Incomplet Design History cover art

Incomplet Design History

Incomplet Design History

Written by: Amanda Horton
Listen for free

About this listen

 The nature of history is that it is never “complete”, new information is gained every day that changes our understanding an interpretations of history. The mission of Incomplete Design History is to explore areas of graphic design history that are overlooked or ignored; to expand our knowledge in the field and to include all sides of the story. Incomplete design history seeks to be inclusive, inclusive not only of people but of ideas and technologies that advance the field of graphic design. History is messy. History is incomplete. Art World
Episodes
  • The Mimeo Revolution

    The Mimeo Revolution
    Nov 13 2025
    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.TIMELINE1876 - Thomas Edison patents the electric pen and duplicating press1881 - David Gestetner founds The Gestetner Cyclograph Company1884 - Albert Blake Dick incorporates as a lumber business1887 - The Edison Mimeograph Model 0 hits the market1891 - Samuel O’Reilly patents the first electric tattoo machine1898 - Neostyle Company introduces the first rotary mimeograph1906 - Gestetner opens a manufacturing plant in London1923 - Wilhelm Ritzerfeld invents the spirit duplicator1929 - Gestetner hires Raymond Loewy to redesign the cyclostyle1929-1930 - Yvor Winters publishes Gyroscope, the first mimeographed literary magazine1942 - Chester Carlson patents xerography1945 - WWII ends1955 - US involvement in Viet Nam begins1960 - The first xerox copier becomes commercially available1961 - The Floating Bear #1 is published1961 - Diane Di Prima and LeRoi Jones are arrested on obscenity charges1962 - SDS Port Huron Statement is published1962 - Ed Sanders publishes the first issue of Fuck You / a magazine of the arts1969 - BSU at Oregon State publishes the first Scab Sheet1971 - The Floating Bear publishes its final issue1972 - Yardbird Reader v. 1 is published1975 - Vietnam war ends1976 - The final Yardbird Reader is published1977 - Y-Bird v. 1 is published1980 - Risograph duplicators are released in JapanREFERENCESAlfred, 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.pdfEinträge 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-loewyHawley, 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/414/414Helland, M. (2024, February 24). THE HISTORY OF THE MIMEOGRAPH — International Printing Museum. International Printing Museum. https://www.printmuseum.org/blog-3/history-of-the-mimeographHome | 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=1760415107268Mimeograph 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=NdBSYUbaAZgRiordan, E. (2021, July 23). Spirit Duplicators: Early ...
    Show More Show Less
    29 mins
  • Medieval Heraldry

    Medieval Heraldry
    Nov 6 2025
    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.TIMELINEAncient 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 England1066 – 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-shaped1200s - Blazon Language Developed: Formalized system for describing coats of arms in writing.1200 - Members of the clergy adopting arms1220 - Patricians & Bourgeois adopting arms1230 - Artisans begin adopting arms1240 - Corporations begin adopting arms1280s-1290s - Towns begin adopting arms13th & 14th centuries - Religious communities adopt arms14th & 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 England1696 - Armorial Général was created as a registry of arms for taxation in France18th 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 REFERENCESAnonymous. (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-shieldPastoureau, 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, ...
    Show More Show Less
    27 mins
  • Cuban Posters

    Cuban Posters
    Oct 30 2025
    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.TIMELINE1902 - 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. REFERENCESBardellotto, 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.2014.0006Cushing, L. (2023). How Poster Art of the “Long 1960s” Fueled International Solidarity. Brown Journal of ...
    Show More Show Less
    18 mins
No reviews yet