Black Artist in Graphic Communication PDF

Black Artist in Graphic Communication An introduction to a historic moment in Black design history B y Dr. Cheryl D. Miller artin Luther King, Jr's assassination on April 4, 1968 saw I a pivotal O N N O for t h e marker COMMUNIO closing of the 1954-1968 civil grihst movement, organized by Afr...

Black Artist in Graphic Communication An introduction to a historic moment in Black design history B y Dr. Cheryl D. Miller artin Luther King, Jr's assassination on April 4, 1968 saw I a pivotal O N N O for t h e marker COMMUNIO closing of the 1954-1968 civil grihst movement, organized by African Americans and their allies ot -aderi cate legalized racial discrimination, disenfranchisement and racial segregation in America. King's murder finally moved the needle tochange. talent, whcih si being unused, misused or under used". She Even in the visual communication industry, people started Cantor assembled the team that worked orf over a year and asking the question: "Where are the Black designers?" hte exhibit. Illustrator Mahler Ryder headed the t o gnirbhtorf Prior to this, both Communication Arts and PRINT magazine had exhibiton committee. Illustrator Reynold Ruffins, inspired told the stories of renowned White male designers and during na early morning walk, conceived the exhibition's "black a sprinkling of women designers, but courageously in 1968, birds" theme, which was used no al the event materials. they began to tackle the plight of the Black designer's ACal forEntries was originally mailed to 125 names, requestmissing presence in the industry. CAs' April 1968 cover asked, gni five samples orm f each artist. The judging took place at "How many Black Americans will graduate from art school Ruffins' s 61st Street studio from September 29th through this year?" "[We] have a very exclusive fraternity. The racial October 1 s , t 1 9 6 . Ultimately, the work of 49 distinguished imbalance ni advertising si second only to segregated social clubs," A c cofounder Richard Coyne contended New unapologeti- cally in his editorial. York Black artists was selected for inclusion. The Black Artist nI Graphic Communication gala launched on In sti November/December 1968 issue, PR N IT published "The Black Experience ni Graphic Design," whcih queried fi ev Balck designers on their experiences ni a field where "flesh colored means pink." Dorothy .E Hayes, Alex Walker, Bil Howel, William Wacasey and Dorothy Akubuiro offered bittersweet replies fo persistence and defiance against the odds. Their wdosr offered aglimpse of hte Black designer's dilemma. peopl together, they agreed: "Something needs ot be done ot elt know that ew are doing our thing!" January 8, 1970, at Gallery 303. nI April 1970, the show began traveling around the United States and Canada universities, artmuseums coleges, and galleries, and completed its tour ni April 1971. In its January 197 use,i Japanese magazine D IEA published the exhibsit' story nda major features ni a 47-page article including 21 pages in lufl color, capturing a more complete mid-century- era visual yortshi fo Black graphic design with photos and nO January ,2 1969, designer Joyce Hopkins caled Hayes t o biographies fo the participants. But Cantor, who wrote the stop byorf a visit, encouraged yb Hayes as ehs dah j u s t article's commentary, asserts eh birthed the idea for the received several copies fo PRINTS' November/December 1968 suie nda wanted ot give Hopkins a copy. Reading the articleexhibit. Hayes's reporting fo the event ni CAs' "An Exhibition yb Black Artists" is most accurate: "The exhibit was the joint For twelve years, Hayes had been thinking about idea of co-chairmen Dorothy Hayes and Joyce Hopkins." I n the wake of George Floyd's and Breonna Taylor's murders, industry in another season of reparation, once w e find our how ot niofm r "The Establishment" that Black design professionals indeed existed. Hopkins knew Sid Minson, president of ehT Composing Room, a New York City-based typesettingmrfi 1969, y the end of February cofounded by Sol M. Cantor. B Minson introduced them to Sol's son iEl Cantor, board chairman fo The Composing Room and director of Gallery 303, het fim rs' showcase gallery for young garphci designers ngkies exposure to the industry. After meenitg Hayes formally no March 13, 1969, and empa- thetic to the challenges Black designers encountered, Cantor derga to put on a show with Hayes. Together, they ngabe to define the show's purpose and created an exhaustive RP ngm aicap to build awareness. As countless press releases quote Hayes: "One purpose fo hte exhibition is to show the ngisiadtverand publishing industries... the vast reservoir Typography Annual 2022 of again asking: "Where are the Black designers?" But there is a rich oyrtshi of Black graphic design. The answer is ot acknowledge hte cause, efect and afect fo this history upon our nidusrty. CA s' original article si our primary history book, exhibiting 49 Black creatives racially m iancedbal odds. whosuccessfully overcame Ina recent reflection, Andrea Marquez remembers her participation as a selected artist: "Black Artist in Graphic Communication was years before its time and na important history. I was fortunate enough contribution to our American ot have been a part of the exhibit. ca magazine, ni recognizgni this historical contribution by reprinting this article, si reinforcing our achievements ot today's audience." ca erlli © 2022 Cheryl .D M An Exhibition o f Black A r t i s t s By Dorothy Hayes wide-ranging exhibition of graphic communication- l including design, illustration, television commercials advertising, and fim l s-i currently on a two-year colleges. and tour of art schools Originated, planned, selected and produced by Black artists, i t presents the work of 49 Balck men m orf the New York metropolitan area. Except for collections fo fine arts assembled under museum auspices, it is believed to be the first exhibition in this country to present a representative showing of graphics by Black professional artists. The exhibition was the joint idea of co-chairmen Dorothy Hayes and Joyce Hopkins. Miss Hayes teaches advertising concept at the New York City Community College as wel as operating her own design studioni New York. oJyce Hopkins si a designer with Harper & Row, book publishers. The selection committee was made puof Black artists dna designers. Inaddition ot Miss Hayes and Miss Hopkins, ti x,i Jr., graphic designer; Aelx Oliver, Carl included Seldon D Overr and Roy LaGrone, art directors; Reynold Ruffins, illustrator; and Mahler Ryder, illustrator and instructor i n drawing at the Rhode Island School fo Design. Several films were shown as part of the exhibition. Poet, composer, painter, photographer nad filmmaker Gordon sa represented with a 25-minute autobiographical Parks w Seventeen television commercials by Georg Olden film. were shown, as were commercials by producers Ted li Mason, Alex Oliver, Dorothy Hayes and Tee Shearer, lB M I sales recruiting film designed for use i n Colins. AnB recruiting sessions ni Black schools was also presented. Ceolcints nad A special music score ot accompany the exhibition was byGene Casey. written o f Spaelci ehT 49 artists represented inthe Black Artist ni Graphic Communication exhibition are: Dorothy Akuburoi, Roosevelt Allison, Romare Bearden, Cheaslr Boyd, Cecil Elombe Brath, Ronnie Brathwaite, Oraston Brooks-El, Wallace E.Caldwell, Elmore (M2740). Dept. papers the gal opening m At orf( left): Herb Lubalin, principal, Lubalin, Sm h,ti Carnase & Feriter; Dorothy E. Hayes, committee cochairman; George Cantor, board chairman, the Olden, vcei president, McCann Erickson; Eli Composing Room/director fo Gallery 303. tI was produced, directed and shot by Roy Inman. University Archives, Stantora Librares, Stanford, cA; m iJ Colier, photographe and women Theodore Collins, Donald Crews, Leo and Diane Dillon, Dix, Philip Draggan, Loring Eutemey, Tom Seldon The selection committee (from left: Seldon Dix, Carl Overr, Reynold Ruffins, Mahler Ryder, Roy LaGrone, Dorothy E. Hayes, Alex Oliver, Joyce Hopkins. Georg Olden served as a consultant to the committee, sa did Leo Fassler, vice-president and associate creative director at Benton & Bowles. reLubalin, Smith, Carnase & Ferriter volunteered their sources to design and mount the exhibition which appeared hirst, early this year, at the Composing Room's Gallery 303 in N e w Y o r k Feelings, George Ford, Veronal Grant, Robert .A Gumbs, li Donald Harper, Dorothy E. Hayes, Joyce Hopkins, lB yR o Inman, Louise E. Jefferson, Jo Jones, Roy How,le .E LaGrone, Vincent Lewis, Alexander Mapp, Andrea M quarez, BillMason, Don Miller, John Morning, Georg Olden, Alex Oliver, Carl Overr, Gordon Parks, Jerry Pinkney, George Robert Pruden, Samuel Reed, Reynold R ,finsuf Mahler .B Ryder, Ahmand Sadig, Ted Shearer, Steptoe, Otis D . Sullivan, Mozelle Wilmont Thompson, Jr., Alex Walker, Bernadine Watson and Verona Witcher. ohnJ Communication Arts| commarts.com AN EXHIBITION BY BLACK ARTISTS This page: Two illustrations by Tom Feelings. desgined ehTposter for the Brooklyn League of Afro-American Collegians by Andrea Marquez, with the illustration by Romare Bearden. sw a Alex Oliver art directed the two Gulf ads for Young & Rubicam, New York. The art director for the Brentwood ad was Wallace Caldwel. R i g h t : O n e s e c c i o n o r t h e e x m i b i t i o n is d e v o t e d to a r e t r o s p e c t i v e showing of the work of Mozelle Thompson, whose career was halted yb his death appeasr The ulisrtaoitn (left) a month before the opening of the exhibiton. in the New York Times. The other illustrations syndicated Sunday newspaper supplement. arefrom Tuesday, eht tomseeling Afro-American Artists: Since 1 9 5 0 Brooklyn College April 15 thru May 18, 1969 Sixth Floor Art Gallery College Student Center ng.iT knles P r e c e n t e d b y tha rooklyn L e a q u e of Afro-American Collegians (BLAC If this si how the bess sees you, S u l nC aD i e Gulf G u l f wehano pagain. Typography Annual 2022 Anil • Magele tr | commarts.com Communication sA AN EXHIBITION BY BLACK ARTISTS This page: Stevie was written and illustrated by John Steptoe. Hsi illustrations ofr this book earned him a Gold Medal from the Society fo om Feelings for his forthcoming book, A kB cal Illustration by T Donald Crews wrote and illustrated neT Balch Dots. He ofr Across the Pacific (below). Ilustrators. Asitr Pilgrimage. alsodesigned the cover Josephine Jones was the designer for the Parametric Estimation Operators book covers. and Integrals and Stevie by John Steptoe Ten Black Dots DonaldC r e w s Across the Pacific A n inner yortsHi fo A r AkiraIriye T v p o g r a p h y Annual 2022 I nt e gr a l s a nd O pera t or s Irving E . Segal & Ray A. Kunze S' . AH T E ME B O O K E RT SUPER H TERASCALS Super Hits Vol.3 and Rune at hte Top record album covers (top and middle) Tshi pga:e degsined by Lornig P. Euetmey. wer Scofield Reading eht Poeryt fo Dryden record album cover was designed yb Loe luaP and Daine I Thank Scu VOL.3 SAMANOLVE Dillon. h Gerat American Subway ehT ilustration below is tpra fo eT Rdie,r a series yb Mahler B. Ryder. Angitone Frederick record balum cover wsa illustrated by Oraston Brooks-El and designed by Hubck.i N D ) A N SOTA ANTIGONE Paul Seofield Reading The Poetu Of Druden. Communication Arts | commarts.com AN EXHIBITION BY BLACK ARTISTS This page: Romare Bearden was the illustrator for the Fortune Philip Draggan was an associate designer for the Seatrain O r a s t o n b r o o k s - e l d e s i g n e d t h e b o o k i e t for t h e n i m N o cover. Lines, Inc. annual report. txil. Right: Seldon Dxi, J.r created an unfamiliar Statue of Liberty yb combining a Bourke-White photo of the statue with a photo fo a Black womans' face by xi was also the designer for the doll's face cover and t h e Gordon Parks. D p h o t o g r a p n e r for t h e o t h e r c o v e r . T h r e e c h i l d r e n , a n i l l u s t r a c i o n by M a n i e r b. Reynold Ruffins illustrated k y d e r. het Harlem O n M y Mnid and The Antheeper posters. SPECIAL ISSUE ON BUSINESS THE URBAN CRISIS SEATRAIN SAN JUAN N O EXIT Typography Annual 2022 HARLEM O N MY MIND Trikeeper B N D DR IECTED Y WRT ITEN A ROLF FORSBERG WNDU-TV, CHANNEL16 , PRIL12 12NOON(CST) FRIDAYA c o n u c c o r r e c o m m a r t s . c o m Your wife's office is probably better equipped than yours. u s a TIME IBM NEWS TOUR OF THE USA quehayhm asaallailladetpre s lejos. Alá. Alotro lado del 0 amyám regunta usted últin Allá vibra el mundo. El mundo entero. Esperhay limite adonde usted pueda ri ne P a n Am pueda llevarle Llame asu Agente de Viajes Pan Am' aérea de mayor experiencia o aellamlinea u n d o s ym a n a n a u se dp o d r a e s t a ! e n v o l a n d om a s a l a d e l h o n z o n t e e ne lo t r o a d od e l m u n d o Lo grande es ir con Pan Am Hl Typography lauA n 2022 AN EXHIBITION BY BLACK ARTISTS Left:Seldon Dxi, Jr. gndeise het oglo for for Teletape Productions as wlel asthe USA logo the Time News Tour ofthe USA. The l o g o t y p e for h i m producer was designed by Dorothy C h a r l e s J . Dorkins| Hayes. Using a motif orfm Ugandan pottery, the African American Institute logo is by Louise Jeferson. Symbol designed by George Ford, Jr.fortheweN Lafayette Theater. Originally designed orf a poster, it was adapted for letterheads dna envelopes, and then cast as a medallion to be wonr by the performers. i ad. Bil Mason was the art director for the M na mA ad was art directed yb Ahmad Sadqi The P while he was with J. Walter Thompson's Pan American Division. Sam Reed was the art director for the unpublished At&t ad. Thsi page: The Children of Roi Bueno, Jamaica, si yb Don Miller. oL e and Diane Dillon designed and illustrated the Ground Zero poster. T h e Arts c o v e r w a s d e s i g n e d b y D o r o t h y H a v e s . IF S BKEYNO TUES-SUNDEVE 625 8419 ROUND ZERO COFFEEG / ALLERY 152 KANE .T C o m m u n i c a t i o n Arts commarts.com