[4] Scher developed a typographic solution based on Art Deco and Russian constructivism, which incorporated outmoded typefaces into her work.
The Russian constructivism had provided Scher inspiration for her typography; she did not copy the early constructivist style but used its vocabulary of form on her works.
[3] In 1991, after the studio suffered from the recession and Koppel took the position of Creative Director at Esquire magazine, Scher began consulting and joined Pentagram as a partner in the New York office.
Scher limited her colors to two or three while highlighted the play's title and theater logo that surrounded the tap artist in a typographical be-bop.
[20] From 1993 to 2005, Scher worked closely with George C. Wolfe, The Public's producer and Oskar Eustis, who joined as artistic director during the fiftieth anniversary in 2005, on the development of posters, ads, and distinct identities.
By 2008, the identity was even more definitive as it used a font called Knockout, created by Hoefler & Frere-Jones, which provided affordable and accessible productions.
The campaign in 2008 for the productions of Hamlet and Hair utilized the strict 90 degree angles of a De Stijl-inspired grid, a pattern in Manhattan's streetscape.
[19] In 2010, Scher designed the New York Shakespeare Festival in Central Park poster which presented powerful productions of The Winter's Tale and The Merchant of Venice, starring Al Pacino as Shylock.
Scher's festival promotional campaign focused on the reminiscent language in both plays by pulling lines from each production to meet in a dimensional expressive of words and typography.
In order to continually carry the spirit of the institution, the museum hired Pentagram to design a more powerful and integrated comprehensive system.
[22] To create a new approach that modernizes the institution's image, Scher designed a complete methodology for the new system to work at any scale, from an exterior banner to a print advertisement in the newspaper.
The Metropolitan general manager, Peter Gelb, proposed to rebrand the institution and reach wide audiences like the younger generation who had never set foot inside the opera hall.
[25] The print ad campaign launched on August 20, 2006, and according to Thomas Michel, the Metropolitan's marketing director, it was a successful sales day in the history of the organization.
[26] Scher designed a new identity and promotional campaign for the New York City Ballet (NYCB), one of the largest and well-known dance companies, founded in 1933 by Lincoln Kirstein and George Balanchine.
Scher designed with Lisa Kitchenberg of Pentagram and the NYCB's Luis Bravo, to create an identity that linked the company's legacy and location to a modern and dramatic new aesthetic.
[27] Scher worked with associate designer Courtney Gooch to create the identity for Period Equity, a non-profit that is dedicated to providing affordable and safe access to menstrual products in the United States.
Weiss-Wolf and Strausfeld initially wanted to call their organization "Menstrual Equality", but Scher saw Period Equity as less off-putting.
[29] Scher used the typeface New Rail Alphabet, designed by Margaret Calvert, for its neutral appearance, but replaced its square-edged punctuation with round.
As Scher assumed, the waving flag was most likely the result of comments that a plain window looked too static with severe straight lines.
In the design, there are words running along the walls, tubes and balconies reflecting with vast letters that gives a joyful effect to represent the show's performance in the building.
She created a vibrant space with bold typography font of Rockwell and simple paint to change the life of its students.
[34] In 2006, an exhibition at Maya Stendhal Gallery in New York City,[35][36][37] Scher painted two 9-by-12-foot maps that resembled patchwork quilts from afar, but contain much textual detail.
For instance, The United States (1999) was painted in blocky white print and full with a list of facts that we comprehend when we think about cities.
Therefore, Scher decided to produce silk-screened prints of The World that contained large-scale images of cities, states, and continents blanketed with place names and other information.
It is full of mistakes, misspellings, and visual allusions to stereotypes of places such as South America, painted with hot colors and has two ovaries on the sides.
NYC Transit portrays the island of Manhattan as a busy destination crisscrossed by a subway system of loopy, color-coded lines and stations.
Scher collaborated with Alexander Heinrici to convey the hand-painted map to represent the rapid economic growth, booming industry, the success of Olympic bid, and superpower status on China.