another by distinctly different stories. And I was forced to use different
typography than I had been used to so as not to compete with the
illustration.”
Her photographic sense was equally unconventional. Pineles found
fashion to be a fascinating subject, and was interested in the effect it had on
the way people felt about themselves. But she despised the haughtiness of
Vogue’s fashion photography and urged Seventeen’s photographers to focus
on real life situations. “Make the models look normal,” she charged.
Type was as important as image. Pineles developed sound
typographic principals on which Seventeenwas based. “Changing the
typeface for the headlines or the body type were outside manifestations.
Although they would make the reader think that the magazine had
changed, but actually, in order to make substantial alterations the contents
had to be tackled from the outset,” she explained. Nothing was formulaic.
Type was designed according to the same expressive mandates as
illustration, and her layouts had a timeless quality.
As an art director, Pineles described herself as personally
responsible for interpreting in visual terms the contents of a publication,
from appointing photographers and artists to certain features, to deciding
to use many typefaces or just one. “But most important is the talent to
harness it and create momentum so that the reader will keep turning the
pages.”
tuis.
(Tuis.)
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