She and Joe Newton are partners at the Anderson Newton Design Company that they created. (Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact).
From 2002 to 2010, Anderson worked as creative director of design at SpotCo, a New York City advertising agency that creates artwork for Broadway and institutional theater. (Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact).
From 1987 to 2002, she worked at Rolling Stone magazine, serving as a graphic designer, deputy art director, and finally, as the magazine's senior art director. (Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact).
Early in her career, Ms. Anderson was a graphic designer at Boston Globe Magazine. (Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact).
Anderson has collaborated with Steven Heller (design writer) to create The Typographic Universe and the New Modernist Type, New Ornamental Type, New Vintage Type, American Typeplay, The Savage Mirror, and Graphic Wit. (Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact). **What are those? Theories? Books?.
Anderson's experience as a teacher is at the School of Visual Arts, MFA, undergraduate and high school design programs. There, she served on the advisement board for Adobe Partners by Design and the Society of Publication Designers. Currently, she is on the board of the Type Directors Club, and belongs to the Citizens' Stamp Advisory Committee for the US Postal Service. .
(Anderson, Gail (2014). About/Contact [artist website]. Retrieved from gailycurl.com/About-Contact).
Awards.
It is no coincidence, considering her long trajectory as a successful graphic designer and visual artist, that Anderson captured many highlight awards and reached many prestigious milestones. She has not only influenced graphic designers, she has influenced young illustrators and artists in general.
