Age, Biography and Wiki

Alex Steinweiss was born on 24 March, 1917 in Brooklyn, New York, US, is an American graphic designer. Discover Alex Steinweiss's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 94 years old?

Popular As N/A
Occupation Artist
Age 94 years old
Zodiac Sign Aries
Born 24 March, 1917
Birthday 24 March
Birthplace Brooklyn, New York, US
Date of death 17 July, 2011
Died Place Sarasota, Florida, US
Nationality United States

We recommend you to check the complete list of Famous People born on 24 March. He is a member of famous Artist with the age 94 years old group.

Alex Steinweiss Height, Weight & Measurements

At 94 years old, Alex Steinweiss height not available right now. We will update Alex Steinweiss's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Alex Steinweiss Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Alex Steinweiss worth at the age of 94 years old? Alex Steinweiss’s income source is mostly from being a successful Artist. He is from United States. We have estimated Alex Steinweiss's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income Artist

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Timeline

1917

Alexander Steinweiss (March 24, 1917 – July 17, 2011) was an American graphic design artist known for inventing album cover art.

Born on March 24, 1917 in Brooklyn, Alex Steinweiss was the son of a women's shoe designer from Warsaw and a seamstress from Riga, Latvia.

His parents had first moved to the Lower East Side of Manhattan and later on, settled in the Brighton Beach area of Brooklyn.

Steinweiss said he was destined to be a commercial artist.

He studied under Leon Friend at Abraham Lincoln High School, and his classmates marveled that he "could take a brush, dip it in some paint and make letters," he recalled.

"So I said to myself, 'If some day I could become a good sign painter, that would be terrific!"'

1918

However, colored artwork had been used on special albums, from World War I. This was separately printed and pasted onto album covers and occasionally inside the albums: for example, HMV's issue of Liza Lehmann's "In a Persian Garden" and operettas by Edward German and Gilbert & Sullivan were all available by 1918 in such decorated albums.

1930

In the 1930s recorded music was sold in plain packaging, or record shop advertising 'bags'; sets of discs were also usually issued in plain albums.

1933

The Kraft paper left marks on the vinyls microgroove of the 33 1/3 rpm LPs when they were stacked.

Steinweiss later went on to develop what is now known as a record jacket.

The first illustrated album cover for 78 rpm records was created by Alex Steinweiss in 1938, while he also developed the paperboard container for 33 1/3 LPs in 1953, which went on to become the industry norm for packaging for more than three decades.

1937

Steinweiss earned a scholarship to the Parsons School of Design, and graduated in 1937.

After graduation Steinweiss impressed Lucian Bernhard, the renowned German poster designer, with his portfolio, Bernhard got him a job in his friend Joseph Binder's studio.

Steinweiss worked for three years for the Austrian poster designer Joseph Binder, whose flat color and simplified human figures were popular at the time and influenced his own work.

1938

In 1938, Alex Steinweiss was the first art director for Columbia Records, where he introduced a wider application of album covers and cover art.

"They were so drab, so unattractive," said Steinweiss, "I convinced the executives to let me design a few."

During World War II, Alex Steinweiss served as  Columbia Records' advertising manager before leaving to take up a role at the Navy's Training and Development Center in New York City.

There, he was responsible for creating teaching materials and cautionary posters.

Steinweiss continued to do freelance work for Columbia after the war.

During a lunch meeting with Columbia, the president of the company, Ted Wallerstein, presented Steinweiss with a new innovation that was being prepared to be unveiled by the company: the long-playing record.

Unfortunately, the Kraft paper that was folded to protect the 78 rpm records proved to be too heavy.

Alex Steinweiss was involved in creating album cover designs from 1938 until his semi-retirement in 1973, where he shifted his focus towards painting.

Throughout his career, he designed around 2500 covers, his career can be divided into five different periods:

The first period, from 1938 to around 1945, Steinweiss designed all the covers for Columbia, where he developed the complete visual "language" for album design.

1940

This marked his third design period, in which he employed drawing, lettering, and layout to create brilliant designs, though perhaps not as memorable as his late 1940s work.

It was during this period that he collaborated with Margaret Bourke-White on a memorable series of covers for Columbia.

1945

In the second period, from 1945 to approximately 1950, Steinweiss was no longer the exclusive designer for Columbia, and he started to work with other companies.

This period is occasionally referred to as the "First Golden Age" of the album cover.

1947

The Steinweiss Scrawl, which is now recognized as Alex Steinweiss's signature font, made its initial appearance around 1947.

1948

Steinweiss can also take credit for the Grecian column design Columbia used in 1948 on the first LP envelopes.

The design was borrowed from the earlier 78 rpm album cover, MM577, the Mendelssohn violin concerto played by Nathan Milstein.

This performance was chosen by Columbia to be the first 12-inch LP, ML4001.

1950

In approximately 1950, Steinweiss designed the covers and record labels for Remington and established a relationship spanning over 20 years with both Decca and London Records.

During this period, he primarily used drawing as his preferred design technique for clients such as Columbia, RCA, Remington, Decca and London.

From the mid-1950s onwards, Steinweiss incorporated photography into his work.

Steinweiss's photographic covers are remarkably distinctive.

He utilized strange garish colors, odd lighting, and numerous visual puns and reference points.

1958

He continued to work for Decca and London, and did the entire series of covers (and the logo and label) for the startup Everest label from 1958 until about 1960.

This was his fourth period, characterized by photography but continuing to use the entire range of tools he had developed.

1960

Steinweiss' final period of record cover design was from 1960 to roughly 1973, again working for Decca and London.