Incomplet Design History

Often the images and fonts meant to Africa are stereotypical and reduce the diversity and complexity of a vast continent to simplified imagery and types. Like Rudolf Koch’s typeface Neuland, used in the logo for Disney’s The Lion King, which wasn’t even supposed to be representative of anything other than Koch’s own religious fervor. The origin and development of typography in Africa is far more diverse and interesting. It is also, unfortunately, inextricably tied to the colonization of the continent. Alphabets and syllabaries were largely efforts to resist colonization while preserving languages and cultures. The first and most influential of these was King Njoya’s syllabary of the Shu-mom language of the Bamum people of western Cameroon. King Njoya created this written language in 1869 while Germany was occupying Cameroon. Following Njoya’s lead, many other African peoples developed written languages and for similar reasons. Dualu Bukele developed the Vai syllabary. Kisimi Kamara designed the Mende syllabary. The list goes on. The idea of a written language as an act of resistance to western colonization produced wonderfully fluid letterforms free from the western regimented grid system and a written record of languages, cultures, and their people. 

1820 – Dualu Bukele is credited with first recording the Vai syllabary, the specific origins of  are unknown

1884 – Berlin Conference, European countries drew up various “Protection” treaties with African nations

1896 – at the age of 25, King Njoya invented the Shu-mom writing system

1896 – the Ethiopian army defeated Italy

1900s – the majority of Africa colonized by 7 European Powers

1904 – King Njoya built a museum to house the artifacts and books in theShu-mom language

1921 – The Mende Syllabary was created by Kisimi Kamara

1922 – the Somali alphabet was created by Cismaan Kenadid

1923 – Neuland designed in 1923 by Rudolf Koch

1931 – King Njoya was exiled 

1945 – marked the beginning of the end of colonization in Africa 

1960 – the “year of Africa” with 17 territories gained independence

1973  – an alphabet was created for Somali using latin characters

1990s – everywhere in Africa (except South Africa) were ruling independently

1999 – Saki Mafundikwa founds ZIVA, Zimbabwe Institute of Vigital Arts

2004  – Saki Mafundikwa publishes Afrikan Alphabets

Abraham, C. (2011, Aug). Africa had its own writing systems! New African, , 82-87. Retrieved from https://libproxy.uco.edu/login?url=https://www-proquest-com.libproxy.uco.edu/magazines/africa-had-own-writing-systems/docview/884629705/se-2?accountid=14516

Curtin, P., Feirerman, S., Thompson, L., & Vansina, J. (1982). African History. Little Brown and Company. 

Fine, P. C. (2021). The design of race: How visual culture shapes America. Bloomsbury Visual Arts. 

French, H. W. (1997, October 21). Foumban Journal; Inheritors of an African Kingdom, Come and Gone. New York Times. 

Gnanadesikan, Amalia E.. The Writing Revolution : Cuneiform to the Internet, John Wiley & Sons, Incorporated, 2009. ProQuest Ebook Central, https://ebookcentral-proquest-com.libproxy.uco.edu/lib/ucok-ebooks/detail.action?docID=428169.

Iweriebor, E. E. G. (2011). The colonization of Africa. Africana Age: African & Africa Diasporan Transformations in the 20th Century . Retrieved September 15, 2021, from http://exhibitions.nypl.org/africanaage/essay-colonization-of-africa.html. 

Jefferson, L. E. (1974). The Decorative Arts of Africa. Collins. 

Orosz, K. (2015). Njoya’s Alphabet The Sultan of Bamum and French Colonial Reactions to the A ka u ku Script. Cahiers d’études Africaines, 217, 45–66. https://journals.openedition.org/etudesafricaines/18002#quotation

Kreamer, C. M., Roberts, M. N., Harney, E., & Purpura, A. (2007). Inscribing Meaning: Writing and Graphic Systems in African Art. African Arts, 40(3), 78+. https://link.gale.com/apps/doc/A167932208/LitRC?u=edmo56673&sid=bookmark-LitRC&xid=5fed3052

Mafundikwa, S. (n.d.). Afrikan Alphabets & African Diasporic Design Lineage lesson. BIPOC Design History. Retrieved June 9, 2022, from https://bipocdesignhistory.com/

Mafundikwa, S. (2007). Afrikan alphabets: The story of writing in Afrika. Mark Batty Publisher. 

Meggs, P. B., & Purvis, A. W. (2016). Meggs' history of Graphic Design. Wiley. 

Musa, T. (2006, April 30). Cameroon: For those who say Africa had no writing system... New Africana; London, (450), 1–1. 

Kries, M., & Klein, A. (2015). Making Africa: A continent of contemporary design. Vitra Design Stiftung. 

Pater, R. (2017). The politics of design: A (not so) global manual for visual communication. BIS Publishers. 

Tuchscherer, K. (1999). Royal African Society. African Affairs, 98(390), 55–77. https://doi.org/https://www.jstor.org/stable/723684

An indigenous artist from Oklahoma, Alex C. Mackintosh was born in 1907 with Creek and Scottish ancestry. He attended the Chilocco federal Boarding school for Native Americans in Newkirk Oklahoma, it was there that he took on the name Acee Blue Eagle to honor his heritage. The name “Blue Eagle” was reportedly from his mother’s family; this matrilineal approach to last names is traditional and accepted in many indigenous cultures. After graduating from Chilocco he would go on to attend the Bacone Indian College and from there he was accepted to study art at the University of Oklahoma, where a special program had been founded to foster Native American art. Acee Blue Eagle would go on to exhibit his art with a prominent group of artists from this program known today as the Kiowa Six, though Acee himself was not Kiowa he was an informal member of this group. Acee Blue Eagle established himself not only as a well-known artist but also as a performer. He exhibited work across the U.S. and Europe. His work was purchased by many museums and foreign dignitaries. He was also a mural painter for the WPA program and painted several murals in Oklahoma. Towards the end of his life and career, he began experimenting with printing techniques and design work including designing a set of souvenir glasses for Knox Oil, and a line of greeting cards. He illustrated books as well, even writing a few of his own, including one on Oklahoma Indian Painting and Poetry that was published the year he passed away. To the very end, Acee was an ardent supporter of Oklahoma Indian artists and traditions.

1907 – b Oklahoma, as Alex C. MacIntosh
1928 – Graduated from Bacone Indian College in Muskogee
1931-1932 – Attended University of Oklahoma to study art under Oscar Jacobson
1932 – Wrote and illustrated Echogee: The Little Blue Deer, a children’s book with full-color Illustrations
1934 – First public commissions for murals through the WPA
1934 – Paints murals in Mitchell Hall Theater on the UCO Campus
1935 – Travels to Oxford University to lecture on Native American Art
1935 – Accepts a teaching position at Bacone as the founding director of the new Art Department
1938 – Leaves his position at Bacone to practice art full-time
1950 – UCO theater murals are painted over in an effort to redecorate
1954 – begins exploring a career as a commercial artist including creating a line of greeting cards
1956 – Illustrates Mae Abbott’s book Oklahoma: Indian Cook Book
1959 – Writes and publishes Oklahoma Indian Painting–Poetry
1959 – died penniless in a veterans hospital in Muskogee of liver failure, at 52
1971 – Echogee: The Little Blue Deer is finally published

Acee Blue Eagle, Oklahoma Indian Painting–Poetry (Tulsa, Okla.: Acorn Publishing Co., 1959).

Abbott, M. W. (1956). Oklahoma Indian cook book, the best Indian recipes from the best Indian state / y Mae Abbott. (1st ed.). Acorn Printing.

American Social History Project / Center for Media and Learning. (n.d.). “Kill the Indian, and Save the Man”: Capt. Richard H. Pratt on the Education of Native Americans. History Matters, The US Survey Course on the Web. Retrieved June 9, 2022, from http://historymatters.gmu.edu/d/4929

Anthes, B. (2014). Why Injun Artist Me. In Native Diasporas (p. 411). UNP - Nebraska Paperback.

Blue Eagle, A. (1971). Echogee : The little blue deer (Second ed.).

Blue Eagle, A., & University of Central Oklahoma. Library. Special Collections/Archives. (1959). Oklahoma Indian painting - poetry. Tulsa, Okla.: Acorn Publishing.

Broder, P. (1981). American Indian Painting and Sculpture. Abbeville Press.

Edmon Low Library. (n.d.). Chilocco Indian Agricultural School Collection. Oklahoma State University Library. Retrieved June 9, 2022, from https://library.okstate.edu/search-and-find/collections/digital-collections/chilocco-indian-agricultural-school-photo-collection/

Elder, T. (2006). Lumhee Holot-Tee : The art and life of Acee Blue Eagle.

Fred Jones Jr. Museum of Art. (n.d.). Kiowa Agency: Stories of the Six. Fred Jones Jr. Museum of Art, The University of Oklahoma. Retrieved June 9, 2022, from https://www.ou.edu/fjjma/exhibitions1/past-exhibitions/2020-/KiowaAgency

Kelly, M. (1991). Acee Blue Eagle Glasses. Promotional Glass Collectors Association. Retrieved June 9, 2022, from http://www.pgcaglassclub.com/articles_archives/acee.htm

Lee, R. (1995, November 3). Knox Oil Co. Offered Glasses. The Oklahoman. Retrieved June 9, 2022, from https://www.oklahoman.com/story/news/1995/11/03/knox-oil-co-offered-glasses/62374538007/

Lester, P. (1995). The Biographical Directory of Native American Painters. SIR Publications.

Miner, J. (2018). Remediating the "famous indian artist": Native aesthetics beyond tourism and tragedy. Studies in American Indian Literatures, 30(2), 79-105. https://libproxy.uco.edu/login?url=https://www-proquest-com.libproxy.uco.edu/scholarly-journals/remediating-famous-indian-artist-native/docview/2063292811/se-2?accountid=14516

Neuman, L.. (2014). Marketing Culture. In Indian Play. University of Nebraska Press - Nebraska.

Official Report of the Nineteenth Annual Conference of Charities and Correction (1892), 46–59. Reprinted in Richard H. Pratt, “The Advantages of Mingling Indians with Whites,” Americanizing the American Indians: Writings by the “Friends of the Indian” 1880–1900 (Cambridge, Mass.: Harvard University Press, 1973), 260–271.

Petete, T., & Womack, C. (2006). Thomas E. Moore's Sour Sofkee in the Tradition of Muskogee Dialect Writers. Studies in American Indian Literatures, 18(4), series 2, 1-37. Retrieved June 15, 2021, from

Snodgrass, J. (1968). American Indian Painters: A Biographical Directory. The Museum of the American Indian, Heye Foundation.

Tsianina Lomawaima, K. (n.d.). Chilocco Indian Agricultural School. Oklahoma Historical Society. Retrieved June 9, 2022, from https://www.okhistory.org/publications/enc/entry.php?entry=ch042

Zinn, H. (2003). A People’s History of the United States. Harper Collins. New York.

Eiko Ishioka was a graphic, costume, and set designer. She was born July 12, 1938 in Tokyo, Japan. Growing up, her life always fused western and Japanese culture. She graduated from the Tokyo National University of Fine Arts and Music in 1960 and immediately started working for the largest cosmetic company in Japan, Shiseido. There she revolutionized the poster with her bold use of diverse models and progressive feminist messages that defied tradition. Ishioka later worked as a creative director for the department store Parco, producing iconic posters and television ads that broke with tradition and showed no products. In 1983, Ishioka left Parco and opened her own design studio. Once in her own practice, Eiko experimented more and more with surrealism as she moved into designing sets and costumes for film and theater. She won awards for her work on Mishima (1985) and Madame Butterfly (1988). Ishioka would go on to win the 1993 Academy Award for Best Costume Design (along with multiple other awards) for her incredible costume designs for Francis Ford Coppola’s 1992 film adaptation of Bram Stoker's Dracula. It was Ishioka’s life work to push up against tradition. The result is a stunning body of work worthy of inclusion in the design history canon.

1938 –  b. Tokyo, Japan
1961 –  graduated Tokyo National University of Fine Arts and Music
1970 –  founded own firm
1970 –  ūman ribu movement
1980 –  moved to New York
1983 –  published her own book Eiko by Eiko
1985 –  Equal Opportunity Law passed in Japan; Mishima releases featuring set designs from Ishioka, for which she wins the Award for Artistic Contribution at the 1985 Cannes Film Festival.
1992 –  Bram Stoker's Dracula
1993 –  Ishioka’s costume designs on Dracula win her the Academy Award for Best Costume Design
2002 –  Designs sports uniforms for the 2002 Olympics
2008 –  Designs the opening ceremony costume designs for the Beijing Olympics 
2010 –  Costume Designs for Broadway Musical, “Spiderman: Turn Off the Dark”
2012 –  d. Age 73 in Tokyo, Japan from pancreatic cancer

Associated Press. (2012, January 26). Costume designer Eiko Ishioka, recently known for Broadway’s “Spider-Man,” has died at 73. Washington Post. https://web.archive.org/web/20120205143125/http://www.washingtonpost.com/entertainment/theater-dance/costume-designer-eiko-ishioka-recently-known-for-broadways-spider-man-has-died-at-73/2012/01/26/gIQAyZhgTQ_story.html

Dalí Paris. (n.d). Dalí and fashion. Dalí Paris. Retrieved 25 May 2021 from https://www.daliparis.com/en/salvador-dali-en/dali-fashion/

Edwards, L. N. (1988). Equal Employment Opportunity in Japan: A View from the West. ILR Review, 41(2), 240–250. https://doi.org/10.1177/001979398804100206

Eiko Ishioka. (1992). ADC Global. http://adcglobal.org/hall-of-fame/eiko-ishioka/

Eiko Ishioka. (n.d.). A SEARCH HISTORY. https://asearchhistory.weebly.com/eiko-ishioka.html

Fox, M. (1984, March 1). An Interview with Eiko Ishioka, by Ingrid Sischy. Artforum International. https://www.artforum.com/print/198403/an-interview-with-eiko-ishioka-by-ingrid-sischy-35403

Fox, M. (2012, January 27). Eiko Ishioka, Costumer of the Surreal, Dies at 73. The New York Times. https://www.nytimes.com/2012/01/27/arts/design/eiko-ishioka-designer-dies-at-73.html

Fusek, A. P. (2021, February 27). The Feminist Movement in Japan: WWII to the 1970s. Unseen Japan. https://unseenjapan.com/feminist-movement-japan-wwii-1970s/

Goodall, H. (2013, January 3). Origins and influence of surrealism in Japanese art. Unframed. Retrieved 25 May 2021 from https://unframed.lacma.org/2013/01/03/origins-and-influence-of-surrealism-in-japanese-art

Graphic Liberation of Gender: Eiko Ishioka Poster ExhibitionThe Japan Foundation, Toronto. (2017, September 6). Japan Foundation. https://jftor.org/event/eiko-ishioka-poster-exhibition/2017-09-06/

Haley, M. (n.d.). Sneak Peek: Eiko Ishioka Papers at UCLA Library Special Collections. LA Collective. https://laacollective.org/work/eiko-ishioka

Hooks, R. (2018). Surrealism in  graphic design. 99designs. Retrieved 25 May 2021 from https://99designs.com/blog/design-history-movements/surreal-graphic-design/

ITSLIQUID. (2020, December 18). Eiko Ishioka: Blood, Sweat, and Tears. https://www.itsliquid.com/eikoishioka-bloodsweatandtears.html

Japanese Pickers. (2017, January 6). 1990 Print Available [Facebook Post]. Facebook. https://www.facebook.com/unsupportedbrowser

K. (2020, February 10). Shibuya PARCO - Interactive Shopping, Art, And Hands-On Technology. Matcha - Japan Travel Web Magazine. https://matcha-jp.com/en/9390

Lorde Velho. (2020, July 23). The Costumes Are the Sets - The Design of Eiko Ishioka (Legendado PTBR) [Video]. YouTube. https://www.youtube.com/watch?v=3TFCNCt-gUk

Molony, B. (2000). Women's Rights, Feminism, and Suffragism in Japan, 1870-1925. Pacific Historical Review, 69(4), 639-661. doi:10.2307/3641228

Parsons, K. (2019, July 22). THE THEATER. VERY PARCO. | Cooper Hewitt, Smithsonian Design Museum. Cooper Hewitt Smithsonian Design Museum. https://www.cooperhewitt.org/2018/03/17/the-theater-very-parco-2/

Pola Museum of Art. (2019). Surrealist painting: Influences and iterations in Japan. Pola Museum of Art. Retrieved 25 May 2021 from https://www.polamuseum.or.jp/english/exhibition/20191215s01/

Sayej, N. (2018, January 16). 7 designers keeping the art of surrealism alive today. Print Mag. Retrieved 25 May 2021 from https://www.printmag.com/post/7-designers-keeping-surrealism-alive

Schenker, M. (2018, October 25). Design trend report: Surrealism. Creative Market. Retrieved 25 May 2021 from https://creativemarket.com/blog/design-trend-report-surrealism

Stech, A. (2019, October 4). How 1920s surrealism impacted modern design. Wallpaper. Retrieved from 25 May 2021 from https://www.wallpaper.com/design/surrealism-and-design-vitra-design-museum-exhibition

Surreal Costumes by Legendary Designer Eiko Ishioka. (2019, June 4). Juxtapoz: Art and Culture. https://www.juxtapoz.com/news/design/surreal-costumes-by-legendary-designer-eiko-ishioka/

Takeuchi-Demirci, A. (2010). Birth Control and Socialism: The Frustration of Margaret Sanger and Ishimoto Shizue's Mission. The Journal of American-East Asian Relations, 17(3), 257-280. Retrieved April 28, 2021, from http://www.jstor.org/stable/23613288

The Academy. (2018, March 30). How Eiko Ishioka’s revolutionary costumes won Coppola’s “Dracula” an Oscar. Medium. https://medium.com/art-science/how-francis-ford-coppola-s-choice-to-work-with-a-weirdo-outsider-led-to-an-oscar-dd22bdf51e2a

Times, T. N. Y. (1973, December 8). Japan Braces for a Full‐Scale Oil Crisis. The New York Times. https://www.nytimes.com/1973/12/08/archives/japan-braces-for-a-fullscale-oil-crisis-japan-whose-busy-economy.html

Times, T. N. Y. (1983, March 27). CHANGING FACE OF JAPAN. The New York Times. https://www.nytimes.com/1983/03/27/magazine/changing-face-of-japan.html

Vitra Design Museum. (2019). Objects of desire: Surrealism and design 1924 - today. Vitra Design Museum. Retrieved 25 May 2021 from https://www.design-museum.de/en/exhibitions/detailpages/objects-of-desire-surrealism-and-

design.html?desktop=318&cHash=c626c20211a0d1333a9393761a0ffc40

Wang, M. (2017, March 8). _What’s PARCO?_JAPAN Monthly Web Magazine. https://japan-magazine.jnto.go.jp/en/special_parco.html

Wood, G. (2007). Surrealism and design. V&A. Retrieved 25 May 2021 from https://www.vam.ac.uk/articles/surrealism-and-design

Margo Chase became a graphic designer almost by accident. In college, Chase was determined to become a veterinarian and in an attempt to get a higher GPA, signed up for a graphic design course. She discovered her love of solving problems creatively and attempted to combine her two loves of science and design by getting a masters degree in medical illustration. Chase realized she wouldn’t have the creative freedom she wanted and dropped out of school to become a full time designer. Some of her first jobs were designing album covers and typefaces for Geffen Records, Columbia, Warner Brothers, and Capitol Records. She worked on album typography for Madonna, Prince, Cher, Bonnie Raitt, and Selena, even winning a Grammy for her work on Cher’s album Love Hurts. Her bold, goth calligraphic style got her noticed as the queen of goth, and she was hired to design logos for shows like Buffy the Vampire Slayer and Angel as well as for Francis Ford Coppola’s film Dracula. Chase’s reputation got the best of her. She wanted to break away from the entertainment industry and the ‘Queen of Goth’ label. She and her team began branding for corporate businesses such as Target, and did package designs for Califia Farms, KIND, Chinese Laundry, Kama Sutra, and Campbell Soup Co. Margo Chase pushed the boundaries of what a designer could do, and always made it her mission to create the best work she could to put out into the world. 

1958 –  b Los Angeles, California
1986 –  opened her own studio, Chase Design Group
1991 –  designed Bonnie Raitt’s record cover, “Luck of the Draw.”
1992  –  Victory Records Ten Inch Men’s “Pretty Vultures” cover
1998 –  created typefaces for projects such as Evolution and Shiraz
2007 –  became an aerobatic pilot
2017 –  d Apple Valley, California

Campbell-Dollaghan, K. (2018a, July 9). Club Culture, And The Design It Inspired, Finally Gets A Visual History. Fast Company. https://www.fastcompany.com/90160778/club-culture-and-the-design-it-inspired-gets-a-monograph?_ga=2.85689049.174350571.1615070439-607903494.1615070439

Campbell-Dollaghan, K. (2018b, July 9). How punk rock changed the course of design history. Fast Company. https://www.fastcompany.com/90175535/the-secret-history-of-design-and-punk

Chase Design Group. (n.d.). Our Founder. https://www.chasedesigngroup.com/culture/our-founder/

Deseo, J. (2014, October 2). Spotlight: Chase Design Group. Dieline - Design, Branding & Packaging Inspiration. https://thedieline.com/blog/2014/9/24/spotlight-chase-design-group?

Devroye, L. (n.d.). Margo Chase Design (was: Gravy Designs). Luc Devroye. http://luc.devroye.org/fonts-24739.html

Friel, K. (2019, April 25). A Timeline of Margo Chase. Issuu. https://issuu.com/mecagd/docs/mc_book

Goodwin, T. (2013, April 5). How Culture Has Influenced Design: BoldThink Creative & Marketing. Boldthink | Marketing & Branding Agency | Website Design | Indianapolis. https://boldthinkcreative.com/culturedesign/

Goolsby, C. (2019, May 29). What Rock 'N' Roll Taught Margo Chase About Packaging. Packaging Strategies. https://www.packagingstrategies.com/articles/94598-what-rock-n-roll-taught-margo-chase-about-packaging

Gosling, E. (2016a, August 24). What Rave Culture Is Teaching Modern Graphic Designers. AIGA Eye on Design. https://eyeondesign.aiga.org/what-rave-culture-is-teaching-modern-graphic-designers/

Gosling, E. (2016b, November 3). The Design + Music Industries are BFFs—They Just Don’t Know it Yet. AIGA Eye on Design. https://eyeondesign.aiga.org/the-vital-links-between-the-design-music-industries-how-can-they-enhance-one-another/

J. (2021, April 6). From the Misc. Foods Aisle: Generic Brands. Gone but Not Forgotten Groceries. http://gbnfgroceries.blogspot.com/2014/01/from-misc-foods-aisle-generic-brands.html

Linderman, E. (2010, September 15). Gale Literature Resource Center - Document - Heller, Steven. Pop: How Graphic Design Shapes Popular Culture. Gale Literature Resource Center. https://go.gale.com/ps/i.do?p=LitRC&u=edmo56673&id=GALE|A238423770&v=2.1&it=r&sid=LitRC&asid=a4e33013

Margo Chase on Failure. (2017, June 26). [Video]. YouTube. https://www.youtube.com/watch?v=A6W4d5NIe24&feature=youtu.be

Seymour, C. (2019, May 28). Ray Gun—The Magazine That Defined the Alt ’90s—Lives Again. Vogue. https://www.vogue.com/article/ray-gun-magazine-anthology

Slangbusters Branding Studio. (2019, July 23). Is generic packaging the new brand? - The Slangbusters Blog. Medium. https://medium.com/slangbusters/is-generic-packaging-the-new-brand-c0672da16e94

Waldbillig, L. (2021, April 6). Generic Products of The ’80s. History’s Dumpster. http://historysdumpster.blogspot.com/2012/08/generic-products-of-80s.html

Jacqueline Casey was born in Quincy, Massachusetts in 1927 and  grew up with a passion for art. While her parents encouraged her to study bookkeeping, she pursued art against their wishes by entering the Massachusetts College of Art. It was at MassArt that Casey met and befriended Muriel Cooper. In 1949, Casey graduated from MassArt with a degree in fashion design and illustration. She entered the workforce which was very gradually becoming more accepting of women and worked in fashion design, advertising, and interior design. Except none of them felt quite right. Frustrated, Casey took three months to travel across Europe and clear her head. In 1955, Muriel Cooper hired Casey to work with her at MIT’s Office of Publications. Casey would soon become responsible for posters, catalogs, and other promotional materials. In 1958, Casey worked with Thérèse Moll, an assistant to seminal Swiss designer Karl Gerstner. Moll introduced Casey to the International Typographic Style. Casey was later appointed director of the Office of Publications, and MIT’s public image became recognizably influenced by the International Typographic Style. Under Casey’s directorship, the MIT Office of Publications adapted ITS and went on to play a critical role in popularizing Swiss modernism across America.

1927 –  b Jacqueline Casey in Quincy, Massachusetts.
1949 – Casey graduates from Massachusetts College of Art with a Bachelor’s degree in Fine Arts and a focus in design/illustration.
1955 – Casey is hired by friend and fellow MassArt alumna Muriel Cooper to work at MIT’s Office of Publications.
1957 – Cooper leaves MIT and Jacqueline Casey takes on a larger, more active role within MIT’s Office of Publications.
1958 – Casey that summer works with Thérèse Moll, friend and assistant to famous Swiss designer Karl Gerstner. Moll introduces Jacqueline Casey to the International Typographic Style, which Casey adopts.
1972  – Casey is appointed director of the Office of Publications at MIT and under her influence MIT’s public image becomes recognizably influenced by the International Typographic Style. MIT goes on to influence American graphic design, spreading ITS and Swiss modernism across the country.
1989 – Jacqueline Casey retires but continues to work with MIT as a visiting scholar.
1992 – d Jacqueline Casey at age 65 in Brookline, Massachusetts from cancer.

07. Jacqueline S. Casey. (n.d). History of Graphic Design. Retrieved 25 May 2021 from https://edpacheco16.wordpress.com/jacqueline-s-casey/

Jacqueline Casey. (2021). San Francisco Museum of Modern Art. Retrieved 25 May 2021 from https://www.sfmoma.org/artist/jacqueline_casey/

Jacqueline Casey. (n.d.). Cooper Hewitt. Retrieved 25 May 2021 from https://collection.cooperhewitt.org/people/18053543/

Jacqueline Casey. (n.d.). Designing women. Retrieved 25 May 2021 from https://designingwomen.readymag.com/profiles/jacqueline-casey/

Jacqueline Casey. (n.d.). Rochester Institute of Technology. Retrieved 25 May 2021 from https://www.rit.edu/carycollection/jacqueline-casey

Jacqueline Casey: A forgotten design hero. (2018, April 12). Documenting Design. Retrieved 25 May 2021 from https://wordpress91977.wordpress.com/2018/04/12/jacqueline-casey-a-forgotten-design-hero/

Jacqueline Casey research. (n.d.). Jacqueline Casey Research. Retrieved 25 May 2021 from https://samsgraphicresearch.weebly.com/history.html

Reinfurt, D. (2017). Muriel Cooper. MIT Press.

Resnick, E. (2008). Women at the edge of technology. Eye Magazine. Retrieved 25 May 2021 from http://www.eyemagazine.com/feature/article/woman-at-the-edge-of-technology

The Humanistic Designer: Jacqueline Casey. (2016). Massachusetts Institute of Technology. Retrieved 25 May 2021 from 
https://mit2016.mit.edu/campus-cambridge/century-employees/casey

Sherin, A. (2012, February 6). Casey, Jacqueline. In_ Grove Encyclopedia of Classical Art and Architecture_. 
https://doi.org/10.1093/gao/9781884446054.article.T2021558

Bonnie MacLean’s story has rather humble beginnings. She was largely a self-taught artist and graphic designer. Originally from Philadelphia, she relocated to San Francisco in 1963, during a pivotal time in US history. MacLean started her career as an assistant to Bill Graham before he began working as a concert promoter for the Filmore. She would eventually take over as the in-house poster designer from Wes Wilson, who is often cited as a strong influence on MacLean’s work. Her previous design experience included chalkboard announcements and evening lineups for the concert hall. Today her work for the  Filmore is considered an important contribution to the psychedelic music scene of the 1960s. However, despite her contributions, the history of graphic design largely recognizes the “Big Five'' as the most important or iconic figures contributing to the music poster scene of this era. It shouldn’t be surprising that the “Big Five'' doesn't include MacLean. However, her psychedelic posters for the Filmore have been collected and exhibited by museums and galleries and recognized for their impact on the music poster scene of 1960s San Francisco.

1939 – b Philadelphia
1961 – graduated from Penn State university with a degree in French
1961 – Moved to New York city, took drawing classes at night at Pratt Institute where she was working
1963 – Moved to San Francisco and began work with Bill Graham
1967 – Married concert promoter Bill Graham
1967 – Wes Wilson left the Filmore and Bonnie became the primary poster designer in his stead.
1968 – gave birth to son David
1975 – Divorced Bill Graham
1981 – married second husband Jacques Fabert (artist)
2005 – work was featured at the Tate Liverpool in a show called “The Summer of Love: Art of the Psychedelic era”
2013 – Jacques Fabert dies
2014 –  headliner at the TRPS Festival of Rock Posters in San Francisco
2015 – designs commemorative poster for Hall & Oates to mark the grand opening of the Philadelphia Fillmore 
2020 – died in Pennsylvania

Ankeny, J. (ND). “Bonne Maclean”. All Music. https://www.allmusic.com/artist/bonnie-maclean-mn0001841640/biography

“Bonnie Maclean” (ND). Fine Arts Museums of San Francisco.  https://art.famsf.org/bonnie-maclean

Doyle, M. (2002). “Staging the Revolution: Guerrilla Theater as a Countercultural Practice, 1965-1968”. The Digger Archives. https://www.diggers.org/guerrilla_theater.htm

Esmaili, T. (June 2017). “Obscenity”. Legal Information Institute, Cornell Law School.  https://www.law.cornell.edu/wex/obscenity

Grushkin, P. (2015). The Art of Rock: Posters from Presley to Punk. Abbeville Press. 

Kamiya, G. (August 7, 2015). “How A Mime Troupe Arrest Sparked Bill Graham's Promoting Career”. The San Francisco Chronicle. https://www.sfchronicle.com/bayarea/article/How-a-Mime-Troupe-arrest-sparked-Bill-Graham-s-6431937.php

Marks, B. (February 12, 2020). “Bonnie MacLean, 1939-2020”. TRPS (The Rock Poster Society).https://trps.org/2020/02/12/bonnie-maclean-1939-2020/

Morley, M. (March 7, 2019) “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/

Vaziri, A.  (February 12, 2020). “Bonnie Maclean, pioneering rock poster artist and wife of Bill Graham, dies at 80“. Datebook, San Francisco Chronicle. https://datebook.sfchronicle.com/art-exhibits/bonnie-maclean-pioneering-rock-poster-artist-and-wife-of-bill-graham-dies-at-80

Ray Eames was a graphic designer and abstract artist at the height of the post war era. She studied abstract art with Hans Hoffman for six years before meeting and moving to California with her husband, Charles Eames, in 1941. Ray was not professionally trained as a designer but was deeply involved in the design process. She combined her abstract sensibilities with her interest in structure and form. The Eames are most well-known for developing molded plywood chairs and other furniture that blurred the line between playfulness and function. The Eames Office did more than just design furniture. They worked on ads, packaging, exhibition spaces, toys, and even films. The Eames Office was incredibly collaborative, and everyone at the office was involved in every project. As a result, Ray never claimed any design as her own. However, she was responsible for some textile designs and magazine cover illustrations for the Arts and Architecture publication. Ray was in her element when it came to color and arrangements. She arranged furniture exhibits for Herman Miller and designed the color schemes for her own home. It’s not hyperbole to say the furniture and designs that came out of the Eames Office defined a generation and they have Ray’s influence written all over them.

1912 – b Sacramento, California
1931 – May Friend Bennett School for Girls 
1932 – mentor at Hans Hoffman studio for 6 years
1940 – moved to Michigan, studied at Cranbrook Academy of Art
1941 – married Charles Eames
1943 – Eames office established
1942-1947 – covers for Arts and Architecture magazine
1946 – Ray Eames pattern designs made 
1953 – Deborah Sussman hired at Eames office
1957 – Day of the Dead film
1959 – Moscow World’s Fair
2010 – Eames exhibit made by Deborah Sussman and Andrew Byrom

Banks, T. (2012, August 22). Addressing the need: The Graphic Design of the Eames Office. Design Week. https://www.designweek.co.uk/issues/may-2012/addressing-the-need-the-graphic-design-of-the-eames-office/

BBC The Genius Of Design 3 of 5 Blueprints For War 2010. (2011, October 21). [Video]. YouTube. https://www.youtube.com/watch?v=Q_0z1kvM6ns

Brown, B. (2017, November 6). Celebrating Graphic Design Sorceress Deborah Sussman. Journal. https://architizer.com/blog/inspiration/industry/deborah-sussman-dies-at-83/

Butler, A. (2013, December 11). Deborah Sussman Interview. Designboom | Architecture & Design Magazine. https://www.designboom.com/design/deborah-sussman-interview-12-11-2013/

Caduff, R. (Director). (2011) The Visual Language of Herbert Matter. [Film]. PiXiU Films

Cohn, J. & Jersey, B. (Directors). (2011) Eames: The Architect and the Painter. [Film]. Quest Productions. Bread & Butter Films. American Masters Productions

Ellison, K. (2018, March 10). The chromatic legacy of environmental designer Deborah Sussman. 99designs. https://99designs.com/blog/famous-design/environmental-design-deborah-sussman/

Hans Hoffman. (n.d.). HANS HOFMANN. http://www.hanshofmann.org/1930-1939

Ray Eames in World War II. (2019, September 27). Eames Office. https://www.eamesoffice.com/blog/ray-eames-in-world-war-2/

4 films by Charles and Ray Eames. (2019, October 18). Eames Office. https://www.eamesoffice.com/the-work/4-films-by-charles-and-ray-eames/

Day of The Dead. (2019, April 16). Eames Office. https://www.eamesoffice.com/the-work/day-of-the-dead-2/

Dot Pattern.(2019, October 24). Eames Office. https://www.eamesoffice.com/the-work/dot-pattern-drawings/

Eames in NYC.(2017, March 2). Ray (Kaiser) Eames Office. https://www.eamesoffice.com/the-work/ray-kaiser-eames-new-york-city/

Ray’s Arts & Architecture magazine covers. (2019, October 4). Eames Office. https://www.eamesoffice.com/the-work/rays-arts-architecture-magazine-covers/

Kirkham, P. (2021). Ray Kaiser Eames. Pioneering Women of American Architecture. https://pioneeringwomen.bwaf.org/ray-kaiser-eames/

Lawrence, S. (1985). Declaration of Function: Documents from the Museum of Modern Art's Design Crusade, 1933-1950. Design Issues, 2(1), 65-77. doi:10.2307/1511530

McGuirk, J. (2020, September 23). There’s no I in Eames. The Guardian. https://www.theguardian.com/artanddesign/2010/oct/26/eames-furniture-team-charles-ray

Narkiewicz-Laine, C. (2020, June 1). The Good Design Awards. Good Design. https://www.good-designawards.com/news/2020/06/01/the-seventy-year-history-of-good-design%C2%AE/

Neuhart, M., & Neuhart, J. (2010). The Story of Eames Furniture: The Early Years (Vol. 1). Gestalten Verlag, Berlin.

Olsberg, N. (2017, November 27). Herbert Matter. Drawing Matter. https://drawingmatter.org/herbert-matter/

Phaidon Editors. (2012). Eames graphic designs on show | design | Phaidon. Phaidon. https://www.phaidon.com/agenda/design/articles/2012/august/28/eames-graphic-designs-on-show/

Raphael, T. (2016, April 12). The “Damsels of Design,” women who changed automotive history. The World from PRX. https://www.pri.org/stories/2016-04-12/damsels-design-women-who-changed-automotive-history

Romano, A. (2019, June 17). The Value of Good Design. DisegnoDaily. https://www.disegnodaily.com/article/the-value-of-good-design

Saval, N. (2019, April 4). How “Good Design” Failed Us. The New Yorker. https://www.newyorker.com/culture/cultural-comment/how-good-design-failed-us

Schuessler, J. (2020, May 16). Ray Eames, Out of Her Husband’s Shadow. The New York Times. https://www.nytimes.com/2020/05/15/arts/ray-charles-eames-artists.html

Smith, R. (2009, June 5). The Ordinary as Objects of Desire: MoMA Looks Back at Everyday Design. The New York Times. https://www.nytimes.com/2009/06/05/arts/design/05desi.html

Sussman/Prejza & Co. (2020, June 29). Deborah Sussman. Sussman Prejza. https://sussmanprejza.com/bio/deborah-sussman/

The design genius of Charles + Ray Eames. (2009, July 6). [Video]. YouTube. https://www.youtube.com/watch?v=b0vDWqp6J7Y

The Museum of Modern Art. (2009, May 6). MoMA REVISITS WHAT ‘GOOD DESIGN’ WAS OVER 50 YEARS LATER[Press release]. https://assets.moma.org/documents/moma_press-release_387178.pdf?_ga=2.250983619.475073280.1609623298-1952243929.1609623298

Veit, R. (2016, March 22). The Story Behind GM’s Celebrated “Damsels of Design.” Core77. https://www.core77.com/posts/49498/The-Story-Behind-GMs-Celebrated-Damsels-of-Design

Walker, A. (2015, April 2). The Designer Who Helped Give L.A. Its Look. T Magazine. https://tmagazine.blogs.nytimes.com/2013/12/17/on-view-the-designer-who-helped-give-l-a-its-look/

Louise Jefferson was a graphic designer, photographer, illustrator, and civil rights activist. Born in Washington, DC, Jefferson spent much of her career in Harlem, New York. It was there that she became the first female African-American art director in publishing. While working as the art director for the Friendship Press, she also did freelance work for civil rights publications such as Opportunity (which encouraged young Black writers) and Crisis, the official publication of the NAACP. She worked on a children’s book titled We Sing America that was intended to educate children about the realities of being black in America. It was controversial, and even banned in Georgia. Jefferson later illustrated E. Jefferson Murphy’s book Understanding Africa, which showed the cultural richness and diversity of Africa. The project she seemed most proud of was her own book The Decorative Arts of Africa which documented the cultures and lifestyle of the peoples of Africa. The book took several years and five trips to Africa to complete. Jefferson lived in times and places of turmoil. She fought racial discrimination and stood for social justice. She worked tirelessly to increase opportunities for her fellow Black Americans through programs like the Works Progress Administration and the Harlem Artists Guild. Her entire career was characterized by her determination to improve life and create more opportunity for Black Americans.

1908 – b Louise Jefferson in Washington, DC.
1919 – Race riots break out across DC.
1935 –  Louise Jefferson moves to Harlem in New York and becomes a photographer. The first Harlem riot breaks out. Jefferson helps found the Harlem Artists Guild to fund public works post-Depression.
1936 – We Sing America is published, featuring illustrations from Jefferson. Intended to educate children about the realities of being Black in America and including depictions of desegregated groups of children, the book is quickly banned in Georgia.
1940 – Louise visits the Tuskegee Institute in Alabama during the period of what would become known as the Tuskegee Syphilis Experiment. Louise captures the sense of depression and grief within the community on film.
1942 – Louise becomes art director at Friendship Press, becoming the first female African American art director in the publishing industry.
1969 – Jefferson illustrates the educational book Understanding Africa and works on her own book Decorative Arts of Africa.
1973 – Decorative Arts of Africa is published, becoming one of the first large collections documenting African culture, containing over 300 illustrations and photographs. Jefferson later retires.
2002 – d Louise Jefferson in Litchfield, Connecticut.

About Ghana. (2021). UNDP in Ghana. Retrieved 25 May 2021 from https://www.gh.undp.org/content/ghana/en/home/countryinfo.html

About. (2021). National Urban League. Retrieved 25 May 2021 from https://nul.org

Banks, T. J. (2012). Sketch people: Stories along the way. Inspiring Voices.

Brockell, G. (2019, July 15). The deadly race riot ‘aided and abetted’ by The Washington Post a century ago. The Washington Post. Retrieved 25 May 2021 from https://www.washingtonpost.com/history/2019/07/15/deadly-race-riot-aided-abetted-by-washington-post-century-ago/

Convis, C. (2020). 1908-2002 Louise E. Jefferson, artist publisher photographer mapmaker. Esri Community. Retrieved 25 May 2021 from https://community.esri.com/t5/conservation-gis-documents/1908-2002-louise-e-jefferson-
artist-publisher-photographer/ta-p/914970

Daniel Hale Williams and the first successful heart surgery. (n.d.) Columbia University Department of Surgery. Retrieved 25 May 2021 from https://columbiasurgery.org/news/daniel-hale-williams-and-first-successful-heart-surgery

Editors of Encyclopaedia Britannica, The. (n.d.). Opportunity. In Encyclopaedia Britannica. Retrieved 25 May 2021 from https://www.britannica.com/topic/Opportunity-American-magazine

Facincani, L. (2012). Jefferson, Louise E. (1908-2002). Amistad Research Center. Retrieved 25 May 2021 from http://amistadresearchcenter.tulane.edu/archon/?p=creators/creator&id=845

Gross, J. (2012). Then: 125th street. NYC then/now: Great depression & great recession. Retrieved 25 May 2021 from https://eportfolios.macaulay.cuny.edu/brooks12/then-125th-street/

Heller, J. (2017, May 10). AP was there: Black men untreated in Tuskegee syphilis study. Associated Press. Retrieved 25 May 2021 from https://apnews.com/article/e9dd07eaa4e74052878a68132cd3803a

Jefferson, L. (1946). Americans of negro lineage [Map]. Friendship Press.

Jefferson, L. (1987) Alabama boy [Photograph]. Mutual Art. Retrieved 25 May 2021 from 
https://www.mutualart.com/Artwork/Alabama-Boy/D89D81A498D419E2?freeunlock=AF4CB17BDA2069E2

King, J. (2018). Louise E. Jefferson’s design journey. AIGA. Retrieved 25 May 2021 from 
https://www.aiga.org/design-journeys-louise-e-jefferson

Louise E. Jefferson. (2021). Petrucci Family Foundation Collection. Retrieved 25 May 2021 from 
https://pffcollection.com/artists/louise-e-jefferson/

Louise E. Jefferson. (n.d.) Extravagant Crowd. Retrieved 25 May 2021 from http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/jefferson.html

McQuirter, M. (2003). A brief history of African Americans in Washington, DC. Cultural Tourism DC. Retrieved 25 May 2021 from https://www.culturaltourismdc.org/portal/a-brief-history-of-african-americans-in-washington-dc

Schomburg Center for Research in Black Culture, Jean Blackwell Hutson Research and Reference Division, The New York Public Library. (1936). We Sing America. Retrieved 25 May 2021 from 
https://digitalcollections.nypl.org/items/f0881d50-e599-0134-43d6-098d51a24b40

Whitebeck, D. (1984, February). Gallery. The Hartford Courant, E10

Elaine Lustig Cohen got an unconventional start as a graphic designer. After deciding not to pursue a career in art education, she began working as an assistant to her first husband, noted modernist designer Alvin Lustig. Her early work in the industry was far from glamorous, as she was mostly doing paste-up and assembling Alvin’s designs. She described her position as more of an “office slave”. As Alvin began to lose his sight due to complications with diabetes, he began to rely on Elaine and his other assistants more and more. When Alvin passed away, Elaine took over the business. Her first commission was to complete the design for signage of the Seagram building in NYC working with architects Philip Johnson and Ludwig Mies van der Rohe. The success of this work turned into more commissions. She took on some of Alvin’s other clients, leading to a close relationship with, and later marriage to Meridian books editor and founder Arthur Cohen. Elaine closed her studio in 1969 to focus on a career in art, but continued creating designs for Ex Libris, the antiquarian book business she started with Arthur, which imported rare books and documents of the European Avant Garde to America. Though she began her career with little formal training as a designer, Elaine designed over 150 book covers, a number of promotional and catalog designs for exhibitions, pioneered what she called Architectural Identification Design and has since had her work honored through many well-deserved exhibitions and awards.

1927 – b 1927, Elaine Firstenberg
1948 – Married Alvin Lustig
1955 – Alvin Lustig Died
1956 – Married Arthur Cohen (Meridian Books editor) 
1969 – closed design studio to focus on art
1972 – Started Ex Libris w/ Cohen
1995 – retrospective at Cooper Hewitt curated by Ellen Lupton
1998 -  Closed Ex Libris
2011 – Awarded AIGA Medal
2014 – P! show
2015 – paintings shown at Philip Johnson’s “Glass House”
2016 – d 2016
2018  – Jewish Museum Show, exhibition of art and design work

https://elainelustigcohen.com/

Barron, M. (2013, May 8). Elaine Lustig Cohen Interview. Bomb Magazine. Retrieved August 7, 2019 from: https://elainelustigcohen.com/bomb-magazine-elaine-lustig-cohen-interview/

Belen, P. & D’Onofrio, G. (2012) Elaine Lustig Cohen: The art of modern graphics. The Shelf Journal. Issue N. 2. Retrieved August 7, 2019 from: https://elainelustigcohen.com/the-art-of-modern-graphics/

Campbell, A. (2015). Elaine Lusting Cohen. Art in America (1939), 103(8), 153.

Gates, A. (2016). Elaine Lustig Cohen, Modernist Designer, Dies at 89. The New York Times, pp. The New York Times, 2016-10-09.

Hagerty, J.. (2016). Elaine Lustig Cohen Designed Elegant Signage and Book Covers; Influenced by European avant-garde, she later turned to painting. The Wall Street Journal. Eastern Edition, pp. The Wall Street journal. Eastern edition, 2016-10-14.

Heller, S. (2007). Modern pioneer. Print, 61(2), 14. 

Heller, S. (2011, December 5). Elaine Lustig Cohen. AIGA.org Retrieved August 7, 2019 from https://www.aiga.org/medalist-elainelustigcohen

Heller, S., & Cohen, E. (2010). Born modern : The life and work of Alvin Lustig. Chronicle books.

Lupton, E.  (1995). Elaine Lustig Cohen, Modern Graphic Designer. Eye Magazine Retrieved August 7, 2019 from: https://elainelustigcohen.com/modern-graphic-designer/

MacAdam, B. (1995). Showcasing a New Type of Designer: Lustig Cohen's International Style at Cooper-Hewitt. Forward (New York, N.Y.), pp. Forward (New York, N.Y.), 1995-03-10.

Sherin, A., & Cohen, E. (2014). Elaine Lustig Cohen : Modernism reimagined (Graphic design archives chapbook series; 5) RIT Press: Rochester, New York.

And special thanks to Tamar Cohen, Elaine’s daughter, for clarifying some additional details for us. Tamar’s amazing work can be found at http://tamarcohen.com/

Deborah Sussman is known as a leader of environmental graphic design, a relatively new field at the time that had a surprising number of women leading the charge. Sussman had a passion for the arts and attended some of the finest art and design institutions in the nation, including the Black Mountain College, the Institute of Design in Chicago, and Bard College in NYC. Sussman interned at the Eames office then later started her own successful design studio with her husband Paul Prejza, Sussman/Prejza & Company. The pair made a dynamic team, earning a considerable amount of recognition in Sussman’s lifetime. The colorful modernism seen in much of Sussman’s work was most visible in her designs for the 1984 Olympic Games in Los Angeles. Her designs were highly regarded for the bold colors and graphics that were both attractive and functional. The Olympic designs were even included in Time Magazine’s “Best of the Decade”. In addition to the designs for the Olympics, Sussman/Prejza & Company did environmental design work for Disney and comprehensive design systems for the cities of Santa Monica & Philadelphia. While her designs for the 1984 Olympic Games in Los Angeles brought the most attention to the burgeoning field of environmental design, it was her dedication to pioneering the field that cements her place in the canon of graphic design.

1931 – b New York
1948 – Attends summer school at the Black Mountain College, for art & performance
1948-50 – Attends Bard College, New York for painting & acting
1950-53 – Attends the Institute of Design, Chicago
1953-58 – works at Eames office
1957-58 – Awarded a Fulbright Scholarship to study in Ulm, Germany
1961 – Returns to work for the Eames office
1968 – Establishes her own practice
1972 – Marries architect Paul Prejza
1975 – Awarded a Fulbright Scholarship to study in Calcutta, India
1980 – Founds Sussman/Prejza & Company, a partnership with her husband
1983 – Fellow and founder of AIGA/LA
1987 – Elected member of AGI, Alliance Graphique Internationale
1987 – Elected member of The Trusteeship, International Women’s Forum
1988 – Named an Honorary member of the American Institute of Architects
1990 – featured in Time Magazine’s “Best of the Decade” for ‘84 Los Angeles Olympic designs
1991 – Named Fellow of the Society of Environmental Graphic Design
1995 – First woman to exhibit at School of Visual Arts’ “Master Series” 
2014 – d in Los Angeles at the age of 83

Black Mountain College: A Brief Introduction. (2020, July 9). 

https://www.blackmountaincollege.org/history/

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from https://sussmanprejza.com/bio/deborah-sussman/

Discover Los Angeles. (2020, July 20). Historical Timeline of Los Angeles. Retrieved December 

01, 2020, from http://www.discoverlosangeles.com/things-to-do/historical-timeline-of-los-angeles

Eames Office. (2020, March 26). Charles and Ray Eames. 

https://www.eamesoffice.com/eames-office/charles-and-ray/

Giovannini, J. (2006). Turning surface into symbols: the environmental design firm 

Sussman-Prejza enriches architecture with graphics. Architectural Record, 194(1).

History.com Editors. (2009, November 13). Soviets announce boycott of 1984 Olympics. A&E 

Television Networks. Retrieved December 01, 2020, from http://www.history.com/this-day-in-history/soviets-announce-boycott-of-1984-olympics

Latson, J. (2014, September 05). "Murder in Munich": A Terrorist Threat Ignored. Time. 

Retrieved December 01, 2020, from https://time.com/3223225/munich-anniversary/

Meggs, P. B., & Purvis, A. W. (2016). Meggs' history of graphic design. Hoboken, NJ: John 

Wiley & Sons.

Mertin, E. (2012). The Soviet Union and the Olympic games of 1980 and 1984. East Plays West:

Sport and the Cold War, 235.

Olsberg, N. (2014). Architecture and Sculpture a Dialogue in Los Angeles. Architectural Review, 

235(1405), 88–93.

Sussman, D. (2014). L.A. Wo Man. Creative Review, 34(1), 48–53.

Poulin, Richard. (2012). Graphic Design and Architecture, A 20th Century History. Osceola: Quarto Publishing Group USA.

Twemlow, A. (2004, September 6). Deborah Sussman. AIGA.org Retrieved December 01, 2020, from 

https://www.aiga.org/medalist-deborahsussman

Waldo, E. (2014). Deborah Sussman Dies at 83. Contract, 55(7), 16.