Incomplet Design History

From its origins in the 1950s from the pages of books to software like MacDraw in the 1980s to CD Roms, and finally moving online in the 1990s, Clip Art’s evolution took place along with that of graphic design. Even though clip art was mostly created by unnamed designers and illustrators and sold in packages or libraries, there are many important figures we know of whose clip art contributed to the history of graphic design. Joan Shogren, an early computer art pioneer and clip art designer; Frank Fruznya, whose iconic clip art defined an era; and Sean Tejaratchi, whose cult hit zine series Crap Hound celebrates Clip Art and visually meditates on social issues. Ultimately, clip art is a misunderstood element of graphic design that holds an essential place in its history. Clip art in many ways paved the way for stock photo and stock illustration use that is common practice among designers today. TIMELINE 1928 – Tom Tierney born in Beaumont, Texas 1928– Dan X. Solo born 1932 – Joan Shogren born 1941 – Dover Publications founded 1947 – Jean Larcher born in Rennes, France 1949 – Tierney graduates from the University of Austin in Texas, majoring in painting and sculpture 1950s – Clip Art began to be produced in books for commercial sale, such as The Volk Corporation 1951 – Tierney serves in the US Military for 3 years 1952 – Frank Fruznya, prolific Clip Art illustrator, born in Illinois 1953 – Tierney movies to NYC to work as a fashion illustrator 1954 – Art Chantry born 1960s – Tom B. Sawyer created Clip Art for Harry Volk Jr’s Volk & Co’s “Clip Book of Line Art”series 1963 – Shogren designs set of rules to make the first computer art with Jim Larsen and Dr. Ralph Fessenden’s assistance at San Jose Univeristy in California 1963 – “Cybernation” exhibition of early computer art featuring Shogren took place at the San Jose State Partna Book Store 1962 – Solotype founded 1965 – Larcher graduates after studying typographic art at the Paris Chaamber of Commerce 1969 – Artist and illustrator Mitch O’Connell starts to freelance Clip Art illustration for Dynamic Graphics 1970s – Dover begins publishing Clip Art books 1970 – Sean Tejartchi born 1973 – Larcher begins freelance design work 1974 – Fruznya started to work for H&R; then was recruited to work for Dynamic Graphics 1976 – Tierney publishes his first paper doll book, “Thirty from the 30s” which attracted the attention of Dover 1979 – Peter Roizen and Heidi Roizen, brother and sister, co-found T/Maker 1981 – IBM introduces the first personal computer 1983 – Heidi Roizen takes over as president at T/Maker 1983 – ImageWriter printer released 1983 – VCN ExecuVision published IBM’s first Clip Art library 1984 – Shogren starts to work for T/Maker for ClickArt 1984 – T/Maker releases ClickArt Publications digital Clip Art collection 1984 – Brad Fregger creates Clip Art for Activision 1984 – Nova Development founded 1984 – MacPaint comes pre installed on Macintosh computers 1985 – “The Year of the Computer” mass production of personal computers helps change the world 1985 – LaserWriter printer is introduced 1986 – Graphic Source published Clip Art Books 1986 – Apple introduces the Macintosh Computer 1986 – Mac Plus released 1987 – MacPaint to longer pre installed on Macintosh computers 1987 – T/Maker introduced first vector Clip Art made with Adobe Illustrator 1988 – Adobe Systems released Adobe Illustrator 1989 – Company 3G Graphics published “Images with Impact!” 1994 – Crap Hound first published 1994 – Deluxe Corp buys remaining software lines from T/Maker, including ClickArt 1996 – Zedcor was the first company to offer Clip Art images as part of an online subscription service 1996 – Microsoft began to include Clip Art in it’s built in libraries 1996 – Animation Factory founded 1998-2001 – T/Makers ClickArt library sold each year due to large mergers and acquisitions to companies like Mattel and The Learning Company 1998 – Crap Hound...

Most books, not all, but most, follow conventions of book design that have been in place for literally hundreds of years. With very few exceptions, it wasn’t until the 1960s when authors began to play around with story structure that there were any books that also played with the structure of the book itself. And it was later still that graphic design started adding another layer to the storytelling in popular literature. The colors, the typography, the page layouts all came to be used in service of the story. In House of Leaves, when the story starts getting really weird, so does the page layout. In The Illuminae Files, the pages look like reports, transcriptions, and electronic messages and include diagrams and drawings. These books, and the others like them, ask something extra of the reader, but give back an experience that may delight some and infuriate others. However readers feel about this type of weird book design, these books push the boundaries of book design into new and exciting territory. FURTHER READING Pale Fire by Vladimir Nabokov theMystery.doc by Matthew McIntosh The Black Locomotive by Rian Hughes Only Revolutions by Mark Z. Danielewski Hopscotch by Julio Cortazar Bats of the Republic by Zachary Thomas The Raw Shark Texts by Steven Hall City of Saints and Madmen by Jeff Vandermeer Parabola by Lily Hoang Extremely Loud and Incredibly Close by Jonathan Safran Foer The People of Paper by Salvador Plascencia Maxwell’s Demon by Steven Hall REFERENCES Aarseth, E. (1997). Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins University Press. Abrams, J.J. & Dorst, D. (2013). S. New York: Mulholland Books. CloudCuckooCountry. (2022, November 15). Ergodic Literature: The Weirdest Book Genre [Video]. YouTube. https://youtu.be/tKX90LbnYd4?si=GYwECYZ4FdOzF9SO Coe, J. (2011, October 28). Composition No. 1 by Marc Saporta - review. The Guardian. https://www.theguardian.com/books/2011/oct/28/composition-no-1-saporta-review Danielewski, M. Z. (2000). House of Leaves. New York: Pantheon Books. Digital Humanities Initiative. (2019, March 14). Mark Z. Danielewski at SDSU Library, Standard Video [Video} YouTube. https://youtu.be/wwCp8Y6k_BI?si=s7zFZZOpPDuIXBrm Forbidden Planet TV. (2021, July 29). Rian Hughes Stokes up the Black Locomotive [Video]. YouTube. https://youtu.be/emge3qLMatM?si=WNWzNZgXrHwNA-mz Hill. L. (2013, October 27). A Long Time Ago, in A Universe More Analog. The New York Times. https://www.nytimes.com/2013/10/28/books/j-j-abrams-and-doug-dorst-collaborate-on-a-book-s.html Hughes, R. (2020). XX. New York: The Overlook Press. Kaufman, A. & Kristof, J. (2015). Illuminae. New York: Alfred A. Knopf. Kaufman, A. & Kristof, J. (2016). Gemina. New York: Alfred A. Knopf. Kaufman, A. & Kristof, J. (2018). Obsidio. New York: Alfred A. Knopf. Little Book Owl. (2015, December 15). Q&A w/ Amie Kaufman & Jay Kristof [Video]. YouTube. https://youtu.be/jZ3_ulIEEe4?si=c6mXnEdBKTLaf5Ju Roth, G. [VMSpod]. (2023, July 12). Virtual Memories #546 - Rian Hughes [Video]. YouTube. https://www.youtube.com/watch?v=js0DYgMzKwQ Roth, G. [VMSpod]. (2020, November 24). Virtual Memories #409 - Rian Hughes [Video]. YouTube. https://youtu.be/Iw_kuUqxyjM?si=8J9cEIZa2P5ToJHq Star Sessions. (2014, May 18). J.J. Abrams & Doug Dorst Delve into S: A Multi-Layered Book Experience [Video]. YouTube. https://youtu.be/Adpb9Dn0PoM?si=lHXLynpj5Oj7fq07 Tales of the Ravenous Reader. (2018, April 11). Interview w/ Amie Kaufman & Jay Kristof | The Illuminae Files [Video]. YouTube. https://youtu.be/gJl4eDRDM04?si=qetFYjnb9KIx6kOh Talks at Google. (2016, August 11). The Familiar|Mark Z. Danielewski|Talks at Google [Video]. YouTube. https://youtu.be/mw0bGiVDTMI?si=mn19emWU4ttp_CWh Tyer, B. (2014, February 20). Untangling S., Doug Dorst’s Novel Within a Novel. Texas Observer. https://www.texasobserver.org/untangling-s-doug-dorsts-novel-within-novel/ Zambra, A. (2014). Multiple Choice. New York: Penguin Books.

The History of Tarot decks intersects with symbology, or the study of symbols as well as their history, mass production of text and images, and popular culture, all of which are fields of study in the history of graphic design, and yet this subject has not been included in mainstream histories of design. Is this a reflection of the mystical, romanticized history of the cards, and one that implies a connection to divination or fortune telling? It is also a history that connects with the history of alchemy, and science, as well as with religious studies, esoterism, and occult, and yet the cards themselves emerged from secular roots. Tarot cards are not quite viewed as art and yet not celebrated as graphic design. The cards began as a simple game in Renaissance Italy, only gaining their association with esoterism in the 1700s when they were falsely connected with Hermeticism, and instilled with a completely fabricated Egyptian heritage. This history grew to include a connection to secret societies. Some of the most well-known decks of the 20th century and beyond were illustrated by women, including Moina Mathers, Lady Freida Harris, and Pamela Colman Smith and yet they are more associated with the men who dictated their design. Tarot cards have continued to evolve, transitioning away from being viewed as a tool for fortune telling and toward a new age tool for self-reflection, introspection, and self-help. TIMELINE 1430s – Tarochi card game invented in Itlay 1450 – Visconti-Sforza deck made by Bonifacio Bembo 1491 – Sola-Busca deck made by Nicola di maestro Antonio 1770 – Jean Baptiste Alliette publishes A Way to Entertain Oneself With Cards 1776 – Antoine Court de Gebelin associates Tarot with esoterism and the occult 1781 – Antoine Court de Gebelin publishes Le Monde Primitif or the Primeval World 1855 – Éliphas Lévi piublishes Transcendental Magic 1888 – Hermetic Order of the Golden Dawn founded 1906 – Jugendstil Tarot Deck designed by Ditha Moser 1907 – Images of the Sola Busca deck donated to the British Museum 1910 – Waite & Pamela Coleman Smith collaborate on the Waite Colman Smith Deck historically known as the Rider Waite deck 1944 – Aleister Crowley writes The Book of Toth, cards and illustrations by Lady Frieda Harris 1973 – The Tarot of Witches deck is created by Scottish artist and illustrator Fergus Hall for the film Live and Let Die 1977 – The Waite Colman Smith Deck goes into mass production 1978 – The Fantod Pack, a Parody deck designed by Edward Gorey is published 1984 – Mary K. Greer writes Tarot for yourself 1984 – Salvador Dali produces his Tarot deck 1992 – HIV Tarot produced by artist Kim Abeles REFERENCES Archetype. (2016). In J. L. Longe (Ed.), Gale Virtual Reference Library: The Gale encyclopedia of psychology (3rd ed.). Gale. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/galegp/archetype/0?institutionId=1845 Auger, E. E. (2004). Tarot and Other Meditation Decks: History, Theory, Aesthetics, Typology. McFarland. Boley, M. (2023, April 10). Oracle Decks: What They Are and How To Use Them - Mental Musings - Medium. Medium. https://medium.com/musings-with-meg/oracle-decks-what-they-are-and-how-to-use-them-c037251a7a84 Dummett, M. (2007). Six XV-Century Tarot Cards: Who Painted Them? Artibus et Historiae, 28(56), 15–26. http://www.jstor.org/stable/20067158 Farley, H. (2009). A cultural history of tarot : From entertainment to esotericism. Bloomsbury Publishing Plc. Farley. (2006). The evolution of the 'mother' in Tarot. Hecate, 32(2), 68–87. Gerstler, A. (1994). Kim Abeles. www.artforum.com. https://www.artforum.com/print/reviews/199401/kim-abeles-54441 Grimoire. (2007). In U. McGovern (Ed.), Chambers Dictionary of the Unexplained. Chambers Harrap. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/chambun/grimoire/0?institutionId=1845 Hermetic Order of the Golden Dawn. (2007)....

The history of graphic design has traditionally skewed toward designers from white hegemony. Where white men (and some women) tend to fill the pages, webpages, and galleries that celebrate design. As humanity evolves, we must realize the value of making space for more diverse voices in the design world. This episode elevates Black designers who have successfully fought against the forces of white supremacy and oppression to take back control of representation. Starting with Abolitionist broadsides, this episode examines how mostly white creators of broadsides, used to support the antislavery movement, were hindered by what we now call the “White Savior Complex” and that the tone of abolitionist imagery and vocabulary was marked by the perceived superiority of the white Northern audience. Next, we look to the famous “I AM A MAN” protest signs of the Civil Rights marches. These protest signs have endured and evolved into modern iterations as a piece of living history highlighting the fight for racial equality which continues to be an inspiration for art and design practices today. The episode also takes a deep dive into the life and work of Archie Boston. Archie Boston is a graphic designer known for creating subversive, self-aware work in the advertising and design industry. The genius of his designs is that he often appropriates and retrofits racist imagery, similar to how Black vernacular has reclaimed certain racial slurs. Rounding out the discussion is a survey of current design collectives and groups of professional creatives such as the Design Justice Network. This episode discovers insightful parallels between Black representation in the Abolition era and today, clearly demonstrating that the best advocates for Black freedom and equality are Black people. Graphic design in the hands of Black activists becomes a powerful force for positive change and strengthening communities. TIMELINE - ARCHIE BOSTON 1943 – b Clewiston, Florida 1961 – started attending Chouinard Art Institute 1964 – interned at Carson/Roberts 1965 – worked at Hixson And Jorgensen Advertising 1966 – became art director at Botsford Ketchum 1967 – started Boston & Boston Design with his brother Bradford 1969 – left Boston & Boston and rejoined Botsford Ketchum 1973 – started Archie Boston Design 1977 – received master’s degree from the University of Southern California 1977 – started lecturing at California State University Long Beach (CSULB) 2001 – published Fly in the Buttermilk: Memoirs of an African American in Advertising Design & Design Education 2009 – published Lil' Colored Rascals in the Sunshine City TIMELINE - BLACK DESIGNERS FIGHTING AGAINST PREJUDICE AND SYSTEMIC OPPRESSION 1830s – Abolitionist Broadsides, weaponized advocating to free slaves 1900 – WEB Du Bois and Black Data, Infographic Activism 1963 – March on Washington protest signs. 1966 – Boston and Boston advertisements, “Ku Klux Klan”, “For Sale” 1968 – I AM A MAN, Memphis Sanitation Strike 1980s – Archie Boston Graphic Design, “I don’t want to marry your daughter” 2016/2017 – Martin Typeface designed by Tré Seals inspired by I AM A MAN, Memphis Sanitation Strike posters 2021 – Black lives matter protest posters REFERENCES Archie Boston Graphic Design files. (n.d.). Online Archive of California. https://oac.cdlib.org/findaid/ark:/13030/c8183dtf/ Archie Boston papers, 1963-2018 and undated - Archives & Manuscripts at Duke University Libraries. (n.d.). David M. Rubenstein Rare Book & Manuscript Library. https://archives.lib.duke.edu/catalog/bostonarchie Barrett, L. (2014, February 12). “Am I not a man and a brother?” : The political power of the image. The Black Atlantic. https://sites.duke.edu/blackatlantic/2014/02/10/am-i-not-a-man-and-a-brother-the-political-power-of-the-image/ Barry, N. (2022, January 4). Project 3, Phase 1: - Nouria Barry - Medium. Medium. https://medium.com/@nouriabarry/project-3-phase-1-e6fe0757b57b Black Disabled Lives Matter Riso...

George Herriman was a cartoonist, illustrator, and pioneer of the cartoon comics genre, and is perhaps most known for his long-running and wildly popular comic strip Krazy Kat. Woodrow Wilson, the 28th President of the United States, and John Jacob Astor, a wealthy business tycoon, were some of the famous fans of Herriman’s comics. Astor went so far as to name his dog Ignatz for the mouse that was Krazy Kat’s constant companion. Herriman’s work was not only popular but also influential and was said to have inspired cartoonists Patrick McDonnell, the creator of the strip Mutts, and Bill Watterson, creator of Calvin and Hobbes. There are even rumors that Walt Disney was inspired by Krazy Kat in his creation of Mickey Mouse, and visual similarities between the two characters are striking. Krazy Kat wasn’t just a goofy comic strip as it also provided social commentary containing themes of spirituality, surrealism, philosophy, literary allegories, the study of phrenology, as well as veiled commentary on racism. Although subtle, his allegories about racism reflect his opinion on the absurdity of social, economic, and political discrimination based on skin color. Many of the storylines in Krazy Kat were in fact hidden reflections of the artist’s own struggles, as a Creole man of mixed-race heritage, passing for white even at the time of his death. Herriman knew the consequences that would ensue if anyone found out about his racial ancestry, he intended his secret to die with him and not even his own daughters knew. TIMELINE 1880 – b New Orleans, Louisiana 1890 – Herriman and family moved from Louisiana to LA; likely begins passing as white 1892 – Attended St. Vincent's Collegiate course 1896 – 16, Herriman joined the St. Vincent Lyceum; Excelled at Honors English, penmanship, geography, languages 1897 – Herriman worked at the first newspaper The Los Angeles Herald at 17 years old; Made first illustrations there. 1901 – Herriman first meets William Randolph Hearst & works for Evening Journal New York American. 1902 – Herriman married Mabel Lillian Bridge 1901-1922 – Herriman moved across the country working for multiple printing agencies 1911 – Krazy Kat & Ignatz's 1st official appearance under The Dingbat Family comics. 1913 – Krazy Kat finally is a stand-alone comic strip for The Evening Journal. ● 1922- Permanent residence in LA under different papers for William Randolph Hearst from 1922 to his death. 1944 – died in his sleep at the age of 64 1971 – Herriman’s racial identity is discovered by Arthur Berger REFERENCES Bellot, G. (2017, January 19). The gender fluidity of Krazy Kat. The New Yorker. https://www.newyorker.com/books/page-turner/the-gender-fluidity-of-krazy-kat Fikes, R. (2021, January 19). George Joseph Herriman (1880-1944) https://www.blackpast.org/african-american-history/herriman-george-joseph-1880-1944/ Tisserand, M. (2016). Krazy: George Herriman, A life black and white. HarperCollinsPublishers Walker, T. (2020, February 20). Influential comic artist George Herriman. The Dream Foundry. https://dreamfoundry.org/2020/02/14/influential-comic-artist-george-herriman/

An indigenous cowboy-artist from small-town Oklahoma, Tommy Wayne Cannon was born to Caddo and Kiowa parents in the Fall of 1946. Growing up he attended school in Gracemont and took an interest in the arts. As an adolescent, Cannon was self-taught in the arts and entered his works in regional art competitions through the Southern Plains Indian Museum. His success in these competitions, as well as his proficiency in multiple mediums, won him a scholarship to the Institute of American Indian Arts in Santa Fe, New Mexico. It was here that Cannon’s passion for art was met with an environment of tools and people that allowed for further exploration and refinement of his skills. In school, Cannon adopted his moniker “T. C.” Cannon, which is how he would be known professionally once his career began. The IAIA was not accredited as a College at the time, so Cannon enrolled at the San Francisco Art Institute but was disappointed in the lack of community he had grown accustomed to at the IAIA. He dropped out of school and enlisted in the Army, serving in combat in the late-stage offensives of the Vietnam War. Upon returning he attended Central State University (now UCO) in Edmond, Oklahoma where he met his wife, Barbara. Upon graduation, he produced work for a showcase alongside one of his IAIA mentors that toured the US and Europe. In preparation for his next showcase, solo at the Arbach Gallery in NYC, Cannon spent six years in his studio creating a large body of work. Tragically, just a few months prior to his showcase in May of 1978, Cannon was killed in a car accident in Santa Fe. He was only 31 years old. TIMELINE 1946 — Born in Lawton Oklahoma 1961 — Age of 15, sold his first works to the Southern Plains Indian Museum 1964 — Enrolled in the Institute of American Indian Arts 1965 — The Voting Rights Act assured Native Americans right to vote 1967 — Begins tour of Vietnam under the 101st Airborne; While away, Rosemary Ellison included him in a traveling exhibition 1968 — Returns from war 1972 — Finishes his degree at Central State University in Edmond, Oklahoma, graduating with a Bachelor of Fine Arts 1972 — Included in, and toured with, a Smithsonian exhibit. Over the next six years he would go on to produce a large body of work in anticipation of his solo showcase. 1975 — Became Artist-in-Residence at Dartmouth. 1978 — Died in a car crash in Santa Fe, New Mexico. Aged 31 years old. 1978 — His showcase is posthumously opened at the Arbach Gallery in New York 1988 — Inducted into the National Hall of Fame for Famous American Indians REFERENCES 101st Airborne Division - Army Unit Directory. (n.d.). Together We Served. https://army.togetherweserved.com/army/servlet/tws.webapp.WebApp?cmd=PublicUnit&type=Unit&ID=231#membersinthisunit 101st Airborne Division (Air Assault) :: FORT CAMPBELL. (n.d.). US Army. https://home.army.mil/campbell/index.php/101st Action Painting & Gestural Painting | IAIA - Action/Abstraction Redefined. (n.d.). IAIA - Action/Abstraction Redefined. https://abstraction.iaia.edu/exhibition/action-gestural/?page=3 Color Field Painting movement Overview. (n.d.). The Art Story. https://www.theartstory.org/movement/color-field-painting/ Fauntleroy, G. (2018, July 16). Perspective: T.C. Cannon [1946–1978]. Western Art & Architecture. https://westernartandarchitecture.com/august-september-2018/perspective-t-c-cannon-1946-1978 Fritz Scholder | Biography. (n.d.). Fritz Scholder official Website. http://www.fritzscholder.com/biography.php Kapplow, H., & Kapplow, H. (2018). The Bold Yet Too-Brief Art Career of T.C. Cannon. Hyperallergic. https://hyperallergic.com/446024/tc-cannon-peabody-essex-museum/ Krutak, L. (2018, January 23). Treasures Of The Iacb: T.C. Cannon, Who Shot The Arrow, Who Killed The Sparrow (1970). U.S. Department of The Interior. https://www.doi.gov/iacb/treasures-iacb-tc-cannon-who-shot-arrow-who-killed-sparrow-1970 Levy, M. (n.d.). TC Cannon. Medic in the Green Time....

Women have long been a part of bookmaking, design, and publishing, dating as far back as handmade illuminated manuscripts, created before the printing press. In the 18th and 19th centuries, women were known to run some very successful book binderies, including Jane Steel, Katherine Waghorn, Jane Aitken, and Lorina Watkins. Most often women took over when their husbands or fathers died. Other women supported their husbands' work by setting type, such as Bertha Goudy, wife of noted book and type designer Frederic Goudy. Women also became very successful book designers following the era of book reform known as the Arts & Crafts period which resulted in the Private Press Movement. The Private Press movement was concerned with making high-quality books that were beautiful expressions of book design and a departure from the low-quality mass-produced books emerging from the industrial age and the Victorian era. Women were gaining entry into the design world as part of the Arts & Crafts movement, schools associated with the movement were cropping up all over Europe and in the United States as well, and women were enrolling in these schools in numbers not seen before. Historians note the high number of women who matriculated from the Glasgow Arts & Crafts school surpassed the number of men. As such it makes sense that we would find women designers in the history of the Private Press movement. Designers such as Margaret Armstrong and Amy Sacker designed book covers and interior pages during the era. Primarily ignored in many histories of art and design is the history of bookbinding. However, this history is also tied to the Arts & Crafts and the Private Press movement, bookbinding was another avenue of paid labor for women. TIMELINE 10th Century – Ende, Spanish Illuminator of Manuscripts signs her work 18th Century – women begin owning and operating bookbinderies; women and girls were also employed in large numbers folding and stitching pages 1839 – Jane Burden (Morris), born 1859 – Jane Burden (Morris), marries William Morris 1863 – Alice Cordelia Morse, born 1867 – Margaret Armstrong, born 1867 – Amy Sacker, born 1879 – Alice Cordelia Morse attends the Cooper Union (segregated school for girls) 1880-1890 – Designing book covers becomes a professional practice 1885-1889 – Alice Cordelia Morse works for Tiffany & Co. designing stained glass; in 1889 she leaves Tiffany to begin a freelance career designing book covers 1889 – Jane Burden (Morris) designed the cover for Wilfrid Scawen Blunt’s In Vinculis 1890 – Armstrong’s first book cover design was for Sweet William by Marguerite Bouvet 1890-1940 – Margaret Armstrong's career as a book designer, produced some 270 book designs 1891 – Kelmscott Press founded by William Morris and Emery Walker 1901 – Amy Sacker received awarded a medal for designs at the Pan-American exposition 1893 – Morse chaired the Sub-Committee on Book-Covers, Wood Engraving, and Illustration of the Board of Women Managers for the Woman’s Building at the World’s Columbian Exposition 1897 – Society of Arts & Crafts in Boston founded, active members included Amy Sacker, Sarah Wyman Whitman, Julia DeWolf Addison, and Mary Crease Sears 1910 – Women begin to dominate the modern decorative movement 1914 – Jane Burden (Morris), dies 1918 – Le Corbusier and Amédée Ozenfant, announce a hierarchy of art and craft with women and craft at the bottom 1923 – Alice Cordelia Morse donates her book cover designs to the Metropolitan Museum Library 1937 – Bookmaking on the Distaff Side, a book published by women printers 1944 – Margaret Armstrong, dies 1961 – Alice Cordelia Morse, dies 1965 – Amy Sacker, dies WOMEN IN BOOK DESIGN & BOOKBINDING HISTORY This should not be considered a complete list of women in book design & bookbinding history, this is just a list of names uncovered for the research of this episode and intended to show that there is a wealth of names that could be included in histories of...

If it seems like the underground comix scene was a raucous and raunchy boys club, that’s fairly accurate. However, there were plenty of women artists who reacted against the sexist depictions of women in comix, of which there was plenty. Their complaints about how women were being portrayed was seen to be just more censorship heaped on the male comix artists. Rather than just be quiet and go away, women like Trina Robbins, Willy Mendes, Linda Barry, Mary Fleener, and many others started drawing, bringing their own voices into the underground comix scene. Their experience in comix wasn’t all smooth sailing either. The women creating comix also insisted on absolute artistic freedom and the space to explore difficult topics, but it came at a price just like it did for the male comix artists. Undercover police, raids, and lawsuits while not necessarily the norm, seemed to be always looming. While some comix titles managed to run longer than others, the heyday of comix was all but over by the mid 1970s. However, the influence of underground comix is evident in the comics and graphic novels being published today that are willing to have serious discussions about equally serious topics. TIMELINE 1880s – Comics began publication in American newspapers 1895 – The Yellow Kid by Richard Outcault first published 1914 – Krazy Kat by Geroge Herriman first published 1920s – Tijuana Bibles began to be published 1930s – Comic book began in America 1931 – Alice Schenker (born Alice Olsen) born in Racine, WI 1933 – Jerry Siegel and Joe Shuster created Superman 1936-1939 – The comic magazine format became popular 1936 – Victor Moscoso born in Spain 1937 – Frank Stack born in Houston, TX 1938 – Gary Arlington born in San Jose, CA 1938 – Trina Robbins born in Brooklyn, NY 1939 – “She Saw The World’s Fair” published by Wesley Morse 1939 – Harvey Pekar born in Cleveland, OH 1939 – Richard “Grass” Green born in Fort Wayne, IN 1940-1950s – Comic burnings became common in America 1940 – Gilbert Shelton born in Houston, TX 1940 – Manuel “Spain” Reodriguez born in Buffalo, NY 1941 – Vaughn Bodé born in Utica, NY 1941 – S. Clay Wilson (Steven Clay Wilson) born in Lincoln, Nebraska 1941 – Jack “Jaxon” Jackson born in Texas 1942 – Rand Holmes born in Nova Scotia 1942 – Dan O’Neil born 1943 – Joel Beck born in Ross, CA 1943 – Robert Williaams born in Los Angeles, CA 1944 – George Herriman dies 1944 – Howard Cruse is born in Birmingham, AL 1943 – Robert Crumb born in Philadelphia, PA 1944 – Rick Griffin born in California 1944 – Bill Griffith born 1944 – Kim Deitch born in Los Angeles, CA 1944 – Max Gaines establishes Educational Comics 1944 – Mervyn “Skip” Williamson born in San Antonio, TX 1945 – Lee Mars born 1947 – Jerry Siegel and Joe Shuster sued in NY Supreme Court to regain their rights to Superman; they lose the case and their jobs at DC Comics 1947 – Jay Lynch born in Orange, NJ 1947 – Max Gaines dies in a boat crash; son William Gaines takes over EC Comics 1948 – Art Spiegelman born in Stockholm, Sweden 1948 – Barbara “Willy” Mendes born 1948 – Aline Kominsky-Crumb born in Long Beach, NY 1949 – Marry Wings born Mary Geller in Chicago, IL 1950s – Student Press Movement starts 1950 – Educational Comics becomes Entertaining Comics under William Gaines 1950 – Gary Panter born in Durant, OK 1951 – Mary Fleener born 1952-1956 – Harvey Kurtzman is the editor of MAD Magazine 1953 – Roberta Gregory born in Los Angeles, CA 1954 – “Seduction of the Innocent” by psychiatrist Frederick Werthan published 1954 – Comics Code Authority established 1954 – Victor Moscoso starts at Cooper Union Art School in Manhattan 1955 – William Gaines starts humor magazine, MAD Magazine 1955 – Charles Burns born 1956 – After being cited by the CCA, EC comics diverts resources to new title MAD Magazine 1956 – Ralph Bakshi starts animating at Terrytoons 1956 – Alice and Don Schenker marry 1956 – Lynda Barry born in Richland...

Comix, spelled with an x at the end instead of c, is a uniquely American movement and brings to mind eccentric, explicit, and subversive comics aimed at an adult audience. Having roots in the explicit Tijuana Bibles of the 1920, the lurid horror comics produced by EC, and the later wackiness of MAD Magazine, Comix creators defied censorship laws and American moral standards to create their unique artistic visions and thrived as a part of the Counterculture movement of the 1960s. In some respects, comix were a reaction against what the artists saw as the over-sanitized mainstream comics that did nothing innovative or interesting. While comix creators came from all over the US, the hotbed for comix innovation happened in San Francisco. Many cite the first issue of Robert Crumb’s anthology “Zap” as the birth of underground comix as a movement and the number of comix grew rapidly after that. The complete artistic freedom comix artists insisted on came at a price as they pushed up against censorship with their themes of sexism, racism, violence, and questionable morality. Comix artists, publishers and the shops selling comix titles faced police raids and lawsuits, some of which lasted for years. Pushing up against censorship (and good taste) comix proved that comics could be more than just superheroes saving the day. TIMELINE 1880s – Comics began publication in American newspapers 1895 – The Yellow Kid by Richard Outcault first published 1914 – Krazy Kat by Geroge Herriman first published 1920s – Tijuana Bibles began to be published 1930s – Comic book began in America 1931 – Alice Schenker (born Alice Olsen) born in Racine, WI 1933 – Jerry Siegel and Joe Shuster created Superman 1936-1939 – The comic magazine format became popular 1936 – Victor Moscoso born in Spain 1937 – Frank Stack born in Houston, TX 1938 – Gary Arlington born in San Jose, CA 1938 – Trina Robbins born in Brooklyn, NY 1939 – “She Saw The World’s Fair” published by Wesley Morse 1939 – Harvey Pekar born in Cleveland, OH 1939 – Richard “Grass” Green born in Fort Wayne, IN 1940-1950s – Comic burnings became common in America 1940 – Gilbert Shelton born in Houston, TX 1940 – Manuel “Spain” Reodriguez born in Buffalo, NY 1941 – Vaughn Bodé born in Utica, NY 1941 – S. Clay Wilson (Steven Clay Wilson) born in Lincoln, Nebraska 1941 – Jack “Jaxon” Jackson born in Texas 1942 – Rand Holmes born in Nova Scotia 1942 – Dan O’Neil born 1943 – Joel Beck born in Ross, CA 1943 – Robert Williaams born in Los Angeles, CA 1944 – George Herriman dies 1944 – Howard Cruse is born in Birmingham, AL 1943 – Robert Crumb born in Philadelphia, PA 1944 – Rick Griffin born in California 1944 – Bill Griffith born 1944 – Kim Deitch born in Los Angeles, CA 1944 – Max Gaines establishes Educational Comics 1944 – Mervyn “Skip” Williamson born in San Antonio, TX 1945 – Lee Mars born 1947 – Jerry Siegel and Joe Shuster sued in NY Supreme Court to regain their rights to Superman; they lose the case and their jobs at DC Comics 1947 – Jay Lynch born in Orange, NJ 1947 – Max Gaines dies in a boat crash; son William Gaines takes over EC Comics 1948 – Art Spiegelman born in Stockholm, Sweden 1948 – Barbara “Willy” Mendes born 1948 – Aline Kominsky-Crumb born in Long Beach, NY 1949 – Marry Wings born Mary Geller in Chicago, IL 1950s – Student Press Movement starts 1950 – Educational Comics becomes Entertaining Comics under William Gaines 1950 – Gary Panter born in Durant, OK 1951 – Mary Fleener born 1952-1956 – Harvey Kurtzman is the editor of MAD Magazine 1953 – Roberta Gregory born in Los Angeles, CA 1954 – “Seduction of the Innocent” by psychiatrist Frederick Werthan published 1954 – Comics Code Authority established 1954 – Victor Moscoso starts at Cooper Union Art School in Manhattan 1955 – William Gaines starts humor magazine, MAD Magazine 1955 – Charles Burns born 1956 – After being cited by the CCA, EC comics diverts resources to new title MAD...

During the 1960s, the Chicano Movement or "El Movimiento" gave way for Chicano artists, designers, and printmakers to emerge. The Chicano Movement united Chicanos, Americans of Mexican heritage who chose that label, in a new shared identity to fight for social and political empowerment. One of the creatives that made their mark in support of this movement was Yolanda Margarita López, a feminist painter, printmaker, educator, and film producer. She was best known for her works focusing on the experiences of Mexican-American and Chicana women, often challenging the harmful ethnic stereotypes associated with them. López is most known for the Guadalupe series, where she reimagines Our Lady of Guadalupe in the image of the everyday Chicana woman. López was essential to the case of Los Siete de La Raza, or The Seven of the Hispanic Community. In this case, seven Latino youths were falsely accused of killing police officer Joseph Brodnick in San Francisco on May 1st, 1969. The political art and design work she produced in support of the seven falsely accused helped rally the San Francisco community together in support and led to the acquitting of the seven youths. López, through her activism, challenged stereotypes of Chicana women and advocated for the Latino community as well as other marginalized communities over the course of her creative career. TIMELINE 1942 – Born on November 1 in San Diego, CA 1968 – Third World Liberation Strikes 1969 – Los Siete de La Raza 1971 – Enrolled at San Diego State University 1975 – Graduated with a Bachelor of Arts degree in painting and drawing 1977 – ¿A Donde Vas, Chicana? 1978 – Start of Guadalupe Series 1979 – University of California, San Diego, receiving a Master of Fine Arts 2021 – Yolanda dies of complications from Liver Cancer REFERENCES Daly, C.-S. (2021) Yolanda López, artist who painted the iconic Virgen de Guadalupe series, dies at 79, Mission Local. Available at: https://missionlocal.org/2021/09/yolanda-lopez-artist-who-painted-the-iconic-virgen-de-guadalupe-series-dies-at-79/ (Accessed: November 27, 2022). Davalos, K.M. (2008) Yolanda M. López. Los Angeles, CA: UCLA Chicano Studies Research Center Press. Duke Human Rights Center at the Franklin Humanities Institute (no date) Chavez, the UFW and the "wetback" problem, News RSS. Available at: https://humanrights.fhi.duke.edu/chavez-ufw-and-wetback-problem/ (Accessed: November 27, 2022). Genial generating engagement and new initiatives for ... - exploratorium (no date). Available at: https://www.exploratorium.edu/sites/default/files/Genial\_2017\_Terms\_of\_Usage.pdf (Accessed: November 28, 2022). Seth Combs Oct. 10, 2021 5:15 A.M.P.T.F.T.S.more sharing optionsS.C.extra sharing options F.T.L.I.E.C.L.U.R.L.C.P. (2021) The art and activism of Yolanda López, Tribune. Available at: https://www.sandiegouniontribune.com/entertainment/story/2021-10-10/the-art-and-activism-of-yolanda-lopez (Accessed: November 27, 2022). ¡Printing the revolution!: The rise and impact of Chicano graphics, 1965 to now (no date) ¡Printing the Revolution!: The Rise and Impact of Chicano Graphics, 1965 to Now | Amon Carter Museum of American Art. Available at: https://www.cartermuseum.org/exhibitions/printing-revolution-rise-and-impact-chicano-graphics-1965-now (Accessed: November 27, 2022).

There is a rich history of Black films and filmmaking in the United States that stems from the history of segregation, which created a need for separate films for separate audiences. Since mainstream Hollywood ignored Black audiences, Black filmmakers took the lead in making all Black or “colored” cast films for their audiences. These films have become known as race films. The goal was to shoot films for and about Black folks that were positive and uplifting, to counteract the stereotyped portrayals of mainstream movies. The era of race films dates from roughly 1912-1950 when following World War II movie theaters began to desegregate, Black culture began to be subsumed by white culture, and Black music, dancing, and other performances began to be seen as profitable by Hollywood studios. Much like mainstream white movies, Black films were advertised and marketed to Black audiences through film posters. In many cases where the original films were not well preserved, all that remains as evidence of these films are posters. TIMELINE 1912-1950 – Race films were made by Black filmmakers and producers with “All colored cast” 1915 – Deeply racist film, The Birth of a Nation is screened, protests of which leads to the formation of the NAACP 1919 – The Homesteader, first film written by Black Filmmaker Oscar Micheaux 1923 – The Bull-dogger is filmed in Oklahoma by the Norman Manufacturing Company staring Black rodeo performer Bill Pickett 1943 – Some of the first mainstream Hollywood films for Black audiences include Stormy Weather and Cabin in the Sky 1948 – The Betrayal, last film written by Black Filmmaker Oscar Micheaux 1953 – Movie theaters desegregated, resulting from a U.S. Supreme court ruling to desegregate restaurants, though many southern states would hold out for at least another decade. 1971 – Sweet Sweetback’s Baadasssss Song, the first Blaxploitation film premieres, written and directed by Black filmmaker Melvin Van Peebles 1984 – Art Sims designs film poster for Steven Speilberg’s The Color Purple 1992 – John Duke Kisch published a book on his collection of Black film posters called A Separate Cinema 1995 – Art Sims designs controversial film poster for Spike Lee’s Clockers 1995 – Edward Mapp donates a substantial collection of Black film posters to the Academy of Motion Picture Arts and Sciences collection in the Margaret Herrick Library 2000 – Art Sims designs a controversial film poster for Spike Lee’s Bamboozled, depicting racist stereotypes, which audiences pushed back on, until they realized that designer and filmmaker were Black and the stereotypes were intentionally satirical. 2000-2011 – The Mapp Collection, donated to Indiana University by Dr. Edward Mapp of New York City, consists of two series: Film Publicity, 1930-2002 and Films, 1934-2004. 2005 – Portions of Mapp's collection of Black-cast film posters toured the country with the Smithsonian’s Traveling Exhibition Service as Close Up in Black: African American Film Posters. 2020 – John Kisch’s Collection was purchased by The Lucas Museum of Narrative Art REFERENCES Art Sims visionary designer of spike lee's movie posters gets NY honor at the AIGA national design center May 19th. (2010, May 17). PR Newswire https://libproxy.uco.edu/login?url=https://www.proquest.com/wire-feeds/art-sims-visionary-designer-spike-lees-movie/docview/288129084/se-2 Caro, M. (1995, Sep 13). `CLOCKERS' AD CAMPAIGN GETTING A NEW LOOK: [NORTH SPORTS FINAL, CN EDITION]. Chicago Tribune (Pre-1997 Fulltext) Retrieved from https://libproxy.uco.edu/login?url=https://www-proquest-com.libproxy.uco.edu/newspapers/clockers-ad-campaign-getting-new-look/docview/283992830/se-2 Collins, S. (1996, Feb 08). Leaving a paper trail; african americans spent many years at the periphery of hollywood in films with all-black casts. some posters the academy recently acquired are the only surviving chronicle of much of this history.: [home edition]. Los Angeles Times (Pre-1997 Fulltext)...

Edward Gorey was probably best known as an author and illustrator of more than 100 books in his lifetime. Collector's items today, his books have become icons in and of themselves, darkly humorous and humorously dark. The books defied genres and publishers sometimes had a hard time determining how to market them. They were illustrated yes, but the dark and sometimes gruesome tales certainly weren’t children's books. This contribution was undoubtedly significant, but this was not the limit of his career, which included designing book covers, sets, and costumes for theater and ballet (including the Tony award-winning designs for Dracula in 1977), and the illustrations for animations for the PBS Mystery! series, a shortened version of which can still be seen today. Gorey’s book cover designs are often identifiable by his hand-lettered titles, which he claims he did because he didn’t know much about type. Additionally, Gorey was an icon of fashion in the New York scene, he and his extensive collection of fur coats were the subjects of multiple articles on the New York Fashion scene. Yet despite his numerous contributions, he is not mentioned in design or illustration history books, is his absence from the design history canon a result of gatekeeping? Was it because he mostly designed book covers for inexpensive paperback books rather than glamorous hardcovers? Or Possibly because his own work was described by critics as “macabre”, “gothic”, or even “campy”. Or was it because of his association with the LGBT community? Many have speculated about his sexual orientation, even though Gorey was not “out” and he preferred ambiguity only going so far as to admit to an interviewer that he supposed he was gay, but didn’t “identify with it much”. TIMELINE 1925 – b Chicago, Illinois, as Edward St. John Gorey 1942 – was accepted to Harvard 1942 – Drafted into the Army, served stateside during WWII at the Dugway Proving Grounds in Utah, deferred college entrance 1946 – Begins at Harvard, education is paid for by the G.I. Bill, majoring in French Literature 1953– Hired at Anchor /Doubleday as a book cover designer, moves to NYC 1953 – Publishes first book of his own, The Unstrung Harp 1962 – Founds the Fantod Press to publish his own books 1962-63 – Hired as an art director at Bobbs-Merrill, publisher 1963 – Begins working as a Freelance book designer and illustrator, begins living part-time at the cape 1963 – Publishes abecedary, The Gashlycrumb Tinies, along with The Insect God and The West Wing 1977 – Designs sets and costumes for Broadway revival of Dracula, wins a Tony award for both 1980 – Creates illustrations for animated introduction to PBS Mystery! 1983 – Resolves to leave the city (NYC), moves permanently and full-time to the Cape 2000 – d Gorey dies at age 75 2002 – Edward Gorey’s home at the cape becomes a museum, The Edward Gorey House REFERENCES Borrelli-Persson, L. (2021, October 30). Celebrating Edward Gorey, Style Icon. Vogue. https://www.vogue.com/article/celebrating-edward-gorey-style-icon Brottman, M. (2005) High theory/low culture. New York: Palgrave Macmillan. Curwen, T. (2004, Jul 18). ART; light from a dark star; before the current rise of graphic novels, there was Edward Gorey, whose tales and drawings still baffle -- and attract -- new fans.: [HOME EDITION]. Los Angeles Times Retrieved from https://libproxy.uco.edu/login?url=https://www-proquest-com.libproxy.uco.edu/newspapers/art-light-dark-star-before-current-rise-graphic/docview/422042911/se-2?accountid=14516 Dery, M. (2018). Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey (Illustrated ed.). Little, Brown and Company. Dery, M. (2020, January-February). Edward Gorey's Gothic Nonsense. The Gay & Lesbian Review Worldwide, 27(1), 18+. https://link.gale.com/apps/doc/A616752005/LitRC?u=edmo56673&sid=bookmark-LitRC&xid=f73cab8e Devers, A. N. (2011, January 5). The Coats of Edward Gorey. The Paris Review....

The Black Panther Party for Self-Defense was founded in 1966 in Oakland, California by Huey P. Newton and Bobby Seale. The Black Panther Party was founded during the turbulent times of the sixties that saw many changes in America. Newton at first led the party with an ideology called their Ten Point Program, and with the idea that arming Black communities was essential for their protection and survival. Through community assistance programs and armed community patrols to prevent police brutality, the Black Panther Party sought to protect and uplift their communities, stepping in where the government had failed them. In order to promote their party’s ideals, generate revenue, and recruit new members, the Party began publishing the Black Panther newspaper. It grew from 4 pages to 32, adding color and better design under the direction of Emory Douglas who was the Black Panthers’ Minister of Culture and the paper’s editor. Douglas’s skills as a graphic designer and illustrator produced the imagery that would define not only the Black Panther Party but the entire Black Power movement. The success of the paper grew, had distribution across the United States, and later reached other countries as well. Internal strife among leadership and members, as well as extensive government interference, led to the crumbling of the Black Panther Party. With it went their iconic newspaper that for over a decade was a visual record of the Black Panther Party, the Black Power movement, and the struggle for civil rights. TIMELINE 1827 – Freedom’s Journal first published 1936 – Robert George Seale was born in Liberty, Texas 1942 – Huey Percy Newton is born in Monroe, Louisiana 1943 – Emory Douglas was born in Grand Rapids, Michigan 1960 – Emory Douglas started studying Graphic Design at City College of San Francisco 1963 – Martin Luther King Jr delivers “I Have A Dream” speech 1965 – Lowndes County Freedom Organization was founded by Student Nonviolent Coordinating Committee in Alabama 1966 – Huey P. Newton and Bobby Seale met in Oakland, CA, and founded The Black Panther Party for Self-Defense 1966 – BPP developed survival programs 1967 – California Governor Ronald Regan signed Mulford Act 1967 – Sale and Newton established the BPP first headquarters in Oakland, CA 1967 – Black Panther Intercommunal News Service 1967 – Newton was shot and jailed after a standoff with a police officer 1967 – Emory Douglas met Newton and Seale and joins the BPP 1967 – David Hilliard, BPP chief of staff, first arrested for selling the Newspaper 1968 – Kerner Commission publishes findings on potential race war; faults white institutions 1968 – Martin Luther King Jr assassinated, race riots erupt across USA 1968 – Newton was convicted of manslaughter for killing a police officer 1970 – FBI memo says circulation for BPP Newspaper was 139,000 a week 1970 – Newton was released due to his conviction being overturned on appeal 1971 – Newton shifts BPP focus to community programs, leadership is challenged by other part members 1971 – Newton expels 21 members, the “panther 21” over rumors of kidnapping and fratricide; also expels Eldridge Cleaver over suspicions of assassination through letters 1971 – Cleaver’s followers tied up Sam Napier in NY distribution office for the BPP newspaper and shot him, set fire to office 1974 – Netwon fled to Cuba on accusations of murdering a prostitute, Elaine Brown takes over as leader of BPP 1974 – End of BPP 1977 – Newton returns to California to stand trial for the murder of a prostitute 1978 – Jonina Abron takes over as editor of BPP Newspaper 1980 – Last year BPP Newspaper is published REFERENCES Alkebulan, P. (2012). Survival pending revolution: The history of the Black Panther Party. The University of Alabama Press. Berry, A. H., Collie, K., Laker, P. A., Noel, L.-A., Rittner, J., & Walters, K. (2022). The black experience in design: Identity, Expression & Reflection. Allworth Press. bperki8. (n.d.)....

In 1922 William Harmon, a white real estate mogul from Ohio, started the Harmon foundation which, among other things, supported Black artists. His hope for the foundation was that it would help these artists gain recognition and help them to sell their work, regardless of their skin color. The foundation organized exhibitions and awards for Black artists, all with the explicit intent to stimulate their success. Despite its good intentions, the foundation met with criticism from the Black community. The work the foundation did was seen as patriarchal and fulfilling a “white savior” complex rather than effecting real change and achieving equity. While it can be argued that the Harmon Foundation did a lot to support Black artists, one of the main criticisms is its role in maintaining the segregation of Black artists. Harmon Foundation exhibits featured Black artists alongside other Black artists, instead of integrating with white artists. The foundation's awards were also juried by white judges who selected winners based on a white ideal of excellence rather than understanding the work and its value or role in Black culture. While the Harmon Foundation’s efforts weren’t always welcome, it still spent 45 years promoting Black artists, helping them gain well-deserved attention and recognition. TIMELINE 1862 – b Ohio, William E. Harmon 1887 – Founds Harmon National Real Estate Company 1922 – Harmon Foundation is founded 1925 – Harmon Foundation begins issuing cash awards for distinguished achievement in a number of fields, including fine arts 1925 – Harmon Foundation supports the Religious Motion Picture foundation 1928 – William Harmon dies 1928-33 – Harmon Foundation recognized as first to give national recognition to achievements of African Americans 1933-36 – Harmon Foundation supports films: “The Negro and Art” and “We Are All Artists” 1935 – Artist Romare Beardon accused the foundation of “coddling artists and lowering artistic standards” 1935 – The Harlem Artists Guild founded, to support artists and to pressure the Federal Arts Project to accept more African-American participants 1935 – Harmon National Real Estate Company becomes one of the largest real estate companies in the world 1936 – Harmon Foundation sponsors films: “What Africa Is”, “How Africa Lives”, and “From Fetishes to Faith”. 1938-41 – Harmon Foundation supports film series: “The African Motion Picture Project” 1969 – ‘Harlem on My Mind, 1900-1968’ exhibition at the Metropolitan Museum of Art, opens to criticism for absence of Black curators or consulting the Harlem community 1967 – Harmon Foundation ceases operations REFERENCES Baum, K., Robles, M., & Yount, S. (2021, February 17). “Harlem on Whose Mind?”: The Met and Civil Rights. The Met. Retrieved June 23, 2022, from https://www.metmuseum.org/blogs/now-at-the-met/2021/harlem-on-my-mind Brown, A. C., III. (2015, January 20). James A. Porter: The Father of African American Art History. The Baltimore Renaissance. Retrieved June 23, 2022, from https://thelyfe.wordpress.com/2015/01/20/james-a-porter-the-father-of-african-american-art-history/#:%7E:text=Porter%3A%20The%20Father%20of%20African%20American%20Art%20History,-Professor%20James%20A&text=James%20Amos%20Porter%20was%20born,of%20Science%20degree%20in%20art. Harmon Foundation, I. Harmon Foundation, inc., records. [Manuscript/Mixed Material] Retrieved from the Library of Congress, https://lccn.loc.gov/mm78051615. Malan, N. E. (1973). Photographs in the Harmon Foundation Collection. African Arts, 6(2), 33–32. https://doi.org/10.2307/3334777 Williams, G. (2013, February 22). African American art and the Harmon Foundation. Smithsonian Libraries / Unbound. https://blog.library.si.edu/blog/2013/02/22/african-american-art-and-the-harmon-foundation/#.YfQ3AljMJ4G

Posters as political tools are nothing new. In the Middle East, two revolutionary movements led to some of the most potent and vibrant posters in design history. The Iranian Revolution and the expulsion of Palestinians due to civil war and the continued fight to reclaim Palestinian homelands from Israel. These posters effectively gave voice to the struggles of ordinary people resisting the influence and meddling of various Western powers. For Iran, that meant keeping the dream of an Islamic state free and independent from Western countries that had been trying for decades to install a democratic government. And once so much of Palestine had been taken over by Israel, the Palestinian resistance fought back with ideas as well as guns. Using powerful graphic imagery common to each of their respective cultures, like calligraphy, Islamic iconography, and the colors red, black, white, and green, resistance posters of both movements kept the fire of resistance burning brightly. The Iranian Revolution effectively concluded once the Shah of Iran was overthrown and power consolidated under the rule of Ayatollah Khomeini in 1979. Palestine wasn’t so lucky. While their resistance began much earlier than Iran’s, their fight still isn’t over and their resistance posters have continued, spilling over into the digital domain in a continued effort to reclaim their native homeland. TIMELINE 1908 – Prince Yusuf Kamal founded the School of Fine Arts in Cairo, Egypt 1917 – Britain made Balfour Declaration to establish Palestine as a place for Jewish people 1921 – Hashemite Kingdom of Iraq declared independence from Britain 1922 – Egypt declared independence from Britain 1934 – University of Tehran Founded in Iran 1941 – Syria declared independence from France 1943 – Lebanon declared independence from France 1945 – End of WW II; Britain hands matter of Palestine to the USA 1948 – 750,000 Palestinians were forced to leave their homes due to Israeli takeover 1947 – United Nations Partition of Palestine, followed by Civil War in Palestine (Arab-Israeli War) 1948 – British completely withdrew from Palestine, and Israeli statehood declared 1949 – Syria's president Husni al-Za’im overthrown by a military coup 1950-54 – Designer & Artist Ismail Shammout attends the University of Cairo 1950s – Saqqakhana Group formed 1951 – Libya declared independence from France 1952 – Egyptian Monarchy overthrown by Free Officers Coup 1953 – USA and UK leaders helped to install Shah Mohammed Reza Pahlavi (overthrew Democratically elected Prime Minister Mossadegh) 1956 – Sudan declares independence from France, Israel attacked Egypt (Six Days War) 1958 – Iraq Monarchy overthrown, Shammout studies in a private graphic design workshop in Berlin, Egypt and Syria form the United Arab Republic 1959 – Yasser Arafat founded The Palestinian National Liberation Movement 1963 – Algeria declares independence from France 1965 – The Peoples Mojahedin Iranian organization was founded at the University of Tehran 1967 – Palestine National Liberation Movement joins the Palestine Liberation Organization (PLO) 1977- Iranian Revolution begins; Mostafa Khomeini, eldest son of Ayatollah Ruholla Khomeini, dies of an unknown cause at age 47; Protest & violent, repressive response cycles begin in dozens of Iranian cities. 1978 – Cinema Rex Fire in Tehran; 477 Iranians killed in fire. 1978 – Black Friday, where government tanks and helicopters opened fire on 1,000+ protestos in Tehran 1979 – On Jan. 16, Shah Mohammed Reza Pahlavi fled Iran ; On Feb. 1st, Ayatollah Khomeini started The Islamic Republic of Iran as its leader. 1982 – PLO expelled from Lebanon, Israeli invasion of Lebanon 1988 – Palestinian Declaration of Independence REFERENCES Abedini, R., & Wolbers, H. (2006). New Visual Culture Of Modern Iran. BIS Publishers. Adamova, A. T., & Bayani, M. (2015). Persian Painting: The Arts Of The Book And Portraiture . Thames & Hudson. Bloom, J. M., & Blair, S....

Sylvia Harris has been described as a public designer, her own words, and a citizen designer, but whatever you want to call it, Harris was dedicated to designing for the good of the people. She was committed to creating designs that helped people to navigate their world. Harris grew up in Richmond, Virginia where she experienced the desegregation of her school, which likely had a significant impact on her entire life. As a Black designer who was educated and entrenched in modernist design practices, created by western and European “elite” designers, she sought to discover what the Black aesthetic in America was for herself, and she shared her findings with the world. Her work ranges from the redesign of the US Census in 2000, which succeeded in creating a design that resulted in a larger number of responses that were more complete and accurate, to the design for the ACLU’s initial brand design. Sylvia Harris is a designer who can teach us a lot about what it is to be a Black designer in America, where to possibly look for Black designers in graphic design history, as well as what it means to create design for good. TIMELINE 1953 – b Richmond, Virginia 1959 – State of Virginia is officially desegregated, the state continued to fight desegregation and was not fully desegregated until 1970 1971 - Entered Design school 1975 - Graduates from Virginia Commonwealth University where she was a student of Philip Meggs 1975 - Works for WGBH design department in Boston alongside, Chris Pullman, an AIGA Medalist 1980 - Graduates from Yale with MFA in design 1980 - Founds 212 Associates with David Gibson & Juanita Dugale 1993 - Hired to redesign the Census (design released in 2000) 1994-1997 - Serves on AIGA board of directors 1994 - Leaves 212 to found her own company Sylvia Harris, LLC 1996 - Publishes What is it? Searching for the Black Aesthetic in American graphic design 2000 - Design census released 2011 - Rebrands her company to focus on “Citizen Research & Design” 2011 - Untimely death, complications due to heart failure she was 57 2014 - posthumously awarded AIGA Medal REFERENCES AIGA. (n.d.). 2014 AIGA Medalist: Sylvia Harris. AIGA. Retrieved June 16, 2022, from https://www.aiga.org/inspiration/talks/sylvia-harris-2014-aiga-medalist-sylvia-harris Allbrittin, D. (2021, December 14). Richmond Schools today: RPS still fighting to improve segregation, 51 years after busing. ABC 8 News. Retrieved June 16, 2022, from https://www.wric.com/news/local-news/richmond/richmond-schools-today-rps-still-fighting-to-improve-segregation-51-years-after-busing/ Daugherity, B. J. (n.d.). Desegregation in Public Schools – Encyclopedia Virginia. Encyclopedia Virginia. Retrieved June 16, 2022, from https://encyclopediavirginia.org/entries/desegregation-in-public-schools/#:%7E:text=Desegregation%20began%20in%20Virginia%20on,in%20the%20spring%20of%201956 Citizen Research & Design. (n.d.). About The Company | Citizen Research & Design. Retrieved June 16, 2022, from https://web.archive.org/web/20110806102912/http://citizenrd.com/about Citizen Research & Design. (n.d.-b). U.S. Census 2000 | Citizen Research & Design. Retrieved June 16, 2022, from https://web.archive.org/web/20111007192600/http://citizenrd.com/projects/us-census-2000 Gibson, D. (n.d.). Sylvia Harris | SEGD. SEGD. Retrieved June 16, 2022, from https://segd.org/sylvia-harris Harris, S. (1996). What It Is? Searching for a Black Aesthetic in American Graphic Design. The International Review of African American Art, 13(1), 38–38. Helfand, J. (11–07-25). Remembering Sylvia Harris. Design Observer. Retrieved June 16, 2022, from https://designobserver.com/feature/remembering-sylvia-harris/29118 House, L. (n.d.). Sylvia Harris Biography. AIGA. Retrieved June 16, 2022, from https://web.archive.org/web/20111004035114/http://www.aiga.org/design-journeys-sylvia-harris/ Two Twelve. (2014, May 14). Sylvia Harris Receives 2014 AIGA Medal - Voice - Two Twelve. Two Twelve Voice....

There is a long history of racism behind famous brands, characters, and design that often goes unnoticed. Blatantly racist caricatures began with minstrel shows and the use of blackface, where white actors would use black makeup and overdrawn lips to depict Black people. These drove stereotypes that would be used in film, television, and branding. White actors depicted other minorities in an ill manner. From Mickey Rooney playing a Japanese man, Mr. Yunioshi, to Claudia Cardinale playing Indian Princess Dala, actors continued to manipulate their physical features to display the American audience’s ideas of these different ethnicities. Cartoons like Disney’s Peter Pan used Indigenous stereotypes for its character Tiger Lily and her tribe of Piccaninny, along with the song “What Makes the Red Man Red?” Big production companies such as Disney and Warner Bros. are guilty of distributing offensive caricatures that poorly reflect Black, Asian, Indigenous, and other ethnic groups. Brand mascots like Aunt Jemima were created to uphold the mammy stereotype, a Black woman who is subservient to white people and their children. She was meant to contain white anxieties about increasing the mobility of Black people within spaces of mass production and consumption post-emancipation. At this time other brand mascots like Rastus for Cream of Wheat and Uncle Ben’s Rice similarly demeaned Black men. Ethnic mascots are also very popular in sports, primarily mascots of Indigenous American men who are shown as savages. It’s only been since 2020 that brands have started to shift away from these racist images but the damage of BIPOC caricatures lingers. TIMELINE 1833 – One of the first examples of blackface, in Bowery Theatre, New York, Thomas Darmouth Rice played the caricature Jim Crow 1889 – Aunt Jemima brand was first introduced and featured mascot/character as a stereotype of a mammy 1893 – Cream of Wheat launched using a mascot named Rastus, a term used for Black men who were depicted as simple-minded 1904 – first US stage production of Peter Pan features white actress, Margaret Gordon as Tiger Lily 1927 – posters of advertising performances of Joesphine Baker by Paul Colin: ‘La Revue Negre, feature racist stereotypes: Black figures with large red lips and overly sexualized depictions of Baker 1928 – Land O’Lakes butter premieres with a sexualized mascot/character of a Indegnous women called Mia 1935-36 – Shirley Temple appears in blackface and clothing which depict the ‘mammy’ caricature in The Littlest Rebel’ and dances on a stage with two men in blackface in ‘Dimples’ 1940 – Tom and Jerry cartoon introduces a character named Mammy Two Shoes, a heavyset Black woman who was responsible for taking care of the house 1947 – Florida State adopted the name Seminoles 1953 – Disney version of Peter Pan , the tribe of Piccaninny are designed to play the exotic and savage trope and performs the song, “What Makes the Red Man Red?” 1961 – white actor Mickey Rooney plays a Japanese man, Mr. Yunioshi, in Breakfast at Tiffany’s 1978 – FSU Seminoles began a new tradition: At home football games a Seminole warrior would ride a horse onto the field, known as Chief Osceola and Renegade 2013– Daniel Synder, owner of the football team The Washington Redskins, vowed to never alter the name or imagery 2019 – the Cleveland Indians and MLB made the decision to remove native caricature Chief Wahoo from their brand 2020 – Aunt Jemima is retires and the company rebrands to become Pearl Milling Company 2020 – B&G Foods announced they were removing the Rastus character from Cream of Wheat 2020 – during a rebrand Mia is removed from Land O’Lakes packaging 2020 – Washington Redskins announced name change and logo retirement REFERENCES Walters, K. (n.d.). Blackface and Minstrelsy Tradition. BIPOC Design History. Retrieved June 16, 2022, from https://bipocdesignhistory.com/V1-overview Carter, K. (2019). Confronting racial stereotypes in graphic design...

The birth of the Black newspaper in America took place in the form of abolitionist newspapers that spoke out against enslavement. These papers were an essential part of the Abolitionist movement in America, and many of them gave the Black community an important voice on issues that directly affected them and their communities. These newspapers spread Enlightenment-era ideas of equality and the rights of Black Americans and fought back against the negative and disparaging news that was regularly published about Black Americans in white-owned newspapers. Freedom’s Journal, The Liberator, The Colored American, and The North Star were all either operated and published by African American men or were supported by monetary contributions and printed regular articles from them. All of these newspapers built the momentum of the Abolitionist Movement and paved the way for the Civil Rights Movement to come. They were a vitally important way for Black people to speak out, circulate news and assistance to their communities, and change the way Black Americans were viewed. TIMELINE 1688 – the first known recorded anti-slavery incident, Quakers protested the act of slaveholding 1713-1773 – America annually imports roughly 15,000 enslaved people 1714 – 59,000 enslaved persons in America 1758 – Abolitionist movement begins in America 1780-1789 – Massachusetts, Pennsylvania, Rhode Island and New York outlaw slavery 1804 – every northern state had some form of emancipation in their legislation 1808 – the import of enslaved persons were abolished in all states except South Carolina 1816 – American Colonization Society (ACS )founded 1827 – Freedom’s Journal founded, the first African American owned and operated newspaper in the USA 1831 – The Liberator founded by William Lloyd Garrison 1833 – the militant abolitionist group called the American Anti-Slavery Society is formed 1837 – Phillip A. Bell published the first issue of his weekly newspaper called “Weekly Advocate”, later renamed “The Colored American” 1842 – James Forten, financial backer and contributor to The Liberator, dies at age 75 1847-1851 – The North Star runs, founded by Fredrick Douglass 1850 – Fugitive Slave Act, made it possible to reclaim runaway formerly enslaved persons 1865 – The Liberator ceases publication, ending with the ratification of the 13th amendment REFERENCES Abruzzo, M. (2011). Polemic Pain: Slavery, Cruelty, and the Rise of Humanitarianism. Johns Hopkins University Press. African American Newspapers Collection: Parts I-XIV. (n.d.). Retrieved January 4, 2022, from https://www.accessible-archives.com/. Bacon, J. (2007). Freedom's journal: The First African-American newspaper. Rowman & Littlefield. Barshad, A. (2019, Jan 21). Shaun King on relaunching the North Star newspaper. New York, Retrieved from https://libproxy.uco.edu/login?url=https://www.proquest.com/magazines/shaun-king-on-relaunching-north-star-newspaper/docview/2187591605/se-2?accountid=14516 BLUMBERG, B. (2004). Tammany Hall_._ In R. S. McElvaine (Ed.), Encyclopedia of the Great Depression (Vol. 2, pp. 962-963). Macmillan Reference USA. https://link.gale.com/apps/doc/CX3404500506/GVRL?u=edmo56673&sid=bookmark-GVRL&xid=717af3c5 Burrowes, C. P. (2011). “Caught in the crosswinds of the Atlantic”. Journalism History, 37(3), 130-141. Retrieved from https://libproxy.uco.edu/login?url=https://www.proquest.com/scholarly-journals/caught-crosswinds-atlantic/docview/904647711/se-2?accountid=1451 Douglass, F. (1968). My Bondage and My Freedom. Arno Press & The New York Times. Douglass, F.. (1993). Narrative of the Life of Frederick Douglass: An American Slave. Bedford Books. Drescher, S. (2009). A_bolition a history of slavery and antislavery_. Cambridge University Press. Du Bois, W. E. B. (2007). The Supression of the African Slave-Trade. Oxford University Press. Fagan, B. (2011). "Americans as They Really Are": The "Colored American" and the Illustration of National Identity....

This episode considers the 2016 proposal to place the likeness of Harriet Tubman on the U.S. $20 bill. The first use of paper money dates back to 1000 CE and has been cited as the first instance of widespread access to printed images. Money is an invented concept, it has value because societies collectively agree that it does, but historically images, symbols, and seals have been used to help authenticate money within the culture that it serves. Images of gods, monarchs and historical figures imbue the money with the magic of the gods or the authority of the government to assert its value. The US has a long history of printed money, dating back even before gaining independence. The images that a culture uses to assert the value of the country reflects what that country values. why then does the US continue to feature former presidents, and slave owners, white men of privilege, versus women and minorities? Harriet Tubman was a true hero in this country, who worked under the auspices of the underground railroad, and not only gained her own freedom, but also helped to free over 300 enslaved persons in her lifetime. In 2016, the proposal was made to put her image on the $20 bill. Making a change to the design of the US $20 bill, replacing Andrew Jackson’s likeness with that of Harriet Tubman would not right the wrongs of the past, but it would be a step towards honoring the contributions of Black women in this country, as well as a step forward in c_orrecting the absence of positive representations._ TIMELINE 440 BC – The Greeks first use coin money, adopted the practice from the Lydians 1000 – The first paper money was issued in China 1690 – the first paper money was printed in the U.S. by the Massachusetts Bay colony, though U.S.A. is not yet a country 1775 – Second Continental Congress issues paper money to help fund the American Revolution 1821 – Harriet Tubman was born into slavery on a Maryland plantation 1844 – Harriet Tubman’s forced marriage to John Tubman 1831 – First recorded use of the phrase Underground Railroad 1913 – Harriet Tubman dies, buried in Auburn, New York with military honors 2016 – Proposal to replace Andrew Jackson with Harriet Tubman on the U.S. $20 bill, placed on hold during Trump presidency 2021– President Biden announces plans to revisit Harriet Tubman $20 bill 2022 – plans are made to strike quarters with historical female figures from U.S. History REFERENCES 99% Invisible. (2021, June 11). Episode 54 The Colour of Money. Retrieved June 14, 2022, from https://99percentinvisible.org/episode/episode-54-the-colour-of-money/ Andrews, E. (July 19 2017, updated: September 3, 2019). How many U.S. Presidents owned enslaved People? History.com https://www.history.com/news/how-many-u-s-presidents-owned-slaves Ann, M. S. (2021). Harriet Tubman. Harriet Tubman, 1–N.PAG. Biography.com Editors. (2014, April 2). Harriet Tubman. The Biography.Com Website. Retrieved June 14, 2022, from https://www.biography.com/activist/harriet-tubman Blakemore, E. (April 30, 2018, updated: August 29, 2018). Why Andrew Jackson’s Legacy Is So Controversial. History.com https://www.history.com/news/andrew-jackson-presidency-controversial-legacy Bradford, S. (1886). Harriet, the Moses of Her People. New York, Geo. R. Lockwood & Son. Due North Productions (Producer), & Robertson, L. (Director). (2016). Daughters of the New Republic: Harriet Tubman and Sarah Bradford. [Video/DVD] Due North Productions. https://video.alexanderstreet.com/watch/daughters-of-the-new-republic-harriet-tubman-and-sarah-bradford Fleming, C. (2018). How To be Less Stupid About Race. Beacon Press. Boston Massachusetts. Gleim, S. (April 1, 2021). What do the Symbols on the U.S. $1 bill Mean? Howstuworks.com. https://money.howstuffworks.com/symbols-dollar-bill.htm Grundhauser, E. (April 22, 2016) The ornate Charm of American Currency from the 1700s....

Angel De Cora was an artist, illustrator, and educator from the Winnebago Tribe of Nebraska. Around the age of 14, she was enrolled in the Hampton Normal and Agricultural Institute as a part of the U.S. Government’s cultural assimilation program for Indigenous American youth. While at Hampton, she found her love for art. She went on to study under notable artists such as Dwight W. Tryon at Smith College and Howard Pyle at Drexel Institute. De Cora was later featured in Harper’s Monthly Magazine when she wrote and illustrated the semi-autobiographical tales “The Sick Child” and “Gray Wolf’s Daughter.” She was published under her Thunderbird clan name, “Henook-makhewe-kelenaka.” From here, she continued to produce paintings and illustrations and began designing book covers that displayed Native American motifs and the Arts and Crafts style. In the Spring of 1905, she was hired to do the artwork for a chapter in The Indian’s Book by Natalie Curtis. But after designing a cover page for her chapter, the publishers requested she makes cover pages for the other eighteen chapters. De Cora took a job at the Carlisle Indian School in Pennsylvania and established the Native Indian Art Department and later played a part in the publication of ‘The Indian Craftsman’, Carlisle’s monthly magazine. She was known as a “Red Progressive” who advocated for Indian education and helped found the Society of American Indians, a pan-Indian progressive group dedicated to uplifting Native peoples. TIMELINE 1868 or 1869 – b Angel De Cora, born in Thurston, Nebraska, on Ho-chunk (traditionally Winnebago) reservation land 1883 – Angel Decora was forced to go to Virginia to attend the Hampton Normal and Agricultural Institute 1891 – Graduated from Hampton Normal and Agricultural Institute 1896 – was the first Native American to graduate from Smith College 1898 – Spends summer studying with Howard Pyle at his renown Brandywine Illustration school 1900 – painted for the cover of Franci La Flesch’s The Middle Five: Indian Boys at School. 1901 – created several illustrations for Old Indian Legends by Gertrude Bonnin aka Zitkala-Sa as well as Wigwam Stories for Mary Catherine Judd. 1906 – Takes a job as an art instructor at the Carlisle Indian School in Pennsylvania 1907 – created several illustrations for ethnomusicologist Curtis’ project, The Indian’s Book 1907 – Elopes with William H. Dietz, a Sioux Indian, also known as “Lone Star” 1909 – begins working on the publication of Carlisle’s monthly magazine, The Indian Craftsman 1911 – De Cora helped found the Society of American Indians 1915 – De Cora resigns from Carlisle 1919 – D Angel De Cora dies from the flu during the Spanish Flu epidemic REFERENCES Carlisle Indian School Digital Resource Center. (n.d.). Dietz, Angel DeCora. Retrieved June 14, 2022, from https://carlisleindian.dickinson.edu/people/dietz-angel-decora Dragicevic, M. (n.d.). Angel De Cora. THE HISTORY OF PAINTING REVISITED. Retrieved June 14, 2022, from https://thehistoryofpaintingrevisited.weebly.com/angel-de-cora.html Fay, E. (2021, March 1). Angel De Cora: Indigenous American and Pyle Student | Brandywine Conservancy and Museum of Art. Brandywine River Museum of Art. https://www.brandywine.org/museum/blog/angel-de-cora-indigenous-american-and-pyle-student Gere, A. R. (2004). An Art of Survivance: Angel DeCora at Carlisle. American Indian Quarterly, 28(3/4), 649–684. http://www.jstor.org/stable/4138937 Kelly, M. (2018, March 9). Finding Angel de Cora. The Consecrated Eminence. https://consecratedeminence.wordpress.com/2018/03/09/finding-angel-de-cora/ McAnulty, S. (2010, November 20). Angel DeCora: American Artist and Educator; article by Sarah McAnulty. Traditional Fine Arts Organization. Retrieved June 14, 2022, from https://tfaoi.org/aa/4aa/4aa27.htm Southall, N. (n.d.). AIGA Design Journeys: Angel DeCora – The Native Graphic Design Project. The Native Graphic Design Project. Retrieved June 14, 2022, from...