Cipe pineles

Pineles was born June 23, 1908 in Vienna. She immigrated to the United
States with her mother and sisters at the age of 13. She attended Bay
Ridge High School in Brooklyn and won a Tiffany Foundation
Scholarship to Pratt Institute[2] from 1927-1931. She continued her
education in 1930 at the Louis Comfort Tiffany Foundation.[3]
Pineles had a nearly 60-year-long career in design.
In 1929, Pineles first position was teaching as an instructor in watercolor
paintings at the Newark Public School of Fine and Industrial Art in New
Jersey.
She started her career at the age of 23 at Contempora after struggling to
enter the work force due to sexism in the industry. She worked there
from 1931-1933 until Condé Nast’s wife noticed Pineles’ work at
Contempora. In 1932 (to 1936) she became an assistant to Dr. M. F.
Agha, the art director of Condé Nast Publications.
She worked for Vogue in New York and London (1932–38)
and Overseas Woman in Paris (1945–46). She continued to develop her
distinct style throughout her career, and in 1942, she became art director
of Glamour. She went on to become the art director at Seventeen (1947-
1950), then Charm (1950–59), and moved in 1961 to become art director
of Mademoiselle in New York. From 1961 to 1972, she worked as a
graphic design consultant for the Lincoln Center for the Performing
Arts in New York, supervising the creation of branding and marketing
materials for this institution of the arts.
After finishing her work at Seventeen, she began her career at Charm, a
magazine subtitled "the magazine for women who work." The magazine
recognized that women held two jobs: one in the workplace and one at
home. Pineles described Charm as "...the first feminist magazine.
So my selected work of her is a magazine’s cover of Charm.
CIPE PINELES’ TENURE AS ART DIRECTOR at Charm from 1950
to 1959 is marked by sleek modernist typography and elegant fashion
photography. This allusion to sophistication attracted its audience of
young urban women who were working for a living—“between school
and marriage.” The cover from January 1954 shows a chic gal poised
against a background of monospaced words. The cover of Charm carried
the subtitle ‘the magazine for women who work’ – 12 years
before Ms. And 26 years before there would be a magazine named
Working Woman.
Typography-dominated cover introduces a theme played out over
fourteen pages inside, January 1954. Pineles’ design style was a colorful
mix of type and image that did not always fit the standard for the
prescribed Modernist aesthetic of her time.
 She did use objects combined with letterforms and as substitutes for
them to create visual puns and experimented with a variety of headline
faces (a legacy from her days with Agha).
This is some basic colors she had used for this cover magazine from the
RGB.
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