Incomplet Design History

Matchbooks and matchboxes became influential artifacts in design and visual culture, beginning with early fire-starting tools in sixth-century China, all the way through the development of matches from simply functional to globally standardized packaging shaped by technological innovation. The Swedish safety match and the sliding-drawer box established the foundations of modern match design, while improvements in printing turned matchboxes into miniature canvases for illustration, typography, and branding. By the late nineteenth and early twentieth centuries, matchbooks evolved into pocket-sized billboards, showcasing advertisements for hotels, airlines, restaurants, and more. Their designs reflected broader movements like Art Deco and Modernism, capturing cultural identities across countries, from Soviet propaganda to Indian folk imagery and American corporate aesthetics. Although their popularity declined in the mid-twentieth century with the rise of lighters and anti-smoking campaigns, matchbooks have re-emerged as nostalgic design objects. Matchbooks ultimately shifted from ephemera to collectible artifacts, drawing on critic Arthur Danto’s ideas about collecting, matchbooks gained meaning as personal and cultural artifacts, valued for the stories they hold about people, places, and design. Today, boutique hotels, artists, and designers revive matchbooks as historic symbolism. This study shows that matchbooks reveal how design lives in ordinary objects. They demonstrate the power of small-scale design to communicate history and culture in ways that continue to resonate long after their original purpose has faded. TIMELINE 1827 – The First Friction Matches 1830s–1850s – Industrial Production Begins 1870s – Branded Labels on Matchboxes 1892 – The Paper Matchbook is Patented 1890s–1910s – Rise of Advertising Matchbooks 1920s–1930s – Golden Age of Matchbook Advertising 1940s – Wartime Utility 1950s–1960s – Midcentury Modern & Pop Culture 1970s–1980s – Iconic Branding & Collectibility 1990s – Decline Begins 2000s–Present – Retro Appeal & Niche Design REFERENCES Adler, B. (2014). The Matchbook: From flame to miniature billboard. Pennsylvania Center for the Book . https://pabook.libraries.psu.edu/literary-cultural-heritage-map-pa/feature-articles/matchbook-flame-miniature-billboard Beauchamp, M. (2006). Striking images: Vintage Matchbook Cover Art . Chronicle Books. Biener, L., Nyman, A. L., Kline, R. L., & Albers, A. B. (2004). Adults only: The prevalence of tobacco promotions in bars and clubs in the Boston area. Tobacco Control, 13(4), 403. https://doi.org/10.1136/tc.2004.007468 Creative spark: Vintage matchbook art in pictures. (2017, May 20). The Guardian. https://www.theguardian.com/artanddesign/gallery/2017/may/20/creative-spark-vintage-matchbook-art-in-pictures-aaron-kasmin-sims-reed Danto, A. C. (1991). From matchbooks to masterpieces: Toward a philosophy of collecting. Aperture , 124, 2–3. http://www.jstor.org/stable/24472389 Greene, R. (n.d.). Matchless beauties: The art of pin-up matchbook covers . Yoe Books. Heller, S. (2003). Boxes of light. Print , 57(1), 97–98. Heller, S., Fili, L., & Nadel, D. (2006). Stylepedia : a guide to graphic design mannerisms, quirks, and conceits. Chronicle Books. Heron, K. (2009, October 21) A New Old Freebie: Restaurant Matches Return. The New York Times . https://www.nytimes.com/2009/10/21/dining/21match.html Jones, B. (2004). Matchbox cover design: The evolution of and the influences on the graphical design of matchboxes [PDF]. Kosinski, J. (2017). Antiques Peek: October 2017. Journal of Antiques and Collectibles. https://journalofantiques.com/columns/antiques-peek-october-2017/ Lee, A. G. (2024). We’re in a matchbook renaissance; As a younger generation takes up match collecting, matchbooks are taking on a new life as a design motif and an emblem of worldliness. The Wallstreet Journal . https://www.wsj.com/style/fashion/matches-matchbooks-collectors-tiktok-prints-kate-spade-110d6b07?eafs_enabled=false Lewis, J. (1962). Printed ephemera; the changing uses of type and letterforms in English and American printing . W.S. Cowell; distributed by Faber and Faber, London. Novin, G. (2012). Chapter 51: A history of matchboxes. A History of Graphic Design . https://guity-novin.blogspot.com/2012/02/chapter-51-history-of-matchboxes.html Oatman-Stanford, H. (2014, October 24). Circling the globe with the mid-20th century’s most brilliant matchbox art. Collectors Weekly . https://medium.com/hunter-oatman-stanford/circling-the-globe-with-the-mid-20th-centurys-most-brilliant-matchbox-art-d3a82c14ee03 Promotions tied in with matchbooks. (1954). Women’s Wear Daily, 88(67), 3. Saeed, Y. (n.d.). Lives in a Matchbox: Gautam Hemmady's Collection of Matchbox Labels [Online exhibit]. Google Arts & Culture. https://artsandculture.google.com/story/lives-in-a-matchbox-tasveer-ghar/nAUxYaf8n-hyWw?hl=en Tres Bohemes. (2015, September 14). Czech matchbox graphics. Tres Bohemes . Wagner Match. (2019, December 17). Phillumeny: Interesting facts about matchbox collecting . Wagner Match. Woodcock, V. (2021). Lucky strikes: The art of the matchbox. FT.com. https://www.ft.com/content/92a45a71-c811-4dda-af85-f371b8dce667

The Hobo Code was a shared visual language used by itinerant workers, okies, bohemians, and some famous blues artists in America. In the late 1800s, people (usually men) hopped onto trains and headed into the American West looking for work wherever they could find it. These people, called hobos, developed and used a system of pictograms to leave notes for other hobos passing through. Whether it was to signal that water and food was available in an area, or to alert Hobos of police enforcement, this shared language strengthened a marginalized community. Not all hobos were men. The documentation is sparse, but there are some records of women hopping trains. As some of them were fleeing situations of domestic violence, for them, the hobo code was a lifeline for finding sanctuary in unfamiliar towns and cities. As more people took to traveling the train lines looking for work, a worker’s union emerged along with a publication and what were known as hobo colleges. During and after WWII, there were far fewer itinerant workers and the need for the hobo code declined, but it didn’t go away. It evolved into some of the train graffiti we see today. TIMELINE 1865 - Civil War ends and discharged soldiers are looking for work becoming the original itinerant laborers. 1869 - Transcontinental Railroad is completed by immigrant laborers which creates a source of transportation for transient workers (hobos and tramps). 1873 - The Panic of 1873 forces large amounts of stable workers onto the road in search of new jobs. 1880s - “Hobo” becomes a formal group to distinguish themselves from tramps. 1890 - The Hobo Code begins to spread across different parts of the west. 1900s - The term Hobohemia becomes a part of white hobo culture 1905 - Industrial Workers of the World (IWW) founded. 1909 - The Little Red Songbook was published by the IWW in Spokane Washington. 1910-1920 - New Immigration (European immigrants join migratory labor and add to hobo population). 1920s - African American hobos and itinerant works express hardship through music which leads to the start of the blues. 1929 - Stock market crashes leading to the Great Depression (Hobohemia Golden Age) 1930s - Dust Bowl storms displace midwest families and lead to more migration to the west. 1940s - World War II begins, allowing workers to find stable war industrial jobs marking the end of the hobohemian era. REFERENCES Allsop, K. (1967). Hard travellin’; the hobo and his history. New American Library. Clayton, O. (2023). Vagabonds, Tramps, and Hobos. In Vagabonds, Tramps, and Hobos: The Literature and Culture of U.S. Transiency 1890–1940 (pp. i–i). half-title-page, Cambridge: Cambridge University Press. Dreyfuss, H. (1972). Symbol sourcebook : an authoritative guide to international graphic symbols (First edition.). McGraw-Hill. Dyl, J. (2014). Transience, Labor, and Nature: Itinerant Workers in the American West. International Labor and Working Class History, 85(85), 97–117. Hall, J. (2010). Sisters of the Road?: The Construction of Female Hobo Identity in the Autobiographies of Ethel Lynn, Barbara Starke, and “Box-Car” Bertha Thompson. Women’s Studies, 39(3), 215–237. https://doi.org/10.1080/00497871003595828 Hobo Communications: A Brief History of Hobos and Their Signs. (2021, August 4). National Security Agency/Central Security Service. https://www.nsa.gov/History/National-Cryptologic-Museum/Exhibits-Artifacts/Exhibit-View/Article/2718897/hobo-communications-a-brief-history-of-hobos-and-their-signs/ https://www.folkschool.org/author/cory . (2017, January 13). What’s a Hobo Nickel? JCCFS. https://www.folkschool.org/2017/01/13/whats-hobo-nickel/ NPR. (2016, June 11). Anthropologist Discovers 100-Year-Old Graffiti By “America’s Most Famous Hobo.” NPR. https://www.npr.org/2016/06/11/481695146/anthropologist-discovers-100-year-old-graffiti-by-americas-most-famous-hobo Liungman, C. G. (1991). Dictionary of symbols. ABC-CLIO. Joffe-Block, J. (2025, November 8). Immigration agents have new technology to identify and track people. NPR. https://www.npr.org/2025/11/08/nx-s1-5585691/ice-facial-recognition-immigration-tracking-spyware Volk, T. M. (2001). Little Red Songbooks: Songs for the labor force of America. Journal of Research in Music Education, 49(1), 33-48. https://libproxy.uco.edu/login?url=https://www.proquest.com/scholarly-journals/little-red-songbooks-songs-labor-force-america/docview/214489163/se-2 Wanderer, J. J. (2001). Hobo Signs: Embodied Metaphors and Metonymies. American Journal of Semiotics, 17(4), 131–146. https://doi.org/10.5840/ajs200117476

Elizabeth Friedlander (1903–1984) was a pioneering German-Jewish graphic designer, calligrapher, and typographer best known as the first woman to have a published typeface. Born in Berlin, she studied at the Berlin Academy under typographer Emil Rudolf Weiss, whose refined aesthetic shaped her early work. Friedlander began her career at Ullstein Publishing House, designing for Die Dame, a leading women’s magazine, before creating her groundbreaking “Elizabeth” typeface for the Bauer Type foundry. Denied work under Nazi rule in 1935, she fled Germany for Italy, where she designed book covers and illustrations for publishers like Mondadori. Still, the rise of fascism, again, endangered her life, prompting her escape to England in 1939. There, she was recruited to design for the British government’s wartime propaganda office, producing forged Nazi documents and counterpropaganda materials. After World War II, Elizabeth Friedlander's work continued to be a source of admiration and inspiration. She built a prolific freelance career, designing book covers, patterned papers, and calligraphic maps for Penguin Books, Thames & Hudson, and other major publishers. Her elegant borders and type designs were widely admired, and her calligraphic skill earned her commissions from institutions such as Sandhurst Military Academy. In the 1960s, Friedlander retired to Kinsale, Ireland, with her lifelong partner, Professor Alessandro Magri MacMahon, turning her creative focus to small crafts like leatherwork and maps. She continued designing for friends until her eyesight failed. Friedlander died in 1984, leaving behind a legacy of innovation and resilience. TIMELINE 1903 – Born in Berlin 1927 – Designed the Elizabeth typeface for Bauer Type Foundry 1928-1935 – Designed for Die Dame Magazine 1933 – Nazis rise to power 1933 – Italian Under-Secretary of State allows in refugees from allied Nazi Germany as long as they were politically inactive 1935 – Elizabeth’s permit to work as a designer is denied by the Nazi party and she is fired from her job at Die Dame magazine 1936 – Elizabeth flees Germany and settles in Milan 1936-1938 – Works for Mondadori publishing house 1937 – Paid 200 marks for her Elisabeth typeface 1938 – Italy passes racial laws. Elizabeth seeks to emigrate to the US 1939 – Elizabeth learns her visa application cannot be expedited. She obtains a Domestic Service permit for Britain. 1941 – Mynell hires Elizabeth for his advertising firm 1942 – Final attempt to emigrate to the US before settling in Britain. World War II begins. 1942 – Howe recruits Elizabeth to his black propaganda unit 1945 – WWII ends. Elizabeth chooses to become a naturalized British citizen 1946-1949 – Worked on “Britain in Pictures” 1948 – Begins working for Penguin Books, designing book covers and patterned papers. Designs the Flexocase. 1949 – Is finally paid for her Flexocase design 1951 – Chosen by the Royal Military Academy, Sandhurst, to inscribe the Roll of Honour for officers of the Armies of the Commonwealth who fell in WWII 1951-1960 – Designed several of the covers for the “Penguin Classics” series 1961– Moved to Kinsale Ireland 1958 – Designs the “Freidlander Borders” for Monotype 1967-1972 – Becomes the official Sandhurst calligrapher 1984 – Death and burial in Cork REFERENCES Bauer Types. (n.d.). ELIZABETH FRIEDLANDER: THE FIRST WOMAN TO DESIGN A TYPEFACE . Bauer Types. https://bauertypes.com/elizabeth-friedlander-la-primera-mujer-que-diseno-tipografia Ganeva, M. (2008). Women in Weimar Fashion: Discourses and Displays in German Culture, 1918-1933 . Boydell & Brewer, Incorporated. Kolesa, P. (2021, April 13). "ELIZABETH-ANTIQUA": A FILM ON ELIZABETH FRIEDLÄNDER [Video]. https://youtu.be/lY9FG9lcELY Muraben, B. (2018, March 8). Elizabeth Friedlander: one of the first women to design a typeface . It's Nice That. Retrieved September 5, 2025, from https://www.itsnicethat.com/features/elizabethfriedlander-graphicdesign-internationalwomensday-080318 Paucker, P. (1998). New borders : the working life of Elizabeth Friedlander . Incline Press. https://doi.org/10.58066/j89j-mt96 The People's Graphic Design Arvchive. (2024, October 31). Penguin Books 25th Anniversary Designs by Elizabeth Friedlander . The People's Graphic Design Archive. https://peoplesgdarchive.org/item/15702/penguin-books-25th-anniversary-designs-by-elizabeth-friedlander Rawsthorn, A. (n.d.). Story | Elizabeth Friedlander . Maharam. Retrieved September 5, 2025, from https://www.maharam.com/stories/rawsthorn\_elizabeth-friedlander

This episode examines the often-overlooked role of the mimeograph in the intertwined histories of print technology, graphic design, and social change. Emerging in the late nineteenth century through the innovations of Thomas Edison and Albert Blake Dick, the mimeograph offered an accessible, low-cost means of reproducing text and images—long before the advent of xerography or digital printing. Its simplicity and affordability placed the power of print into the hands of schools, churches, offices, and, crucially, grassroots organizations and independent creators. By the mid-twentieth century, mimeograph machines had become vital tools in the production of newsletters, pamphlets, and zines that fueled social movements and cultural revolutions. From the Civil Rights Movement’s underground newspapers to the literary explosion known as the Mimeo Revolution, the mimeograph democratized publishing and redefined the relationship between authorship, design, and distribution. Magazines such as The Floating Bear, Fuck You / A Magazine of the Arts, and The Yardbird Reader illustrate how writers and artists used the technology to challenge mainstream publishing, amplify marginalized voices, and experiment with form and content. Though ultimately replaced by photocopying and digital media, the mimeograph remains a critical link in the evolution of design and the politics of independent print culture. TIMELINE 1876 - Thomas Edison patents the electric pen and duplicating press 1881 - David Gestetner founds The Gestetner Cyclograph Company 1884 - Albert Blake Dick incorporates as a lumber business 1887 - The Edison Mimeograph Model 0 hits the market 1891 - Samuel O’Reilly patents the first electric tattoo machine 1898 - Neostyle Company introduces the first rotary mimeograph 1906 - Gestetner opens a manufacturing plant in London 1923 - Wilhelm Ritzerfeld invents the spirit duplicator 1929 - Gestetner hires Raymond Loewy to redesign the cyclostyle 1929-1930 - Yvor Winters publishes Gyroscope, the first mimeographed literary magazine 1942 - Chester Carlson patents xerography 1945 - WWII ends 1955 - US involvement in Viet Nam begins 1960 - The first xerox copier becomes commercially available 1961 - The Floating Bear #1 is published 1961 - Diane Di Prima and LeRoi Jones are arrested on obscenity charges 1962 - SDS Port Huron Statement is published 1962 - Ed Sanders publishes the first issue of Fuck You / a magazine of the arts 1969 - BSU at Oregon State publishes the first Scab Sheet 1971 - The Floating Bear publishes its final issue 1972 - Yardbird Reader v. 1 is published 1975 - Vietnam war ends 1976 - The final Yardbird Reader is published 1977 - Y-Bird v. 1 is published 1980 - Risograph duplicators are released in Japan REFERENCES Alfred, R. (2008, August 8). Aug. 8, 1876: Run This Off on the Mimeo. WIRED . https://www.wired.com/2008/08/dayintech-0808-2/ Ashawnta_Jackson. (2024). Exploring the Yardbird Reader. JSTOR Daily . https://daily.jstor.org/exploring-the-yardbird-reader/ Clayman, A. (2025, January 9). A. B. Dick Company, est. 1884 - Made-in-Chicago Museum . Made-in-Chicago Museum. https://www.madeinchicagomuseum.com/single-post/ab-dick-company/ Digital Collection - service/instruction manuals – Mimeograph Revival . (2024, October 18). Mimeograph Revival. https://www.mimeographrevival.com/manuals/ Donley, K. (2014, November 22). stencil duplicator . MULTIMEDIAMAN. https://multimediaman.blog/tag/stencil-duplicator/ Edison’s electrical pen and duplicating press . (1871). Mimeograph Revival. https://www.mimeographrevival.com/wp-content/uploads/2024/10/Edison-Electrical-Pen-and-Duplicating-Press.1876-Expo.pdf Einträge Archiv | Exploriso: Low-tech fine Art . (n.d.). Exploriso: Low-tech Fine Art. https://en.exploriso.info/exploriso/ Floating Bear Archive . (2006, October 3). Reality Studio. https://realitystudio.org/bibliographic-bunker/floating-bear-archive/ Gestetner Cyclostyle Office Duplication Machine Design by Raymond Loewy | Hagley . (n.d.). https://www.hagley.org/librarynews/gestetner-cyclostyle-office-duplication-machine-design-raymond-loewy Hawley, H. (2006). Revaluing mimeographs as historical sources. RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage . https://rbm.acrl.org/index.php/rbm/article/viewFile/414/414 Helland, M. (2024, February 24). THE HISTORY OF THE MIMEOGRAPH — International Printing Museum . International Printing Museum. https://www.printmuseum.org/blog-3/history-of-the-mimeograph Home | From a secret location . (2020, July 21). From a Secret Location. https://fromasecretlocation.com/ Independent Voices . (n.d.). JSTOR.org. https://www.jstor.org/site/reveal-digital/independent-voices/?so=item_title_str_asc&searchkey=1760415107268 Mimeograph machines . (n.d.). https://museumofprinting.org/blog/mimeograph-machines/ Our Own Devices. (2024, January 9). Gestetner Cyclostyle: the Original Office Copy Machine [Video]. YouTube. https://www.youtube.com/watch?v=NdBSYUbaAZg Riordan, E. (2021, July 23). Spirit Duplicators: Early 20th century copier art, fanzines, and the Mimeograph Revolution – News & announcements . https://blog.lib.uiowa.edu/speccoll/2021/07/23/spirit-duplicators-early-20th-century-copier-art-fanzines-and-the-mimeograph-revolution/ Rubin, L. (2021, March 6). Women of the Mimeo Revolution: Diane DiPrima & Anne Waldman - Village Preservation. Village Preservation - Greenwich Village Society for Historic Preservation . https://www.villagepreservation.org/2021/03/05/women-of-the-mimeo-revolution-diane-diprima-anne-waldman/ Smith, E. (2022, May 20). How Mimeographs Transformed Information Sharing in Schools. Technology Solutions That Drive Education . https://edtechmagazine.com/k12/article/2020/09/how-mimeographs-transformed-information-sharing-schools The Mimeograph Revolution | verdant press . (n.d.). https://verdantpress.com/checklist/3110-2/ Waugh, K. (n.d.). The Mimeo Revolution . Poet’s House. https://digitalcollections.poetshouse.org/digital-collection/chapbook-collection/mimeo-revolution Weber, G. (2021, May 3). How an obsolete copy machine started a revolution. Adventure . https://www.nationalgeographic.com/adventure/article/mimeo-mimeograph-revolution-literature-beat-poetry-activism Yankelevich, M. (2020, February 3). “Power to the people’s mimeo machines!” or the politicization of small press aesthetics . Poetry Foundation. https://www.poetryfoundation.org/featured-blogger/83551/power-to-the-peoples-mimeo-machines-or-the-politicization-of-small-press-aesthetics

Medieval heraldry, originally developed in 12th-century Europe, functioned as a complex system of visual identity. Initially created to distinguish individuals—particularly nobility—on the battlefield and in tournaments, heraldry evolved into a hereditary and legally significant tradition. These emblems, comprised of tinctures (colors), charges (symbols), and shield shapes, became early forerunners of modern branding and identity design. Although inspired by earlier forms such as seals and standards from antiquity, heraldry developed its own rules, vocabulary (blazon), and aesthetic logic, emphasizing contrast and clarity for distant visibility. Heraldic symbols adhered to strict conventions, such as the rule of tincture, and made extensive use of symbolic imagery—from lions and fleurs-de-lis to mythological creatures and geometric forms. Over time, the system expanded to include professionals, women, clergy, towns, and even fictional characters, thereby reinforcing the reach of heraldry across medieval culture. Scholars like Michel Pastoureau have recontextualized heraldry as a significant precursor to graphic and identity design, drawing parallels between medieval coats of arms and modern logos. Indeed, contemporary visual identities—such as university crests, sports team logos, and automotive emblems like Peugeot and Porsche—often draw directly from heraldic elements, both visually and symbolically. Heraldry’s enduring legacy highlights its importance not only as a historical artifact but as a foundational structure in the evolution of design, symbolism, and legal identity systems. Understanding heraldry thus offers critical insights into the roots of modern graphic communication. TIMELINE Ancient Times (Pre-Medieval) - Seals Used Across Civilizations: Used in Ancient Greece, Rome, China, and Mesopotamia, etc. for legal and practical identity purposes. 1066 – Norman Conquest of England 1066 – Bayeux Tapestry: Shows lance flags with charges, a possible early example of European heraldry. 1100s - First appearance of heraldic systems, first used by noble combatants 1180 - Women begin adopting arms, almond-shaped 1200s - Blazon Language Developed: Formalized system for describing coats of arms in writing. 1200 - Members of the clergy adopting arms 1220 - Patricians & Bourgeois adopting arms 1230 - Artisans begin adopting arms 1240 - Corporations begin adopting arms 1280s-1290s - Towns begin adopting arms 13th & 14th centuries - Religious communities adopt arms 14th & 15th Centuries - Printed Heraldry Appears: Woodblock and engraving techniques introduced. Hatching methods used to represent tinctures in black-and-white printing. 1484 — The College of Arms was created in England 1696 - Armorial Général was created as a registry of arms for taxation in France 18th Century - Some scholars dismiss the study of heraldry as outdated or meaningless 1722 - Alexander Nesbitt defends heraldry’s role in social identity. 1922 - Porsche created its first logo using heraldic imagery REFERENCES Anonymous. (n.d.). The Manual of Heraldry; Fifth Edition : Being a Concise Description of the Several Terms Used, and Containing a Dictionary of Every Designation in the Science . Project Gutenberg. Beerisyourfriend. (2013, March 13). Z is for zymurgical heraldry. BEER IS YOUR FRIEND. https://beerisyourfriend.org/2013/05/26/z-is-for-zymurgical-heraldry/ Boutell, C., Fox-Davies, A. C., & Utting, R. B. (1914). The Handbook to English Heraldry . Project Gutenberg. Carr-Gomm, S. (2005). The Hutchinson dictionary of symbols in art . Helicon. Gallo, G. (2023, October 4). Trinacria: meaning and history of the Sicilian Triskele . Giuseppe Gallo - Designer, Architect, Researcher. https://www.giuseppegallo.design/design-and-communication/meaning-and-history-of-the-sicilian-triskele/ Heraldry. (2018). In P. Lagasse & Columbia University, The Columbia Encyclopedia (8th ed.). Columbia University Press. Jackson, A. (2025, April 26). Decoding Porsche logo History, Meaning, and Symbolism . Designhill. https://www.designhill.com/design-blog/decoding-porsche-logo/ Keen, M. (2003, 03). Heraldry and the medieval gentle woman. History Today , 53, 21-27. Pierce, R. K. (2025, January 6). University shield and seal | University Marketing & Communications . University Marketing & Communications. https://marcomm.washu.edu/university-shield-seal/ Pettengill, B. (2013, August 13). Logo design 101: The coat of arms, crest and shield . https://www.marketing-partners.com/conversations2/logo-design-101-the-coat-of-arms-crest-and-shield Pastoureau, M. (1997). Discoveries: Heraldry. Harry N. Abrams. Pastoureau, M. (2009). Black : the history of a color (English language edition.). Princeton University Press. Pastoureau, M. (2014). Green : the history of a color . Princeton University Press. Pastoureau, M. (2017). Red : the history of a color (J. Gladding, Tran.). Princeton University Press. Pastoureau, M. (2018). Blue : the history of a color (M. Cruse, Tran.; First edition.). Princeton University Press. https://doi.org/10.1515/9780691251356 Pierce, R. K. (2025, January 6). University shield and seal | University Marketing & Communications. University Marketing & Communications . https://marcomm.washu.edu/university-shield-seal/ Sutherland, D. (2020). Arms and the Woman: the heraldry of women parliamentarians. In The Coat of Arms (pp. 61–90). https://www.theheraldrysociety.com/wp-content/uploads/2021/09/Sutherland-paper.pdf Thiry, S., & Duerloo, L. (2021). Heraldic Hierarchies : Identity, Status and State Intervention in Early Modern Heraldry . (1st ed.). Leuven University Press. Woodcock, T., & Robinson, J. M. (1988). The Oxford guide to heraldry.

Cuban graphic design emerges as a vibrant and politically charged art form, reflecting the resilience and creativity of designers amidst challenging circumstances. Through a comprehensive analysis of the evolution of Cuban posters, this research illuminates the innovative techniques, visual languages, and ideological foundations that characterize the era’s influence on graphic design. The study not only sheds light on the intricate interplay of art, politics, and culture in Cuba but also highlights the far-reaching influence of Cuban designers on global visual communication. Art itself is profoundly influenced by politics and social events, serving as a mirror to societal changes and a medium for expressionism in all forms. The political climate and social movements shape the themes and messages conveyed in artworks, reflecting issues important at the time. Posters become tools for activism, challenging power structures and advocating for change. They capture the emotional and psychological impacts of social events, fostering empathy and awareness. Through this dynamic interplay, graphic design not only documents but also influences public perception and dialogue, highlighting its integral role in both reflecting and shaping the socio-political landscape. By unraveling the threads of history, politics, and creativity within Cuban graphic design, this paper offers valuable insights into impact it had on a worldwide scale. Additionally, this episode examines the transformative power of Cuban poster design in graphic communication, shaping societal narratives and challenging established norms through its messaging. Ultimately, this exploration of Cuban graphic design serves as a compelling case study, enriching our understanding of the intricate connections between design, society, and cultural evolution. TIMELINE 1902 - Carteles magazine founded; early example of poster design in Cuba, primarily focused on advertising. 1900s–1950s - Posters used for public communication due to low literacy rates; emphasis on commercial advertising. 1933 - Revolt of the Sergeants overthrows Cuban government; Fulgencio Batista appoints himself military commander and becomes de facto leader. 1940 - Batista is elected President of Cuba. 1944 - Batista completes term and moves to Florida. 1952 - Batista returns to Cuba, leads a military coup, cancels elections, and declares himself president/dictator. 1950s - Batista’s regime marked by corruption, censorship, and repression; Cuban society suffers from severe inequality. 1959 - Fidel Castro overthrows Batista, marking a dramatic political and cultural shift in Cuba. 1959 - Cuban graphic design shifts from commercial to social and political messaging—literacy, public health, and motivation campaigns. 1959 - ICAIC (Instituto Cubano del Arte e Industria Cinematográficos) founded by Saúl Yelin and Alfredo Guevara. 1960 - ICAIC opens its own screen-printing workshop, ushering in the “golden age” of Cuban poster design. 1963–1982 - Antonio Reboiro works as a designer at ICAIC, opposing Socialist Realism and promoting creative freedom in revolutionary art. 1966 - OSPAAAL (Organization of Solidarity with the People of Asia, Africa, and Latin America) founded after the Tricontinental Conference. 1969 & 1971 - René Mederos travels to Vietnam to document the war; creates vivid poster series from firsthand experience. 1960s–1970s - OSPAAAL posters highlight international struggles, e.g., Lázaro Abreu’s “Solidarity with the African American People”; feature work by Emory Douglas of the Black Panther Party. Posters produced in multiple languages (Spanish, English, French, Arabic) and distributed via Tricontinental magazine. Posters focus on anti-imperialist solidarity, with themes supporting Vietnam, Black Americans, the Congo, and more. 1980s–2000s - Political and technological changes mark the decline of the golden age of Cuban poster art. REFERENCES Bardellotto, L., & De Mattio, P. (2016). Cinema in the Cuban graphics: posters from the Bardellotto Collection . Silvana. Cant, A. (2012). “Land for those who work it”: a visual analysis of Agrarian reform posters in Velasco’s Peru. Journal of Latin American Studies , 44(1), 1–37. Casals, M. (2020). Chilean! Is This How You Want to See Your Daughter? The Cuban Revolution and Representations of Gender and Family during Chile’s 1964 Anticommunist “Campaign of Terror.” Radical History Review , 136, 111–127. Celina. (2023, July 31). The Art of the Revolution will be Internationalist. Tricontinental: Institute for Social Research . https://thetricontinental.org/the-art-of-the-revolution-will-be-internationalist/ Corrigan, L. M. (2014). Visual rhetoric and oppositional consciousness: poster art in Cuba and the United States. Intertexts (Lubbock, Tex.), vol. 18, no. 1, 71–91. https://doi.org/10.1353/itx.2014.0006 Cushing, L. (2023). How Poster Art of the “Long 1960s” Fueled International Solidarity. Brown Journal of World Affairs , 29(2), 1–18. Cushing, L. (2003). Revolución!: Cuban poster art . Chronicle Books. Dwyer, M. (2016, September 27). Step Inside Cuba's Oldest Printmaking Studio. Smithsonian Magazine. https://www.smithsonianmag.com/travel/cuban-lithography-printmaking-tradition-culturaltravel-180960612/ Fleming, D. (2017). Art of solidarity: Cuban posters for African liberation 1967–1989. Museum Worlds , 5(1), 224-226. https://doi.org/10.3167/armw.2017.050118 Mage, Wohlforth, & Robertson. (1960). The Cuban Revolution and Marxist theory. Marxists.org . https://www.marxists.org/history/etol/document/icl-spartacists/cuba/cuba-mt.html Solidarity and design: An introduction to OSPAAAL · V&A. (n.d.). Victoria and Albert Museum . https://www.vam.ac.uk/articles/solidarity-and-design-an-introduction-to-ospaaal?srsltid=AfmBOorXvX_CHRG8XK75Sye76DTmDg2u1xbwDlILkYS9bmDCKhbFWEby Turner, N. (2017) "Hollywood in Havana: Five Decades Of Cuban Posters Promoting U.S. Films." Riot Material . https://www.riotmaterial.com/hollywood-havana-five-decades-cuban-posters-promotingus-films/ Uriarte, L. F. (2005). Modernity and postmodernity from Cuba. Journal of Design History, 18(3), 245–255. https://doi.org/10.1093/jdh/epi047

Underground newspapers of the 1960s and ’70s were central to the New Left and broader countercultural movements, serving as both platforms for dissent and vehicles of radical visual experimentation. Often dismissed by mainstream journalism due to their limited circulation, lack of professionalism, and overt bias, these publications were nonetheless vital expressions of political, social, and aesthetic resistance. Historian Bob Ostertag emphasizes the near inseparability of social movements and their press, yet notes the critical neglect of underground newspapers in historical scholarship. Emerging from earlier activist publications and enabled by accessible printing technologies like mimeograph and offset printing, underground newspapers eschewed editorial conventions, embracing experimental layouts, psychedelic imagery, and DIY production methods. Publications like The Los Angeles Free Press, Berkeley Barb, San Francisco Oracle, and East Village Other became iconic not just for their messages, but for their groundbreaking graphic design. These papers also served as training grounds for influential designers and illustrators such as Ron Cobb and Steven Heller, who valued the freedom of expression and anti-commercial ethos they offered. Movements beyond the New Left—including the Black Panther Party, Red Power, Chicano rights, Women’s Liberation, and Gay Liberation—each developed their own newspapers, forming a diverse ecosystem of radical print media. Through networks like the Underground Press Syndicate and Liberation News Service, these publications shared content and ideology, reinforcing solidarity across causes. The underground press is a rich, underappreciated chapter in both journalistic and design history—one where visual form and political function were deeply intertwined in the service of revolution. TIMELINE 1958 - The Realist was founded by Paul Krassner 1960s - Students for a Democratic Society (SDS) founded as part of the New Left 1964 - Los Angeles Free Press founded 1965 - Watts Riots 1965 - Fifth Estate newspaper founded, Detroit; Berkeley Barb newspaper founded, Berkeley; East Village Other newspaper founded, NYC 1965 - The Underground Press Syndicate (UPS) founded 1966 - San Francisco Oracle founded 1966 - Album, The Electric Newspaper, released by The East Village Other 1967 - Liberation News Service (LNS) founded 1968 - San Francisco Oracle ceases publication 1968 - The Freep published the names, addresses, and home telephone numbers of eighty undercover narcotics agents. 1969 - last national convention of Students for a Democratic Society (SDS) 1969 - The Chicano Press Association was formed 1970 - It Ain’t Me Babe was published by Berkeley Women’s Liberation 1970s - Freep purchased by Larry Flint 1973 - The Underground Press Syndicate (UPS) dissolved 1980 - Berkeley Barb newspaper ceases publication 1981 - Liberation News Service (LNS) dissolved 2011 - facsimile edition of the San Francisco Oracle published REFERENCES Guida, J. (2021). The East Village other. JSTOR Daily. https://daily.jstor.org/the-east-village-other/ Cobb, R. (2015). Cartoons. Roncobb.net Cohen, A. (1990). The San Francisco Oracle: A Brief History. Serials Review, 16(1), 13–46. Dreyer, T., Embree, A., Duncan, C., & Bishop, S. (2021). Exploring Space City!: Houston’s Historic Underground Newspaper . East Village other. (n.d.). https://nyujournalismprojects.org/eastvillageother/ Embree, A., Dreyer, T., & Croxdale, R. (2016). Celebrating the Rag: Austin’s iconic underground newspaper . Lulu.com. Fortin, J. (2020). Ron Cobb, 83, a Pioneer In Science Fiction Design. The New York Times , B7-. Glessing, R. (1970). The Underground Press in America . Heller, S. (2018, May 6). It was 50 Years Ago Today . . .. PRINT Magazine . https://www.printmag.com/daily-heller/50-years-ago-today-1960s-design/ Heller, S. (2022). Growing Up Underground: A Memoir of Counterculture New York . Kaplan, G. (2013). Power to the People: The Graphic Design of the Radical Press and the Rise of the Counter-Culture, 1964-1974 . University of Chicago Press. Kramer, D. J. (Ed.). (2023). Heads Together: Weed and the Underground Press Syndicate , 1965-1973. Edition Patrick Frey. McMillian, J. (2011). Smoking Typewriters: The sixties underground press and the rise of alternative media in America . Oxford University Press. Morley, M. (2019, March 7). The cost of free Love and the designers who bore It—Meet the women of psychedelic design. AIGA Eye on Design . https://eyeondesign.aiga.org/women-of-psychedelic-design/ Ostertag, B. (2007). People’s movements, people’s press: The Journalism of Social Justice Movements . Beacon Press. TRR. (2020, September 7). The feminist fandom of Trina Robbins. The Revolution (Relaunch) . https://therevolutionrelaunch.com/2020/08/02/the-feminist-fandom-of-trina-robbins/

In the aftermath of the Stonewall riots and amidst widespread societal hostility toward LGBTQ+ individuals, Drummer magazine emerged in 1975 as a bold act of resistance and cultural affirmation. Founded by John Embry and originally launched as a newsletter for the Homophile Effort for Legal Protection (H.E.L.P.), Drummer became a groundbreaking publication for gay men involved in leather and BDSM subcultures. Embry, joined by key figures like Jeanne Barney and later Jack Fritscher, used the magazine to amplify radical queer voices, confront law enforcement harassment, and explore taboo themes in sexuality and identity. Amid police raids, legal battles, and frequent censorship, Drummer served as both a creative outlet and a political statement. Fritscher’s tenure as editor from 1977–1979 marked the magazine’s heyday, transforming it into a hub for homoerotic art, fiction, and cultural commentary while expanding the image of gay masculinity through the lens of leather, kink, and alternative identities. Contributors like Robert Mapplethorpe, Tom of Finland, Judy Tallwing, and A. Jay helped shape the visual and ideological language of a community pushing back against mainstream repression. Despite internal tensions and external crackdowns, Drummer played a pivotal role in redefining gay identity beyond stereotypes, coining terms like “Bear,” documenting leather history, and celebrating gender diversity. Running until 1999, the magazine remains one of the most influential queer publications of the 20th century—an artifact of cultural defiance, artistic expression, and liberation politics that challenged both societal norms and gay assimilationist narratives. Its legacy continues to inspire queer publishing and sexual freedom movements today. TIMELINE 1962 – Cuban Missile Crisis 1963 – JFK assassinated 1986 – MLK assassinated 1969 – Stonewall Riots in NYC protesting police raids against the Stonewall Inn 1970 – Protest marches are held by LGBT people in NYC, SF, Chicago and LA and are considered the first pride parades in America 1972 – Watergate 1973- American Psychiatric Association declared homosexuality was not a mental illness 1974 – Nixon resigns 1978 – Harvey Milk, the first openly gay man to be elected to public office in CA is assassinated 1978 – Jim Jones shocked the world with the mass suicide of nearly 1,000 people in Jonestown, Guyana 1981 – Start of the AIDS crisis 1987 – First AIDS/HIV prevention drug approved by FDA, AZT (shown to markedly reduce transmission of HIV) 2003 – Lawrence v. Texas; struck down sodomy laws 2012 – Truvada, or PrEP, was approved for use by the FDA; this drug is for the prevention of the spread of HIV. 2015 – Gay marriage legal in USA REFERENCES Zinn, H. (2003). A People’s History of the United States . Harper Collins. New York. Allen Shapiro. lambiek.net. (2024, January 1). https://www.lambiek.net/artists/s/shapiro_allen.htm Blair, N., & Farber, J. (2023). Castro to Christopher: Gay streets of America 1979-1986 . powerHouse Books. Broverman, N. (2024, April 11). Gay fetish artist Rex has died-see some of his iconic work. Out Magazine . https://www.out.com/art/gay-fetish-artist-rex-died#rebelltitem1 Flanagan, M. (2017, September 24). BARchive :: When “drummer” came to town. Bay Area Reporter . https://www.ebar.com/story.php?ch=bartab&sc=leather-kink&id=249252 Fritscher, J. J., & Hemry, M. (2008). Gay San Francisco: Eyewitness drummer. Palm Drive Pub. Fritscher, J. (2020). Gay pioneers: HOW DRUMMER magazine shaped gay popular culture 1965-1999 . Palm Drive Publishing. Fritshcher, J. (1989). Pentimento for Robert Mapplethorpe. Drummer, (133), 8–15. https://jackfritscher.com/PDF/Mapplethorpe/Drummer133_Pentimento-Mapplethorpe.pdf Gates, A. (2025, January 10). Anita Bryant, whose anti-gay politics undid a singing career, is dead at 84. The New York Times. https://www.nytimes.com/2025/01/09/arts/music/anita-bryant-dead.html Jones, C. (2017). When we rise: My life in the Movement . Hachette Books. Meyer, R. (1990). Imagining Sadomasochism: Robert Mapplethorpe and the Masquerade of Photography. Qui Parle , 4(1), 62–78. http://www.jstor.org/stable/20685907 OKeeffe, K. (2019, February 23). The life, death and legacy of Robert Opel, the bisexual Oscar streaker. Advocate.com . https://www.advocate.com/arts-entertainment/art/2014/03/26/life-death-and-legacy-robert-opel-oscar-streaker Poole, C. (2020, May 13). Bill Ward (1927-1996). Guy Burch. https://www.guyburch.co.uk/?p=2662 Project, T. L. H. (2023, October 16). Jack Fritscher : Interview. THE LGBTQHP . https://www.lgbtqhp.org/post/jack-fritscher US DEPT OF JUSTICE. (2019, March 7). Hate crime laws. Civil Rights Division . https://www.justice.gov/crt/hate-crime-laws

Willi Smith (1948–1987) was a trailblazing Black fashion designer celebrated for redefining casual fashion through his visionary "Street Couture." Born in Philadelphia, Smith showed early artistic promise, working as an illustrator and studying at the Philadelphia Museum of College Art. He attended Parsons School of Design on scholarships and apprenticed with Arnold Scaasi before working for brands like Talbott and Digits, where he gained industry recognition. In 1976, Smith co-founded WilliWear Ltd. with Laurie Mallet, establishing a brand that fused affordability, inclusivity, and creativity. WilliWear became synonymous with groundbreaking fashion shows, featuring collaborations with artists like Christo and Jeanne-Claude and performance art elements such as costumes for Trisha Brown Dance Company and the Alvin Ailey American Dance Theater. Smith’s designs, known for their vibrant patterns, deconstructed silhouettes, and unisex appeal, challenged the exclusivity of high fashion, earning him a Coty American Fashion Critics’ Winnie Award in 1983. Smith's influence extended beyond fashion, touching theater, dance, and public art. He designed workers’ uniforms for Christo’s large-scale installations and costumes for Spike Lee's School Daze and Marvel’s Spider-Man. Despite his success, Smith faced personal and professional challenges, including health struggles. Tragically, he died in 1987 from AIDS-related complications, leaving an indelible mark on the fashion world. Posthumously honored with exhibitions, memorials, and accolades like Willi Smith Day, his legacy remains a testament to his innovative spirit and commitment to democratizing fashion. TIMELINE 1948 – Willi Smith was born on February 29th in Philadelphia, Pennsylvania. 1963 – Smith attends Jules E. Mastbaum Technical High School in Philadelphia and begins his first job as an illustrator for Prudence and Strickler's dress shop. 1964 – Smith takes a class in fashion illustration at the Philadelphia Museum of College Art. 1965 – Designer Arnold Scaasi hired Smith as an apprentice. 1965 – Smith enrolled in the fashion designer program at Parsons School of Design. 1967 – Smith leaves Parsons and meets artist and future collaborations Christo and Jeanne-Claude. 1968 – Smith designs for fashion company Talbott, Bobbie Brooks, Mr. Thompson, and Personal Sportswear before joining Glenora Juniors. 1969 – Fashion executives Franklin Trigg and Irving Yanous create junior sportswear label Digits; Smith resigns from Glenora and becomes lead designer for Digits 1970 – Smith meets future WilliWear business partner Laurie Mallet; Digits forms the new lower price-point division Syllables, making Smith the lead designer. 1971 – Smith hires Mallet as his design assistant at Digits 1972 – Smith was nominated for the Coty American Fashion Critics’ Winnie Award, and Digits presented its first runway show. 1973 – Smith begins designing for Butterick Patterns and designs costumes for dancer-choreographer Dianne McIntyre’s composition The Lost Sun. 1974 – Smith forms Willi Smith Designs, Inc. with his sister Toukie Smith and Rivera-Terreaux. 1976 – Smith and Mallet form WilliWear Ltd. 1978 – The first WilliWear runaway show takes place at Holy Solomon Gallery with a spring collection influenced by nautical uniforms and Southeast Asian dress; WilliWear opens a new showroom at 62 West 39th Street. 1979—Black designers Arthur McGee, Jeffrey Banks, Carl Davis, Jay Jaxon, Kevin Thompson, Robert Miller, and Smith are honored with a fashion show at the Fashion Institute of Technology. 1980 – WilliWear’s fall collection is presented at the Alvin Ailey American Dance Theatre with Ailey dancers as models. 1981 – The Black Fashion Museum organizes the exhibition Bridal Gowns of Black Designers. 1982—Smith participated in a group exhibition at P.S. 1 with fashion designers Cathy Hardwick, Michele Lamy, Corrine Guibert, and Regina Kravitz and presented the installation Art as Damaged Good. 1982—Architecture and environmental arts studio SITE designs the WilliWear showroom at 209 West 38th Street. 1983 – Smith is awarded the Coty American Fashion Critics’ Winnie Award for womenswear,. 1984 – Smith and Mallet establishes a new division of WilliWear called WilliWear Productions, selling mass-produced clothing designed by artist. 1985 – Dean Alexander begins to design WilliWear promotional graphics; Smith designs workers’ uniforms for Christo and Jeanne-Claude’s PontNeauf Wrapped in Paris, France. 1986 – WilliWear grosses more than $25 million 1987 – Working with costume designer Ruth E. Carter, Smith designs homecoming court gowns for Spike Lee’s film School Daze; Smith designs Mary Jane’s wedding dress for Marvel’s Amazing Spider-Man. 1987 – Smith dies at Mount Sinai Hospital on April 17th from AIDS-related complications; Smith’s funeral is held at Frank E. Campbell Funeral Chapel on April 20; Parsons hold a memorial service in Smith’s honor. 1988—Mayor David Dinkins proclaims Feb. 23 Willi Smith Day; 1989 – Andre Walker Becomes the lead designer for WilliWear. 1990 – WilliWear closes its womenswear operations and files for bankruptcy. 1996 – T.J. Maxx releases a Willi Smith collection manufactured by Nash International under the license given by the Pressman family and Laurie Mallet. REFERENCES Activism . (2016). Black Fashion Designers - The Museum at FIT. Retrieved August 5, 2025, from https://exhibitions.fitnyc.edu/black-fashion-designers/?url=gallery-activism. Barry, J. (2025). Judith Barry on Willi Smith and Polydisciplinary Magnetism – Art, Culture, and Technology (ACT) . Mit.edu. https://act.mit.edu/2020/08/congratulations-to-the-class-of-2020/ Barry, J., Krishnamurthy, P., & Young, F. (2025). Polydisciplinary Magnetism — Willi Smith Community Archive . Cargo.site. https://willismitharchive.cargo.site/Polydisciplinary-Magnetism/ Bullock, M. (2019). Michael Bullock | WILLI SMITH . Michaelbullock.nyc. https://michaelbullock.nyc/volumes/journalism/space-explorer Bullock, M. (2020). How SITE and The Late Fashion Designer Willi Smith Brought The Street Into The Showroom . Pinupmagazine.org. https://archive.pinupmagazine.org/articles/article-williwear-site-showroom-michael-bullock#15 Burholt, E. (2020, December 1). 1948-1987 – Willi Smith | Fashion History Timeline . Fashionhistory.fitnyc.edu. https://fashionhistory.fitnyc.edu/1948-1987-willi-smith/ Cameron, A. C. (2020, January 14). Willi Smith: Street Couture | Cooper Hewitt, Smithsonian Design Museum . Cooper Hewitt Smithsonian Design Museum. https://www.cooperhewitt.org/publications/willi-smith-street-couture/ Comita, J. (2020, January 28). How Will Designer Willi Smith Be Remembered? W Magazine. https://www.wmagazine.com/fashion/willi-smith-street-couture-alexandra-cunningham-cameron Duncan, F. A. (2020, March 12). Willi Smith Glowing Up History . Cultured Mag. https://www.culturedmag.com/article/2020/03/12/willi-smith-glowing-up-history/ Elan, P. (2020, June 8). Willi Smith remembered: the designer who introduced streetwear to the catwalk . The Guardian. https://www.theguardian.com/fashion/2020/jun/08/willi-smith-williwear-african-american-streetwear-catwalk Fashion — Willi Smith Community Archive . (2025). Cargo.site. https://willismitharchive.cargo.site/Fashion Hill, R. P. (2021, February 1). Fashion Culture | Willi Smith: The Creative Intersection of an American Genius . E D G E. https://edgexpo.com/2021/02/01/fashion-culture-willi-smith-the-creative-intersection-of-an-american-genius/ Introduction. (2016). Black Fashion Designers - The Museum at FIT. Retrieved August 5, 2025, from https://exhibitions.fitnyc.edu/black-fashion-designers/?url=gallery-activism. Jacobs, L. (2021, Jun 14). Arts in review -- exhibition review: Street-smart and worldly wise. Wall Street Journal Lisby, D.-J. (2022, April 6). Willi Smith - The Fashion and Race DatabaseTM . Fashion and Race. https://fashionandrace.org/database/willi-smith/ Mayers, C. (2020, October 29). How designer Willi Smith originated the street and high fashion crossover . I-D.co; i-d.co. https://i-d.co/article/fashion-history-of-willi-smith-the-1980s-fashion-designer-behind-williwear/ Nylander, L. (2020, August 1). Willi Smith Is The Streetwear Genius You Need To Know About . British Vogue. https://www.vogue.co.uk/fashion/article/willi-smith Pastor, J. (2013). WilliWear New Wave Graphics — Willi Smith Community Archive . Cargo.site. https://willismitharchive.cargo.site/WilliWear-New-Wave-Graphics Pastor, J. (2020, June 15). Radical Retail | Cooper Hewitt, Smithsonian Design Museum . Cooper Hewitt Smithsonian Design Museum. https://www.cooperhewitt.org/2020/06/15/radical-retail/ Perkins, W. (2020). Willi Smith: Swervin’ in the Kingdom of Dreams — Willi Smith Community Archive . Cargo.site. https://willismitharchive.cargo.site/Willi-Smith-Swervin-in-the-Kingdom-of-Dreams Shupe, D. (2020, July 19). Remembering Willi Smith . Deirdre. https://deirdreccc.com/remembering-willi-smith/ Singh, R. (2017, February 17). Fashion Flashback: Willi Smith . CFDA. https://cfda.com/news/fashion-flashback-willi-smith/ Steele, K. (2020). Willi Smith . Steeleindustry.com. http://www.steeleindustry.com/willi/index.html Stoppard, L. (2021, February 25). Why the Visionary Designer Willi Smith Is More Relevant Than Ever . Aperture. https://aperture.org/editorial/why-the-visionary-designer-willi-smiths-work-is-more-relevant-than-ever/ Street, M. (2021, February 22). How Game-Changing Fashion Designer Willi Smith Reshaped the Way the World Dresses . Robb Report. https://robbreport.com/style/fashion/willi-smith-streetwear-1234597982/ 'Style over status': Culture | as a new exhibition about streetwear pioneer willi smith opens in new york, curator alexandra cunningham cameron explains why his individuality deserves to be remembered [europe region]. (2020, Mar 07). Financial Times. Tashjian, R. S. (2020, 04). Design Within Reach: Rachel Seville Tashjian on Willi Smith. Artforum International, 58. Willi Donnell Smith | Encyclopedia.com . (2018). Encyclopedia.com. https://www.encyclopedia.com/people/literature-and-arts/fashion-biographies/willi-donnell-smith Willi Smith | Parsons School of Design . (2020). Newschool.edu. https://www.newschool.edu/parsons/profile/willi-smith/ Willi Smith Community Archive . (n.d.). Willismitharchive.cargo.site. https://willismitharchive.cargo.site

This podcast episode delves into the critical role women have played in shaping the magazine industry through design, editorial leadership, and cultural influence. While season one spotlighted individual designers, this episode zooms out to explore the broader impact women have had on magazine evolution—from early European publications to today’s digital formats. It traces how magazines shifted from reinforcing traditional gender roles to becoming empowering platforms, thanks to figures like Sarah Josepha Hale, Cipe Pineles, Bea Feitler, and Ruth Ansel, who revolutionized both visual style and editorial voice. The episode also highlights the contributions of Black women in publishing, who created their own magazines to amplify underrepresented voices and foster community. Today, designers like Jessica Walsh, Gail Bichler, and Gail Anderson continue this legacy, using bold visuals and innovative technology to push boundaries and expand representation. Through storytelling, activism, and artistry, women have transformed magazines into platforms for cultural commentary and social change—proving that their creativity and leadership are essential to the industry’s past, present, and future. TIMELINE 1663-1668 - First magazine-like publication (Erbauliche Monaths-Unterredungen) 1693 - First magazine for women created (Athenian Mercury) 1731 - Term “Magazine” first used in the The Gentleman's Magazine 1770 - The Lady’s Magazine began 1830 - Godey’s Lady’s Book , an American magazine for women, was started by a man named Louis A. Godey 1832-1852 - The Ladies’ Cabinet was created and sold 1855 - Photolithography is invented 1870-1927 - The Woman’s Journal , which would eventually merge with The Woman Citizen , was released in Boston 1885 - Good Housekeeping first published 1891-1894 - Ringwood’s Afro-American Journal of Fashion Magazines were published and distributed 1899 - The Saturday Evening Post printed the first full-page illustrated cover 1916-1925 - Half-Century Magazine was created and distributed 1920 - Women were granted the right to vote 1932-1935 - Cipe Pineless works as assistant art director for Conde Nast 1945 - Ebony Magazine was first published 1954 - Dorothy Dandridge was the first black woman on a mainstream magazine cover 1961 - Bea Feitler is hired at Harper’s Bazaar 1965 - Bea Feitler and Ruth Ansel release famous cover of Jean Shrimpton for Harper's Bazaar 1974 - Ruth Ansel becomes the first female art director and the New York Times Magazine REFERENCES 2008 AIGA medalist: Gail Anderson . (n.d.). AIGA. Retrieved July 20, 2025, from https://www.aiga.org/membership-community/aiga-awards/2008-aiga-medalist-gail-anderson Burkhalter, N. (1996). Women’s magazines and the suffrage movement: Did they help or hinder the cause? Journal of American Culture , 19 (2), 13–24. https://doi.org/10.1111/j.1542-734x.1996.1902_13.x Clair, C. (1969). A chronology of printing . Weidenfeld & Nicolson. Ed.D., G. M. (2024, March 1). Women’s History Month: The Life of Dorothy Dandridge . Benicia Magazine. https://www.beniciamagazine.com/womens-history-month-the-life-of-dorothy-dandridge/ Ellis, E., Golden, C. P., & Fripp, C. B. (2005). Cipe Pineles: Two remembrances . RIT Cary Graphic Arts Press. Eye Magazine . (n.d.). Eye Magazine. Retrieved July 20, 2025, from https://www.eyemagazine.com/feature/article/reputations-gail-bichler Ferguson, M. (1983). Forever feminine: Women’s magazines and the cult of femininity . Heinemann Educational Books. Forster, L. (2015). Magazine movements: Women’s culture, feminisms and media form . Bloomsbury Publishing USA. history of publishing . (n.d.). Encyclopedia Britannica. Retrieved July 20, 2025, from https://www.britannica.com/topic/publishing/additional-info McCracken, E. (1993). Decoding Women’s Magazines: From mademoiselle to Ms . Osei-Hwere, E., & Osei-Hwere, P. (n.d.). History of magazine publishing . Media Communication, Convergence and Literacy. Retrieved July 20, 2025, from https://oer.pressbooks.pub/mediacommunication/chapter/history-of-magazine-publishing/ Rooks, N. M. (2004). Ladies’ pages: African American women’s magazines and the culture that made them . Rutgers University Press. Sperandio, A. T., & Bouadana, S. (2010). Ruth Ansel: art direction. Creative Review (London, England) , 30 (5), 28–36. The Luupe . (n.d.). Jessica Walsh on Building Her Own Design Studio and Breaking Clichés. Retrieved July 20, 2025, from https://studio.theluupe.com/blog/jessica-walsh-on-building-her-own-design-studio-and-breaking-cliches Thomson, E. M. (1994). Early Graphic Design Periodicals in America. Journal of Design History , 7 (2), 113–126. https://doi.org/10.1093/jdh/7.2.113

Between 1557 and 1561, a group of women at the convent Santa Maria Maddalena alla Giudecca, known as The Convertite on Giudecca island in Venice ran one of the earliest female operated printing presses in early modern Europe. Unlike other women printers of the time – often widows inheriting their husbands’ shops – these women worked collectively from within an enclosed convent. They were not noblewomen or scholars, but former sex workers, concubines and social outcasts, admitted to the convent precisely because they did not meet society’s ideals of chastity. They lived in poverty and they laboured out of necessity. They printed at least twenty-five titles in Latin and the Venetian dialect, including works authored by medieval visionaries and unknown women. I make a case that these women used typography not just to reproduce words in print, but as a way to remake their subjectivity. Their printing practice was physical, spiritual, and deeply embodied. Their work reveals how books are shaped not only by ideas, but by rituals, and bodies. One of their prints still bears the trace of a single strand of hair – caught between type and paper – a quiet archival witness to their presence. Almost entirely overlooked in mainstream design history, the Convertite’s press offers a radically different story; one where women laboured under restriction and violence, but still found ways to produce, preserve, and participate. Their story is not one of genius or invention, but of resilience, survival, and the printed works they left behind. Content warning: this episode contains references to violence, sexual abuse and rape. Please take care while listening. TIMELINE 1542 – Fourteen women enter the newly founded Convertite convent in Giudecca, Venice 1551 – Nuns granted permission to profess vows under the Rule of St Augustine 1557 – Convertite nuns begin operating a printing press; 2 editions printed 1558 – 5 editions printed 1559 – 10 editions printed; some sold at the Alla Speranza bookshop in Campo Santa Maria Formosa 1560 – 7 editions printed 1561 – 1 edition printed; marks the end of the press’s activity 1561 (6 Nov) – Rector Pietro Leon da Valcamonica sentenced to death by the Council of Ten for rape and abuse of more than 20 nuns 1561 (10 Nov) – Valcamonica executed in Piazza San Marco; printing operations cease Early 1800s – Monastery suppressed by Napoleon and converted into a military prison Mid-1800s – Building transformed into a women’s prison 2024 – Con i miei occhi , the Holy See’s pavilion for the 60th Venice Biennale, opens to the public at Casa di Reclusione Femminile, the former site of the Convertite convent REFERENCES Apostolos-Cappadona, D. (2023). Mary Magdalene: A Visual History . Bloomsbury Publishing. Barbieri, E. (2011). Per monialium poenitentium manus”. La tipografia del monastero di Santa Maria Maddalena alla Giudecca, detto delle Convertite (1557-1561). La Bibliofilía , 113 (3), 303-354. http://www.jstor.org/stable/26198930 Bartlett, R. (1994). Symbolic Meanings of Hair in the Middle Ages. Transactions of the Royal Historical Society , 4 , 43-60. https://doi.org/10.2307/3679214 Brown, P. F. (2004). Private Lives in Renaissance Venice: Art, Architecture, and the Family . Yale University Press. Bynum, C. W. (1991). Fragmentation and Redemption: Essays on Gender and the Human Body in Medieval Religion . Zone Books. https://www.zonebooks.org/books/53-fragmentation-and-redemption-essays-on-gender-and-the-human-body-in-medieval-religion Chambers, D. S., Fletcher, J., Pullan, B. S., & America, R. S. (2001). Venice: A Documentary History, 1450-1630 . University of Toronto Press. Chow, K.-w. (2007). Reinventing Gutenberg Woodblock and Movable-Type Printing in Europe and China. In S. A. Baron, E. N. Lindquist, & E. F. Shevlin (Eds.), Agent of Change (pp. 169-192). University of Massachusetts Press. http://www.jstor.org/stable/j.ctt5vk8sv.14 Elliott, D. (2010). Flesh and Spirit: The Female Body. In (pp. 13-46). https://doi.org/10.1484/M.BCEEC-EB.3.2618 Feher, M., Naddaff, R., & Tazi, N. (1989). Fragments for a History of the Human Body . Zone. Littau, K. (2006). Theories of Reading: Books, Bodies, and Bibliomania . Polity Press. McGough, L. (2010). Gender, Sexuality, and Syphilis in Early Modern Venice: The Disease that Came to Stay . Palgrave Macmillan UK. McGough, L. J. (1997). "Raised from the devil's jaws": A convent for repentant prostitutes in Venice, 1530-1670 . Northwestern University. McKenzie, D. F. (1999). Bibliography and the sociology of texts . Cambridge University Press. https://doi.org/10.1017/CBO9780511483226 McKenzie, D. F., McDonald, P. D., & Suarez, M. F. (2002). Making Meaning: "Printers of the Mind" and Other Essays . University of Massachusetts Press. Moreton, M. N. (2013). "Scritto di bellissima lettera": nuns' book production in fifteenth and sixteenth-century Italy. https://doi.org/10.17077/etd.l282y0od Muir, E. (1997). Ritual in Early Modern Europe . Cambridge University Press. Peckham, M. (1971). Reflections on the Foundations of Modern Textual Editing. In J. Katz. (Ed.), Proof: The Yearbook of American Bibliographical and Textual Studies 1 (pp. 122-155). University of South Carolina Press. Richardson, K. (2021). Roma in the Medieval Islamic World. Roma in the Medieval Islamic World , 1-256. Vervliet, H. D. L. (2008). The Palaeotypography of the French Renaissance: Selected Papers on Sixteenth-century Typefaces . Brill.

Kustom Kulture is the name for a subcultural movement from the 1950s and 60s in America. This movement included souping up cars to create hot rods and customizing cars into unique one-of-a-kind creations. These custom cars were an identity for the, usually, men that drove them. This movement has been called a distinctly masculine movement and is said to have died out when Detroit car manufacturers started appropriating elements from both rods and customs into mainstream-designed cars. Yet this unique phenomenon produced many visual elements that are still popular today, including graphics such as flames, lettering, and demented-looking characters often called weirdos. Perhaps the king of the weirdos was a character known as Rat Fink, who represented the antithesis of Mickey Mouse, created by pinstriper, painter, and custom car maker Ed “Big Daddy” Roth. Other custom car legends include George Barris, Von Dutch, Dean Jefferies, and Robert William. While the phenomenon was indeed short-lived it has left a lasting impression on American culture and graphic design. Crab claw Flames, funky lettering, flying eyeballs, and demented characters are still popular today as are offshoots such as lowbrow art or pop-surrealism. TIMELINE 1925 - George Barris born 1929 - Kenneth Robert Howard, Known as Von Dutch born 1932 - Ed Roth Born 1933 - Dean Jeffries born 1948 - Von Dutch drew his first flying eyeball 1948 - Hot Rod Magazine is published 1950s-1960s - Flake Paint popularized 1953 - Barris Customs designs the Hirohata Merc 1953 - Car Craft Magazine is published 1955 - Dean Jeffries paints “Little Bastard” on James Dean’s Porsche Spyder 1961 - Beatnik Bandit designed by Roth 1963 - "There Goes (Varoom! Varoom!) That Kandy-Kolored (Thphhhhhh!) Tangerine-Flake Streamline Baby (Rahghhh!) Around the Bend (Brummmmmmmmmmmmmmm)…" by Tom Wolfe published in Esquire 1964 - Orbitron designed by Roth 1965 - Road Agent designed by Roth 1968 - Beatnik Bandit is cast as a model car (either by Hot Wheels or Revell) 1970s - Odd Rods stickers designed by B.K. Taylor debut 1992 - Kenneth Robert Howard, Known as Von Dutch dies 1994 - Juxtapoz magazine founded (by Robert Williams et al.) 2001 - Ed Roth Dies 2013 - Dean Jeffries Dies 2015 - George Barris dies REFERENCES Adamson, G. (2021). Craft: an American History. Bernsau, T. (2022, February 8). The Once-Lost Hirohata Merc built by Barris Kustom heads to auction. MotorTrend . https://www.motortrend.com/features/hirohata-merc-mecum-auctions-kissimmee-2022/ Bernsau, T. (2021, August 3). Traditional Hot Rod Flames: Details + Photo Gallery from Back to the ’50s. MotorTrend . https://www.hotrod.com/features/hot-rod-flames-back-to-the-50s/ DeWitt, J. (2002). Cool Cars, High Art: the rise of kustom kulture . Ganahl, P. (2003). Ed “Big Daddy” Roth: His Life, Time, Cars, and Art . Cartech. https://www.jalopyjournal.com/ Kuersteiner, K. (2012). Ed “Big Daddy” Roth, The Architect of Odd Rods . The Wrapper. https://thewrapper.tripod.com/RatFink.html Kustomrama.com Lowey, I., & Prince, S. (2014). The Graphic Art of the Underground . Martinez, R. (2015, December 5). From Pop Surrealism to Lowbrow - Something Got Lost in Translation. Widewalls. https://www.widewalls.ch/magazine/pop-surrealism-lowbrow Parliament, I. C. (2008). Kustom Graphics: Hot Rods, Burlesque and Rock “n” Roll. Korero Books. Parliament, I. C. (2010). Kustom Graphics 2: Hot Rods, Burlesque and Rock “n” Roll. Korero Books. Roth, E., & Kusten, H. (1992). Confessions of a Rat Fink: The Life and Times of Ed “Big Daddy” Roth . Surrealism Today. (2023, April 26). The Lowbrow Art Movement: Ultimate Guide to pop Surrealism - Surrealism Today. https://surrealismtoday.com/lowbrow-art-movement-pop-surrealism/#:~:text=Lowbrow%2C%20also%20known%20as%20pop,evocative%2C%20and%20often%20controversial%20works .

Jackie Ormes, an African-American cartoonist from Pennsylvania, was born on August 1st, 1911. Her father, William Winfield Jackson, owned and operated a printing business, and her mother, Mary Brown Jackson, was a homemaker. As a teenager, Jackie published her first comics in her school’s yearbook as Monongahela High School’s Yearbook arts editor. After graduating, she worked as a proofreader for the Pittsburgh Courier, an African American newspaper. This is also where she starts her first comic strip with “Torchy Brown in Dixie to Harlem.” After being with the Pittsburgh Courier, she moved to Chicago and became a journalist and special assignment reporter. She would later return to the Courier and make her most well-known comic strip, “Patty Jo `n’ Ginger. The strip was about a stylish and sarcastic little girl who offered commentary to political and sociological commentary to her older sister, Ginger. The comic strip was so popular that Ormes created and produced the Patty Jo dolls. The dolls were the first African American girl dolls to include an extensive wardrobe and break the norms of African American girl dolls being depicted from racist stereotypes. Jackie Ormes would also create her last comic strip, Torchy Brown, Heartbeats, for the Pittsburgh Courier. Toward the end of her career, she dedicated her time to giving back to the Chicago community and painting murals and portraits. Jackie Ormes's career is a trailblazer in vocalizing social and political injustices through the lens of being an African American woman. TIMELINE 1911 – Born Zelda Jackie Jackson in Pittsburgh, Pennsylvania 1929-1930 – Arts Editor for the Monogahela High School Yearbook 1930 – Graduated from Monongahela High School 1930-1937 – Worked for the Pittsburgh Courier 1937-1938 – Torchy Brown in Dixie to Harlem comic strip 1942-1945 – Worked for the Chicago Defender 1945-1945 – Candy comic strip 1945-1956 – Went back to work for the Pittsburgh Courier 1945-1956 – Patty Jo ‘n” Ginger comic strip 1947-1949 – Patty Jo doll series 1948-1958 – Investigated by the FBI 1950-1954 – Torchy Brown, Heartbeats comic strip 1956 – Retired from cartooning 1985 – Died in Chicago 2014 – Inducted into the National Association of Black Journalists 2018 – Inducted into the Will Eisner Comic Industry Hall of Fame REFERENCES Ashawnta_Jackson. (2022). The groundbreaking work of Jackie Ormes. JSTOR Daily . https://daily.jstor.org/the-groundbreaking-work-of-jackie-ormes/ Blackartstory.org Editors. (2020, September 1). Profile: Jackie Ormes (1911-1985). Black Art Story . https://blackartstory.org/2020/09/01/profile-jackie-ormes-1911-1985/ Jackie Ormes: The First African American Woman Cartoonist - biography from University of Michigan Press. (n.d.). https://www.jackieormes.com/ Jenkins, E. (2009). [Review of JACKIE ORMES: The First African American Woman Cartoonist, by N. Goldstein]. American Studies , 50(1/2), 218–219. http://www.jstor.org/stable/41057260 McGurk, C. (2013, February 22). Found in the collection: Jackie Ormes! (1911-1985) | Billy Ireland Cartoon Library & Museum Blog. https://library.osu.edu/site/cartoons/2013/02/22/found-in-the-collection-jackie-ormes-1911-1985/ Norris, K. (2008, July 29). Comics Crusader: Remembering Jackie Ormes. NPR . https://www.npr.org/2008/07/29/93029000/comics-crusader-remembering-jackie-ormes Onion, R. (2013, August 13). Fifty Years Before Boondocks There Was Patty-Jo ‘n’ Ginger. Slate Magazine . https://slate.com/human-interest/2013/08/patty-jo-n-ginger-the-ground-breaking-african-american-cartoon-of-the-1940s.html Seaman, D. (2008, February 1). Jackie Ormes: The First African American Woman Cartoonist. Booklist , 104(11), 22. https://link.gale.com/apps/doc/A174747902/LitRC?u=edmo56673&sid=summon&xid=fe888f06 Teutsch, M. (2018, January 8). Cartoonist Jackie Ormes’ commentary on Black life. AAIHS - African American Intellectual History Society . https://www.aaihs.org/cartoonist-jackie-ormes-commentary-on-black-life/ Woodford, J. (2208) Review of Jackie Ormes: A Great Cartoonist Finally Gets Her Due, by Nancy Goldstein. The Black Scholar 38, no. 2/3 , 54–60. http://www.jstor.org/stable/41069980 .

Tove Jansson (1914–2001) was a pioneering Finnish artist whose multifaceted career spanned painting, illustration, cartooning, and literature. Best known internationally for her creation of the Moomins , whimsical troll-like characters who first appeared in books and later in globally syndicated comic strips, Jansson’s legacy bridges the divide between “high” fine art and “low” commercial illustration. Born into an artistic family, Jansson was deeply influenced by her mother, a prolific illustrator and graphic designer. Her early work, particularly for the satirical magazine Garm , sharpened her skills in political commentary and visual storytelling. Despite Finland’s progressive stance on women’s rights, Jansson navigated a male-dominated art world and struggled with societal constraints around gender, sexuality, and artistic legitimacy. Her Moomin stories subtly coded themes of queer identity, feminist resistance, and nonconformity, often drawing from her own relationships and experiences. Characters like Thingumy and Bob, Too-ticky, and Sorry-oo represent fluid identities and hidden desires, reflecting Jansson’s own coded expressions of love and selfhood during a time when homosexuality was criminalized. TIMELINE 1914 – Born August 9th, in Helsinki Finland 1928 – Wrote and illustrated her first book 1929 to 1953 – Tove Jansson worked as an illustrator and cartoonist for the Swedish-language satirical magazine Garm 1930–1933 – studied at the University College of Arts, Crafts and Design in Stockholm (Tekniska Konsthantverksskolan) 1933–1937 – studied at the Graphic School of the Finnish Academy of Fine Arts 1935 – starts making Moomintroll paintings 1938 – studied at L'École d'Adrien Holy and L'École des Beaux-Arts in Paris 1943 – first solo exhibit; first Moomin-like character featured in Garm Magazine 1945 – Her first story, The Moomins and the Great Flood, is published 1952 – Awarded Svenska Dagbladet’s Literary Prize 1954 – The world’s largest newspaper – London’s The Evening News – starts to publish the Moomin comic strip. 1958 – Awarded Prize by the Swedish Literature Society in Finland 1959 – The first Moomin theatre play, Moomins on Stage, premieres; The first Moomin television series, a puppet animation, is aired in Germany 1966 – She received the Hans Christen Andersen Award 1969 – The Swedish TV produces a series called Mumintrollet; Fuji TV Zuiyo Enterprises produces an animated Moomin series in Japan 1969-1973 – Serves on the board of Finnish Authors’ Society 1970 – the last Moomin novel, Moominvalley in November, is published 1974 – The Moomin Opera premieres in Helsinki 1976 – Awarded Polish Order of the Smile 1980 – Awarded “Dunce’s Hat” by the Finnish Comic Strip Society (together with her brother Lars) 1993 – The theme park Moominworld opens its doors in Naantali, Finland. 2001 – Died June 27th 2017 – The world’s only purpose-built Moomin Museum with original artwork opens at Tampere Hall 2019 – The new animated Moominvalley TV series premieres worldwide, blending animation techniques REFERENCES Classon Frangos, M. (2021). Feminist and queer aesthetics in Tove Jansson’s Moomin comics. In K. Beers Fägersten, A. Nordenstam, L. Romu, & M. Wallin Wictorin (Eds.), Comic Art and Feminism in the Baltic Sea Region: Transnational Perspectives (1st ed., Vol. 1) (pp. 151-166). Routledge. https://doi.org/10.4324/9781003039402 Bergroth, Bardy, Aleksi, Reuter, Andrea, & Helsinki filmi , production company. (2020). Tove . Forth, J. (2023, June 27). The secret message in Mymble’s name – queer themes in Tove Jansson’s life and work part 2 . Moomin. https://www.moomin.com/en/blog/the-secret-message-in-mymbles-name-queer-themes-in-tove-janssons-life-and-work-part-2/#b9a205d3 Gravett, P. (2022). Tove Jansson: The Illustrators. Thames & Hudson. Hahn, D. (Ed.). (2015). Moomin family. In The Oxford Companion to Children’s Literature (2nd ed.). Oxford University Press, Inc. https://search.credoreference.com/articles/Qm9va0FydGljbGU6NDgwNDMxNQ==?aid=103048 James, E. (2020). Tove Jansson’s Genius: The radical imagination that built the visionary world of the Moomins. The Yale Review , 108(2), 192–201. https://doi.org/10.1111/yrev.13648 Jones, W. G. (1984). Tove Jansson . Boston : Twayne Publishers. Karjalainen, T. (2014). Tove Jansson: Work and Love . Particular Books. Kira. (2025, June 24). Tove Jansson’s gay legacy – queer content on Moomin.com . Moomin. https://www.moomin.com/en/blog/tove-janssons-gay-legacy/#3433721a Nikolajeva, M. (2015). jansson, tove (1914–2001). In J. Zipes (Ed.), The Oxford Companion to Fairy Tales (2nd ed.). Oxford University Press, Inc. https://search.credoreference.com/articles/Qm9va0FydGljbGU6NDgxMDQ2Mw==?aid=103048 Salisbury, M. (2017). The illustrated dust jacket , 1920-1970. Thames & Hudson. Sicardi, A. (2019). Queer Heroes: Meet 53 LGBTQ Heroes From Past and Present! Wide Eyed Editions. Stonewall. (2024, September 25). A short history of the word ‘bisexuality.’ https://stonewall.org.uk/about-us/news/short-history-word-bisexuality#:~:text=In%201859%2C%20anatomist%20Robert%20Bentley,sometimes%20in%20the%20same%20texts . Tove Jansson. (2024, April 12). Tove Jansson • Author and artist who created the Moomin s. https://tovejansson.com/

REFERENCES Tucker, I. (Ed.)(2018). FF DOT: The pixel art of final fantasy . Dark Horse Books. Hendrix, G. (2017). Paperbacks from hell: The twisted history of ‘70s and ‘80s horror fiction . Quirk Books. Chatziioannou, A. (2023). From ants to zombies: Six decades of video game horror . Bitmap Books. Gianni, G. (2017). Gary gianni’s monstermen and other scary stories . Dark Horse Books. Kochman, C. (Ed.)(2012). Mars attacks . Abrams ComicArts. Vallejo, D. (2000). The art of rowena . Paper Tiger. Voger, M. (2015). Monster mash: The creepy, kooky monster craze in America 1957-1972 . TwoMorrows Publishing. Jones, Stephen (2015). The art of horror: An illustrated history . Applause. Allie, S. (Ed.)(2004). B.p.r.d.: The soul of venice and other stories . Dark Horse Comics. Saunders, D. (2009). Rudolph belarski (1900-1983). Illustration, 7 (27), 8–61. McVittie, A. (2014). The art of alien:isolation . Titan Books. Sadowski,G. (Ed.)(2017). Four color fear: Forgotten horror comics of the 1950s . Fantagraphics Books Nourmand, T. & Marsh, G. (Eds.) (2006). Film posters: Horror . Evergreen. Hodge, T. (2015). Vhs video cover art . Schiffer Publishing, Ltd. Weist, J. (2002). Bradbury: An illustrated life . William Morrow Boyreau, J. (2002). Trash: The graphic genius of exploitation movie posters . Chronicle Books. Salisbury, M. (2014). Alien the archive: The ultimate guide to the classic movies . TitanBooks. Ferris, E. (2016). My favorite thing is monsters: Book one . Fantagraphics Books. Morton, R. (2005). King kong, the history of a movie icon: from fay wray to peter jackson . Applause Theatre & Cinema Books. Landis, J. (2011). Monsters in the movies: 100 years of cinematic nightmares. Dorling Kindersley Limited. Ortiz, L. (2011). Jack Gaughan. Illustration, 9 (33), 2–27. (2009). Deco devolution: The art of the bioshock 2 . 2k publishing. Humphreys, G. (2019). Hung, drawn and executed: The horror art of graham humphreys . Korero Press Ltd. Gammil, K. & Spurlock, J.D. (2005). Famous monster movie art of basil gogos . Vanguard Tucker, I. (Ed.) (2021). The art of arkham horror . Dark Horse Books. D’Agostino, N. (2020). Sex and horror volume four . Korero Press. Hulse, E. (2021). The art of pulp fiction: An illustrated history of vintage paperbacks . Elephant Book Company Rodriguez, S. (2021). The art of goosebumps . Dynamite. Nolen-Weathington, E. (2010). Modern masters volume twenty-four: Guy davis . TwoMorrows Publishing

Brummett Echohawk was a war hero, an artist, a writer, and a public speaker, and he was also a member of the Pawnee tribe, born in Oklahoma in 1922. Though he is well known for his contributions to the art world, he is less known for his contributions to the history of illustration and commercial art, he turned to these outlets throughout his life to successfully augment his income. Brummett Echohawk considered himself a historical or classical artist, rather than an “Indian” artist, though his work often centered on his indigenatity. His first notoriety as an artist was for his war sketches from his time in Italy in World War II. Though these sketches were initially confiscated, they were later (mostly) returned and published in newspapers across the U.S. The success of his sketches cemented his interest in becoming an artist, and he made it his goal to attend the Chicago Institute of Art for formal instruction at what he believed to be the best art school in the nation. Though he lived in Chicago, New York, Detroit, and Dallas, he ultimately returned to Oklahoma. He refused to compromise his values and, therefore, painted only what he wanted to paint; he also spent a lot of time researching the historical themes for his paintings, which slowed down his production. These factors likely made it more necessary for him to supplement his income through the development of his comic strip “Little Chief,” which ran in the Tulsa World Newspaper beginning in 1954, as well as numerous illustrations for magazine and book publications as well as working as a commercial artist throughout his career. TIMELINE 1829 - Te-ah-ke-kah-wah Who-re-ke-coo (He Makes His Enemies Ashamed), Brummett Echohawk’s Great-Grandfather is born in Nebraska, the traditional homeland of the Pawnee 1855 - Kutawakutsu Tuwaku-ah (Echo Hawk), Brummett Echohawk’s Grandfather is born in Nebraska 1864 - Te-ah-ke-kah-wah Who-re-ke-coo, serves with the first company of Pawnee Scouts 1876 - Kutawakutsu Tuwaku-ah, then known as Tawihisi (Leader of the Group) signs on with the Pawnee Scouts, he earns the name Kutawakutsu Tuwaku-ah (Echo Hawk) as part of his efforts as a warrior during this time 1892 - Elmer Echohawk, Brummett Echohawk’s father, is born in Indian Territory 1907 - Elmer Echohawk, is sent by his parents to the Carlisle Indian School in Pennsylvania 1922 - Brummett Echohawk Born, March 3, Pawnee Oklahoma 1939 - Brummett Echohawk joins the National Guard 1943-1944 - Serves in WWII, 45th Infantry Division (known as the Thunderbirds) 1945-1948 - Attends Chicago Institute of Art, (education not funded by the GI Bill!) 1954 - Creates Comic strip “Little Chief”, for the Tulsa World 1955 - Juror of the Tenth Annual Exhibition of Contemporary American Indian Painting at the Philbrook Museum of Art in Tulsa 1969 - Battlefield sketches included in the Faces of War exhibition at London’s Imperial War Museum 1977 - Brummett Echohawk began services as a member of the board at the Gilcrease Museum in Tulsa 1983 - Brummett Echohawk awarded the “Unknown Indian Award” by the Committee for the Preservation of the Unknown Indian, North Platte, Nebraska 1994 - actor featured in one episode of the television series Walker Texas Ranger 2001 - Cartoons from Little Chief were featured in “Little Chief the Comic Art of Brummett Echohawk,” an exhibition at the Frye Art Museum in Seattle, Washington 2006 - Brummett Echohawk Dies, February 13, buried in Pawnee, Oklahoma 2008 - - Cartoons from Little Chief were featured in “Out Of: Sequence: Underrepresented Voice in American Comics,” an exhibition at the University of Illinois Krannert Art Museum REFERENCES Brummett Echohawk - Gilcrease Museum . (n.d.). https://collections.gilcrease.org/creator/brummett-echohawk Brummett Echohawk: An Artist’s Journey - Oklahoma State University . (2023, April 14). https://museum.okstate.edu/art/brummett-echohawk.html Echohawk, B., & Ellenbarger, M. R. (2018). Drawing fire: A Pawnee, Artist, and Thunderbird in World War II. University Press of Kansas. Culture - Pawnee Nation flag and seal . (n.d.). Pawnee Nation. https://pawneenation.org/pawnee-nation-flag-and-seal/ Gilcrease Museum. (2023, March 2). Joel Echohawk Reminisces about Brummett Echohawk [Video]. YouTube. https://www.youtube.com/watch?v=5u1HgSCHI2Q Jones, R. (n.d.). OSU students present exhibition on Brummett Echohawk . Stillwater News Press. https://www.stwnewspress.com/news/osu-students-present-exhibition-on-brummett-echohawk/article_3b940cb6-ef84-11ed-b2fd-2796481b6b6b.html OSU Museum of Art. (2023, May 18). Student Curator Talk - “Brummett Echohawk: An Artist’s Journey” [Video]. YouTube. https://www.youtube.com/watch?v=P6mWGFQEzm4 Wydeven, J., & Klaphake, C. (1984). Art and Eloquence. Nebraskaland , 62(1), 104–111. Youngbull, K. M. (2015). Brummett Echohawk: Pawnee Thunderbird and Artist. University of Oklahoma Press.

REFERENCES White, R. (2003). Prehistoric Art: The Symbolic Journey of Humankind. Harry N. Abrams Inc. Clottes, J. (2008). Cave Art. Phaidon Press Limited. 9780714845920 Neumayer, E. (1983). Prehistoric Indian Rock Paintings. Oxford University Press. 9780195613872 Ruspoli, M. (1987). The Cave of Lascaux: The Final Photographs. Harry N. Abrams Inc. 0810912678 Myron, R. (1964). Prehistoric Art. Pitman Publishing Corporation. 0273438611 Stokstad, M., & Cothren M. W. (2011). Art History: Ancient Art (4th ed.) . Pearson Education. 0205744222

Art Nouveau was a stylistic movement in the late nineteenth century characterized by highly ornate and decorated designs. Inspired by Japanese woodblock prints, Celtic manuscripts, The Arts and Crafts Movement, and the development of the lithograph, Art Nouveau, or New Art, was applied to everything from architecture to biscuit tins. Though widely applied, posters that make up a great part of Art Nouveau history.The development of lithography meant posters could be large illustrations filled with bright colors and elaborate designs, even though they were advertisements for anything from events to consumer products. While Paris, France was Art Nouveau’s epicenter, it spread to England and eventually the United States. Along the way, several illustrators made a name for themselves and were pivotal to Art Nouveau’s popularity. Some of their posters were, and still are, collected as fine art. REFERENCES Cramsie, P. (2010). The Story of Graphic Design: From the Invention of Writing to the Birth of Digital Design. Abrams. 9780810972926 Eskilson, S.F. (2012). Graphic Design: A New History (2nd ed.) . Laurence King Publishing. 9780300172607 Müller, J. (2017). The History of Graphic Design: Vol. 1 1890-1959. Taschen. 9783836563079 Selz, P., & Constantine, M. (1960). Art Nouveau: Art and Design at the Turn of the Century. The Museum of Modern Art. 0405015739 Duncan, A. (1994). Art Nouveau: World of Art. Thames & Hudson Inc. 0500202737

Capcom, a Japan-based maker of successful game properties, made a tremendous impact on the business of video games world wide, and helped usher in the current boom in Japanese-based visual media like manga and anime as much as fellow cultural exports like Pokemon, Sailor Moon, Speed Racer, and the Dragon Ball series. The art team behind the bulk of Capcom’s fighting game imagery began in the late 80s and lasted until the early 2000s. The team’s story includes an eccentric artist remembered almost as much for his habits as his skills and leadership, a draftsperson capable of taking stereotypes and rendering them with profound emotion, an up and coming artist possessed of an incredible work ethic and mammoth ability to produce images, and numerous other talented artisans all brought together to form the Capcom Design Team. REFERENCES Hendershot, S.. (2017). Undisputed street fighter: The art and innovation behind the game-changing series . Dynamite Entertainment Dyer, S. (2022). The king of fighters: The ultimate history. Bitmap Books Ltd. Lapetino, T. (2016). Art of Atari. Dynamite Entertainment Leone, Matt (2020, July 7). Street fighter 1: An oral history. Polygon. https://www.polygon.com/2020/7/7/21270906/street-fighter-1-oral-history-takashi-nishiyama Hayashi, M. K., & Moylan, M. (2009). SF20: The Art of Street Fighter . Udon Entertainment Corp. Moore, G., & Hodgson, A. (2021). Street fighter memorial archive: Beyond the world. Udon Entertainment Corp. Leone, Matt (2014, February 3). Street fighter 2: An oral history. Polygon. https://www.polygon.com/a/street-fighter-2-oral-history/ Hayashi, M.K. (2019). Darkstalkers: Official Complete Works. Udon Entertainment Corp. Leone, Matt (2021, April 14). X-Men: Children of the Atom: An oral history. Polygon. https://www.polygon.com/2021/4/14/22336505/x-men-children-of-the-atom-an-oral-history Ferriere, G. & Zubkavich, J. (2005). Street Fighter: Eternal Challenge. Udon Entertainment Corp. Famitsu Book Editorial Department (2001). Capcom Design Works . Enterbrain, Inc. Various (2020). UDON’s Art of Capcom . Udon Entertainment Corp.

TIMELINE * A broad timeline spanning centuries is used to account for imprecise dates in the Ottoman Empire from multiple sources. 14th Century (1300s): The beginning of the Ottoman Empire. This period marks the initial blending of Islamic art with Byzantine and Persian styles, forming the basis for the unique Ottoman artistic and traditional geometric elements appearing as a symbol of Islamic art. 15th Century (1400s): Further development of the Ottoman style, with increased prominence in mosques and palaces in Istanbul. 16th Century (1500s): The peak of Ottoman art. 1520-1566: Reign of Suleiman 1548: The Şehzade Mosque completed with the best geometric Suleymaniye Mosque (completed in 1557). 1570s-1598: The Qur'an's decoration is the primary artistic expression in the Ottoman Empire. 1600: 1600: This period sees advancements in ceramics known as Iznik tiles, textiles, calligraphy, and manuscript illumination. 19th Century (1800s): The decline of the Ottoman Empire. Western influences begin to appear in Islamic art, introducing new styles and techniques. Early 20th Century (1900s-1922): The end of the Ottoman Empire The Topic A general view of the perspective on Islamic art that was shaped throughout the Ottoman Empire's peak, particularly during Sultan Suleiman's reign. Istanbul, Turkey, became known for its exceptional display of geometric symbolism in Islamic art. I want to explore the important mosques that displayed some of the most extraordinary works of art still known to the Islamic community. REFERENCES Kuban, D. (1987). The Style of Sinan’s Domed Structures. Muqarnas , 4 , 72–97. https://doi.org/10.2307/1523097 Neci̇poğlu, G. (2007). Creation of a National Genius: Si̇nan and the Historiography of “Classical” Ottoman Architecture. Muqarnas , 24 , 141–183. http://www.jstor.org/stable/25482458 Ersoy, A. (2007). Architecture and the Search for Ottoman Origins in the Tanzimat Period. Muqarnas , 24 , 117–139. http://www.jstor.org/stable/25482457 Makdisi, U. (2002). Ottoman Orientalism. The American Historical Review , 107 (3), 768–796. https://doi.org/10.1086/532495 Lewis, B. (1980). The Ottoman Empire and Its Aftermath. Journal of Contemporary History , 15 (1), 27–36. http://www.jstor.org/stable/260456 AVCIOĞLU, N., & FLOOD, F. B. (2010). INTRODUCTION: Globalizing Cultures: Art and Mobility in the Eighteenth Century. Ars Orientalis , 39 , 7–38. http://www.jstor.org/stable/23075922 Blessing, P. (2018). Presenting Islamic Art: Reflections on Old and New Museum Displays. Review of Middle East Studies , 52 (1), 147–152. https://www.jstor.org/stable/26478488 Islamic Art. (1978). The Metropolitan Museum of Art Bulletin , 36 (2), 3–48. https://doi.org/10.2307/3258866 Mehmed Ağa (Sedefkar Mehmet Aga, Ottoman architect, ca.1540-1622), & Ahmed I (Turkish patron, Sultan of the Ottoman Empire, 1590-1617). (1609-1616). Sultan Ahmed Camii . https://jstor.org/stable/community.23089080 Mehmed Ağa (Sedefkar Mehmet Aga, Ottoman architect, ca.1540-1622), & Ahmed I (Turkish patron, Sultan of the Ottoman Empire, 1590-1617). (1609-1616). Sultan Ahmed Camii . https://jstor.org/stable/community.23089076 The Ottoman Empire. (1968). The Metropolitan Museum of Art Bulletin , 26 (5), 204–224. https://doi.org/10.2307/3258980 HOWARD, D. A. (1988). OTTOMAN HISTORIOGRAPHY AND THE LITERATURE OF “DECLINE” OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. Journal of Asian History , 22 (1), 52–77. http://www.jstor.org/stable/41932017 Denny, W. B. (1983). Dating Ottoman Turkish Works in the Saz Style. Muqarnas , 1 , 103–121. https://doi.org/10.2307/1523074