innovative or has had significant impact in their chosen fields of design. The other American graphic designers included Jacqueline Casey, Muriel Cooper, June Fraser, April Greiman, Katherine McCoy. She continued to stay on the Cal Arts faculty after she stepped down as program director in 1991. Design career in the 1990s From 1991 to 1998, she served as project tutor at the Jan van Eyck Akademie in Maastricht, Netherlands. Lorraine Wild was one of the founders of the design office ReVerb, which was the recipient of the 1995 Chrysler Award for Innovation in Design. She left ReVerb in 1996 to start her own company- Lorraine Wild Design. As a side project, she partnered with Roman Alonso and Lisa Eisner in 1999 to establish Greybull Press. Greybull Press was an imprint specializing in the publication of photographic archives and collections that were considered potentially influential to tastemakers. Lorraine Wild Design was later renamed the Green Dragon Office in 2004. The Green Dragon Office focused on collaborations with architects, artists, curators, and publishers in the United States and abroad and has designed catalogs for exhibitions at museums including MOCA, UCLA's Hammer Museum, the Getty Center, and the Whitney Museum of American Art in New York. In 1998, the San Francisco Museum of Modern Art held the exhibition "Lorraine Wild: Selections from the Permanent Collection," a display of work that the Museum regards as their collection of significant design produced in California. Throughout the 1990s and 2000s, Wild sporadically contributed to Emigre, publishing a variety of critical essays such as the influential "That was Then, and This is Now: But What is Next?". Design career in the millennium In 2005, she became a regular contributor to Design Observer, the leading website on design commentary and criticism. She has also served on the National Board of the AIGA and on the design advisory board for the international Design Conference at Aspen, Colorado. She loves the works of designers W.A. Dwiggins, who reinvented American typography by bringing arts-and-crafts values to design for machine production; Alvin Lustig, an architect, printer, educator, who refused to specialize; Imre Reiner, an anti-Modernist typographer in Switzerland who rebelled against "objectivity"; Sister Corita Kent, a Southern California nun and printmaker who, in the 1960s, seized upon the idea of using the language of pop culture to speak to her local audience about spirituality, subverting, and appropriating to communicate; and Edward Fella,