Incomplet Design History

Elizabeth Friedlander (1903–1984) was a pioneering German-Jewish graphic designer, calligrapher, and typographer best known as the first woman to have a published typeface. Born in Berlin, she studied at the Berlin Academy under typographer Emil Rudolf Weiss, whose refined aesthetic shaped her early work. Friedlander began her career at Ullstein Publishing House, designing for Die Dame, a leading women’s magazine, before creating her groundbreaking “Elizabeth” typeface for the Bauer Type foundry. Denied work under Nazi rule in 1935, she fled Germany for Italy, where she designed book covers and illustrations for publishers like Mondadori. Still, the rise of fascism, again, endangered her life, prompting her escape to England in 1939. There, she was recruited to design for the British government’s wartime propaganda office, producing forged Nazi documents and counterpropaganda materials. After World War II, Elizabeth Friedlander's work continued to be a source of admiration and inspiration. She built a prolific freelance career, designing book covers, patterned papers, and calligraphic maps for Penguin Books, Thames & Hudson, and other major publishers. Her elegant borders and type designs were widely admired, and her calligraphic skill earned her commissions from institutions such as Sandhurst Military Academy. In the 1960s, Friedlander retired to Kinsale, Ireland, with her lifelong partner, Professor Alessandro Magri MacMahon, turning her creative focus to small crafts like leatherwork and maps. She continued designing for friends until her eyesight failed. Friedlander died in 1984, leaving behind a legacy of innovation and resilience.

TIMELINE

1903 – Born in Berlin

1927 – Designed the Elizabeth typeface for Bauer Type Foundry

1928-1935 – Designed for Die Dame Magazine

1933 – Nazis rise to power

1933 – Italian Under-Secretary of State allows in refugees from allied Nazi Germany as long as they were politically inactive

1935 – Elizabeth’s permit to work as a designer is denied by the Nazi party and she is fired from her job at Die Dame magazine

1936 – Elizabeth flees Germany and settles in Milan

1936-1938 – Works for Mondadori publishing house

1937 – Paid 200 marks for her Elisabeth typeface

1938 – Italy passes racial laws. Elizabeth seeks to emigrate to the US

1939 – Elizabeth learns her visa application cannot be expedited. She obtains a Domestic Service permit for Britain.

1941 – Mynell hires Elizabeth for his advertising firm

1942 – Final attempt to emigrate to the US before settling in Britain. World War II begins.

1942 – Howe recruits Elizabeth to his black propaganda unit

1945 – WWII ends. Elizabeth chooses to become a naturalized British citizen

1946-1949 – Worked on “Britain in Pictures”

1948 – Begins working for Penguin Books, designing book covers and patterned papers. Designs the Flexocase.

1949 – Is finally paid for her Flexocase design

1951 – Chosen by the Royal Military Academy, Sandhurst, to inscribe the Roll of Honour for officers of the Armies of the Commonwealth who fell in WWII 

1951-1960 – Designed several of the covers for the “Penguin Classics” series

1961– Moved to Kinsale Ireland

1958 – Designs the “Freidlander Borders” for Monotype

1967-1972 – Becomes the official Sandhurst calligrapher 

1984 – Death and burial in Cork

REFERENCES

Bauer Types. (n.d.). ELIZABETH FRIEDLANDER: THE FIRST WOMAN TO DESIGN A TYPEFACE. Bauer Types. https://bauertypes.com/elizabeth-friedlander-la-primera-mujer-que-diseno-tipografia

Ganeva, M. (2008). Women in Weimar Fashion: Discourses and Displays in German Culture, 1918-1933. Boydell & Brewer, Incorporated.

Kolesa, P. (2021, April 13). "ELIZABETH-ANTIQUA": A FILM ON ELIZABETH FRIEDLÄNDER [Video]. https://youtu.be/lY9FG9lcELY

Muraben, B. (2018, March 8). Elizabeth Friedlander: one of the first women to design a typeface. It's Nice That. Retrieved September 5, 2025, from https://www.itsnicethat.com/features/elizabethfriedlander-graphicdesign-internationalwomensday-080318

Paucker, P. (1998). New borders : the working life of Elizabeth Friedlander. Incline Press. https://doi.org/10.58066/j89j-mt96

The People's Graphic Design Arvchive. (2024, October 31). Penguin Books 25th Anniversary Designs by Elizabeth Friedlander. The People's Graphic Design Archive. https://peoplesgdarchive.org/item/15702/penguin-books-25th-anniversary-designs-by-elizabeth-friedlander

Rawsthorn, A. (n.d.). Story | Elizabeth Friedlander. Maharam. Retrieved September 5, 2025, from https://www.maharam.com/stories/rawsthorn\_elizabeth-friedlander

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

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

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

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