleague Dietmar Winkler introduced her to the striking ‘split-fountain’ effects used in this poster. 560 x 880mm.

Jacqueline Casey_MIT Gospel Choir There is No Greater Love_1988

Photobooth self-portrait of Jacqueline S. Casey (right) with her former MassArt classmate and MIT colleague Muriel Cooper in Boston, Massachusetts, early 1960s. Muriel R. Cooper Collection, courtesy of Massachusetts College of Art and Design Archives.

Muriel Cooper & Jacqueline Casey_circa early 1960s

Elizabeth Resnick, design educator, curator, writer, Massachusetts, US 

Read the full version in Eye no. 101 vol. 26, 2021

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Eye is the world’s most beautiful and collectable graphic design journal, published for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.

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