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In 1955, Jacqueline Casey (20 April 1927 – 18 May 1992) was recruited by fellow MassArt alumna Muriel Cooper to work at the Office of Publications at MIT. In 1972, Casey became Design Director (of MIT Press), taking over this position as her colleague joined the MIT faculty.

Portrait

As Director of Design Services many of her posters have been created to publicise exhibitions organised by the MIT Committee on the Visual Arts. She adopted the new Swiss typefaces Helvetica and Univers almost exclusively, combining typography with bold geometric forms and contrasting planes of color. The precision and clarity of post-war Swiss design, on which her work was based, were often tempered with metaphor, witty word puzzles and double meanings appropriate for her academic audience. Using striking colors, humor and modernity,

Speaking of her designs in 1988, she said:

‘My job is to stop anyone I can with an arresting or puzzling image, and entice the viewer to read the message in small type and above all to attend the exhibition.’

Goya, the Disasters of War Exhibition, 1971.

Goya, the Disasters of War Exhibition, 1971.

Charles Ross: Light Placed poster, 1977.

Charles Ross: Light Placed, 1977.

Coffee Hour, 1979.

Coffee Hour, 1979.

MIT/Red Cross Blood Drive, 1983.

MIT/Red Cross Blood Drive, 1983.

Academic honesty : are our standards clear?, 1984.

Academic honesty : are our standards clear?, 1984.

Gospel concert at Kresge Auditorium, MIT, 1989.

Gospel concert at Kresge Auditorium, MIT, 1989.

In 1989, Casey retired and became a visiting design scholar at the MIT Media Laboratory. Today, Casey is admired as an innovative designer who broke professional gender barriers and elevated design within the culture of MIT.

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