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Paula Scher

Graphic Designer / Artist

1/16: Hiring young designers

films collaboration critical-moments the-business-of
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Paula Scher

Graphic Designer / Artist

2/16: Learnings from the record industry days

films process collaboration the-business-of
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Paula Scher

Graphic Designer / Artist

3/16: The goal of design and the importance of being able to talk about your work

films inspiration process well-said
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Paula Scher

Graphic Designer / Artist

4/16: Advise for young designers

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Paula Scher

Graphic Designer / Artist

5/16: An early career break in the music industry

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Paula Scher

Graphic Designer / Artist

6/16: Beginning work with a new client

films process collaboration well-said the-business-of
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Paula Scher

Graphic Designer / Artist

7/16: Branding and the importance of getting work made

films process collaboration well-said
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Paula Scher

Graphic Designer / Artist

8/16: Drive and inspiration

films inspiration well-said the-business-of
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Paula Scher

Graphic Designer / Artist

9/16: Early influences

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Paula Scher

Graphic Designer / Artist

10/16: Exercising creativity through free work

films inspiration process well-said
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Paula Scher

Graphic Designer / Artist

11/16: How computers have changed design

films process well-said the-business-of
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Paula Scher

Graphic Designer / Artist

12/16: Joining Pentagram

films critical-moments the-business-of
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Paula Scher

Graphic Designer / Artist

13/16: Mentors and career guidance

films collaboration critical-moments
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Paula Scher

Graphic Designer / Artist

14/16: Recharging your creative batteries

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Paula Scher

Graphic Designer / Artist

15/16: The early years

films critical-moments well-said
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Paula Scher

Graphic Designer / Artist

16/16: The importance of challenging rules and expectations

films process collaboration the-business-of

PaulaScher

Paula Scher is an American graphic designer who first rose to prominence in the early 1970's with her work designing record sleeves for CBS Records in New York City. During her time in the record industry she produced a prolific body of work designing over 150 album covers a year. A particularly impressive feat considering many of these albums are considered some of the most visually recognisable LP covers of the 70's.

In 1982, Scher left CBS Records and formed the studio Koppel and Scher with her fellow Tyler School of Art graduate Terry Koppel. For the next six years Scher honed her considerable design talent in new areas and embraced the challenges of running her own studio. The two partners ran the studio until the recession of 1989, when Koppel resigned to take an editorial staff job at a magazine. Left to run the business solo and also turning 40 Scher remembers, "the scale of the jobs I was working on were always going to stay the same." For the talented and ambitious designer this was obviously an uncomfortable realisation. However, as seemly astute in her career choices as her design work,  Scher soon excepted an offer to become the first female partner of the multinational design firm Pentagram.

Despite initial reservations about 'losing her identity' in such a large design company, Scher recognised that Pentagram would also provide her with the profile she had longed for.  The decision almost immediately bore fruit when she was commissioned to produce the new identity and  visual collateral for the Public Theater in New York City. Looking back Scher sees this work as her 'break-out' project; one that set her trajectory as a designer into a new orbit. An orbit that has seen her become one of he most respected and celebrated designers of her generation.

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