HerStories in Graphic Design: Dialogue, continuity, self-empowerment, JOVIS, 2023

Information

Dialogue, continuity, self-empowerment. Women graphic designers from 1880 until today by Gerda Breuer

By and large, women have been left out of the history of graphic design. Yet if we look beyond the surface of this familiar account, what becomes clear is the influence women graphic designers have had on the discipline right from the start. The book shows how these women developed their own traditions, fostered dialogue and built connections between their designs, acted as role models, created networks, and proved their capacity for self-empowerment. Illuminating this struggle for professional recognition, Gerda Breuer highlights the collective formats women designers have used to enhance their own visibility, champion women’s issues, and make a mark on the world.
Both little-known collectives and renowned graphic designers such as Lyubov Popova, Änne Koken, Ethel Reed, and Sarah Wyman Whitman contributed to the history of graphic design. Breuer’s approach demonstrates the ways that women’s important contributions been devalued, ignored, or relegated to the background—in short, made to disappear—in the narrative that is usually presented. In the context of contemporary challenges to the traditional canon of graphic design, integrating these contributions into design history is long overdue.

Design by Katja Lis, DBF Designbüro Frankfurt

Details

Linked Information

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023

 

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023

 

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023

 

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023

 

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023

 

HerStories in Graphic Design,  Dialogue, continuity, self-empowerment, JOVIS, 2023
HerStories in Graphic Design, Dialogue, continuity, self-empowerment, JOVIS, 2023
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles
The background of Kamekura's mark designs is his boldness in eliminating all the waste, combining simplification derived from Japanese traditional family crests and Western intellectual mechanics of formation with a sharp modern sense of composition.
My lectures and workshops also help bridge the gap between academia and industry. Through my lectures and collecting, I strive to promote design as a ever-changing dynamic industry that has the power to shape and improve the world we live in.
When Fritz Gottschalk and Stuart Ash joined forces in Montreal, it was a partnership ideally suited to the city's hybrid environment. Gottschalk's training in graphic design in Switzerland, Paris and London was rigid, his background European; Ash, Canadian born and educated, was trained in the North American fashion, though he was influenced by his work with European designers

Members Content

Japan's first foreign film venue, Shochikuza Theatre (1923) is an icon of Modernism. Its Art Deco-influenced advertising, showcased in the 1925 Shochikuza News magazine, offers a glimpse into Japans influences from the West.