A Sin of Omission Immoral Unbalance
By Pierre Bowins
My research has put me on the path of exploring the missing Black American diaspora in the field of graphic design. My purpose is to bring to the forefront those persons having origins in any of the Black racial groups of Africa who contributed to design, with little to no recognition, in the classroom and history books. It is not meant to discredit those designers having origins in any of the original peoples of Europe who have significantly impacted the design profession.
Throughout my research, I have found some design work of Black American designers reminiscent of some well-known Euro-American designers. These designers’ works are from three decades: 1920s, 1960s, and 1990s. When comparing the work of two designers (one Black American designer and one Euro-American designer) from each of the three decades, the similarities are glaring. My research begs the questions, “Why are the works of these Black American designers not represented, showcased, or highlighted in design history books or classrooms? Why, instead, have only the works of the Euro-American designers with similar styles been described, showcased, or highlighted in said books and classes?”
Left: Paul Colin. Right: Aaron Douglas
I first considered two early poster designs from the 1920s by French designer Paul Colin. Colin started his career in 1925 and was one of the foremost graphic artists of the period. He was best known for his poster designs featuring Josephine Baker from the French jazz revue, “La Revue Negre;” Colin designed about 2000 posters during his career. I compared his posters with two cover designs from the same era, one from the magazine, Opportunity, and a cover design by Aaron Douglas from a novel titled, Nigger Heaven. Both designers’ works juxtaposed overlapping geometric objects and showed elements of Cubist and Art Deco influences.
Left to right: Bal Negre Poster, Paul Colin, 1927; La Revue Nègre Poster, Paul Colin, 1925 ; Nigger Heaven Cover Design, Aaron Douglas, 1927; Opportunity Cover Illustration, Aaron Douglas, 1926
Jumping forward forty years to the 1960s, I compared four popular logo designs. Each logo was very simplistic in style and form, allowing the design to get the point across without much thought. The UPS logo simply portrayed a package wrapped up neatly with a bow, and the stylized “W” of Westinghouse represented a simple interpretation of an electrical circuit board. Both logos were designed by Paul Rand, one of the most famous and recognized American designers of the 20th Century who is best known for his simple logo style with a focus on need and function. His design philosophies are still taught in design classrooms.
Left: Paul Rand. Right: Thomas Miller
I compared his logo designs to the Motorola “Batwing logo,” a double peak arching into an abstracted “M” symbolizing progressive sound waves and the Peace Corps logo with its simplistic illustrated hand holding an olive branch. Both logos were designed by Thomas Miller, one of the least recognized designers of the 20th Century, which shows, in my opinion, a clear emphasis on discrimination as a catalyst that led to the omission of his work and others’ in design history books.
Left to right: Westinghouse Logo, Paul Rand, 1960; UPS Logo, Paul Rand, 1961; Motorola Re-branding, Thomas Miller, c.1967; Peace Corp Logo, Thomas Miller, c.1961.
Pushing on to the 1990s, I chose two poster designs for The Public Theater by Paula Scher, who has created memorable works for Citi Bank, Coca-Cola, and the Metropolitan Opera. She is best known for her postmodern approach and expressive use of typography in The Public Theater posters. I compared her poster designs to two two-page spreads designed for Rolling Stone Magazine by Gail Anderson. Both designers use very expressive typography that screams “Post Modernism.” In addition, they each show some similar inspirations from that of Constructivism and Dadaism.
Left: Paula Scher. Right: Gail Anderson
Left to right: Chris Rock, Rolling Stone, Gail Anderson, 1997; Foo Fighters, Rolling Stone, Gail Anderson,1995.
Left to right: Bring in ‘Da Noise, Bring in ‘Da Funk, Public Theater Poster, Paula Scher, 1995; The Diva is Dismissed, Public Theater Poster, Paula Scher, 1994.
If one were to meet these six designers, one would see the distinct differences between them would be three of the designers are of European or Euro-American descent while the other three are of Black American descent. What would not be so obvious is the three European/Euro-American designers are all mentioned in the top three design history books used in today’s classrooms, while the three Black American designers are not. Out of those top three design history books, there is only one Black American mentioned in only one of the three books, Meggs’ History of Graphic Design. This designer was Georg Olden, who Meggs refers to as “the first prominent African American designer.” Although he began his career in the 1940s, he wasn’t mentioned until Meggs’ third edition (1998)1.
I challenge the idea that Olden was the “first.” There were clearly other prominent designers before him, one of whom is Aaron Douglas. Even though Olden wasn’t the “first,” he was definitely a prominent designer and the pioneer of broadcast graphics.
1 Although Mr. Victor Margolin’s research states Georg Olden was the only black designer mentioned in the third edition of Meggs’ A History of Graphic Design, my research has found Reynold Ruffins was mentioned as early as the first edition.
Georg Olden
Left to right: Georg Olden; Severed Chain: Emancipation Proclamation, Stamp Design, 1963.
Georg Olden attended Washington D.C.’s all-black Dunbar High School where he was first exposed to cartooning and art. In 1937, he enrolled at Virginia State College but dropped out after a short time to work as a graphic designer for what is now the CIA. From there, through his connections, he landed a position at CBS, in 1945, as Head of Network Division of On-Air Promotions. At age 24, Olden became the head art director for the new television division. There he worked on programs such as, I Love Lucy and Gunsmoke. He then went on to help create the vote-tallying scoreboard for the first televised Presidential Election in 1952.
In 1960, Olden took a job as the television group art director at the advertising agency Batten, Barton, Durstine & Osborn. In 1963, he joined an elite department within the ad agency of McCann-Erickson. He was the first Black American to design a postage stamp to celebrate the centennial anniversary of the Emancipation Proclamation. This celebratory stamp featured a design that showcased chains breaking. By 1970, he had won seven Clio Awards and even designed the Clio statuette in 1962. Olden clearly deserves to be among the prestigious graphic designers represented in Meggs’ third edition, but from my research he is only briefly highlighted, and there are obviously others that should be mentioned as well.
Left to right: Clio Award Statuette, 1965; Year in Crisis, CBS News Title; I’ve Got A Secret, TV Graphic, c. 1950; The Kentucky Derby, CBS Sports Title.
Let’s begin with the Black American designers used in my comparisons.
Aaron Douglas
Left to right: Aaron Douglas; The American Negro, The Annals, Cover Design, 1928; Let My People Go, Mural, 1935-1939.
Designer, Aaron Douglas was one of the most influential artists of the Harlem Renaissance, and he played a key role in developing a unique African style of art by blending Art Deco and Art Nouveau with connections to African masks and dance. Douglas’ illustrations created for Alain Locke’s anthology, The New Negro Movement, showcased his style and communicated the evolution of African heritage through European art, referred to as “Afro-Cubism.”
In 1922, Douglas received his Bachelor of Fine Arts from the University of Nebraska. After graduating, he taught high school art before moving to New York to study under German artist, Winold Reiss. Douglas’ striking cover illustrations for the magazines, Opportunity and The Crisis, created a demand for Douglas’ illustrations by Black American writers. Douglas composed note-worthy designs for Carl Van Vechten’s novel, Nigger Heaven, and James Weldon Johnson’s epic poem, God’s Trombones. Douglas solidified his role as a major artist of the Harlem Renaissance through his murals that enhanced the walls of various institutions. He spent many nights on the streets of Harlem gaining inspiration for his designs and is best known for a series of murals, Aspects of Negro Life, created for the 135th Street branch of the New York Public Library. After leaving New York, Douglas became the art department chair at Fisk University in Nashville.
Left to right: The Weary Blues, Book cover, 1920; The Crisis, Magazine Cover, 1927; Aspects of Negro Life, Mural, 1934.
Thomas Miller
Left to right: Thomas Miller; 7-UP Packaging and Identity, c.1970; Mosaic Portrait of Wilberforce Jones.
Designer, Thomas Miller broke color barriers in the design field. He designed logos with a simplistic style. Miller expressed interest in art when he was very young. He used his talent and ambition to become one of the first Black American designers to enter the graphic design field. After graduating from Douglas High School in Bristol, Virginia in 1937, Miller attended Virginia State College, where he earned a Bachelor of Education with a focus on the arts in 1941. Upon graduation, he enlisted in the Army and served in WWII.
After the war, determined to learn about commercial design, Miller gained acceptance to The Ray Vogue School of Art in Chicago, where he received his design degree in 1950. During his job search, Miller turned down an offer from a New York company because of its overt racism. The company offered him the job with the restriction that he literally be unseen and work “behind a screen.” He worked briefly as a commercial artist at Gerstel/Loeff before gaining a full-time job with the Chicago Studio of Morton Goldsholl Associates. As chief designer, Miller is best known, by those of us who have done the research, for his work on the rebranding campaign for 7-Up (1975), the Motorola rebranding, and the Peace Corps logo. While working for Goldsholl, Miller continued his freelance work creating mosaics for the memorial to the DuSable Museum’s founders. He has received numerous industry awards and much recognition for his achievements in the field of graphic design.
Left to right: Motorola Re-branding, 1961; Peace Corps Logo, c.1961.
Gail Anderson
Left to right: Gail Anderson; New Vintage Type: Classic Fonts for the Digital Age, Co-Authored, 2007; Type Directors Club Annual, 2001.
Designer, Gail Anderson is, in my words, a “Type Choreographer” because she makes the type move on a page. She is best known for her ability to design and create typefaces using a variety of unique mediums in her work. Anderson’s passion and eye for design began when she crafted little magazines of the Partridge Family and Jackson 5 by collaging together images from other magazines. While studying at the School of Visual Arts in New York, Anderson began to develop her methods and open-ended approach to design. After college in 1984, Anderson worked briefly at Vintage Books before landing a job at The Boston Globe. There she worked on The Boston Globe Sunday Magazine under art director, Ronn Campisi, who was a proponent of eclectic typography and responsible for pioneering the new newspaper design of the late 1980s.
Moving on to Rolling Stone in 1987, Anderson worked with Fred Woodward. Together, they explored new and exciting materials to create Rolling Stone’s eclectic designs. Everything from hot metal to bits of twigs to bottle caps were used to create their vision. After working her way up from Associate to Senior Art Director, Anderson left Rolling Stone in 2002 to join SpotCo as Creative Director of Design. Because of her ability to create typefaces suited perfectly to their subjects, her work for SpotCo included poster designs for Broadway and off-Broadway productions such as Avenue Q and Eve Ensler’s The Good Body. Anderson went on to author Outside the Box, in addition to, collaborating and co-authoring books with Steven Heller on design, typography, and popular culture.
Left to right: The Good Body, Broadway Theater Poster, 2004; Man of La Mancha, Broadway Theater Poster, 2002; Rolling Stone, Magazine Spread: The Next Queen of Soul, 2001.
As you can see, there are other prominent Black American graphic designers who have come before and after Georg Olden. Let’s consider others not showcased in my comparisons.
Charles Dawson
Left to right: Charles Dawson; Murray’s Superior Hair Dressing, Illustration, 1926; ABCs of Great Negroes, Book Cover, 1933.
Charles Dawson was a prominent Chicago designer and artist throughout the 1920s and 1930s. He was best known for his illustrative advertisements. Dawson attended the Tuskegee Institute for two years before leaving for New York and becoming the first Black American admitted to the Art Students League. Sadly, he felt compelled to leave because of the blatant racism he experienced. Later, Dawson achieved his dream of being accepted into the Art Institute of Chicago. There, Dawson was extremely involved in student organizations and became a founding member of The Arts & Letters Collective, the first Black American artists' collective in Chicago.
After graduation, Dawson served in the segregated forces of WWI. When he returned to Chicago, it had become a racially charged city due to its slowed economy. From 1919 to 1922, Dawson worked as a salesman and account manager for Chicago Engravers. Upon leaving, he began freelancing for companies such as Valmor, which produced Black American beauty products, and other Black American entrepreneurs. Later, Dawson played a significant role in creating The Negro In Art Week, the first exhibition of Black American art. He also designed a layout for the American Negro Exposition, a 20-piece diorama showcasing Black American history, and a children’s book, ABCs of Great Negroes. Ultimately, he returned to the Tuskegee Institute as a curator for its museum.
Left to right: O, Sing a New Song, Poster, 1934; The Negro in Art Week, Program Cover Design, 1927; Poro College Advertisement, 1939.
Louise E. Jefferson
Left to right: Louise E. Jefferson; The Decorative Arts of Africa, Cover Design, 1973; The Decorative Arts of Africa, Illustration, 1973.
Designer, Louise E. Jefferson learned her craft from her father, a calligrapher for the United States Treasury. During the Harlem Renaissance, Jefferson attended the School of Fine Arts at Hunter College in New York where she became an active member of the artist community. In 1935, she joined Augusta Savage, Aaron Douglas, Selma Burke, Gwendolyn Bennett, and Jacob Lawrence as a founding member of the Harlem Artists Guild.
Early on, Jefferson did freelance work for the YWCA in New York. In 1936, Jefferson illustrated the song book, We Sing America, that contained images of Black and White children together. It was subsequently banned and burned in Georgia by the governor. Her freelance work with the National Council of Churches resulted in a full-time position at Friendship Press in 1942. She worked her way up to Artistic Director, possibly as the first Black American woman to hold such a position. Jefferson continued to freelance throughout her career and designed pieces for Opportunity, The Crisis, and the National Urban League Guild’s Beaux-Arts Ball. In 1960, she retired from the Friendship Press but continued designing book jackets and maps. Jefferson’s most ambitious project, The Decorative Arts of Africa, was published in 1973. After retiring, Louise Jefferson settled down in Litchfield, Connecticut where she could be found taking pictures around town.
Left to right: Americans of Negro Lineage, Map, 1946; NAACP Fight Now for Action, Poster, 1941; NAACP Birthday Ball Poster, 1940.
LeRoy Winbush
Left to right: LeRoy Winbush; American National Bank and Trust Window Display
Designer, LeRoy Winbush left Detroit for Chicago in 1936, directly after high school graduation, to become a graphic designer. Inspired by the South Side’s sign designers, he worked as an apprentice for the Regal Theater in their sign shop before being hired in 1938. Soon after, Winbush’s design talents landed him a job as the only Black American to be hired by Goldblatt Department Store’s sign department in the 1940s. There, he revolutionized window displays and gained a reputation as one of the country’s top airbrush artists. Later, LeRoy worked with the Johnson Publishing Company for ten years where he helped to create the first issue of Ebony. In 1945, he decided to move on and start his own company, Winbush Associates.
There he landed accounts with various publishing houses while doing layouts for Ebony and Jet. In addition, he was well known for his bank window displays on Michigan Avenue in Chicago.
Later in life, Winbush began teaching visual communications and typography at various Chicago universities. At age 48, he wanted to challenge himself, so he learned to swim. He enjoyed it so much he decided to study scuba diving. Winbush combined his love for scuba and design to create oceanic exhibits for Disney’s Epcot Center, as well as, Hong Kong’s Ocean Park Museum. Winbush also designed exhibitions of the Underground Railroad. He ended his career as an assistant professor and design consultant for the DuSable Museum.
Left to right: Sickle Cell, Exhibit Design; The Ramsey Lewis Trio, Album Cover Designs, 1962; Bendix Washer/Dryer Advertisement, c.1950; Astronautics, Exhibit Design.
Emory Douglas
Left to right: Emory Douglas; The Black Panther Newspaper Cover, 1971; The Black Panther Newspaper, For Bobby Seale, 1972.
Designer, Emory Douglas had an uneventful childhood, but his life changed after moving to San Francisco in 1951 where he had run-ins with the law. Douglas’ first exposure to design was working in a print shop while serving time in a youth training school. Because of the encouragement from a school counselor, Douglas enrolled in commercial art classes at the City College of San Francisco where he began producing material for student groups.
During this time, he was introduced to Huey P. Newton and Bobby Seale and soon became active in the Black Panther Party. While watching Seale work on the first issue of The Black Panther newspaper, Douglas offered his design skills.
Douglas became the Minister of Culture for the Black Panther Party and centered his career in commercial art around civil and equal rights propagation. Much of his art for the Black Panther newspaper initially focused on Black American rights, but it soon expanded to include women, children, and community figures. Douglas’ full-page images, paired with bold headlines, communicated the message on its own for those who were unable to read. In the 1980s, the Black Panther Party disbanded through the efforts of law enforcement, so Douglas continued to pursue independent design. In 2011, Douglas drafted Views and Intentions: A Political Artist Manifesto.
Left to right: The Black Panther Newspaper, Back Page,1971; Home Coming, Cover Design,1969; The Black Panther Newspaper, Back Page,1969.
Sylvia Harris
Left to right: Sylvia Harris; Lincoln Center for the Performing Arts Environmental Branding Study, 2000; Columbia University, Environmental Branding and Way-finding Study, 2004.
Designer Sylvia Harris was noted for her unwavering desire to help others and used her research and skill-set to reach far and wide. Growing up in the 1960s, Harris' experience with desegregation provided her the foundation for her interest in social systems and their effects. After receiving her Bachelor of Fine Arts from Virginia Commonwealth University, Harris moved to Boston. Through her work with WGBH, Boston’s public television station, and Chris Pullman, she realized the depth of the design field and was encouraged to enroll in Yale’s Master in Graphic Design program. After graduating from Yale in 1980, Harris and two classmates co-founded Two Twelve Associates.
It was there she began to explore how to use and grow her skills to create public information systems. In 1994, Harris left Two Twelve Associates to create Sylvia Harris, LLC where she began focusing more on design planning and strategies.
Harris guided some of the largest public institutions with systems planning. In her role as creative director for the U.S. Census Bureau’s Census 2000, Harris’ rebranding efforts helped to encourage participation of the under-represented. She generously gave back by mentoring students as a faculty member of Yale, the School of Visual Arts, Cooper Union, and Purchase College.
Left to right: U.S. 2000 Census, Branding and Form Design, 1998; ACLU Brand Identity, 2002; Citibank ATM interaction Design, 1989.
Art Sims
Left to right; Art Sims; Do The Right Thing, Movie Poster, 1989; Woman, Thou Art Loosed, Movie Poster, 2004
Designer, Art Sims’ career started with the “Draw Me” test featured in magazines and in TV Guides in the 1950s. Sims attended Detroit’s Cass Technical High School, known for its dedication to the arts. From there, he gained acceptance to the University of Michigan. During the summer between his junior and senior years, Sims landed a job with Columbia Records in New York to design a series of album covers. Sims wanted something different after graduation, so he decided to move to Los Angeles. Once there, Sims scored a job with EMI from where he was ultimately let go for doing freelance work. He went on to work for CBS Television where he was upfront about his freelance work, but CBS countered by keeping him so busy he would not have time for freelancing. Sims eventually felt prepared and left CBS to set up his own firm, 11:24 Advertising Design.
After seeing one of Spike Lee’s films, Sims felt compelled to work with the director. He went on to design posters for Lee’s New Jack City, Do the Right Thing, Malcolm X, and most controversially, in 2000, Bamboozled, which got ridiculed for its depiction of racial stereotypes. Sims is now exploring the social-media arena with a new networking site for Black Americans. Always the entrepreneur, he has developed a greeting card line and writes screenplays while teaching graphic design at a predominantly black middle school.
Left to right: Bamboozled, Movie Poster, 2000; A Huey P. Newton Story, Movie Poster, 2001; I’m Heavy, TV Campaign, 2011.
Eddie Opara
Left to right: Eddie Opara; Stealth, Poster, 2008.
Designer, Eddie Opara, an English-born American, received his education from the London College of Printing where he majored in graphic design. Later, he earned his Master of Fine Arts degree in 1997 from Yale University. Opara felt England provided him with a strong belief in craftsmanship but soon learned America helped him to understand the concept of eclecticism. After graduation, he began his professional career working for several firms. Later, he moved to New York where he worked for Imaginary Forces. His efforts landed him a job offer from 2×4 where he was appointed Art Director.
Upon leaving 2×4 in 2005, he became a founding partner of The Map Office. His projects included the design of interactive installations, websites, user interfaces and software, as well as, brand identity and publications. Opara developed an interactive, web-based content management system called MiG for his firm. In 2010, Opara’s work at The Map Office was followed by a job offer from Pentagram’s New York office. Opara continues to be a visiting critic at the Yale School of Art. In addition, he teaches at the University of the Arts in Philadelphia, Rhode Island School of Design, and the Columbia University School of Architecture.
Left to right: Color Works, Best Practice for Graphic Designer, Co-Author, 2014; Sorg Architects Identity Design, 2008; The Baffler, Identity and Editorial Design, 2010; Platform Summit, Freestanding Wayfinding, 2015.
While researching Black American designers and design history, I felt it was necessary to include some other prominent Black American designers from other areas of design.
Ann Lowe
Left to right: Ann Lowe; Dress Design, 1958; Jacqueline Lee Bouvier Wedding Gown, 1953.
Ann Lowe, a noted fashion designer, was taught to sew by her mother and grandmother, who sewed for prestigious families of Montgomery, Alabama. As a child, Lowe’s favorite activity was to sew fabric flowers. At the age of 16, her mother passed away leaving her with four unfinished ballroom dresses. Through this work, she found her zest for dress making. Lowe's talent gained her a business deal as an in-house seamstress in Tampa, Florida. While there, she was accepted into New York City’s S.T. Taylor Design School, a unique opportunity since she had not graduated from high school. Although she was segregated from her classmates while attending S.T. Taylor, her projects were used as examples because of their stitch quality and attention to detail. After graduating in 1919, she returned to Tampa and opened the Ann Cohen Dress Salon at age 21. There she designed dresses for rich upper-class white women.
In 1929, Lowe returned to New York City and worked on commission for stores such as, Neiman Marcus and Saks Fifth Avenue. Although not credited for her work, she designed Olivia de Havilland's dress for the 1946 Academy Awards. Lowe attended Paris Fashion Week in 1947 where she was introduced to Christian Dior. Upon her return, she got a job with Saks Fifth Avenue and was one of their most sought after designers. Later, Ann opened a shop in Harlem, The American House of Ann Lowe, making her the first Black American designer to open a store on Madison Avenue. In 1953, she designed her most famous dress, Jacqueline Bouvier’s wedding gown for her marriage to Senator John F. Kennedy. Lowe retired with her sister on Manhattan Avenue in Harlem.
Left to right: Olivia de Havilland, Pale Blue Dress, 1947; Evening Gown, 1967.
Charles Harrison
Left to right: Charles Harrison; View-Master ®, Redesign, 1958.
Industrial designer, Charles Harrison, whose father was a teacher of industrial arts, was inspired by his mother to observe the beauty of nature and its natural forms. After graduating high school, Harrison moved to California with his older brother to attend City College of San Francisco. In 1949, he received a scholarship to the Art Institute of Chicago and achieved his Bachelor of Fine Arts in 1954. Harrison was drafted into the Army and deployed to West Germany where he was the only Black American draftsman in the cartographer unit. He returned home early after being accepted into a new master level industrial design program at the Art Institute of Chicago. Designer Henry Glass, a Holocaust survivor who understood discrimination, mentored Harrison and employed him at Henry P. Glass Associates.
In 1958, Harrison worked at Robert Podall Designs where his redesign of the View-Master® became a worldwide success. In 1961, Sears abandoned its unwritten policy of not hiring Black Americans and gave Harrison a full-time position in its design department. During his 32 years at Sears, Harrison became the first Black American executive and led the design team which designed more than 750 items before retiring. Harrison’s favorite design was the first ever polypropylene garbage can with a snap-lock lid, designed in 1963. Since retiring, Harrison has taught industrial design and served as a senior advisor for the Organization of Black Designers.
Left to right: Polypropylene Garbage Can with Snap-Lock Lid, 1963; Circular Fluorescence Lamp with Screw- in Socket, 1970; Portable Hair Dryer, 1972.
This research has opened my eyes to the impact of some exceptional Black American designers for whom I wouldn’t have known about if I had not embarked on this journey. It has fulfilled my need for a sense of belonging within my field and profession as a graphic designer. My goal is to include these Black American designers, who have been the victims of the sin of omission in design history, into our books and classrooms to serve as needed role models for all future designers.
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