Episodi
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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 â70s and â80s horror fiction. Quirk Books.
Chatziioannou, A. (2023). From ants to zombies: Six decades of video game horror. Bitmap Books.
Gianni, G. (2017). Gary gianniâs 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), 8â61.
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), 2â27.
(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.
DâAgostino, 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
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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 âIndianâ 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 âLittle Chief,â 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 Echohawkâs Great-Grandfather is born in Nebraska, the traditional homeland of the Pawnee
1855 - Kutawakutsu Tuwaku-ah (Echo Hawk), Brummett Echohawkâs 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 Echohawkâs 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 âLittle Chiefâ, 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 Londonâs 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 âUnknown Indian Awardâ 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 âLittle Chief the Comic Art of Brummett Echohawk,â 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 âOut Of: Sequence: Underrepresented Voice in American Comics,â 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 Artistâs 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 - âBrummett Echohawk: An Artistâs Journeyâ [Video]. YouTube. https://www.youtube.com/watch?v=P6mWGFQEzm4
Wydeven, J., & Klaphake, C. (1984). Art and Eloquence. Nebraskaland, 62(1), 104â111.
Youngbull, K. M. (2015). Brummett Echohawk: Pawnee Thunderbird and Artist. University of Oklahoma Press.
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Episodi mancanti?
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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
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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 Nouveauâs 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 Nouveauâs 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
MĂŒller, 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
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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 Capcomâs fighting game imagery began in the late 80s and lasted until the early 2000s. The teamâs 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). UDONâs Art of Capcom . Udon Entertainment Corp.
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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 Ćehzade 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 EmpireThe 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 Sinanâs Domed Structures. Muqarnas, 4, 72â97. https://doi.org/10.2307/1523097
NeciÌpoÄlu, G. (2007). Creation of a National Genius: SiÌnan and the Historiography of âClassicalâ Ottoman Architecture. Muqarnas, 24, 141â183. http://www.jstor.org/stable/25482458
Ersoy, A. (2007). Architecture and the Search for Ottoman Origins in the Tanzimat Period. Muqarnas, 24, 117â139. http://www.jstor.org/stable/25482457
Makdisi, U. (2002). Ottoman Orientalism. The American Historical Review, 107(3), 768â796. https://doi.org/10.1086/532495
Lewis, B. (1980). The Ottoman Empire and Its Aftermath. Journal of Contemporary History, 15(1), 27â36. http://www.jstor.org/stable/260456
AVCIOÄLU, N., & FLOOD, F. B. (2010). INTRODUCTION: Globalizing Cultures: Art and Mobility in the Eighteenth Century. Ars Orientalis, 39, 7â38. 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), 147â152. https://www.jstor.org/stable/26478488
Islamic Art. (1978). The Metropolitan Museum of Art Bulletin, 36(2), 3â48. https://doi.org/10.2307/3258866
Mehmed AÄa (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 AÄa (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), 204â224. https://doi.org/10.2307/3258980
HOWARD, D. A. (1988). OTTOMAN HISTORIOGRAPHY AND THE LITERATURE OF âDECLINEâ OF THE SIXTEENTH AND SEVENTEENTH CENTURIES. Journal of Asian History, 22(1), 52â77. http://www.jstor.org/stable/41932017
Denny, W. B. (1983). Dating Ottoman Turkish Works in the Saz Style. Muqarnas, 1, 103â121. https://doi.org/10.2307/1523074
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REFERENCES
Witwer, M. & Newman, K., Peterson, J., Witwer, S. (2018). Dungeons & Dragons: Art & Arcana, A Visual History. Ten Speed Press.
Seeley, S. & Seeley, T. (2015). The Art of He-Man and The Masters of The Universe. Dark Horse Books.
Forster, B. & Sorenson, J. (2019). Transformers Legacy: The Art of Transformers Packaging. IDW Publishing.
Farago, A. (2014). Teenage Mutant Ninja Turtles: The Ultimate Visual History. Insight editions.
Heller, S. & Mungia, R. (2021). SF20: Toys: 100 years of all-american toy ads. Taschen.
Voger, M. (2015). Monster mash: The creepy, kooky monster craze in America 1957-1972. TwoMorrows Publishing.
Fawcett, C. (2021). Rad plastic. Tkaf productions
Reed, W. (2001). The Illustrator in America 1860-2000. The Society of Illustrators Inc.
Hudson, G.. (2019).Illustration on British and North American Printed Ephemera, 1900-1910. In S.Doyle, J. Grove, & W. Sherman (Eds.), History of Illustration (1st ed., pp. 198â214). Fairchild books.
Kane, B.M. (2019). Overview of Comics and Graphic Narrative, 1830-2012. In S.Doyle, J. Grove, & W. Sherman (Eds.), History of Illustration (1st ed., pp. 198â214). Fairchild books.
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Bio/ Background (intro)
Directors: Ron Clements and John Musker Intro (below)Topic 1 Introduction
To my surprise, a number of people have never seen or heard of the movie âTreasure Planet.â In this classic retelling of âTreasure Islandâ by Robert Louis Stevenson, the narrative was turned into an intergalactic adventure complete with cyborgs, space travel, and, of course, treasure. Disneyâs âTreasure Planetâ was one of two experimental movies in the year 2002. âTreasure Planet,â however, is notorious for its box office failure. The other experimental film, from a different in-house studio was âLilo and Stitch,â which got way more attention and was well received by audiences. Now, this podcast is not a compare and contrast of the two experimental films of 2002, but I canât help but take into consideration the alleged reasons why âLilo and Stitchâ swam but âTreasure Planetâ sank. Both movies included obvious CGI, a wide variety of alien species, action-packed space travel, and family problems. I say this because a noticeable amount of articles claim the reason âTreasure Planetâ bombed at the box office was because of the âhigh techâ CGI scenes. Amazingly after being scorned six feet into the grave of Disneyâs backyard, 20 years later it gets dug up like a prized fossil.
Treasure Planet is based on the legendary novel âTreasure Island,â written by Robert Louis Stevenson. Instead of taking place in the Caribbean, it is set in outer space. The story begins with Jim Hawkins receiving a treasure map from a wounded alien by the name of Billy Bones in his motherâs inn. Rebellious Hawkins and passionate Dr. Delbert Doppler join a crew to find this elusive treasure hidden by the notorious pirate, Captain Nathaniel Flint. The crew of this ship seems to be of questionable authenticity as Hawkins meets the cook, Mr. Silver. Silverâs cyborg body with a robot arm reminds Hawkins of Billy Bones' warning about a cyborg. Eventually, the crew reveal themselves as pirates and launch a mutiny with Silver as their leader. The film carries multiple layers of character arcs journeys as the characters set out for Treasure Planet. This retelling of âTreasure Islandâ was, of course, given a sprinkle of âDisney magicâ complete with striking animation, and memorable characters with flamboyant personalities.
Topic 2 Who Made the Film?
The striking film was directed by Ron Clements and John Musker. These guys directed âThe Little Mermaid,â âAladdin,â and âHercules.â According to the reflections on the Walt Disney Family Museum Website, Ron Clements was born and raised in Indiana. He was inspired to learn animation at the age of 9 after seeing âPinocchio.â He worked his way from the scraping bottom of Disney to the directorâs chair. John Musker was also an animator, storyboard artist, writer, director, and producer for 40 years for Disney Animation Studios. He studied under icons like Elmer Plummer and Bill Moore at CalArts in the 1970s. âHe also studied alongside classmates who would become distinguished directors such as Brad Bird, Chris Buck, Tim Burton, John Lasseter, and Henry Selick.â His partnered credits with Clements are as follows, âThe Great Mouse Detectiveâ (1986), âThe Little Mermaidâ (1989), âAladdinâ (1992), âHerculesâ (1997), âTreasure Planetâ (2002), âThe Princess and the Frogâ (2009), and lastly, âMoanaâ (2016).
Gladstein writes in âThe Bizarre Story of How Treasure Planet Got Madeâ that the two directors pitched âTreasure Planetâ the same time as âThe Little Mermaidâ in Disneyâs Renaissance Era (1989-1999). The studio was extremely reluctant to green light âTreasure Planetâ until the dynamic duo, Clements and Musker, shoveled out genius big time money makers like âThe Little Mermaidâ and âAladdin.â Gladstein notes that the studio was so impressed with the consistency of success from these dudes that they finally said yes to âTreasure Planet.â As an observer, Iâm reading that basically âThe Little Mermaidâ and other MAJORLY lucrative films were just incredible proofs of concept to convince the big guys of letting âTreasure Planetâ fly.
According to Jocelyn Buhlman on The Official Disney Fan Club Website, this was Clements and Musker's first sci-fi film, despite their love for science fiction. Buhlman quotes Clements explaining, âJohn and I are both sci-fi fans. The idea of making our pirate and taking his eye patch and turning it into a cyborg eye and taking his peg leg and making it mechanicalânot only was it a science fiction thing, but it was an animation thing.â Buhlman also mentions how the two directors utilized the 3D technology used in âTarzanâ to create a camera effect on the action scenes and moving parts, âBeyond the wonders of Deep Canvas, Clements and Musker achieved the dynamic directorial style they desired by creating a whole new technologyâvirtual sets. A scene in âTarzanâ that most viewers can recognize that used a mix of hand drawn and computer animation is when Tarzan âslidesâ down mossy trees to get around in the jungle like sliding on wood floors with socks. The hand drawn element was added to Tarzanâs body as he moved around and the passing trees and jungle was the computer animation portion.
Buhlman speaks on how Clements explains the logistics of making âTreasure Planetâsâ backgrounds, ââThey were actually dimensional sets made to look like 2-D backgrounds, but in truth they were 3-D, and we could move the camera around.ââ This was a huge deal for animation. Letâs take another well known âclassicâ Disney hand drawn film for an example: âThe Little Mermaid.â As previously mentioned, this enormously successful animated film was also directed by Clements and Musker. In this film, everything was hand drawn. And I do mean everything. Before understanding how and why animators turned to computer animation, we have to dive into the meaning of hand drawn animation and how much a labor of love it was.
Hand drawn animation is formally known as cel animation. This process of animation and film making is labor intensive and requires massive numbers of animators to complete an ambitious film such as âThe Little Mermaid.â Just like any other film, animation requires storyboarding, pitches, screenwriting, actors, directors, etc. The only difference is instead of using a camera to capture the movement of the story, artists have to draw it frame by frame. A frame is a single drawing. An animation is a collection of frames in a row that, ideally, âmoveâ when viewed quickly. Ever heard of a flipbook? Itâs the same concept: a stack of drawings just tiny changes from each other to make a seamless movement before the eye. According to Adobe, âCel animation is one of the most traditional forms of animation and involves objects - usually characters - being hand-drawn on clear celluloid sheets and placed over painted backgrounds. These are known as animated cels or animation cels.â
These celluloid sheets are drawn and painted on for all of the characters that moved in a scene. That is why the backgrounds in cel animated films seem set in place, because they quite literally are. This style of animation was completely hands on and traditional with paint, pencils, and more. These artists would create a pencil test (an animation drawn roughly in pencil) to test how the character moves and interacts with the other characters. Disney was known for using live, moving models in the studio to help artists understand the realistic movement of the body. Animators would take a day to grab a paper pad, some pencils, and an easel to complete quick drawings of the model called gesture drawings. They would do this to understand how anatomy works and better their animation skills. If youâre interested in seeing records of these, Disneyâs âSleeping Beautyâ and âAlice and Wonderlandâ have great films of the animators figure drawing in action. In âThe Little Mermaid,â they also used models to understand how the main character, Arielâs, hair moved underwater. According to Untitled Art Gallery, âThe effect of Ariel's hair underwater was based on footage of Sally Ride when she was in space; and scenes of Sherri Lynn Stoner in a swimming pool were used in animating Ariel's swimming.â After the pencil tests were completed, they polished the frames by using clean line work.
You might be wondering, âHow did they color the drawn animations?â They had a whole team dedicated to painting, yes, painting each and every single frame. This was also why hand drawn animationâs characters appeared less rendered. Rendering takes time, and time was something these studios certainly were scarce of. Untitled Art Gallery also made an excellent point on the difficulties of backgrounds in cel animation: âA challenge in animating Ariel were the colors required to show her in various changing environments, both under the sea and on land. By the end of the film, the animators required a total of 32-color models; not including costume changes. The sea-green color of her fin was a hue specially mixed by the Disney paint lab, and the color was named "Ariel" after the character.â In hand drawn animation, every single scene you see that moves or has a number of moving parts is drawn and painted by hand, unlike computer animation. This was why the use of computer graphics was a huge leg up for animation. When Musker and Clements mentioned how monumental computer animation was to making âTreasure Planetâsâ moving backgrounds, they meant it. Computer graphics in a hand drawn appearance saved months of work for these animators. Buhlman claims that Clements and Musker were successful and known for mixing 2D and 3D animation techniques.
The process of mixing 2D (hand drawn) and 3D (computer animated) techniques was very tricky to pull off. As I mentioned before, the characters from âTreasure Planetâ were either hand drawn, hand drawn and computer mixed, or entirely computer (which was rare). Jim Hawkins was completely hand drawn, unlike Silver. Most of Silverâs body was hand drawn. The parts of him that were computer animated were his cyborg parts like his eye and arm. Both his eye and arm have mechanical shape-shifting movements that would be near impossible to animate by hand as smoothly. B. E. N., the robot, was entirely computer animated. The animators had to create Silverâs body by hand, and then match up computer animated cyborg parts to make his design cohesive. This took time and lots of money. Musker and Clementâs budget for this film was $140 million USD, so they must have known the beast of a project they were taking on.
Clements and Musker also created an extremely diverse set of characters for âTreasure Planet.â Every character in this film had multiple design studies and framework done, so considering there were over 50 characters to animate, they were ambitious. This animation was set on no single characters, but they did have stars in their cast. Martin Short was cast as Ben, the robot that worked for the late pirate Captain Nathaniel Flint. Martin Short was known for his roles in âThe Three Amigosâ and multiple other shows and films. Tony Jay was the compelling narrator. He voiced multiple iconic characters such as Frollo in âThe Hunchback of Notre Dame,â and The Magic Mirror in âSnow White and the Seven Dwarves.â
Topic 3 Why Did the Film Bomb?
Letâs talk about another movie that faltered just before âTreasure Planetâ did, in 2001. âAtlantis: The Lost Empireâ was a Disney film that was created by the people that designed the very successful âHunchback of Notre Dame,â Kirk Wise and Gary Trousdale. Drew Taylor, a Collider article author, writes about how their visions of this movie were similar to Musker and Clements. Taylor mentions how they meant for the movie to be an adventurous and action packed change of pace from the Broadway musical style theyâd previously directed. They also planned the movie to be a live action film. Some critics today claim it did in fact, age like that forgotten bottle in the back of a dusty cabinet, others say it aged like milk. Just like âTreasure Planet,â âAtlantis: The Lost Empireâ is packed with a thrilling quest, diverse characters, and stunning visuals. Also like âTreasure Planet,â Wise and Trousdale used computer animation mixed with hand drawn animation. They used computer animation on pieces like the submarine and the leviathan monster. When pitching the idea to multiple Disney animators and designers like John Sanford, according to Taylor, âAs production got underway, they added a key member of the team: John Sanford, who served as the artistic supervisor for story. He was finishing work on Mulan at Disneyâs Orlando satellite studio. Uninspired by the projects that he knew were in the pipeline, he called Trousdale and asked what he was working on. When Trousdale explained the project, Sanford knew he had to be a part of it. âIt was unlike anything Iâd ever heard of,â Sanford said.â According to The Janitorium, âPeople just werenât ready for a serious Disney film. Somehow it didnât have the charm or the feeling of a Disney film â therefore it failed. While modern superhero films can be pushing the boundaries of PG-13 and still appeal to young kids, Atlantis was considered too edgy. And while Indiana Jones is still a lauded classic, Atlantis is panned for being just as simple and formulaic. I just canât understand it. Sure, maybe the film wasnât properly marketed, but neither was Hunchback â and that film still has its vocal fans and is arguably even darker of a Disney film.â Just like âTreasure Planet,â âAtlantis: The Lost Empireâ started in excitement and promise, took sweat and tears to make, released into the wild theaters, and crashed at the box office.
The building suspension and hard work made by Clements and Musker went right into the gravel, but why? According to Bobby Berstein on the Nerdmuch website, this cosmic ship should have soared, not sank, âDespite having a talented team of animators and voice actors, the film was a commercial and critical failure, grossing only $38 million domestically against a budget of $140 million.â Unfortunately, the movie sent Disney into debt. Bernstein claims that the reasons the film utterly failed was because of competing films in the theater like âHarry Potter and the Chamber of Secretsâ as well as âDie Another Day,â a lack of marketing, an unclear target audience, drastic swings away from the âtraditionalâ Disney style, a lack of emotional connection, and negative reviews. âWhile some reviewers praised the filmâs visuals and action sequences, others criticized its pacing, lack of emotional depth, and departure from traditional Disney storytelling.â
In âWhy Treasure Planet Became One of Disneyâs Most Expensive Failures Ever,â Courtney Mason explains how the movie was so expensive to make. The blend of 2D and 3D animation techniques cost a pretty penny. Long John Silverâs character required both hand drawn animation and computer animation to bring his cyborg parts to life, as mentioned previously. Now, imagine the number of animators in a number of departments working on the hand drawn animation alone plus the cost of computer animators and advanced programs. This movie was a fusion between computer animation and hand drawn animation, and with fusions come problem solving and expenses. Most of the backgrounds and special effects were computer animated as well as characters like B.E.N. and parts of Silver. Everything else, including main and background characters, were hand drawn. The directors wanted to make this film majestic, adventurous, and grand like a Steven Spielburg movie. Mason notes that because of the advances in computer animation in Pixar films and the decline of hand drawn animation with its demand of countless workers and longer development cycles, âTreasure Planetâ was outdated the day it was released.
The wholesome and epic story was ahead of its time according to Cameron Gorman on Collider, âSarah Hawkins (Laurie Metcalf), a put-upon inn owner, is reading a bedtime story to her son Jim. This ordinary scene of domesticity â something that would feel at home in its source material â is suddenly elevated when we see Jim's book. It's more of a hologram show than a traditional novel, the images moving and turning in their own little spaces.â The mix between old fashioned and technology is extremely creative and unique compared to previous Disney animated films, but failed epically in the box office. Gorman also conducts another reason why this film didnât reach an audience: the main character was too old. If thatâs so, Iâd say that is completely unfair considering Cinderella was supposedly 19 years old, four years older than Jim Hawkins. Maybe if Disney put a crown on Jim and made him a âspace princeâ with a love interest, it wouldâve received more attention considering the audience at the time was conditioned to consume love stories and happy endings from Disneyâs buffet.
Topic 4 A Cinema Wrestling Match in Theaters
You might be wondering, âOkay, so what if âTreasure Planetâ isnât a traditional Disney film? So what if these points are valid, how did the film fall so hard then? It couldnât have been that bad, right?â Yes, the technology was quickly evolving in animation studios, and yes, this film was not your average sing-song Disney delight. However, animators like John Musker and Ron Clements had to face what every filmmaker dreads: the theater competitions. Each film is fighting fist to fist, tooth and nail to earn that ticket. All movies stare each other down in the face across from each other in the filthy, carpeted halls of the movie theaters. Each poster is trying to persuade the consumer, screaming at them, to win over their interest for the sake of a good rating, excellent box office numbers, and maybe even another ticket.
So Musker and Clementâs studio has shined up and polished off their beautiful creation and sent it off to the gritty audience. Mind you, âTreasure Planetâ was released in 2002. Allow me to expand on the competition in 2002 theaters: âThe Lord of the Rings: The Two Towers,â âSpider-Man,â âHarry Potter and the Chamber of Secrets,â âStar Wars: Episode II - Attack of the Clones,â âDie Another Day,â âMen in Black II,â âLilo and Stitch,â - must I go on? In the realm of movie lovers all over the world, these films I just mentioned were iconic when they came out. It seems as if almost anyone who dared to challenge these theater titans, were doomed to fail.
Topic 5 Why Does it Have an Audience Today?
Like a zombie crawling out of a grave, âTreasure Planetâ received the audience it deserves 20 years after it was released. The craftsmanship of the hand drawn mixed with computer animation is now seen as legendary. âSilver's cyborg animation, too, remains impressive,â Courtney Mason writes, â The mechanics of his arm are quite hypnotizing and fascinating to watch. Morph stands out as Disney's signature cute sidekick, and does a wonderful job of being funny and adorable. The script ebbs and flows, with humor being provided by the only entirely CG character in the film, B.E.N. Superior to all, though, is the relationship between Jim and Silver.â
The New York Times wrote in December, 2022 that the film was grossly underappreciated with its striking visuals and relatable character traumas. The New York Times also mentioned how video games, other films, and a negative impression of the rebellious teenage main character could have contributed to the cold shoulder from the public. They expressed how monumental and unique it was to have Jimâs character to be the way it was, âOutside of its irreplicable conception, âTreasure Planetâ also tapped into adolescent woes that powerfully spoke to many teens because it treated the flood of emotions young people grapple with as legitimate. The hero here was rough around the edges. For their intergalactic coming-of-age tale, the directors turned Hawkins into a rebellious 15-year-old with a braided rat tail who surfs the skies on a solar-powered board. His father left when he was a child and his loving but worried mother canât seem to get through to him. To find himself and mature, this brooding heartthrob must leave on an epic quest.â The New York Times acknowledged how much of a relatable role model Jim Hawkins was instead of the trouble-making boy parents and critics saw. âTreasure Planetâ also had a very complex and well-crafted relationship between two important characters, Jim Hawkins and Long John Silver. Silver filled that fatherly role that Hawkins was in desperate need of since his father left him at a young age. Silver saw Hawkins as a son and someone to take under his wing, to see the universe with. It was a beautiful complex relationship because Jim Hawkins was the hero, and Long John Silver was soon to be revealed as the leader of the pirates who would hijack the ship. The New York Times recognized this, âThough not a musical, âTreasure Planetâ features a touching montage to the tune of the singerâs John Rzeznikâs âIâm Still Here,â a song written for the film, that bridges Hawkinsâs abandonment trauma and his burgeoning relationship with Silver, a figure filling that paternal void.â Laura Kelly from Inkverse said something similar about the two characterâs relationship, âThe central relationship is the father-son bond that develops between John Silver and Jim, who finds encouragement from the pirate that he never received from his distant father. Throughout the story, become more responsible and confident, while Silver gains the capacity to care about another person. That aching search for validation â the need for a flawed role model to tell you how proud they are of you â comes across with a deep emotional maturity in Musker and Clementsâs passion project, written with Rob Edwards.â Kelly also mentions how Disney was not a stranger to parental abandonment in story-telling, but the character showing resentment towards the parent is rare. Musker and Clementsâ masterpiece was just ahead of its time. Their animated film âTreasure Planetâ has managed to find its audience after twenty years like a relic that was forgotten, buried in the ground, and dug up decades later to be discovered as treasure.
References
Gorman, Cameron. (2023, February 5). Why âTreasure Planetâ Was Such a Spectacular Sci-Fi Flop. Collider. https://collider.com/treasure-planet-failed/#:~:text=An%20Older%20Protagonist%20and%20Poor,Led%20to%20Treasure%20Planet's%20Failure&text=Despite%20its%20hard%20journey%20to,one%20of%20Disney's%20worst%20failures. Mason, Courtney. (2022, July 23). Why Treasure Planet Became One of Disneyâs Most Expensive Failures Ever. Screenrant. https://screenrant.com/treasure-planet-2002-disney-box-office-bomb-cost-reason/Bernstein, Bobby. (2023, March 9). Why Disneyâs âTreasure Planetâ Failed Miserably. Nerd much?. https://www.nerdmuch.com/movies/treasure-planet-failed/Kelly, Laura. (2022, November 27). Treasure Planet Was a Box Office Failure, but 20 Years Later, it Found its Audience. Inverse. https://www.inverse.com/culture/treasure-planet-20-year-anniversaryAguilar, Carlos. (2022, December 28). âTreasure Planetâ at 20: Disneyâs Failed Space Odyssey Deserved to Soar. The New York Times. https://www.nytimes.com/2022/12/28/movies/treasure-planet-disney.htmlGladstein, Scott. (2017, March 21). The Bizarre Story of How Treasure Planet Got Made. Medium. https://medium.com/@scottgladstein/the-bizzare-story-of-how-treasure-planet-got-made-bfa184acdd18Buhlman, Jocelyn. (2017, November 27). D23 Celebrates 15 Years of âTreasure Planetâ with DirectorsRon Clements and John Musker. D23: The Official Disney Fan Club. https://d23.com/d23-celebrates-15-years-treasure-planet-directors-ron-clements-john-musker/(2022). Nine Old Mentors: Ron Clements and John Muskerâs Reflections. The Walt Disney Family Museum. https://www.waltdisney.org/education/talks/nine-old-mentors-ron-clements-and-john-muskers-reflections(2019). The Little Mermaid, 1989. Untitled Art Gallery. https://www.untitledartgallery.com/the-little-mermaid#:~:text=%22The%20Little%20Mermaid%2C%22%201989%20was%20the%20final%20Disney%20film,villain%20a%20much%20bigger%20role. (2024). Animation: Hand Drawn. Into Film. https://www.intofilm.org/films/filmlist/91(2024). Cel (Or Traditional) Animation Explained: Definition, Types, and Methods. Adobe. https://www.adobe.com/creativecloud/animation/discover/cel-animation.htmlHall, Cameron Roy. (2023, January 21). Treasure Planetâs Animation Was Even More 3D Than it Seems. Slash Film. https://www.slashfilm.com/1168766/treasure-planets-animation-was-even-more-3d-than-it-seems/https://collider.com/disney-atlantis-the-lost-empire-history-explained/https://thejanitorium.home.blog/portfolio/dissecting-the-hate-against-atlantis-the-lost-empire/#:~:text=People%20just%20weren't%20ready,Atlantis%20was%20considered%20too%20edgy. -
Lynd Ward hits all my favorite aspects of the mercurial world of art and design. Here is the son of a leader of the Methodist Church whose work unabashedly depicts the underside of the Depression Era city and the undead creatures of gothic horror (often in the buff). His work embodies the height of graphic narrative and the depth of pulp chunkiness. The elite halls of the gallery and chummy confines of the childrensâ library nook. Comfortable with brush or knife, his work carries an expressionistic zeal to it that would go on to influence comic books, illustration and printmaking well into the 21st. Century. Mighty impressive for a man whose work primarily consisted of no more than 2 to 3 colors per image.
TIMELINE
Born 1905, second child to Harry Frederick Ward and Harriet May Kendall Ward, in Chicago Illinois- contract Tuberculosis, prompting move to Lonely Lake, Ontario. Stays sickly as a kid1915. Begins interest in art by reading and copying Doreâs Bible. This is encouraged by mother with trips to art museums in Boston where the family has moved.1922. Attends Teachers College at Columbia University. Meets wife, May McNeer there. 1926. Graduates from Columbia and studied for a year in Leipzig at the Staatliche Akademie fĂŒr Graphische Kunste und Buchgewerbe. Heavily influenced by working wood engraver Theodore Mueller1927. Discovers the work of Frans Masereel- another major influence, and heads back to US to start working freelance in publishing1928. Begins receiving commissions, working in a variety of formats1929. Publishes Godsâ Man with Cape & Smith Publishing- comes out week of Wall Street Crash but sells more than 20 thousand copies.1930. Publishes Mad Manâs Drum, loses first child after premature birth. Spends Winter in Paris and learns how to play the accordion.1931. Essentially a superstar illustrator at this point, his wife quips that he works from 9 AM to midnight, Seven days a week (good god), apparently he kept this pace into his 60s. Co-founds the Equinox Press.1932. Wild Pilgrimage published by Smith and Haas. (Insane output of work over a 4 year period)1935. Helps found American Artistsâ Congress1936: Produces Song Without Words1937. Named supervisor of the Graphic Arts Division of the New york Chapter of the Federal Arts Project. Vertigo is published. The Haunted Omnibus Published1938. Helps Hans Alexander Mueller and his wife flee Germany, and aids in him getting work, including writing Woodcuts & Wood Engravings: How I Make Them, a process that leads to the dissolving of Equinox. His most ambitious illustration project, over 500 drawings for an edition of Les Miserable is published. (Again, an insane amount of work for 10 years). 1939. Became first Chairman of the Union of American Artists1940. Abandons âwoodcut novelâ form. Contributes illustration to Psychology study/text Adolescent FantasyâŠ1943. Illustrates Esther Forbesâs Johnny Tremain, which wins the 1944 Newberry Award and starts long working relationship with Hoghton Mifflin and childrenâs editor Mary Silva Cosgrave.1945-152. Continues to win awards and rack up work for Houghton Mifflin and places like The Atlantic Monthly1952. Writes and illustrates The Biggest Bear, which would win the Caldecott the following year. 1962- Accepts mural commission from the United Methodist Church- takes 7 years.1965. Nic of the Woods published1966. Godsâ Man and Wild Pilgrimage republished, leading to renewed interest in work as part of the 1960s counterculture scene.1973. The Silver Pony published1974 Storyteller Without Words Published by Abrams1985 Dies.REFERENCES
Ward, Lynd (2009). Vertigo: A novel in woodcuts. Dover Publications, Inc.
Ward, Lynd (1974). Storyteller without words; The wood engravings of Lynd Ward. Abrams.
Ward, Lynd (2010). Six novels in woodcuts. Library of America.
Ward, Lynd (1965). Nic of the woods. Houghton Mifflin.
Jones, Stephen (2015). The art of horror: An illustrated history. Applause.
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JosĂ© Guadalupe Posada was a Mexican illustrator who worked in lithography and engraving, he was a very prolific image maker who completed an estimated 20,000 illustrations in his lifetime, with themes ranging from DĂa de los Muertos or Day of the Dead illustrations, political cartoons, popular illustrations, and daily life, as well as illustrations for âshockingâ crime stories. He was also known to have created illustrations for a number of childrenâs books in the form of cheaply printed chapbooks with the printer Antonio Vanegas Arroyo, making them accessible to wide audiences. Yet despite his enduring legacy, his contributions are not often discussed in histories of graphic design, yet his story reveals a deep history of image making and mass production of images in Mexico, which includes the foundation of the Taller de GrĂĄfica Popular, a collective founded by Leopoldo MĂ©ndez, Luis Arenal, and Pablo OâHiggins. Posadaâs popular Day of the Dead icons, such as the Calavera Catrina, have captured the hearts and imaginations of many. Born in 1852 in Aguascalientes, Mexico, he made his way to Mexico City after a devastating flood upended his life. It is perhaps this move that allowed his work to be âdiscoveredâ by artists and historians after his untimely death in 1913. Though his work has been recognized by art historians, and he has been honored with a number of posthumous exhibitions of his work around the world, there is still work to be done to include his story in histories of graphic design. His images were geared to popular audiences, and a wide range of people had access to them and enjoyed them in his lifetime.
TIMELINE1852 - Born, February 2, Aguascalientes, Mexico
REFERENCES
1860s - receives drawing instruction Municipal Academy of Drawing in Aguascalientes
1867 - Census records Posada as a Painter
1868 - Begins working with Trinidad Pedroza
1871 - First political Cartoon published in El Jicote
1872 - Pedroza and Posada move to LeĂłn
1876 - Takes charge of Pedroza print shop
1888 - Moves to Mexico City
1888-90 - collaborates with the newspaper La Patria Ilustrada and the Revisita de Mexico
1910 - The Mexican Revolution begins
1913 - Died, January 20, Mexico City, Mexico
1920 - The Mexican Revolution ends
1937 - Taller de GrĂĄfica Popular, collective founded by Leopoldo MĂ©ndez, Luis Arenal, and Pablo OâHigginsAcosta, T. (2023, September 19). Dia de los Muertos: Its rich history, traditions and why not all Mexicans celebrate it. Arizona Republic. https://www.azcentral.com/story/entertainment/holidays/2023/09/19/origin-of-day-of-the-dead/70489251007/
Aguilar Montes de Oca, R. I. (2016). The Day of the Dead: One Ritual, NewFolk Costumes, and Old Identities. Folklore (Tartu, Estonia), 66, 95.
Britannica, T. Editors of Encyclopaedia (2023, October 19). LeĂłn. Encyclopedia Britannica. https://www.britannica.com/place/Leon-Mexico
Bunker, S. B. (2012). Creating Mexican consumer culture in the age of Porfirio DĂaz. University of New Mexico Press.
Casillas, M. L. (2013). Posada & Manilla: Illustrations for Mexican Fairy Tales. RM.
Doyle, S., Grove, J., & Whitney, S. (Eds.). (2019). History of Illustration. Fairchild Books.
Frank, P. (1998). Posadaâs Broadsides: Mexican popular imagery, 1890-1910. University of New Mexico Press.
Greenspan, J. (2018, August 31). 6 things you may not know about the Mexican Revolution. HISTORY. https://www.history.com/news/6-things-you-may-not-know-about-the-mexican-revolution
Kennedy, P. (2022, December 7). José Guadalupe Posada: Skulls, Skeletons and Macabre Mischief. Illustration Chronicles. https://illustrationchronicles.com/Jose-Guadalupe-Posada-Skulls-Skeletons-and-Macabre-Mischief
Lagasse, P., & Columbia University. (2018). DĂaz, Porfirio. In The Columbia Encyclopedia. Columbia University Press.
Mexican artist José Guadalupe Posada. (n.d.). Posada. https://www.posada-art-foundation.com/about-posada
Mexico. (n.d.). RSF. https://rsf.org/en/country/mexico
Recalls Disaster of 1888.; HUGE WATER WALL HITS LEON, MEXICO. (1926, June 25). The New York Times. https://www.nytimes.com/1926/06/25/archives/recalls-disaster-of-1888-huge-water-wall-hits-leon-mexico.html
Short biography â The Jean Charlot Foundation. (n.d.). The Jean Charlot Foundation. https://www.jeancharlot.org/short-biography
Taller de GrĂĄfica Popular (Mexico City, Mexico) | The Art Institute of Chicago. (2001, July 4). The Art Institute of Chicago. https://www.artic.edu/artists/72887/taller-de-grafica-popular-mexico-city-mexico
Tyler, R. (1979). Posadaâs Mexico. Library of Congress.
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From its origins in the 1950s from the pages of books to software like MacDraw in the 1980s to CD Roms, and finally moving online in the 1990s, Clip Artâs evolution took place along with that of graphic design. Even though clip art was mostly created by unnamed designers and illustrators and sold in packages or libraries, there are many important figures we know of whose clip art contributed to the history of graphic design. Joan Shogren, an early computer art pioneer and clip art designer; Frank Fruznya, whose iconic clip art defined an era; and Sean Tejaratchi, whose cult hit zine series Crap Hound celebrates Clip Art and visually meditates on social issues. Ultimately, clip art is a misunderstood element of graphic design that holds an essential place in its history. Clip art in many ways paved the way for stock photo and stock illustration use that is common practice among designers today.
TIMELINE1928 â Tom Tierney born in Beaumont, Texas
REFERENCES
1928â Dan X. Solo born
1932 â Joan Shogren born
1941 â Dover Publications founded
1947 â Jean Larcher born in Rennes, France
1949 â Tierney graduates from the University of Austin in Texas, majoring in painting and sculpture
1950s â Clip Art began to be produced in books for commercial sale, such as The Volk Corporation
1951 â Tierney serves in the US Military for 3 years
1952 â Frank Fruznya, prolific Clip Art illustrator, born in Illinois
1953 â Tierney movies to NYC to work as a fashion illustrator
1954 â Art Chantry born
1960s â Tom B. Sawyer created Clip Art for Harry Volk Jrâs Volk & Coâs âClip Book of Line Artâseries
1963 â Shogren designs set of rules to make the first computer art with Jim Larsen and Dr. Ralph Fessendenâs assistance at San Jose Univeristy in California
1963 â âCybernationâ exhibition of early computer art featuring Shogren took place at the San Jose State Partna Book Store
1962 â Solotype founded
1965 â Larcher graduates after studying typographic art at the Paris Chaamber of Commerce
1969 â Artist and illustrator Mitch OâConnell starts to freelance Clip Art illustration for Dynamic Graphics
1970s â Dover begins publishing Clip Art books
1970 â Sean Tejartchi born
1973 â Larcher begins freelance design work
1974 â Fruznya started to work for H&R; then was recruited to work for Dynamic Graphics
1976 â Tierney publishes his first paper doll book, âThirty from the 30sâ which attracted the attention of Dover
1979 â Peter Roizen and Heidi Roizen, brother and sister, co-found T/Maker
1981 â IBM introduces the first personal computer
1983 â Heidi Roizen takes over as president at T/Maker
1983 â ImageWriter printer released
1983 â VCN ExecuVision published IBMâs first Clip Art library
1984 â Shogren starts to work for T/Maker for ClickArt
1984 â T/Maker releases ClickArt Publications digital Clip Art collection
1984 â Brad Fregger creates Clip Art for Activision
1984 â Nova Development founded
1984 â MacPaint comes pre installed on Macintosh computers
1985 â âThe Year of the Computerâ mass production of personal computers helps change the world
1985 â LaserWriter printer is introduced
1986 â Graphic Source published Clip Art Books
1986 â Apple introduces the Macintosh Computer
1986 â Mac Plus released
1987 â MacPaint to longer pre installed on Macintosh computers
1987 â T/Maker introduced first vector Clip Art made with Adobe Illustrator
1988 â Adobe Systems released Adobe Illustrator
1989 â Company 3G Graphics published âImages with Impact!â
1994 â Crap Hound first published
1994 â Deluxe Corp buys remaining software lines from T/Maker, including ClickArt
1996 â Zedcor was the first company to offer Clip Art images as part of an online subscription service
1996 â Microsoft began to include Clip Art in itâs built in libraries
1996 â Animation Factory founded
1998-2001 â T/Makers ClickArt library sold each year due to large mergers and acquisitions to companies like Mattel and The Learning Company
1998 â Crap Hound ceases publishing
1999 â Animation Factory sold
2003 â Fruznya quits Dynamic Graphics after anonymously being the Clip Art worldâs star illustrator in the 80s and 90s
2005 â Jupitermedia purchased Creatas, now owning all of Dynamic Grapahicâs clip art library
2005 â Tejaratchi begins to publish Crap Hound again
2009 â Jupitermedia went out of business
2009 â Fruzyna moves to Paradise, Michigan with his partner to paint
2012 â Solo passes away
2014 â Tierney passes away
2014 â Microsoft discontinues itâs Clip Art library in favor of Bing Image Search
2015 â Dat Boi, an Animation Factory asset, becomes an early internet meme
2015 â Larcher passes awayArntson, Amy E. (1988). Graphic Design Basics. Saunders College Publishing.
Borrell, J. (1988, January). Verbatim: An Interview With Heidi Roizen. MacWorld, 74â86.
Boudrot, T. (1989, October). New Graphics Take the Rough Edges Off Clip Art. Electronic Learning, 9(2), 54â56.
Brock, D. C. (2019, October 8). Slide logic: The emergence of presentation software and the Prehistory of PowerPoint. Computer History Museum. Retrieved November 15, 2021, from https://computerhistory.org/blog/slide-logic-the-emergence-of-presentation-software-and-the-prehistory-of-powerpoint/?key=slide-logic-the-emergence-of-presentation-software-and-the-prehistory-of-powerpoint
Chantry, A., & Rochester Monica René. (2015). Art Chantry Speaks: A Heretic's history of 20th-century graphic design. Feral House.
Clip Art Images: Definition, history, examples and sources. blog.icons8.com. (2020, September 7). Retrieved November 15, 2021, from https://blog.icons8.com/articles/clip-art-images/
Cretan, J. (2011). Macpaint.org: Clip Art Historical Gallery. Retrieved November 15, 2021, from http://www.macpaint.org/clipart.html
Devroye, L. (n.d.). Dan X. Solo. Luc Devroye, School of Computer Science, McGill University. http://luc.devroye.org/solo.html
Eskilson, S. (2019). Graphic design: A New History. Yale University Press.
Fregger, B. (2018, November). Joan Shogren Computer Art Pioneer. http://fregger.com/Joan/index.html
Garber, M. (2014, December 2). A Eulogy to Clip Art, in Clip Art. The Atlantic. Retrieved November 15, 2021, from https://www.theatlantic.com/technology/archive/2014/12/a-eulogy-to-clipart-in-clipart/383322/
Grant-Marsh, S. (Ed.). (1994, September). Editors' Choice: The Best Products Featured in MacWorld. MacWorld, 201â221.
Heller, S. (2012, May 25). Dan X. Solo, Type Revivalist, Dies. PRINT Magazine. https://www.printmag.com/daily-heller/dan-x-solo-type-revivalist-dies/
Heller, S. (2022, June 6). The Daily Heller: Art Chantry Reconsidered in His Own Words. PRINT Magazine. https://www.printmag.com/daily-heller/the-daily-heller-the-real-art-chantry-reconsidered/
HeidÂÂ, J. (1987, August). Getting Started with Macintosh Graphics. MacWorld, 193â202.
Historic Zinesters Talking. (2009, October 24). Crap Hound Zine -- Sean Tejaratchi. Slide Share. https://www.slideshare.net/StaffDay/crap-hound-zine-sean-tejaratchi
Leifpeng. (2008, June 19). Tom Sawyer and Harry Volk. Retrieved November 15, 2021, from https://todaysinspiration.blogspot.com/2008/06/tom-sawyer-and-harry-volk_19.html.
Lopez, G. (2016, May 27). Dat boi, explained. Vox. https://www.vox.com/2016/5/27/11789968/dat-boi-o-shit-waddup
Mak, A. (2022, March 29). A Reminder That GIFs Didnât Always Move. Slate Magazine. https://slate.com/technology/2022/03/the-history-of-gifs.html
Manely, D. (2016, December 2). History of clip art via Wikipedia. OldCuts. Retrieved November 15, 2021, from https://www.oldcuts.co/blogs/news/history-of-clip-art-via-wikipedia
Middleton, C., & Herriot, L. (2007). Instant graphics: Source and remix images for professional design. RotoVision.
Original Apple Macintosh 18 Page Brochure (Dec 1983). DigiBarn ads: Original Apple Macintosh 18 Page Brochure (Dec 1983). (1998). Retrieved November 15, 2021, from https://www.digibarn.com/collections/ads/apple-mac/index.htm.
Paper Doll Author Tom Tierney. (2022). Dover Publications. https://www.doverpublications.com/tomtierney/
Pot, J. (2014, December 5). Clip Art is gone! here's how to find free images instead. MUO. Retrieved November 15, 2021, from https://www.makeuseof.com/tag/clip-art-gone-heres-find-free-images-instead/
Sandberg-Diment, E. (1985, November 26). Personal Computers; Desktop Publishing Comes of Age . New York Times, p. 4.
Sanders, S., & Larchuk, T. (2014, December 3). Microsoft says goodbye to clip art. NPR. Retrieved November 15, 2021, from https://www.npr.org/sections/alltechconsidered/2014/12/02/368060012/microsoft-says-goodbye-to-clip-art
Sawyer, T. B. (n.d.). Illustration Artwork. Thomas B. Sawyer. Retrieved November 15, 2021, from http://thomasbsawyer.com/illustrationartwork.html
Solenthaler, B. (2021, November). The Bart&Co.. historic clip art collection. Flickr. Retrieved November 15, 2021, from https://www.flickr.com/photos/bartsol/sets/72157627595663028.
Smith, E. (2018, August 30). The history of Clip Art: They sold it in books. Tedium. Retrieved November 15, 2021, from https://tedium.co/2018/08/30/clip-art-history/
Sutton, B. (2014, December 4). In honor of the death of Clip Art, a brief illustrated history of Clip Art. Hyperallergic. Retrieved November 15, 2021, from https://hyperallergic.com/166533/in-honor-of-the-death-of-clip-art-a-brief-illustrated-history-of-clip-art/
Tejaratchi, S. (2014). Crap Hound (Vol. 5). Show & Tell Press.
The Microsoft 365 Marketing Team, & Thomas, D. (2014, December 14). CLIP art is now powered by Bing Images. Microsoft 365 Blog. Retrieved November 15, 2022, from https://www.microsoft.com/en-us/microsoft-365/blog/2014/12/01/clip-art-now-powered-bing-images/
Tom Tierney Studios. (n.d.). Tom Tierney Studios. Retrieved November 1, 2022, from https://www.tomtierneystudios.com/
Vogt, P. J., & Goldman, A. (Hosts). (2016, April 14). Bbay King (No. 61) [Audio podcast episode]. In Reply all. Gimlet. https://gimletmedia.com/shows/reply-all/emhwx6/61-baby-king
Zantal-Wiener, A. (2017, August 27). Clip art through the years: A nostalgic look back. HubSpot Blog. Retrieved November 15, 2021, from https://blog.hubspot.com/marketing/clip-art-history
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Most books, not all, but most, follow conventions of book design that have been in place for literally hundreds of years. With very few exceptions, it wasnât until the 1960s when authors began to play around with story structure that there were any books that also played with the structure of the book itself. And it was later still that graphic design started adding another layer to the storytelling in popular literature. The colors, the typography, the page layouts all came to be used in service of the story. In House of Leaves, when the story starts getting really weird, so does the page layout. In The Illuminae Files, the pages look like reports, transcriptions, and electronic messages and include diagrams and drawings. These books, and the others like them, ask something extra of the reader, but give back an experience that may delight some and infuriate others. However readers feel about this type of weird book design, these books push the boundaries of book design into new and exciting territory.
FURTHER READINGPale Fire by Vladimir Nabokov
REFERENCES
theMystery.doc by Matthew McIntosh
The Black Locomotive by Rian Hughes
Only Revolutions by Mark Z. Danielewski
Hopscotch by Julio Cortazar
Bats of the Republic by Zachary Thomas
The Raw Shark Texts by Steven Hall
City of Saints and Madmen by Jeff Vandermeer
Parabola by Lily Hoang
Extremely Loud and Incredibly Close by Jonathan Safran Foer
The People of Paper by Salvador Plascencia
Maxwellâs Demon by Steven HallAarseth, E. (1997). Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins University Press.
Abrams, J.J. & Dorst, D. (2013). S. New York: Mulholland Books.
CloudCuckooCountry. (2022, November 15). Ergodic Literature: The Weirdest Book Genre [Video]. YouTube. https://youtu.be/tKX90LbnYd4?si=GYwECYZ4FdOzF9SO
Coe, J. (2011, October 28). Composition No. 1 by Marc Saporta - review. The Guardian. https://www.theguardian.com/books/2011/oct/28/composition-no-1-saporta-review
Danielewski, M. Z. (2000). House of Leaves. New York: Pantheon Books.
Digital Humanities Initiative. (2019, March 14). Mark Z. Danielewski at SDSU Library, Standard Video [Video} YouTube. https://youtu.be/wwCp8Y6k_BI?si=s7zFZZOpPDuIXBrm
Forbidden Planet TV. (2021, July 29). Rian Hughes Stokes up the Black Locomotive [Video]. YouTube. https://youtu.be/emge3qLMatM?si=WNWzNZgXrHwNA-mz
Hill. L. (2013, October 27). A Long Time Ago, in A Universe More Analog. The New York Times. https://www.nytimes.com/2013/10/28/books/j-j-abrams-and-doug-dorst-collaborate-on-a-book-s.html
Hughes, R. (2020). XX. New York: The Overlook Press.
Kaufman, A. & Kristof, J. (2015). Illuminae. New York: Alfred A. Knopf.
Kaufman, A. & Kristof, J. (2016). Gemina. New York: Alfred A. Knopf.
Kaufman, A. & Kristof, J. (2018). Obsidio. New York: Alfred A. Knopf.
Little Book Owl. (2015, December 15). Q&A w/ Amie Kaufman & Jay Kristof [Video]. YouTube. https://youtu.be/jZ3_ulIEEe4?si=c6mXnEdBKTLaf5Ju
Roth, G. [VMSpod]. (2023, July 12). Virtual Memories #546 - Rian Hughes [Video]. YouTube. https://www.youtube.com/watch?v=js0DYgMzKwQ
Roth, G. [VMSpod]. (2020, November 24). Virtual Memories #409 - Rian Hughes [Video]. YouTube. https://youtu.be/Iw_kuUqxyjM?si=8J9cEIZa2P5ToJHq
Star Sessions. (2014, May 18). J.J. Abrams & Doug Dorst Delve into S: A Multi-Layered Book Experience [Video]. YouTube. https://youtu.be/Adpb9Dn0PoM?si=lHXLynpj5Oj7fq07
Tales of the Ravenous Reader. (2018, April 11). Interview w/ Amie Kaufman & Jay Kristof | The Illuminae Files [Video]. YouTube. https://youtu.be/gJl4eDRDM04?si=qetFYjnb9KIx6kOh
Talks at Google. (2016, August 11). The Familiar|Mark Z. Danielewski|Talks at Google [Video]. YouTube. https://youtu.be/mw0bGiVDTMI?si=mn19emWU4ttp_CWh
Tyer, B. (2014, February 20). Untangling S., Doug Dorstâs Novel Within a Novel. Texas Observer. https://www.texasobserver.org/untangling-s-doug-dorsts-novel-within-novel/
Zambra, A. (2014). Multiple Choice. New York: Penguin Books.
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The History of Tarot decks intersects with symbology, or the study of symbols as well as their history, mass production of text and images, and popular culture, all of which are fields of study in the history of graphic design, and yet this subject has not been included in mainstream histories of design. Is this a reflection of the mystical, romanticized history of the cards, and one that implies a connection to divination or fortune telling? It is also a history that connects with the history of alchemy, and science, as well as with religious studies, esoterism, and occult, and yet the cards themselves emerged from secular roots. Tarot cards are not quite viewed as art and yet not celebrated as graphic design. The cards began as a simple game in Renaissance Italy, only gaining their association with esoterism in the 1700s when they were falsely connected with Hermeticism, and instilled with a completely fabricated Egyptian heritage. This history grew to include a connection to secret societies. Some of the most well-known decks of the 20th century and beyond were illustrated by women, including Moina Mathers, Lady Freida Harris, and Pamela Colman Smith and yet they are more associated with the men who dictated their design. Tarot cards have continued to evolve, transitioning away from being viewed as a tool for fortune telling and toward a new age tool for self-reflection, introspection, and self-help.
TIMELINE1430s â Tarochi card game invented in Itlay
REFERENCES
1450 â Visconti-Sforza deck made by Bonifacio Bembo
1491 â Sola-Busca deck made by Nicola di maestro Antonio
1770 â Jean Baptiste Alliette publishes A Way to Entertain Oneself With Cards
1776 â Antoine Court de Gebelin associates Tarot with esoterism and the occult
1781 â Antoine Court de Gebelin publishes Le Monde Primitif or the Primeval World
1855 â Ăliphas LĂ©vi piublishes Transcendental Magic
1888 â Hermetic Order of the Golden Dawn founded
1906 â Jugendstil Tarot Deck designed by Ditha Moser
1907 â Images of the Sola Busca deck donated to the British Museum
1910 â Waite & Pamela Coleman Smith collaborate on the Waite Colman Smith Deck historically known as the Rider Waite deck
1944 â Aleister Crowley writes The Book of Toth, cards and illustrations by Lady Frieda Harris
1973 â The Tarot of Witches deck is created by Scottish artist and illustrator Fergus Hall for the film Live and Let Die
1977 â The Waite Colman Smith Deck goes into mass production
1978 â The Fantod Pack, a Parody deck designed by Edward Gorey is published
1984 â Mary K. Greer writes Tarot for yourself
1984 â Salvador Dali produces his Tarot deck
1992 â HIV Tarot produced by artist Kim AbelesArchetype. (2016). In J. L. Longe (Ed.), Gale Virtual Reference Library: The Gale encyclopedia of psychology (3rd ed.). Gale. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/galegp/archetype/0?institutionId=1845
Auger, E. E. (2004). Tarot and Other Meditation Decks: History, Theory, Aesthetics, Typology. McFarland.
Boley, M. (2023, April 10). Oracle Decks: What They Are and How To Use Them - Mental Musings - Medium. Medium. https://medium.com/musings-with-meg/oracle-decks-what-they-are-and-how-to-use-them-c037251a7a84
Dummett, M. (2007). Six XV-Century Tarot Cards: Who Painted Them? Artibus et Historiae, 28(56), 15â26. http://www.jstor.org/stable/20067158
Farley, H. (2009). A cultural history of tarot : From entertainment to esotericism. Bloomsbury Publishing Plc.
Farley. (2006). The evolution of the 'mother' in Tarot. Hecate, 32(2), 68â87.
Gerstler, A. (1994). Kim Abeles. www.artforum.com. https://www.artforum.com/print/reviews/199401/kim-abeles-54441
Grimoire. (2007). In U. McGovern (Ed.), Chambers Dictionary of the Unexplained. Chambers Harrap. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/chambun/grimoire/0?institutionId=1845
Hermetic Order of the Golden Dawn. (2007). In U. McGovern (Ed.), Chambers Dictionary of the Unexplained. Chambers Harrap. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/chambun/hermetic_order_of_the_golden_dawn/0?institutionId=1845
Hundley, J., Fiebig, J., & Kroll, M. (2020). Tarot. Taschen.
Maille, P. (2021). The Cards: The Evolution and Power of Tarot.
Parkinson, N. (2013). The Colour Reference Library, Royal College of Art, London. Journal of Design History. https://doi.org/10.1093/jdh/ept004
Richman-Abdou, K. (2020). The spellbinding history of tarot cards, from a mainstream card game to a magical ritual. My Modern Met. https://mymodernmet.com/history-of-tarot-cards/
Roya, W. (2019). Debunking common myths about playing cards - Tarot & China. PlayingCardDecks.com. https://playingcarddecks.com/blogs/all-in/debunking-common-myths-about-playing-cards-tarot-cards
Schechter. (2020). Tarot's Italian Roots: For Devotees Of This 600-Year-Old Esoteric Art, A Trip To Milan Is In The Cards. National Geographic, 237(2), 34.
Schneider, M. (2015, February 24). Edward Goreyâs âanxious, irritableâ tarot card set is predictably perfect. DangerousMinds. https://dangerousminds.net/comments/edward\_goreys\_tarot\_card\_set
tarot. (2007). In U. McGovern (Ed.), Chambers Dictionary of the Unexplained. Chambers Harrap. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/chambun/tarot/0?institutionId=1845
Waite, A(rthur) E(dward) (1857â1942). (2007). In U. McGovern (Ed.), Chambers Dictionary of the Unexplained. Chambers Harrap. Credo Reference: https://libproxy.uco.edu/login?url=https://search.credoreference.com/content/entry/chambun/waite_a_rthur_e_dward_1857_1942/0?institutionId=1845
Wintle, S. (2022, July 17). A Moorish Sheet of Playing Cards â The World of Playing Cards. The World of Playing Cards. https://www.wopc.co.uk/spain/moorish/a-moorish-sheet-of-playing-cards
Wintle, S. (2023, July 19). Mamluk Playing Cards â The World of Playing Cards. The World of Playing Cards. https://www.wopc.co.uk/egypt/mamluk
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The history of graphic design has traditionally skewed toward designers from white hegemony. Where white men (and some women) tend to fill the pages, webpages, and galleries that celebrate design. As humanity evolves, we must realize the value of making space for more diverse voices in the design world. This episode elevates Black designers who have successfully fought against the forces of white supremacy and oppression to take back control of representation. Starting with Abolitionist broadsides, this episode examines how mostly white creators of broadsides, used to support the antislavery movement, were hindered by what we now call the âWhite Savior Complexâ and that the tone of abolitionist imagery and vocabulary was marked by the perceived superiority of the white Northern audience. Next, we look to the famous âI AM A MANâ protest signs of the Civil Rights marches. These protest signs have endured and evolved into modern iterations as a piece of living history highlighting the fight for racial equality which continues to be an inspiration for art and design practices today. The episode also takes a deep dive into the life and work of Archie Boston. Archie Boston is a graphic designer known for creating subversive, self-aware work in the advertising and design industry. The genius of his designs is that he often appropriates and retrofits racist imagery, similar to how Black vernacular has reclaimed certain racial slurs. Rounding out the discussion is a survey of current design collectives and groups of professional creatives such as the Design Justice Network. This episode discovers insightful parallels between Black representation in the Abolition era and today, clearly demonstrating that the best advocates for Black freedom and equality are Black people. Graphic design in the hands of Black activists becomes a powerful force for positive change and strengthening communities.
TIMELINE - ARCHIE BOSTON1943 â b Clewiston, Florida
TIMELINE - BLACK DESIGNERS FIGHTING AGAINST PREJUDICE AND SYSTEMIC OPPRESSION
1961 â started attending Chouinard Art Institute
1964 â interned at Carson/Roberts
1965 â worked at Hixson And Jorgensen Advertising
1966 â became art director at Botsford Ketchum
1967 â started Boston & Boston Design with his brother Bradford
1969 â left Boston & Boston and rejoined Botsford Ketchum
1973 â started Archie Boston Design
1977 â received masterâs degree from the University of Southern California
1977 â started lecturing at California State University Long Beach (CSULB)
2001 â published Fly in the Buttermilk: Memoirs of an African American in Advertising Design & Design Education
2009 â published Lil' Colored Rascals in the Sunshine City1830s â Abolitionist Broadsides, weaponized advocating to free slaves
REFERENCES
1900 â WEB Du Bois and Black Data, Infographic Activism
1963 â March on Washington protest signs.
1966 â Boston and Boston advertisements, âKu Klux Klanâ, âFor Saleâ
1968 â I AM A MAN, Memphis Sanitation Strike
1980s â Archie Boston Graphic Design, âI donât want to marry your daughterâ
2016/2017 â Martin Typeface designed by TrĂ© Seals inspired by I AM A MAN, Memphis Sanitation Strike posters
2021 â Black lives matter protest postersArchie Boston Graphic Design files. (n.d.). Online Archive of California. https://oac.cdlib.org/findaid/ark:/13030/c8183dtf/
Archie Boston papers, 1963-2018 and undated - Archives & Manuscripts at Duke University Libraries. (n.d.). David M. Rubenstein Rare Book & Manuscript Library. https://archives.lib.duke.edu/catalog/bostonarchie
Barrett, L. (2014, February 12). âAm I not a man and a brother?ââŻ: The political power of the image. The Black Atlantic. https://sites.duke.edu/blackatlantic/2014/02/10/am-i-not-a-man-and-a-brother-the-political-power-of-the-image/
Barry, N. (2022, January 4). Project 3, Phase 1: - Nouria Barry - Medium. Medium. https://medium.com/@nouriabarry/project-3-phase-1-e6fe0757b57b
Black Disabled Lives Matter Riso Poster with Stickers Pack Bundle â jenwhitejohnson.com. (n.d.). https://jenwhitejohnson.com/Black-Disabled-Lives-Matter-Riso-Poster-with-Stickers-Pack-Bundle
Boston, A. (2001). Fly in the buttermilk: Memoirs of an African American in Advertising, Design & Design Education.
Boston, A. (2009). Lilâ colored rascals in the Sunshine city.
Daniel, J. (2015, February 18). Four Corners â an interview with Archie Boston. Design Week. https://www.designweek.co.uk/issues/september-2013/four-corners-an-interview-with-archie-boston/
Epplett, A. (2022). Abolitionist Broadsides and Anti-Slavery Imagery â Coalition of Masterâs Scholars on Material Culture. Coalition of Masterâs Scholars on Material Culture. https://cmsmc.org/publications/abolitionist-and-anti-slavery-imagery
Frederick Douglass Project: In the Classroom: the Abolitionist Movement Packet | RBSCP. (n.d.). https://rbscp.lib.rochester.edu/2890
Gaiter, C. (n.d.). Strikethrough: Typography Messages of Protest for Civil Rights. https://archive.bipocdesignhistory.com/. https://archive.bipocdesignhistory.com/ST-General
Hayes, J. (2021). Africobra: Messages to the people.
Hoffmitz Milken Center for Typography (HMCT). (2020, October 21). Archie Boston lecture [Video]. YouTube. https://www.youtube.com/watch?v=oe5EVDoySwc
Jan. 6, 1832: New England Anti-Slavery Society founded - Zinn Education Project. (2023, January 18). Zinn Education Project. https://www.zinnedproject.org/news/tdih/anti-slavery-society/
McDonald, A. (2019, September 12). New Exhibit: âNo One Can Suppress Archie Bostonâ - The Devilâs Tale. Duke University Libraries. https://blogs.library.duke.edu/rubenstein/2019/09/12/new-exhibit-no-one-can-suppress-archie-boston/
Munro, S. (2021, July 27) Zoom Interview Archie Boston and the Author.
Rapp, A. (September 1, 2008). "Archie Boston's Design Journey". AIGA. Retrieved 2022-01-28.
Reckdahl, K., & Rabut, A. (2020, March 12). This New Orleans artist challenges the way people see things. The New York Times. https://www.nytimes.com/2020/03/09/arts/bmike-artist-new-orleans.html
Toppins, A. (2020, August 18). Beyond the Bauhaus: I AM A MAN. AIGA Design Educators Community. https://educators.aiga.org/beyond-the-bauhaus-i-am-a-man/
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George Herriman was a cartoonist, illustrator, and pioneer of the cartoon comics genre, and is perhaps most known for his long-running and wildly popular comic strip Krazy Kat. Woodrow Wilson, the 28th President of the United States, and John Jacob Astor, a wealthy business tycoon, were some of the famous fans of Herrimanâs comics. Astor went so far as to name his dog Ignatz for the mouse that was Krazy Katâs constant companion. Herrimanâs work was not only popular but also influential and was said to have inspired cartoonists Patrick McDonnell, the creator of the strip Mutts, and Bill Watterson, creator of Calvin and Hobbes. There are even rumors that Walt Disney was inspired by Krazy Kat in his creation of Mickey Mouse, and visual similarities between the two characters are striking. Krazy Kat wasnât just a goofy comic strip as it also provided social commentary containing themes of spirituality, surrealism, philosophy, literary allegories, the study of phrenology, as well as veiled commentary on racism. Although subtle, his allegories about racism reflect his opinion on the absurdity of social, economic, and political discrimination based on skin color. Many of the storylines in Krazy Kat were in fact hidden reflections of the artistâs own struggles, as a Creole man of mixed-race heritage, passing for white even at the time of his death. Herriman knew the consequences that would ensue if anyone found out about his racial ancestry, he intended his secret to die with him and not even his own daughters knew.
TIMELINE1880 â b New Orleans, Louisiana
REFERENCES
1890 â Herriman and family moved from Louisiana to LA; likely begins passing as white
1892 â Attended St. Vincent's Collegiate course
1896 â 16, Herriman joined the St. Vincent Lyceum; Excelled at Honors English, penmanship, geography, languages
1897 â Herriman worked at the first newspaper The Los Angeles Herald at 17 years old; Made first illustrations there.
1901 â Herriman first meets William Randolph Hearst & works for Evening Journal New York American.
1902 â Herriman married Mabel Lillian Bridge
1901-1922 â Herriman moved across the country working for multiple printing agencies
1911 â Krazy Kat & Ignatz's 1st official appearance under The Dingbat Family comics.
1913 â Krazy Kat finally is a stand-alone comic strip for The Evening Journal.
1922 â Permanent residence in LA under different papers for William Randolph Hearst from 1922 to his death.
1944 â died in his sleep at the age of 64
1971 â Herrimanâs racial identity is discovered by Arthur BergerBellot, G. (2017, January 19). The gender fluidity of Krazy Kat. The New Yorker. https://www.newyorker.com/books/page-turner/the-gender-fluidity-of-krazy-kat
Fikes, R. (2021, January 19). George Joseph Herriman (1880-1944) https://www.blackpast.org/african-american-history/herriman-george-joseph-1880-1944/
Tisserand, M. (2016). Krazy: George Herriman, A life black and white. HarperCollinsPublishers
Walker, T. (2020, February 20). Influential comic artist George Herriman. The Dream Foundry. https://dreamfoundry.org/2020/02/14/influential-comic-artist-george-herriman/
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An indigenous cowboy-artist from small-town Oklahoma, Tommy Wayne Cannon was born to Caddo and Kiowa parents in the Fall of 1946. Growing up he attended school in Gracemont and took an interest in the arts. As an adolescent, Cannon was self-taught in the arts and entered his works in regional art competitions through the Southern Plains Indian Museum. His success in these competitions, as well as his proficiency in multiple mediums, won him a scholarship to the Institute of American Indian Arts in Santa Fe, New Mexico. It was here that Cannonâs passion for art was met with an environment of tools and people that allowed for further exploration and refinement of his skills. In school, Cannon adopted his moniker âT. C.â Cannon, which is how he would be known professionally once his career began. The IAIA was not accredited as a College at the time, so Cannon enrolled at the San Francisco Art Institute but was disappointed in the lack of community he had grown accustomed to at the IAIA. He dropped out of school and enlisted in the Army, serving in combat in the late-stage offensives of the Vietnam War. Upon returning he attended Central State University (now UCO) in Edmond, Oklahoma where he met his wife, Barbara. Upon graduation, he produced work for a showcase alongside one of his IAIA mentors that toured the US and Europe. In preparation for his next showcase, solo at the Arbach Gallery in NYC, Cannon spent six years in his studio creating a large body of work. Tragically, just a few months prior to his showcase in May of 1978, Cannon was killed in a car accident in Santa Fe. He was only 31 years old.
TIMELINE1946 â Born in Lawton Oklahoma
REFERENCES
1961 â Age of 15, sold his first works to the Southern Plains Indian Museum
1964 â Enrolled in the Institute of American Indian Arts
1965 â The Voting Rights Act assured Native Americans right to vote
1967 â Begins tour of Vietnam under the 101st Airborne; While away, Rosemary Ellison included him in a traveling exhibition
1968 â Returns from war
1972 â Finishes his degree at Central State University in Edmond, Oklahoma, graduating with a Bachelor of Fine Arts
1972 â Included in, and toured with, a Smithsonian exhibit. Over the next six years he would go on to produce a large body of work in anticipation of his solo showcase.
1975 â Became Artist-in-Residence at Dartmouth.
1978 â Died in a car crash in Santa Fe, New Mexico. Aged 31 years old.
1978 â His showcase is posthumously opened at the Arbach Gallery in New York
1988 â Inducted into the National Hall of Fame for Famous American Indians
101st Airborne Division - Army Unit Directory. (n.d.). Together We Served. https://army.togetherweserved.com/army/servlet/tws.webapp.WebApp?cmd=PublicUnit&type=Unit&ID=231#membersinthisunit
101st Airborne Division (Air Assault)âŻ:: FORT CAMPBELL. (n.d.). US Army. https://home.army.mil/campbell/index.php/101st
Action Painting & Gestural Painting | IAIA - Action/Abstraction Redefined. (n.d.). IAIA - Action/Abstraction Redefined. https://abstraction.iaia.edu/exhibition/action-gestural/?page=3
Color Field Painting movement Overview. (n.d.). The Art Story. https://www.theartstory.org/movement/color-field-painting/
Fauntleroy, G. (2018, July 16). Perspective: T.C. Cannon [1946â1978]. Western Art & Architecture. https://westernartandarchitecture.com/august-september-2018/perspective-t-c-cannon-1946-1978
Fritz Scholder | Biography. (n.d.). Fritz Scholder official Website. http://www.fritzscholder.com/biography.php
Kapplow, H., & Kapplow, H. (2018). The Bold Yet Too-Brief Art Career of T.C. Cannon. Hyperallergic. https://hyperallergic.com/446024/tc-cannon-peabody-essex-museum/
Krutak, L. (2018, January 23). Treasures Of The Iacb: T.C. Cannon, Who Shot The Arrow, Who Killed The Sparrow (1970). U.S. Department of The Interior. https://www.doi.gov/iacb/treasures-iacb-tc-cannon-who-shot-arrow-who-killed-sparrow-1970
Levy, M. (n.d.). TC Cannon. Medic in the Green Time. http://medicinthegreentime.com/tc-cannon/
Making History: Celebrating 60 years of IAIA and 50 years of MOCNA. (2022). Institute of American Indian Arts (IAIA). https://iaia.edu/making-history-celebrating-60-years-of-iaia-and-50-years-of-mocna/
New Mexico RedâŻ: T. C. CannonâŻ: Color Field Paintings | IAIA - Action/Abstraction Redefined. (n.d.). IAIA - Action/Abstraction Redefined. https://abstraction.iaia.edu/exhibition/color-field/detail.php?artwork=t-c-cannon--new-mexico-red-1967
On Drinking Beer In Vietnam in 1967 , Edition 6-100 | Cannon, T. C. (Caddo/Kiowa). (n.d.). New Mexico Digital Collections. https://nmdigital.unm.edu/digital/collection/mcna/id/1154/
Pallant, C. (2015, March 4). The Essence of Forever. This Land Press - Made by You and Me. https://thislandpress.com/2015/03/04/the-essence-of-forever/
Purvis, R. (n.d.). SFAI and IAIA. ORBITS. https://matrix277.org/Object-61
Schjeldahl, P. (2019, April 8). T. C. Cannonâs Blazing Promise. The New Yorker. https://www.newyorker.com/magazine/2019/04/15/t-c-cannons-blazing-promise-peter-schjeldahl
T.C. Cannon. (n.d.). Pierson Gallery, American Fine Art & Antiques â Tulsa, OK. https://piersongallery.com/t-c-cannon.html
TC Cannon. (n.d.). Windsor Betts. https://windsorbetts.com/artist/tc-cannon
T.C Cannon: At The Edge of America | PEM Native American Art. (n.d.). PEM | Peabody Essex Musuem. https://www.pem.org/exhibitions/t-c-cannon-at-the-edge-of-america
Watson, M. J. (n.d.). Cannon, Tommy Wayne. Oklahoma Historical Society | OHS. https://www.okhistory.org/publications/enc/entry?entry=CA044
Waiting for the Bus (Anadarko Princess) by T.C. Cannon.
(n.d.). Oklahoma Arts Council.
https://www.arts.ok.gov/art_at_the_capitol/State_Art_Collection.php?c=sac&awid=177
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Women have long been a part of bookmaking, design, and publishing, dating as far back as handmade illuminated manuscripts, created before the printing press. In the 18th and 19th centuries, women were known to run some very successful book binderies, including Jane Steel, Katherine Waghorn, Jane Aitken, and Lorina Watkins. Most often women took over when their husbands or fathers died. Other women supported their husbands' work by setting type, such as Bertha Goudy, wife of noted book and type designer Frederic Goudy. Women also became very successful book designers following the era of book reform known as the Arts & Crafts period which resulted in the Private Press Movement. The Private Press movement was concerned with making high-quality books that were beautiful expressions of book design and a departure from the low-quality mass-produced books emerging from the industrial age and the Victorian era. Women were gaining entry into the design world as part of the Arts & Crafts movement, schools associated with the movement were cropping up all over Europe and in the United States as well, and women were enrolling in these schools in numbers not seen before. Historians note the high number of women who matriculated from the Glasgow Arts & Crafts school surpassed the number of men. As such it makes sense that we would find women designers in the history of the Private Press movement. Designers such as Margaret Armstrong and Amy Sacker designed book covers and interior pages during the era. Primarily ignored in many histories of art and design is the history of bookbinding. However, this history is also tied to the Arts & Crafts and the Private Press movement, bookbinding was another avenue of paid labor for women.
TIMELINE10th Century â Ende, Spanish Illuminator of Manuscripts signs her work
WOMEN IN BOOK DESIGN & BOOKBINDING HISTORY
18th Century â women begin owning and operating bookbinderies; women and girls were also employed in large numbers folding and stitching pages
1839 â Jane Burden (Morris), born
1859 â Jane Burden (Morris), marries William Morris
1863 â Alice Cordelia Morse, born
1867 â Margaret Armstrong, born
1867 â Amy Sacker, born
1879 â Alice Cordelia Morse attends the Cooper Union (segregated school for girls)
1880-1890 â Designing book covers becomes a professional practice
1885-1889 â Alice Cordelia Morse works for Tiffany & Co. designing stained glass; in 1889 she leaves Tiffany to begin a freelance career designing book covers
1889 â Jane Burden (Morris) designed the cover for Wilfrid Scawen Bluntâs In Vinculis
1890 â Armstrongâs first book cover design was for Sweet William by Marguerite Bouvet
1890-1940 â Margaret Armstrong's career as a book designer, produced some 270 book designs
1891 â Kelmscott Press founded by William Morris and Emery Walker
1901 â Amy Sacker received awarded a medal for designs at the Pan-American exposition
1893 â Morse chaired the Sub-Committee on Book-Covers, Wood Engraving, and Illustration of the Board of Women Managers for the Womanâs Building at the Worldâs Columbian Exposition
1897 â Society of Arts & Crafts in Boston founded, active members included Amy Sacker, Sarah Wyman Whitman, Julia DeWolf Addison, and Mary Crease Sears
1910 â Women begin to dominate the modern decorative movement
1914 â Jane Burden (Morris), dies
1918 â Le Corbusier and AmĂ©dĂ©e Ozenfant, announce a hierarchy of art and craft with women and craft at the bottom
1923 â Alice Cordelia Morse donates her book cover designs to the Metropolitan Museum Library
1937 â Bookmaking on the Distaff Side, a book published by women printers
1944 â Margaret Armstrong, dies
1961 â Alice Cordelia Morse, dies
1965 â Amy Sacker, diesThis should not be considered a complete list of women in book design & bookbinding history, this is just a list of names uncovered for the research of this episode and intended to show that there is a wealth of names that could be included in histories of graphic design. This list focuses on women from the past, there is also a wealth of women designers who have worked more recently in book design, this too could become a future episode.
Sarah Wyman Whitman (1842-1904)Helena de Kay (1848-1916)Katherine Adams (1862-1952)Alice Cordelia Morse (1863 â 1961)Margaret Armstrong (1867â1944)Elizabeth Corbet Yeats (1868-1940)Bertha Goudy (1869-1935)Bertha Stuart (1869-1953)Anna Simons (1871-1951)Amy Sacker (1872-1965)Annie French (1872-1965)Emma Redington Lee Thayer (1874-1973)Jessie Marion King (1875-1949)Anna Sipkena (1877-1933)Vanessa Bell (1879-1961)Magdalena Koll (1879-1962?)Wilhelmina Drupsteen (1880-1966)Marion Louise Peabody (1881-1937)Olga Rosanowa (1886-1918)Rie Cramer (1887-1977)Alice Greinwald-Clarus (1887-1925)Ljubow Popowa (1889-1924)Jo Daemen (1891-1944)Galina Tschitschagowa/Chichagowa (1891-1967)Olga Tschitschagowa/Chichagowa (1892-1956)Antonia Sofronowa (1892-1966)Nina Brodinsky (1892-1978)Olga Brodinsky (unknown, sister to Nina Brodinsky)Freda Lingstrom (1893-1989)Lou Loeber (1894-1983)Vavara Stepanova (1894-1958)Amy Richards (1896 - 1918)Eva Aschoff (1899-1969)Erika Giovanna Klien (1900-1957)Margarete Leins (1900-1995)FrĂ© (Frederika Cohen (1903-1943)Grete Stern (1904-1999)Louise E. Jefferson (1908-2002)Jane Bissell Grabhorn (1911-1973)Muriel Cooper (1925 -1994)Elaine Lustig Cohen (1927-2016)Bea Feitler (1938-1982)REFERENCESBattershill, C. (2022). Women and Letterpress Printing 1920-2020: Gendered Impressions. Cambridge University Press.
Breuer, G., & Meer, J. (2012). Women in Graphic Design 1890-2012. Jovis Verlag.
Dubansky, M., Frelinghuysen, A. C., & Dunn, J. M. (2008). The Proper Decoration of Book Covers: The Life and Work of Alice C. Morse.
Dubansky, M. (2009, May). Alice Cordelia Morse (1863â1961). The Metâs Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/mors/hd_mors.htm
Edna Beilenson, 71, graphic arts expert and book publisher. (1981, Mar 04). New York Times (1923-) Retrieved from https://libproxy.uco.edu/login?url=https://www.proquest.com/historical-newspapers/edna-beilenson-71-graphic-arts-expert-book/docview/121888575/se-2
Ethel Reed, Artist. (1896). Bradley, His Book, 1(3), 74â76. http://www.jstor.org/stable/20443160
Fanni, Fanni, Maryam, Flodmark, Matilda, Kaaman, Sara, Walkup, Kathy, BoÌrjel, Ida, Baines, Jess, Wikander, Ulla, HumlesjoÌ, Inger, WaaranperaÌ, IngegaÌrd, Cartmail, Gail, Dobney, Megan, & Josefsson, Kira. (2020). Natural enemies of books.
Garrett, M., & Thomas, Z. (2019). Suffrage and the Arts: Visual Culture, Politics and Enterprise. Bloomsbury Publishing.
Goudy, F. (1939). Bertha M. Goudy: Recollections by one who knew her best. The Village Press.
Harlan, R. D. (1975). Review Article: Oral Histories of San Francisco Printing [Review of Book Printing with the Handpress; Brother Antoninus: Poet, Printer, and Religious; Artist and Printer; Comments on Some Bay Area Fine Printers; Recollections of the Grabhorn Press; The Colt Press; Fine Printing and the Grabhorn Press; The Grabhorn Press and the Grace Hoper Press; Fine Printers of the San Francisco Bay Area; Two San Francisco Bookmen; Recollections of San Francisco Printers; A Life in Printing; Literary San Francisco; Bookselling and Creating Books; Photoengraving, 1910-1969; The Schmidt Lithography Company; San Francisco Printers, 1925-1965; A Printed Word Has Its Own Measure; Untitled Interview; Printing and Book Design, by L. Allan, Dorothy Allan, Brother Antoninus (William Everson), Malette Dean, F. P. Farquhar, Edwin Grabhorn, Jane Grabhorn, Robert Grabhorn, Katherine Grover, Sherwood Grover, J. D. Hart, Warren R. Howell, Haywood Hunt, Lawton Kennedy, O. Lewis, D. Magee, Walter Mann, Max Schmidt, Jr., Herman Diedrichs, ⊠A. Wilson]. The Library Quarterly: Information, Community, Policy, 45(2), 202â205. http://www.jstor.org/stable/4306509
In Full Bloom: Margaret Armstrongâs Decorated Publishersâ Bindings Revisited. (n.d.). metmuseum.org. Retrieved January 5, 2023, from https://www.metmuseum.org/exhibitions/listings/2022/in-full-bloom
Jaudon, & Kozloff, J. (1977). Art Hysterical Nations of Progress and Culture. Heresies, 4, 38.
Kirkham, P. (2002). Women Designers in the USA, 1900-2000: Diversity and Difference (2d Printing). Yale University Press.
Pankow, D. (n.d.). Fields of Gold | American Decorated Trade Bindings and Their Designers, 1890â1915 | Cary Graphic Arts Collection. RIT. https://www.rit.edu/carycollection/fields-gold
Tidcombe, M. (1996). Women Bookbinders, 1880-1920. Amsterdam University Press.
Womenâs work. (n.d.). Brooklyn Museum. https://www.brooklynmuseum.org/eascfa/dinner_party/womens_work
Zonis, K. (2021, November 16). The Book-Cover Designs of Alice C. Morse | Cooper Hewitt, Smithsonian Design Museum. Cooper Hewitt Smithsonian Design Museum. https://www.cooperhewitt.org/2014/03/26/the-book-cover-designs-of-alice-c-morse/
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If it seems like the underground comix scene was a raucous and raunchy boys club, thatâs fairly accurate. However, there were plenty of women artists who reacted against the sexist depictions of women in comix, of which there was plenty. Their complaints about how women were being portrayed was seen to be just more censorship heaped on the male comix artists. Rather than just be quiet and go away, women like Trina Robbins, Willy Mendes, Linda Barry, Mary Fleener, and many others started drawing, bringing their own voices into the underground comix scene. Their experience in comix wasnât all smooth sailing either. The women creating comix also insisted on absolute artistic freedom and the space to explore difficult topics, but it came at a price just like it did for the male comix artists. Undercover police, raids, and lawsuits while not necessarily the norm, seemed to be always looming. While some comix titles managed to run longer than others, the heyday of comix was all but over by the mid 1970s. However, the influence of underground comix is evident in the comics and graphic novels being published today that are willing to have serious discussions about equally serious topics.
TIMELINE1880s â Comics began publication in American newspapers
REFERENCES
1895 â The Yellow Kid by Richard Outcault first published
1914 â Krazy Kat by Geroge Herriman first published
1920s â Tijuana Bibles began to be published
1930s â Comic book began in America
1931 â Alice Schenker (born Alice Olsen) born in Racine, WI
1933 â Jerry Siegel and Joe Shuster created Superman
1936-1939 â The comic magazine format became popular
1936 â Victor Moscoso born in Spain
1937 â Frank Stack born in Houston, TX
1938 â Gary Arlington born in San Jose, CA
1938 â Trina Robbins born in Brooklyn, NY
1939 â âShe Saw The Worldâs Fairâ published by Wesley Morse
1939 â Harvey Pekar born in Cleveland, OH
1939 â Richard âGrassâ Green born in Fort Wayne, IN
1940-1950s â Comic burnings became common in America
1940 â Gilbert Shelton born in Houston, TX
1940 â Manuel âSpainâ Reodriguez born in Buffalo, NY
1941 â Vaughn BodĂ© born in Utica, NY
1941 â S. Clay Wilson (Steven Clay Wilson) born in Lincoln, Nebraska
1941 â Jack âJaxonâ Jackson born in Texas
1942 â Rand Holmes born in Nova Scotia
1942 â Dan OâNeil born
1943 â Joel Beck born in Ross, CA
1943 â Robert Williaams born in Los Angeles, CA
1944 â George Herriman dies
1944 â Howard Cruse is born in Birmingham, AL
1943 â Robert Crumb born in Philadelphia, PA
1944 â Rick Griffin born in California
1944 â Bill Griffith born
1944 â Kim Deitch born in Los Angeles, CA
1944 â Max Gaines establishes Educational Comics
1944 â Mervyn âSkipâ Williamson born in San Antonio, TX
1945 â Lee Mars born
1947 â Jerry Siegel and Joe Shuster sued in NY Supreme Court to regain their rights to Superman; they lose the case and their jobs at DC Comics
1947 â Jay Lynch born in Orange, NJ
1947 â Max Gaines dies in a boat crash; son William Gaines takes over EC Comics
1948 â Art Spiegelman born in Stockholm, Sweden
1948 â Barbara âWillyâ Mendes born
1948 â Aline Kominsky-Crumb born in Long Beach, NY
1949 â Marry Wings born Mary Geller in Chicago, IL
1950s â Student Press Movement starts
1950 â Educational Comics becomes Entertaining Comics under William Gaines
1950 â Gary Panter born in Durant, OK
1951 â Mary Fleener born
1952-1956 â Harvey Kurtzman is the editor of MAD Magazine
1953 â Roberta Gregory born in Los Angeles, CA
1954 â âSeduction of the Innocentâ by psychiatrist Frederick Werthan published
1954 â Comics Code Authority established
1954 â Victor Moscoso starts at Cooper Union Art School in Manhattan
1955 â William Gaines starts humor magazine, MAD Magazine
1955 â Charles Burns born
1956 â After being cited by the CCA, EC comics diverts resources to new title MAD Magazine
1956 â Ralph Bakshi starts animating at Terrytoons
1956 â Alice and Don Schenker marry
1956 â Lynda Barry born in Richland Center, WI
1957 â Harvey Kurtzmaanâs Trump magazine published
1957 â Peter Baagge born in New York
1957-1960 â Spain Rodriguez studies at Silvermine Guild School of Art in New Canaan, CT
1958 â Moe Moskowitz moves to Bay Are and opens bookstore
1958 â Robert Crumb and his brother Charles publish satire magazine âFooâ
1958-1962 â Frank Stack and Gilbert Shelton edit University of Texas at Austinâs newspaper, The Texas Ranger
1959 â Victor Moscoso moves to San Francisco, CA
1960s â Underground comix movement started
1960 â MAD Magazine had circulation of 1.4 million
1960 â Rick Griffin met filmmaker John Severson at screening of Surf Fever movie
1960 â Harvey Kurtzman starts Help! Magazine
1960 â Phoebe Gloeckner born in Philadelphia, PA
1960 â Alison Bechdel born in Beech Creek, PA
1961 â Skip Williamson sells first comic to Help! Magazine
1961 â Daniel Clowes born in Chicaago, IL
1963 â In mainstream comics, Dell, DC and Marvel were the major publishers
1963 â Rick Griffin starts working at Surfer Magazine as a cartoonist, debuting âMurphyâ
1963 â Rick Griffin is seriously injured as a passenger in a drunk driving accident
1963 â Spain Rodriguez starts work at the Western Electric Company Plant
1963 â Jay Lynch moves to Chicago to become a cartoonist
1956 â America gets involved in the Vietnam War
1963 â March On Washington
1963 â President John F. Kennedy assassinated
1963 â Betty Friedanâs âThe Feminine Mystiqueâ is published
1964 â Jack âJaxonâ Jackson publishes âGod Noseâ
1964 â After being promoted to director of cartoons at Terrytown, Ralph Bakshi left to run animation at Paramount Pictures
1962 â Frank Stack publishes âThe Adventures of Jesusâ
1962 â Harvey Pekar and Robert Crumb meet in Cleveland, OH and become friends and collaborators
1965 â Birth of the Underground Press
1965 â Rick Griffin picks up âMurphyâ comics in Surfer after a pause
1965 â Schenkers launch Print Mint inside of Moskowitzâs bookstore
1965 â Spain Rodriguez spends summer in NYC creating cartoons for The Militant paper and joined anarchist group Resurgence Youth Movement
1965 â Robert Williams starts working as Art Director for Ed âBig Daddyâ Roth
1965 â Robert Crumb starts taking LSD
1965 â Julie Doucet born in Saint-Lambert Quebec, Canada
1965-1966 â Mario Saviaâs Free Speech Movement impacts Berkelyâs campus
1966 â After graduating from San Francisco Art Institute, Victor Moscoso joins faculty
1966 â Art Spiegelman is Topps Bubblegumâs star artist
1966 â Spain Rodriguez has his first cover in paper East Village Other
1966 â Trina Robbins moved back to NYC from LA and worked for East Village Other as advisor and illustrator
1966 â Rick Griffin joins Jook Savages and designs posters for their art shows in San Francisco
1966 â Kim Deitch moves to NYC and gets âSunshine Girlâ published in The East Village Other
1966 â Joel Beck publishes âLenny of Laredoâ, âMarching Marvinâ and âThe Profitâ
1966 â Print Mint publishes their first comix, a reprint of Beckâs âLenny of Laredoâ
1966 â NOW, of the National Organization for Women, was formed
1966 â Underground Press Syndicate established by East Village Other editor Walter Bowart
1966 â Weekly & monthly underground papers regularly publish Underground Comix
1967 â Robert Crumb leaves Cleveland, OH, his job at Americana Greetings, and wife Dana to move to San Francisco, CA
1967 â Gilbert Sheltonâs âWonder Wart Hogâ published by Pete Millar
1967 â Victor Moscoso and RIck Griffin begin to collaborate on posters and Zap Comics covers
1967 â Rick Griffin commissioned for âPow-Wow, a Gathering of the Tribes for a Human Be-Inâ held in Golden Gate Parkâs polo grounds
1967 â Art Spiegelman comes up with the idea for Wacky Packs working for Topps Bubblegum
1967 â âSummer of Loveâ takes place in San Francisco for 9 months
1967 â Bijou Funnies, initially The Chicago Mirror, founded by Skip WIlliamson and Jay Lynch in Chigaco, IL
1967 â Art Spiegelman moves to San Francisco, CA
1967 â âCavalierâ Magazine serializes Robert Crumbâs âFritz the Catâ
1967 â First drawings of Gilbert Sheltonâs The Fabulous Furry Freak Brothers appear on a flier for short student film âThe Texas Hippies March on the Capitolâ
1967-1973 â Jay Lynchâs ââNard ânâ Patâ comic publication years
1968 â Rand Holmes moves to Vancouver, Canada and works for Georgia Straight a weekly underground tabloid and starts âThe Adventures of Harold Heddâ
1968 â S. Clay Wilson moves to San Francisco and becomes friends with Robert Crumb, starts to contribute to Zap Comics
1968 â First issue of Zap Comix by Robert Crumb released
1968 â âKeep on Truckinââ one page comix published in Zap Comix by Robert Crumb
1968 â Robert Crumb sends for his wife Dana to join him in San Francisco
1968 â Robert Crumb first sees S. Clay Wilsonâs comix work
1968 â Gary Arlington opens his comic book store in the Mission District in San Francisco, CA
1968 â Spain Rodriguezâs cover for Feb 2nd issue of East Village Other creates legal issues over depiction of a sexual act
1968 â Robert Crumb publishes âZapâ
1968 â Skip Williamsonâs âSnappy Sammy Smoot (1968-1996) makes its debut in Bijou Funnies
1968 â Robert Williamâs controversial painting âAppetite for Destructionâ is used as album art for the Guns âNâ Roses album of the same name
1968 â âYellow Dogâ comix anthology started by Joel Beck and John Thompson
1968-1973 â Skip Williamsonâs Sammy Smoot character is played by Carl Reiner on the comedy TV show âRowan and Martinâs Laugh-Inâ
1968-1975 â Considered the boom years of Underground Comix
1968 â Apex Novelties ran by Don Donaahue starts publishing comix
1968 â US Government outlaws LSD
1968 â Robert Crumb starts âSnatch Comixâ published by Apex Novelties
1969 â Neil Armstrong lands on the moon
1969-1970 â âOdd Bodkinsâ by Dan OâNeil is published in the San Francisco Oracle
1969 â Whitney Museum Exhibition âHuman Concern/Personal Torment: The Grotesque in American Artâ showed some of Robert Crumbâs work
1969 â Roger Brand at the first comic convention panel for Underground Comix artists, declined to invite Trina Robbins
1969 â Rip Off Press founded by Gilbert Shelton, Jack âJaxonâ Jackson, Dave Moriarty and Fred Todd
1969 â Kim Deitch and Trinaa Robbins start dating
1969 â Bill Griffith and Jay Kinney meet and start idea for âYoung Lustâ
1969 â Vaughn Bode briefly edits âGothic Blimp Worksâ; Kim Deitch begins to edit âGothic Blimp Worksâ
1969 â Print Mint is raided by police over âZap Comixâ fourth issue (featured âJoe Blowâ incest comic by Robert Crumb)
1969 â Schenkers arrested over violation of California Penal Code Section 311.2 (illegal distribution of pornography) due to publishing âZap Comicsâ fourth issue
1969 â S. Clay Wilson contributes to âJiz Comicsâ under pseudonym Howard Crankwood
1970s â Graphic Novel format began
1970s âJack âJaxonâ Jackson creates historical narrative comix like âComanche Moonâ, âLos Tejanosâ
1970 â Ed âBig Daddyâ Rothâs shop closes and Robert Williams ends his tenure as Art Director
1970 â Chris Kirkpatrick, owner of New Yorker Book Store that sold Zap Comix, convicted
1970 â Bill Griffith moves to San Francisco, CA
1970 â Trina Robbins and Kim Deitchâs daughter Casey born
1970 â âIt Ainât Me Babeâ the first womenâs liberation newspaper, was published in Berkley
1970 â Kitchen Sink Press ran by Denis Kitchen founded
1970 â âSkullâ published by Rip Off Press
1970 â Many Underground Comix artists met and created The Cartoon Workers Union
1970 â Robert William released collected âCoochy Cooty Menâs Comicsâ published by Print Mint
1970 â Last Gasp Eco Funnies ran by Ron Turner founded
1970 â âYoung Lustâ by Bill Griffith and Jaay Kinney published by Company & Sons
1970 â Robert Crumb meets with Ralph Bakshi and Steve Kraantz about making a movie out of his popular character Fritz the Cat
1970 â âAbortion Eveâ comic produced by Joyce Farmer and Lyn Chevely
1970 â Spain Rodriguez releases âZodiac Mindwarpâ (East Village Other) and âSubertâ (Rip Off Press)
1970 â Kim Deitch and Trina Robbins end their relationship
1971 â Gilbert Sheltonâs Fabulous Furry Freak Brothers first released
1971 â Roberta Gregory attend CSU Long Beach and contributes âFeminist Funniesâ to their newspaper
1971 â S. Clay Wilson contributes to âBentâ (Print Mint)
1971 â Aline Kominsky-Crumb grates with degree in fine art from University of Arizona
1971 â âMs Magazineâ founded by Gloria Steinem and art directed by Bea Feitler
1971 â Bill Griffithâs âZippy the Pinheadâ debuts in Real Pulp Comics #1 by Print Mint
1971 â Dan OâNeil and the Air Pirates (Bobby London, Shary Flenniken, Gary Hallgren, and Ted Richards) create âAir Pirate Funniesâ published by Last Gasp
1971 â Lee Marrâs âPudgeâ & âGirl Blimpâ published
1971 â Roberta Gregory sells her first comic to âWimmenâs Comixâ
1971 â Disney filed suit in Northern District of California against the comic artists from the âAir Pirate Funniesâ
1971 â Rip Off Press moves from Mowryâs Opera House to 17th Street
1971 â After moving back to NYC, Art Spiegelman once again returns to San Francisco, CA
1972 â âThe Adventures of Harold Heddâ released in first collected volume, the second volume out the following year
1972 â âTits ânâ Clitsâ All women comix anthology by Joyce Farmer and Lyn Chevely published first issue (Nanny Goat Productions)
1972 â Aline Kominsky-Crumb has comix debut in âWimmenâs Comixâ #1 with âGoldie a Neurotic Womanâ
1972 â Robert Crumb and Aline Kominsky-Crumb meet at a San Francisco party
1972 â âFritz the Catâ movie directed by Ralph Bakshi released
1972 â 2 all womenâs comix anthologies started âWimmenâs Comixâ (Trina Robbins, Last Gasp) and âTitâs & Clitsâ (Joyce Farmer and Lyn Chevelyl, Nanny Goat Productions)
1972 â Disney granted itâs injunction against Dan OâNeil and the other comic artists from âAir Pirate Funniesâ; found guilty of copyright infringement and trade disparagement
1972 â âBizzare Sexâ started published by Denis Kitchen of Kitchen Sink Press
1972 â Print Mint hits 1 million issues of âZap Comixâ sold
1973 â Rand Holmes travels to San Francisco, CA to get the second volume of âThe Adventures of Harold Heddâ published by Last Gasp
1973 â Bill Griffithâs âA Sour Look at the Comix Scene, or Out of the Inkwell and Into the Toiletâ runs in The San Francisco Phoenix
1973 â Undercover cop buys first issue of âTits ânâ Clitsâ at San Francisco Bookstore Fahrenheit 451; owners charged with selling pornography and Farmer and Cheverly are forced to hide from law enforcement for 2 years
1973 â Aline Kominsky-Crumb moves onto Robert Crumbâs farm property as his girlfriend
1973 â âCome Out Comixâ by Mary Wings self-published
1973 â Year of the Crash of Comix
1973 â Rick Griffin is a born again Christian
1973 â Gilbert Sheltonâs The Fabulous Furry Freak Brotherâs comics had sold 400,000 copies; eventually selling 45 million copies to date in 16 different languages
1972 â Haavery Pekarâs first story âBrilliant American Maniacs Series No. 1 Crazy Edâ published in âPeopleâs Comicsâ with art by Robert Crumb
1972 â Justin Green publishes âBinky Brown Meets the Holy Virgin Maryâ
1972 â Art Spiegelman publishes first 3 pages of Maus
1973 âSupreme Courtâs Miller v. California decision rules that vendors can be jailed and retroactively fined for selling obscene materials, cannot plead ignorance to contents
1974 â Jay Lynch has a one week tenure as editor at Hustler Magazine
1974 â Lynda Barry attends Evergreen State College in Olympia, WA
1974 â Art Spiegelman self publishes âAce Holeâ and âMidget Detectiveâ
1974 â Marvel releases âComix Bookâ
1974 â S. Clay Wilson contributes to âPorkâ (Co-Op Press)
1974 â âThe Nine Lives of Fritz the Catâ directed by Ralph Bakshi released
1975 â The Schenkers working partnership with Bob and Peggy Rita dissolves and Print Mint slows down production and distribution
1975 â âFelch Comicsâ by Keith Green
1975 â Vietnam War ends, American troops withdraw from Saigon
1975 â Victor Moscoso starts attending Yale
1975 â Bill Griffith and Art Spiegelman create âArcadeâ comix anthology
1975 â Vaughn BodĂ© dies at age 33
1976 â Harvey Pekar self publishes âHow I Quit Collecting Records and Put Out a Comic Book with the Money I Savedâ with art by Robert Crumb
1976 â âWet Satinâ erotic satirical all-womenâs comics anthology published by Kitchen Sink Press
1976 â Aline Kominsky-Crumb moves off of the Crumb farm commune
1976 â Mary Wingâs âDyke Shortsâ is self-published
1976 â Roberta Gregory creates âDynamite Damselsâ (Self-published)
1976 â Copyright Act becomes law
1976 â Lee Marrs âThe Further Fattening Adventures of Pudge, Girl Blimpâ featured the first openly bisexual character in comics
1967 â Larry Fuller creates âGay Heartthrobsâ
1976 â Harvey Pekarâs âAmerican Splendor #1â published
1976 â Aline Kominsky-Crumb and Diane Noomin start âTwisted Sistersâ
1976-1077 â Punk scene emerges
1971 â Howard Cruseâs âBarefootzâ first published
1977 â Kitchen Sink Press reprints Joel Becks comics under title âJoel Beckâs Comics & Storiesâ
1977 â Gary Panter moves to Los Angeles, CA
1977 â S. Clay Wilson releases comix with his most popular character âThe Checkered Demonâ (Last Gasp)
1977 â Gilbert Sheltonâs character Fat Freddyâs cat from âThe Fabulous Furry Freak Brothersâ gets its own spin off comic
1977 â Robert Crumb divorces Dana
1978 â Gilbert Shelton moves to San Francisco, CA from Austin, TX
1978 â First graphic novel âA Contract With Godâ by Will Eisner is published by Baronet Press
1978 â Dan OâNeils appeal in the case of Dismney and the Air Pirates does not rule in OâNeilâs favor
1978 â Gilbert Shelton makes âShakedown Streetâ album cover for The Grateful Dead
1978 â Paul Mavrides starts to collaborate on âThe Fabulous Furry Freak Brothersâ
1979 â Gilbert Shelton and wife/agent Lora move to Europe
1979 â The Supreme Court declines to take Dan OâNeilâs appeal case against Disney
1979 â Robert William publishes âThe Lowbrow Art of Robt. Williamsâ
1979 â Mary Wings creates drug awareness book âAre Your Highs Getting You Down?â with a California Arts Council Grant
1979 â Denis Kitchen approaches Howaard Cruse about making âGay Comixâ
1979 â Rip Off Press ends
1979 â Art Spiegelman starts to teach at the School of Visual Arts in NY
1980 â First issue of âGay Comixâ (Kitchen SInk Press) released, edited by Howard Cruse
1980 â âRawâ comics anthology created by Art Spiegelman and Francoise Mouly
1980-1991 â Maus: A Survivorâs Tale by Art Spiegelman serialized
1981 â âWimmenâs Comixâ takes a 6 year hiatus
1981 â Daniel Clowes and his friends create âPsycho Comicsâ
1981 â Robert Crumb starts comix magazine âWeirdoâ published by Last Gasp
1981 â Robert Crumb and Aline Kominsky-Crumbâs daughter Sophie is born; they move to Southern France
1982 â Last issue of âBizzare Sexâ released
1982 â Gilbert and Jamie Hernandez create âLove and Rocketsâ published by Fantagraphics
1983 â âDykes to Watch Out Forâ by Alison Bechdel first published
1984 â Mary Fleener self publishes her first comic âHoodooâ
1984 â Robert Crumb passes editorship of âWeirdoâ to Peter Bagge
1985 â Print Mint, since renamed Reprint Mint, is sold by the Schenkers
1985 â Mary Wings âShe Came Too Lateâ lesbian detective novel published
1985 â Topps Bubbglegum starts Garbage Pail Kids cards
1986 â Doubleday publishes the first of itâs two collected volumes of Harvye Pekarâs âAmerican Splendorâ with the next coming out the following year
1986 â Jack âJaxonâ Jackson publishes âIllustrated History of Ranching in Texasâ
1986 â Peter Bagge resigns as editor at âWeirdoâ; Aline Kominsky-Crumb takes over
1987 â Robert Crumb and Aline Kominsky-Crumb marry
1988 â âDirty Plotteâ by Julie Doucet was first self-published
1988 â Roberta Gregory self publishes âWinging Itâ and âSheila and the Unicornâ
1989 â Jack âJaxonâ Jackon publishes âRip Off Pres: The Golden Era #21â
1989 â Daniel Clowes first issue of âEightballâ
1989 â Roberta Gregory moves to Seattle and begins to work at Fantagraphics Books
1990 â Art Spiegelman receives a Guggenheim Fellowship to work on Mausâ second volume
1990 â Peter Bagge first publishes âHateâ (Fantagraaphics)
1991 â American Splendorâs once a year regular release stops with issue fifteen
1991 â Rick Griffin dies after motorcycle accident
1991 â Roberta Gregoryâs âNaughty Bitsâ issue one self published
1991 â âDirty Plotteâ published by Drawn & Quarterly
1991 â Julie Doucet moves to NYC for one year and makes âMy New York Diaryâ
1992 â Maus: A Survivorâs Tale by Art Spiegelman wins a Pulitzer Prize
1992 â âWimmenâs Comixâ publishes itâs last issue
1993 â Don Schenkers dies
1994 â Robert Williams first published âJuxtapoz Arts & Cultureâ Magazine
1995 â âStuck Rubber Babyâ by Howard Cruse published
1995 â âBlack Holeâ by Charles Burns first published by Fantagraphics
1995 â âCrumbâ documentary about Robert Crumb by Terry Zwigoff is released
1996 â Mary Fleenerâs âLife of the Partyâ released
1998 â Jack âJaxonâ Jackson creates âLost Causeâ
1999 â Joel Beck dies
2001-2003 â Roberta Gregoryâs popular character Bitchy Bitch from âNaughty Bitsâ starred in the animated cartoon âLifeâs a Bitchâ on Comedy Network (Canada) and Oxygen Network (US)
2001 â Daniel Clowes âEightballâ story âGhost Worldâ is made into a movie of the same name
2002 â Rand Holmes dies
2002 â Phoebe Gloecknerâs âThe Diary of a Teenage Girlâ published by Frog Books
2003 â âAmerican Splendorâ the award winning movie about Harvey Pekarâs life starring Paul Giamatti is released
2005 â âBlack Holeâ by Charles Burns released as graphic novel by Fantagraphics
2006 âJack âJaxonâ Jackson dies
2006 â âFun Home: A Family Tragicomicâ by Alison Bechdel published
2010 â Harvey Pekar dies
2015 â âFun Homeâ the Broadway Musical wins a Tony for best musical
2015 â âThe Diary of a Teenage Girlâ by Phoebe Glockner made into a movie with the same name
2017 â Skip Williamson and Jay Lynch die within a week and a half of each other
2019 â Howard Cruse dies
2020 â Alice Schnker dies
2021 â Streaming channel Tubi releases 8 episode show âThe Freak Brothersâ based on Gilbert Sheltonâs âThe Fabulous Furry Freak Brothersâ
2021 â Spain Rodriguez dies
2021 â S. Clay Wilson dies
2022 â Aline Kominsky-Crumb diesAbout. Robert Williams Official Site. (2022). Retrieved December 27, 2022, from https://www.robtwilliamsstudio.com/about
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Chakraborty, P. (2021). "Sex and the Aesthetics of the Vulgar: Reading the Creative Paradox in the Works of Robert Crumb." Sanglap: Journal of Literary and Cultural Inquiry, 07(02), 120â148. https://doi.org/10.35684/jlci.2021.7206
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Costello, B., & Gremins, B. (2021). The Other 1980s: Reframing Comicsâ Crucial Decade. Louisiana State University Press.
Dalzell, T. (2020, February 20). Remembering Alice Schenker, whose Print Mint on Telegraph Avenue sparked the 1960s poster revolution. Berkeleyside. Retrieved December 26, 2022, from https://www.berkeleyside.org/2020/02/20/remembering-alice-schenker-whose-print-mint-on-telegraph-avenue-sparked-the-1960s-poster-revolution
Danky, J. P., & Kitchen, D. (2009). Underground classics: The transformation of comics into Comix. Abrams.
Dauber, J. (2022). American Comics: A History. W. W. Norton & Company.
Doherty , B. (2023). Dirty pictures: How an underground network of nerds, feminists, misfits, geniuses, bikers,... Potheads, printers, intellectuals, and art school. Harry N. Abraams.
Ebert, R. (2005, November 20). Crumb Movie Review & Film Summary (1995): Roger Ebert. Crumb movie review & film summary (1995) | Roger Ebert. Retrieved December 22, 2022, from https://www.rogerebert.com/reviews/great-movie-crumb-1994
Elam, E. (2013, February 15). Gilbert Shelton in Conversation. T_he Comics Journal ._ Retrieved December 26, 2022, from https://www.tcj.com/gilbert-shelton-in-conversation/
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Gabilliet, J., Beaty, B., & Nguyen, N. (2013). Of Comics and Men: A Cultural History of American Comic Books(Illustrated). University Press of Mississippi.
Garcia, E. (2017). The Hernandez Brothers: Love, Rockets, and Alternative Comics (Latinx and Latin American Profiles)(1st ed.). University of Pittsburgh Press.
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Gregory, R. (2009). My Creative History. Roberta Gregory . Retrieved December 26, 2022, from http://www.robertagregory.com/Robertagregory/Robertas\_History.html
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Comix, spelled with an x at the end instead of c, is a uniquely American movement and brings to mind eccentric, explicit, and subversive comics aimed at an adult audience. Having roots in the explicit Tijuana Bibles of the 1920, the lurid horror comics produced by EC, and the later wackiness of MAD Magazine, Comix creators defied censorship laws and American moral standards to create their unique artistic visions and thrived as a part of the Counterculture movement of the 1960s. In some respects, comix were a reaction against what the artists saw as the over-sanitized mainstream comics that did nothing innovative or interesting. While comix creators came from all over the US, the hotbed for comix innovation happened in San Francisco. Many cite the first issue of Robert Crumbâs anthology âZapâ as the birth of underground comix as a movement and the number of comix grew rapidly after that. The complete artistic freedom comix artists insisted on came at a price as they pushed up against censorship with their themes of sexism, racism, violence, and questionable morality. Comix artists, publishers and the shops selling comix titles faced police raids and lawsuits, some of which lasted for years. Pushing up against censorship (and good taste) comix proved that comics could be more than just superheroes saving the day.
TIMELINE1880s â Comics began publication in American newspapers
REFERENCES
1895 â The Yellow Kid by Richard Outcault first published
1914 â Krazy Kat by Geroge Herriman first published
1920s â Tijuana Bibles began to be published
1930s â Comic book began in America
1931 â Alice Schenker (born Alice Olsen) born in Racine, WI
1933 â Jerry Siegel and Joe Shuster created Superman
1936-1939 â The comic magazine format became popular
1936 â Victor Moscoso born in Spain
1937 â Frank Stack born in Houston, TX
1938 â Gary Arlington born in San Jose, CA
1938 â Trina Robbins born in Brooklyn, NY
1939 â âShe Saw The Worldâs Fairâ published by Wesley Morse
1939 â Harvey Pekar born in Cleveland, OH
1939 â Richard âGrassâ Green born in Fort Wayne, IN
1940-1950s â Comic burnings became common in America
1940 â Gilbert Shelton born in Houston, TX
1940 â Manuel âSpainâ Reodriguez born in Buffalo, NY
1941 â Vaughn BodĂ© born in Utica, NY
1941 â S. Clay Wilson (Steven Clay Wilson) born in Lincoln, Nebraska
1941 â Jack âJaxonâ Jackson born in Texas
1942 â Rand Holmes born in Nova Scotia
1942 â Dan OâNeil born
1943 â Joel Beck born in Ross, CA
1943 â Robert Williaams born in Los Angeles, CA
1944 â George Herriman dies
1944 â Howard Cruse is born in Birmingham, AL
1943 â Robert Crumb born in Philadelphia, PA
1944 â Rick Griffin born in California
1944 â Bill Griffith born
1944 â Kim Deitch born in Los Angeles, CA
1944 â Max Gaines establishes Educational Comics
1944 â Mervyn âSkipâ Williamson born in San Antonio, TX
1945 â Lee Mars born
1947 â Jerry Siegel and Joe Shuster sued in NY Supreme Court to regain their rights to Superman; they lose the case and their jobs at DC Comics
1947 â Jay Lynch born in Orange, NJ
1947 â Max Gaines dies in a boat crash; son William Gaines takes over EC Comics
1948 â Art Spiegelman born in Stockholm, Sweden
1948 â Barbara âWillyâ Mendes born
1948 â Aline Kominsky-Crumb born in Long Beach, NY
1949 â Marry Wings born Mary Geller in Chicago, IL
1950s â Student Press Movement starts
1950 â Educational Comics becomes Entertaining Comics under William Gaines
1950 â Gary Panter born in Durant, OK
1951 â Mary Fleener born
1952-1956 â Harvey Kurtzman is the editor of MAD Magazine
1953 â Roberta Gregory born in Los Angeles, CA
1954 â âSeduction of the Innocentâ by psychiatrist Frederick Werthan published
1954 â Comics Code Authority established
1954 â Victor Moscoso starts at Cooper Union Art School in Manhattan
1955 â William Gaines starts humor magazine, MAD Magazine
1955 â Charles Burns born
1956 â After being cited by the CCA, EC comics diverts resources to new title MAD Magazine
1956 â Ralph Bakshi starts animating at Terrytoons
1956 â Alice and Don Schenker marry
1956 â Lynda Barry born in Richland Center, WI
1957 â Harvey Kurtzmaanâs Trump magazine published
1957 â Peter Baagge born in New York
1957-1960 â Spain Rodriguez studies at Silvermine Guild School of Art in New Canaan, CT
1958 â Moe Moskowitz moves to Bay Are and opens bookstore
1958 â Robert Crumb and his brother Charles publish satire magazine âFooâ
1958-1962 â Frank Stack and Gilbert Shelton edit University of Texas at Austinâs newspaper, The Texas Ranger
1959 â Victor Moscoso moves to San Francisco, CA
1960s â Underground comix movement started
1960 â MAD Magazine had circulation of 1.4 million
1960 â Rick Griffin met filmmaker John Severson at screening of Surf Fever movie
1960 â Harvey Kurtzman starts Help! Magazine
1960 â Phoebe Gloeckner born in Philadelphia, PA
1960 â Alison Bechdel born in Beech Creek, PA
1961 â Skip Williamson sells first comic to Help! Magazine
1961 â Daniel Clowes born in Chicaago, IL
1963 â In mainstream comics, Dell, DC and Marvel were the major publishers
1963 â Rick Griffin starts working at Surfer Magazine as a cartoonist, debuting âMurphyâ
1963 â Rick Griffin is seriously injured as a passenger in a drunk driving accident
1963 â Spain Rodriguez starts work at the Western Electric Company Plant
1963 â Jay Lynch moves to Chicago to become a cartoonist
1956 â America gets involved in the Vietnam War
1963 â March On Washington
1963 â President John F. Kennedy assassinated
1963 â Betty Friedanâs âThe Feminine Mystiqueâ is published
1964 â Jack âJaxonâ Jackson publishes âGod Noseâ
1964 â After being promoted to director of cartoons at Terrytown, Ralph Bakshi left to run animation at Paramount Pictures
1962 â Frank Stack publishes âThe Adventures of Jesusâ
1962 â Harvey Pekar and Robert Crumb meet in Cleveland, OH and become friends and collaborators
1965 â Birth of the Underground Press
1965 â Rick Griffin picks up âMurphyâ comics in Surfer after a pause
1965 â Schenkers launch Print Mint inside of Moskowitzâs bookstore
1965 â Spain Rodriguez spends summer in NYC creating cartoons for The Militant paper and joined anarchist group Resurgence Youth Movement
1965 â Robert Williams starts working as Art Director for Ed âBig Daddyâ Roth
1965 â Robert Crumb starts taking LSD
1965 â Julie Doucet born in Saint-Lambert Quebec, Canada
1965-1966 â Mario Saviaâs Free Speech Movement impacts Berkelyâs campus
1966 â After graduating from San Francisco Art Institute, Victor Moscoso joins faculty
1966 â Art Spiegelman is Topps Bubblegumâs star artist
1966 â Spain Rodriguez has his first cover in paper East Village Other
1966 â Trina Robbins moved back to NYC from LA and worked for East Village Other as advisor and illustrator
1966 â Rick Griffin joins Jook Savages and designs posters for their art shows in San Francisco
1966 â Kim Deitch moves to NYC and gets âSunshine Girlâ published in The East Village Other
1966 â Joel Beck publishes âLenny of Laredoâ, âMarching Marvinâ and âThe Profitâ
1966 â Print Mint publishes their first comix, a reprint of Beckâs âLenny of Laredoâ
1966 â NOW, of the National Organization for Women, was formed
1966 â Underground Press Syndicate established by East Village Other editor Walter Bowart
1966 â Weekly & monthly underground papers regularly publish Underground Comix
1967 â Robert Crumb leaves Cleveland, OH, his job at Americana Greetings, and wife Dana to move to San Francisco, CA
1967 â Gilbert Sheltonâs âWonder Wart Hogâ published by Pete Millar
1967 â Victor Moscoso and RIck Griffin begin to collaborate on posters and Zap Comics covers
1967 â Rick Griffin commissioned for âPow-Wow, a Gathering of the Tribes for a Human Be-Inâ held in Golden Gate Parkâs polo grounds
1967 â Art Spiegelman comes up with the idea for Wacky Packs working for Topps Bubblegum
1967 â âSummer of Loveâ takes place in San Francisco for 9 months
1967 â Bijou Funnies, initially The Chicago Mirror, founded by Skip WIlliamson and Jay Lynch in Chigaco, IL
1967 â Art Spiegelman moves to San Francisco, CA
1967 â âCavalierâ Magazine serializes Robert Crumbâs âFritz the Catâ
1967 â First drawings of Gilbert Sheltonâs The Fabulous Furry Freak Brothers appear on a flier for short student film âThe Texas Hippies March on the Capitolâ
1967-1973 â Jay Lynchâs ââNard ânâ Patâ comic publication years
1968 â Rand Holmes moves to Vancouver, Canada and works for Georgia Straight a weekly underground tabloid and starts âThe Adventures of Harold Heddâ
1968 â S. Clay Wilson moves to San Francisco and becomes friends with Robert Crumb, starts to contribute to Zap Comics
1968 â First issue of Zap Comix by Robert Crumb released
1968 â âKeep on Truckinââ one page comix published in Zap Comix by Robert Crumb
1968 â Robert Crumb sends for his wife Dana to join him in San Francisco
1968 â Robert Crumb first sees S. Clay Wilsonâs comix work
1968 â Gary Arlington opens his comic book store in the Mission District in San Francisco, CA
1968 â Spain Rodriguezâs cover for Feb 2nd issue of East Village Other creates legal issues over depiction of a sexual act
1968 â Robert Crumb publishes âZapâ
1968 â Skip Williamsonâs âSnappy Sammy Smoot (1968-1996) makes its debut in Bijou Funnies
1968 â Robert Williamâs controversial painting âAppetite for Destructionâ is used as album art for the Guns âNâ Roses album of the same name
1968 â âYellow Dogâ comix anthology started by Joel Beck and John Thompson
1968-1973 â Skip Williamsonâs Sammy Smoot character is played by Carl Reiner on the comedy TV show âRowan and Martinâs Laugh-Inâ
1968-1975 â Considered the boom years of Underground Comix
1968 â Apex Novelties ran by Don Donaahue starts publishing comix
1968 â US Government outlaws LSD
1968 â Robert Crumb starts âSnatch Comixâ published by Apex Novelties
1969 â Neil Armstrong lands on the moon
1969-1970 â âOdd Bodkinsâ by Dan OâNeil is published in the San Francisco Oracle
1969 â Whitney Museum Exhibition âHuman Concern/Personal Torment: The Grotesque in American Artâ showed some of Robert Crumbâs work
1969 â Roger Brand at the first comic convention panel for Underground Comix artists, declined to invite Trina Robbins
1969 â Rip Off Press founded by Gilbert Shelton, Jack âJaxonâ Jackson, Dave Moriarty and Fred Todd
1969 â Kim Deitch and Trinaa Robbins start dating
1969 â Bill Griffith and Jay Kinney meet and start idea for âYoung Lustâ
1969 â Vaughn Bode briefly edits âGothic Blimp Worksâ; Kim Deitch begins to edit âGothic Blimp Worksâ
1969 â Print Mint is raided by police over âZap Comixâ fourth issue (featured âJoe Blowâ incest comic by Robert Crumb)
1969 â Schenkers arrested over violation of California Penal Code Section 311.2 (illegal distribution of pornography) due to publishing âZap Comicsâ fourth issue
1969 â S. Clay Wilson contributes to âJiz Comicsâ under pseudonym Howard Crankwood
1970s â Graphic Novel format began
1970s âJack âJaxonâ Jackson creates historical narrative comix like âComanche Moonâ, âLos Tejanosâ
1970 â Ed âBig Daddyâ Rothâs shop closes and Robert Williams ends his tenure as Art Director
1970 â Chris Kirkpatrick, owner of New Yorker Book Store that sold Zap Comix, convicted
1970 â Bill Griffith moves to San Francisco, CA
1970 â Trina Robbins and Kim Deitchâs daughter Casey born
1970 â âIt Ainât Me Babeâ the first womenâs liberation newspaper, was published in Berkley
1970 â Kitchen Sink Press ran by Denis Kitchen founded
1970 â âSkullâ published by Rip Off Press
1970 â Many Underground Comix artists met and created The Cartoon Workers Union
1970 â Robert William released collected âCoochy Cooty Menâs Comicsâ published by Print Mint
1970 â Last Gasp Eco Funnies ran by Ron Turner founded
1970 â âYoung Lustâ by Bill Griffith and Jaay Kinney published by Company & Sons
1970 â Robert Crumb meets with Ralph Bakshi and Steve Kraantz about making a movie out of his popular character Fritz the Cat
1970 â âAbortion Eveâ comic produced by Joyce Farmer and Lyn Chevely
1970 â Spain Rodriguez releases âZodiac Mindwarpâ (East Village Other) and âSubertâ (Rip Off Press)
1970 â Kim Deitch and Trina Robbins end their relationship
1971 â Gilbert Sheltonâs Fabulous Furry Freak Brothers first released
1971 â Roberta Gregory attend CSU Long Beach and contributes âFeminist Funniesâ to their newspaper
1971 â S. Clay Wilson contributes to âBentâ (Print Mint)
1971 â Aline Kominsky-Crumb grates with degree in fine art from University of Arizona
1971 â âMs Magazineâ founded by Gloria Steinem and art directed by Bea Feitler
1971 â Bill Griffithâs âZippy the Pinheadâ debuts in Real Pulp Comics #1 by Print Mint
1971 â Dan OâNeil and the Air Pirates (Bobby London, Shary Flenniken, Gary Hallgren, and Ted Richards) create âAir Pirate Funniesâ published by Last Gasp
1971 â Lee Marrâs âPudgeâ & âGirl Blimpâ published
1971 â Roberta Gregory sells her first comic to âWimmenâs Comixâ
1971 â Disney filed suit in Northern District of California against the comic artists from the âAir Pirate Funniesâ
1971 â Rip Off Press moves from Mowryâs Opera House to 17th Street
1971 â After moving back to NYC, Art Spiegelman once again returns to San Francisco, CA
1972 â âThe Adventures of Harold Heddâ released in first collected volume, the second volume out the following year
1972 â âTits ânâ Clitsâ All women comix anthology by Joyce Farmer and Lyn Chevely published first issue (Nanny Goat Productions)
1972 â Aline Kominsky-Crumb has comix debut in âWimmenâs Comixâ #1 with âGoldie a Neurotic Womanâ
1972 â Robert Crumb and Aline Kominsky-Crumb meet at a San Francisco party
1972 â âFritz the Catâ movie directed by Ralph Bakshi released
1972 â 2 all womenâs comix anthologies started âWimmenâs Comixâ (Trina Robbins, Last Gasp) and âTitâs & Clitsâ (Joyce Farmer and Lyn Chevelyl, Nanny Goat Productions)
1972 â Disney granted itâs injunction against Dan OâNeil and the other comic artists from âAir Pirate Funniesâ; found guilty of copyright infringement and trade disparagement
1972 â âBizzare Sexâ started published by Denis Kitchen of Kitchen Sink Press
1972 â Print Mint hits 1 million issues of âZap Comixâ sold
1973 â Rand Holmes travels to San Francisco, CA to get the second volume of âThe Adventures of Harold Heddâ published by Last Gasp
1973 â Bill Griffithâs âA Sour Look at the Comix Scene, or Out of the Inkwell and Into the Toiletâ runs in The San Francisco Phoenix
1973 â Undercover cop buys first issue of âTits ânâ Clitsâ at San Francisco Bookstore Fahrenheit 451; owners charged with selling pornography and Farmer and Cheverly are forced to hide from law enforcement for 2 years
1973 â Aline Kominsky-Crumb moves onto Robert Crumbâs farm property as his girlfriend
1973 â âCome Out Comixâ by Mary Wings self-published
1973 â Year of the Crash of Comix
1973 â Rick Griffin is a born again Christian
1973 â Gilbert Sheltonâs The Fabulous Furry Freak Brotherâs comics had sold 400,000 copies; eventually selling 45 million copies to date in 16 different languages
1972 â Haavery Pekarâs first story âBrilliant American Maniacs Series No. 1 Crazy Edâ published in âPeopleâs Comicsâ with art by Robert Crumb
1972 â Justin Green publishes âBinky Brown Meets the Holy Virgin Maryâ
1972 â Art Spiegelman publishes first 3 pages of Maus
1973 âSupreme Courtâs Miller v. California decision rules that vendors can be jailed and retroactively fined for selling obscene materials, cannot plead ignorance to contents
1974 â Jay Lynch has a one week tenure as editor at Hustler Magazine
1974 â Lynda Barry attends Evergreen State College in Olympia, WA
1974 â Art Spiegelman self publishes âAce Holeâ and âMidget Detectiveâ
1974 â Marvel releases âComix Bookâ
1974 â S. Clay Wilson contributes to âPorkâ (Co-Op Press)
1974 â âThe Nine Lives of Fritz the Catâ directed by Ralph Bakshi released
1975 â The Schenkers working partnership with Bob and Peggy Rita dissolves and Print Mint slows down production and distribution
1975 â âFelch Comicsâ by Keith Green
1975 â Vietnam War ends, American troops withdraw from Saigon
1975 â Victor Moscoso starts attending Yale
1975 â Bill Griffith and Art Spiegelman create âArcadeâ comix anthology
1975 â Vaughn BodĂ© dies at age 33
1976 â Harvey Pekar self publishes âHow I Quit Collecting Records and Put Out a Comic Book with the Money I Savedâ with art by Robert Crumb
1976 â âWet Satinâ erotic satirical all-womenâs comics anthology published by Kitchen Sink Press
1976 â Aline Kominsky-Crumb moves off of the Crumb farm commune
1976 â Mary Wingâs âDyke Shortsâ is self-published
1976 â Roberta Gregory creates âDynamite Damselsâ (Self-published)
1976 â Copyright Act becomes law
1976 â Lee Marrs âThe Further Fattening Adventures of Pudge, Girl Blimpâ featured the first openly bisexual character in comics
1967 â Larry Fuller creates âGay Heartthrobsâ
1976 â Harvey Pekarâs âAmerican Splendor #1â published
1976 â Aline Kominsky-Crumb and Diane Noomin start âTwisted Sistersâ
1976-1077 â Punk scene emerges
1971 â Howard Cruseâs âBarefootzâ first published
1977 â Kitchen Sink Press reprints Joel Becks comics under title âJoel Beckâs Comics & Storiesâ
1977 â Gary Panter moves to Los Angeles, CA
1977 â S. Clay Wilson releases comix with his most popular character âThe Checkered Demonâ (Last Gasp)
1977 â Gilbert Sheltonâs character Fat Freddyâs cat from âThe Fabulous Furry Freak Brothersâ gets its own spin off comic
1977 â Robert Crumb divorces Dana
1978 â Gilbert Shelton moves to San Francisco, CA from Austin, TX
1978 â First graphic novel âA Contract With Godâ by Will Eisner is published by Baronet Press
1978 â Dan OâNeils appeal in the case of Dismney and the Air Pirates does not rule in OâNeilâs favor
1978 â Gilbert Shelton makes âShakedown Streetâ album cover for The Grateful Dead
1978 â Paul Mavrides starts to collaborate on âThe Fabulous Furry Freak Brothersâ
1979 â Gilbert Shelton and wife/agent Lora move to Europe
1979 â The Supreme Court declines to take Dan OâNeilâs appeal case against Disney
1979 â Robert William publishes âThe Lowbrow Art of Robt. Williamsâ
1979 â Mary Wings creates drug awareness book âAre Your Highs Getting You Down?â with a California Arts Council Grant
1979 â Denis Kitchen approaches Howaard Cruse about making âGay Comixâ
1979 â Rip Off Press ends
1979 â Art Spiegelman starts to teach at the School of Visual Arts in NY
1980 â First issue of âGay Comixâ (Kitchen SInk Press) released, edited by Howard Cruse
1980 â âRawâ comics anthology created by Art Spiegelman and Francoise Mouly
1980-1991 â Maus: A Survivorâs Tale by Art Spiegelman serialized
1981 â âWimmenâs Comixâ takes a 6 year hiatus
1981 â Daniel Clowes and his friends create âPsycho Comicsâ
1981 â Robert Crumb starts comix magazine âWeirdoâ published by Last Gasp
1981 â Robert Crumb and Aline Kominsky-Crumbâs daughter Sophie is born; they move to Southern France
1982 â Last issue of âBizzare Sexâ released
1982 â Gilbert and Jamie Hernandez create âLove and Rocketsâ published by Fantagraphics
1983 â âDykes to Watch Out Forâ by Alison Bechdel first published
1984 â Mary Fleener self publishes her first comic âHoodooâ
1984 â Robert Crumb passes editorship of âWeirdoâ to Peter Bagge
1985 â Print Mint, since renamed Reprint Mint, is sold by the Schenkers
1985 â Mary Wings âShe Came Too Lateâ lesbian detective novel published
1985 â Topps Bubbglegum starts Garbage Pail Kids cards
1986 â Doubleday publishes the first of itâs two collected volumes of Harvye Pekarâs âAmerican Splendorâ with the next coming out the following year
1986 â Jack âJaxonâ Jackson publishes âIllustrated History of Ranching in Texasâ
1986 â Peter Bagge resigns as editor at âWeirdoâ; Aline Kominsky-Crumb takes over
1987 â Robert Crumb and Aline Kominsky-Crumb marry
1988 â âDirty Plotteâ by Julie Doucet was first self-published
1988 â Roberta Gregory self publishes âWinging Itâ and âSheila and the Unicornâ
1989 â Jack âJaxonâ Jackon publishes âRip Off Pres: The Golden Era #21â
1989 â Daniel Clowes first issue of âEightballâ
1989 â Roberta Gregory moves to Seattle and begins to work at Fantagraphics Books
1990 â Art Spiegelman receives a Guggenheim Fellowship to work on Mausâ second volume
1990 â Peter Bagge first publishes âHateâ (Fantagraaphics)
1991 â American Splendorâs once a year regular release stops with issue fifteen
1991 â Rick Griffin dies after motorcycle accident
1991 â Roberta Gregoryâs âNaughty Bitsâ issue one self published
1991 â âDirty Plotteâ published by Drawn & Quarterly
1991 â Julie Doucet moves to NYC for one year and makes âMy New York Diaryâ
1992 â Maus: A Survivorâs Tale by Art Spiegelman wins a Pulitzer Prize
1992 â âWimmenâs Comixâ publishes itâs last issue
1993 â Don Schenkers dies
1994 â Robert Williams first published âJuxtapoz Arts & Cultureâ Magazine
1995 â âStuck Rubber Babyâ by Howard Cruse published
1995 â âBlack Holeâ by Charles Burns first published by Fantagraphics
1995 â âCrumbâ documentary about Robert Crumb by Terry Zwigoff is released
1996 â Mary Fleenerâs âLife of the Partyâ released
1998 â Jack âJaxonâ Jackson creates âLost Causeâ
1999 â Joel Beck dies
2001-2003 â Roberta Gregoryâs popular character Bitchy Bitch from âNaughty Bitsâ starred in the animated cartoon âLifeâs a Bitchâ on Comedy Network (Canada) and Oxygen Network (US)
2001 â Daniel Clowes âEightballâ story âGhost Worldâ is made into a movie of the same name
2002 â Rand Holmes dies
2002 â Phoebe Gloecknerâs âThe Diary of a Teenage Girlâ published by Frog Books
2003 â âAmerican Splendorâ the award winning movie about Harvey Pekarâs life starring Paul Giamatti is released
2005 â âBlack Holeâ by Charles Burns released as graphic novel by Fantagraphics
2006 âJack âJaxonâ Jackson dies
2006 â âFun Home: A Family Tragicomicâ by Alison Bechdel published
2010 â Harvey Pekar dies
2015 â âFun Homeâ the Broadway Musical wins a Tony for best musical
2015 â âThe Diary of a Teenage Girlâ by Phoebe Glockner made into a movie with the same name
2017 â Skip Williamson and Jay Lynch die within a week and a half of each other
2019 â Howard Cruse dies
2020 â Alice Schnker dies
2021 â Streaming channel Tubi releases 8 episode show âThe Freak Brothersâ based on Gilbert Sheltonâs âThe Fabulous Furry Freak Brothersâ
2021 â Spain Rodriguez dies
2021 â S. Clay Wilson dies
2022 â Aline Kominsky-Crumb diesAbout. Robert Williams Official Site. (2022). Retrieved December 27, 2022, from https://www.robtwilliamsstudio.com/about
Beat Staff. (2016, May 11). Interview: Roberta Gregory on Mother Mountain, wimmen's comix, & bitchy bitch. Comics Beat. Retrieved December 26, 2022, from https://www.comicsbeat.com/interview-roberta-gregory-on-mother-mountain-wimmens-comix-bitchy-bitch/
Bernsau, T. (2021, January 20). Car Toons for car guys. MotorTrend. Retrieved December 29, 2022, from https://www.motortrend.com/features/0908rc-the-car-toons-of-pete-millar/
Chakraborty, P. (2021). "Sex and the Aesthetics of the Vulgar: Reading the Creative Paradox in the Works of Robert Crumb." Sanglap: Journal of Literary and Cultural Inquiry, 07(02), 120â148. https://doi.org/10.35684/jlci.2021.7206
Chute, H. (2006, season-04). Decoding Comics. Modern Fiction Studies, 52(4), 1014â1027. https://www.jstor.org/stable/26286682
Chute, H. (2019). Why Comics?: From Underground to Everywhere (Reprint). Harper Perennial.
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Doherty , B. (2023). Dirty pictures: How an underground network of nerds, feminists, misfits, geniuses, bikers,... Potheads, printers, intellectuals, and art school. Harry N. Abraams.
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Elam, E. (2013, February 15). Gilbert Shelton in Conversation. T_he Comics Journal ._ Retrieved December 26, 2022, from https://www.tcj.com/gilbert-shelton-in-conversation/
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Frank, P. (2018, June 19). Mary Wings just wanted an orgasm when she created the First Lesbian Comic Book. HuffPost. Retrieved December 26, 2022, from https://www.huffpost.com/entry/mary-wings-created-first-lesbian-comic-book\_n\_5b23d937e4b0d4fc01fdd783
Freeman, J. (2017, November 3). Exclusive: Gilbert Shelton reveals some Fabulous furry freak brothers secrets, new collection extracts_! downthetubes.net._ Retrieved December 21, 2022, from https://downthetubes.net/exclusive-gilbert-shelton-reveals-some-fabulous-furry-freak-brothers-secrets-new-collection-extracts/
Gabilliet, J., Beaty, B., & Nguyen, N. (2013). Of Comics and Men: A Cultural History of American Comic Books(Illustrated). University Press of Mississippi.
Garcia, E. (2017). The Hernandez Brothers: Love, Rockets, and Alternative Comics (Latinx and Latin American Profiles)(1st ed.). University of Pittsburgh Press.
Gary Panter. Lambiek Comiclopedia . (2022, July 22). Retrieved December 16, 2022, from https://www.lambiek.net/artists/p/panter.htm
Gomez, B. (2017, March 29). She changed comics: Roberta Gregory interview. Comic Book Legal Defense Fund. Retrieved December 26, 2022, from https://cbldf.org/2017/03/she-changed-comics-roberta-gregory-interview/
Gregory, R. (2009). My Creative History. Roberta Gregory . Retrieved December 26, 2022, from http://www.robertagregory.com/Robertagregory/Robertas\_History.html
Griffith, B. (2002). A Bill Griffith Bibliography: (Out of Print & Hard to Find) Covers & Contents . A Bill Griffith bibliography. Retrieved December 5, 2022, from https://www.zippythepinhead.com/pages/biblio.html
Griffith, B. (2003). Still asking the unanswerable question, 'are we having fun yet?'. Still Asking the Unanswerable Question, âAre We Having Fun Yet?â Retrieved December 26, 2022, from https://imagetextjournal.com/still-asking-the-unanswerable-question-are-we-having-fun-yet/
Groth, G. (2011, February 9). An interview with Victor Moscoso. The Comics Journal. Retrieved December 12, 2022, from https://www.tcj.com/an-interview-with-victor-moscoso/
Hatfield, C., & Beaty, B. (2020). Comics studies: A guidebook. Rutgers University Press.
Hatfield, C. (2005, August 2). Alternative Comics: An Emerging Literature (Illustrated). University Press of Mississippi.
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Knuddle, K. (2022, October 4). Jay Lynch. Lambiek Comiclopedia. Retrieved December 27, 2022, from https://www.lambiek.net/artists/l/lynch.htm
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During the 1960s, the Chicano Movement or "El Movimiento" gave way for Chicano artists, designers, and printmakers to emerge. The Chicano Movement united Chicanos, Americans of Mexican heritage who chose that label, in a new shared identity to fight for social and political empowerment. One of the creatives that made their mark in support of this movement was Yolanda Margarita LĂłpez, a feminist painter, printmaker, educator, and film producer. She was best known for her works focusing on the experiences of Mexican-American and Chicana women, often challenging the harmful ethnic stereotypes associated with them. LĂłpez is most known for the Guadalupe series, where she reimagines Our Lady of Guadalupe in the image of the everyday Chicana woman. LĂłpez was essential to the case of Los Siete de La Raza, or The Seven of the Hispanic Community. In this case, seven Latino youths were falsely accused of killing police officer Joseph Brodnick in San Francisco on May 1st, 1969. The political art and design work she produced in support of the seven falsely accused helped rally the San Francisco community together in support and led to the acquitting of the seven youths. LĂłpez, through her activism, challenged stereotypes of Chicana women and advocated for the Latino community as well as other marginalized communities over the course of her creative career.
TIMELINE1942 â Born on November 1 in San Diego, CA
REFERENCES
1968 â Third World Liberation Strikes
1969 â Los Siete de La Raza
1971 â Enrolled at San Diego State University
1975 â Graduated with a Bachelor of Arts degree in painting and drawing
1977 â ÂżA Donde Vas, Chicana?
1978 â Start of Guadalupe Series
1979 â University of California, San Diego, receiving a Master of Fine Arts
2021 â Yolanda dies of complications from Liver CancerDaly, C.-S. (2021) Yolanda LĂłpez, artist who painted the iconic Virgen de Guadalupe series, dies at 79, Mission Local. Available at: https://missionlocal.org/2021/09/yolanda-lopez-artist-who-painted-the-iconic-virgen-de-guadalupe-series-dies-at-79/ (Accessed: November 27, 2022).
Davalos, K.M. (2008) Yolanda M. LĂłpez. Los Angeles, CA: UCLA Chicano Studies Research Center Press.
Duke Human Rights Center at the Franklin Humanities Institute (no date) Chavez, the UFW and the "wetback" problem, News RSS. Available at: https://humanrights.fhi.duke.edu/chavez-ufw-and-wetback-problem/ (Accessed: November 27, 2022).
Genial generating engagement and new initiatives for ... - exploratorium (no date). Available at: https://www.exploratorium.edu/sites/default/files/Genial\_2017\_Terms\_of\_Usage.pdf (Accessed: November 28, 2022).
Seth Combs Oct. 10, 2021 5:15 A.M.P.T.F.T.S.more sharing optionsS.C.extra sharing options F.T.L.I.E.C.L.U.R.L.C.P. (2021) The art and activism of Yolanda LĂłpez, Tribune. Available at: https://www.sandiegouniontribune.com/entertainment/story/2021-10-10/the-art-and-activism-of-yolanda-lopez (Accessed: November 27, 2022).
ÂĄPrinting the revolution!: The rise and impact of Chicano graphics, 1965 to now (no date) ÂĄPrinting the Revolution!: The Rise and Impact of Chicano Graphics, 1965 to Now | Amon Carter Museum of American Art. Available at: https://www.cartermuseum.org/exhibitions/printing-revolution-rise-and-impact-chicano-graphics-1965-now (Accessed: November 27, 2022).
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