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Figure 1. James Hargraves’ Spinning Jenny, 1769. Photograph reproduced from Hay (2020, illustration 3)

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Figure 2. Diagram of Spinning Jenny Use. Illustration reproduced from Styles (2020, p.11, illustration 3)

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Figure 3. 1887 Patent of D.E.Kempster’s Velocipede. Illustration reproduced from UNSW Sydney (2022, p.1, illustration 1)

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Figure 4. W. F. Quinby’s 1869 Patent of the “Flying Machine.” Illustration reproduced from National Archives (2022, p.1, illustration 1)

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Patents reinforce originality in ideas, uphold credibility, and can create a source of income when applied to an artist’s designs. Therefore, patents are significant in relation to design history because they reinforce some of the main principles or ideals of basic design and display the creative process of an individual’s works with authenticity. The images depicted display how innovative and creative artisans can be with their designs. This topic is personally interesting because it can affect one’s life very dramatically. An example of this is the inventor of the spinning jenny, James Hargreaves, who died in the late 18th century due to poverty. This could have been avoided had he patented his design which would have prevented others from stealing his concepts and given him a reliable source of income to live off due to a well know reputation. (Hay 2020, 2.14).

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National Archives. n.d. “Today’s Document from the National Archives.” National Archives. July 11, 2022. https://www.archives.gov/historical-docs/todays-doc/index.html?dod-date=1005

UNSW Library. n.d. “Patents.” UNSW Library. July 1, 2022. https://www.library.unsw.edu.au/using-the-library/information-resources/patents

Naomi Hay. 2020 “Wk 2 Intro to Design History.” Griffith Teacher. June 21, 2020 in Brisbane. Video, 22:23. YouTube. https://www.youtube.com/watch?v=EKA-iGwVyTQ

Styles, John. 2020. “The Rise and Fall of the Spinning Jenny: Domestic Mechanisation in Eighteenth-Century Cotton.” Textile History. 51,no.2 (January): 195-236. https://doi.org/10.1080/00404969.2020.1812472

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Figure 1. Saville Lumley’s Russian propaganda poster, 1914. Illustration reproduced from Hay (2020, illustration 25)

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Figure 2. American military recruiting poster, 1914. Illustration reproduced from Hay (2020, illustration 25)

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Figure 3. “International: Proletarians of All the Countries, Unite!” Russian propaganda poster of higher classes crushing the weak. Illustration reproduced from Dimova (2016, p.18, illustration 6)

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Figure 4. 1936 V. Govorkov’s poster “Thanks to Dear Stalin for a Happy Childhood.” Illustration reproduced from Dimova (2016, p.29, illustration 13)

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Constructivism was an artistic movement in the early 20th century that aimed to replace traditional art styles and focused more so on the construction of objects and designs that would aid the people of that time (The Art Story 2022). Constructivism was significant in relation to design through creating images or depictions, that pushed messages with little to no words, to grab the public’s attention and influence their views on various social issues. Therefore, designs needed to be creative, artistic, and influential to catch people’s attention, likewise to design today. In 1930, Russian propaganda was displayed through posters to educate the public and to persuade their opinions on World War I. Within this great war, various artists covered trains in slogans and posters to boost their target range, due to Russian railway networks linking outer reaches of their vast country. The use of posters and other visual aids is an interesting use of media for that time, due to 90% of Russia’s population in the 1930’s being illiterate. (Hay 2020, 7:28)

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Naomi Hay. 2020 “Wk 3 Intro to Design History.” Griffith Teacher. June 21, 2020 in Brisbane. Video, 14:10. YouTube. https://www.youtube.com/watch?v=D1916ayf3jo&t=618s

The Art Story. n.d. “Constructivism.” Movements. July 12, 2022. https://www.theartstory.org/movement/constructivism/

Dimova, Valeria. 2016. “Propaganda in the Soviet Union Through Posters: Its Historical Roots, Development and Influence on the Russian Society.” PhD diss., SUNY Empire State College. file:///C:/Users/ilian/Downloads/Dimova_Valeria_509589_Bachelor%20Thesis.pdf

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Figure 1. Allied propaganda poster, 1942. Illustration reproduced from Hay (2020, illustration 40)

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Figure 2. J. Howard Miller’s “We Can Do It!” poster, 1942. Illustration reproduced from Hay (2020, illustration 36)

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Figure 3. Art Director Alexey Brodovitch’s patriotic cover for Harper’s Bazaar in 1939 just before World War II. Illustration reproduced from Remington (2003, p.54, illustration 2)

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Figure 4. Joseph Binder’s poster “New York World’s Fair, The World of Tomorrow 1939.” Illustration reproduced from Remington (2003, p.80, illustration 1)

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Modernism came about around the 1850’s and progressed rapidly playing a major role in shaping design for decades to come. This movement, like other prior movements, rejected the ideals of the past, with modernism idolising a vision of a utopian future with pristine designs. Within the 1960’s, modernism greatly influenced architecture, politics, art, culture, and so on. At this time, American elites used modernism to claim that the United States was the most technologically advanced and democratic nation worldwide. This powerful influence of modernism affected the public’s views and affected their surrounding environment greatly which represents basic fundamentals of design through targeting and persuading audiences. This power also split America’s hierarchy, with art and design only being thought of as for the rich, which trickled into modernism’s downfall (Hay 2020, 12.08). It is interesting that at one point in time, designers believed we as a society could reach a perfect utopia with zero faults. What made them so sure this construct could become a reality? What influenced these designers to change their mind?

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Reference List:

Naomi Hay. 2020 “Wk 4 Intro to Design History.” Griffith Teacher. June 21, 2020 in Brisbane. Video, 15:44. YouTube. https://www.youtube.com/watch?v=BEAph7hCcgI&t=749s

Remington, Roger R. 2003.  American Modernism: Graphic Design 1920-1960. London: Laurence King Publishing. https://books.google.com.au/books?hl=en&lr=&id=I1qeLBsm4f0C&oi=fnd&pg=PA46&dq=modernism+design&ots=vV_WMWrk35&sig=OU-xKurZbir3gyJ8X6vVUTkSFnc&redir_esc=y#v=onepage&q=modernism%20design&f=false

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Figure 1. Aerial view of the New York World’s Fair, 1939. Illustration reproduced from Hay (2020, illustration 10)

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Figure 2. Futurama exhibit, General Motors Pavilion, 1939. Illustration reproduced from Hay (2020, illustration 11)

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Figure 3. Dr. Martin Luther King Jr delivering his speech ‘I Have a Dream,” 1963. Illustration reproduced from Churchwell (2021, illustration 2)

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Figure 4. Kodak advertisement showing a family on holiday in Look Magazine, 1949. Illustration reproduced from Enright (2022, illustration 5)

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Throughout the 1940’s, the ‘American Dream’ was introduced with futuristic architecture enticing the masses to America and promising the public that they’d be looking at the world of tomorrow. After World War II during the 1950’s, consumerism in America boomed with millions migrating from Europe to pursue this idea of the ‘American Dream’ in ‘the land of the free.’ This resulted in various social classes spending exuberantly on non-essential luxury items to fit in (Hay 2020, 4.00). This is a great example of how design plays a major role in influencing audiences to purchase products. It is interesting to analyse, over the past few decades, the extent to which people will go, to fit in with society’s rapidly increasing and almost unattainable standards. A column was written within the New York Times, in 1983, by a man who had lost everything and proclaimed, ‘if $24.5 billion can be spent on America’s defence in one year, we can find ways to support people. If not, with our tendency to use disposable products, we may have also created disposable people.’ (Guimond 1991, p.11).

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Naomi Hay. 2020 “Week 5 Intro to Design History.” Griffith Teacher. July 24, 2020 in Brisbane. Video, 32:41. YouTube. https://www.youtube.com/watch?v=BEAph7hCcgI&t=749s

Guimond, James. 1991. American Photography and the American Dream. North Carolina: The University of North Carolina Press. https://books.google.com.au/books?hl=en&lr=&id=UHNCKKhhCQQC&oi=fnd&pg=PP11&dq=american+dream&ots=JyprSWbRFP&sig=L-y8yOWFoBromkACsQAMEtbmdzM&redir_esc=y#v=onepage&q=american%20dream&f=false

Churchwell, Sarah. 2021. “A Brief History of the American Dream”. The Catalyst. Winter 2021. https://www.bushcenter.org/catalyst/state-of-the-american-dream/churchwell-history-of-the-american-dream.html

Enright, Kelly. n.d. “New wars, social change, and the American Dream”. Smart History. https://smarthistory.org/seeing-america-2/1945-1980-war-peace-and-the-american-dream/

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Figure 1. ’Make Love Not War’ poster used within the Vietnam war rallies, 1965. Illustration reproduced from Hay (2020, illustration 19)

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Figure 2. Poster protesting the Vietnam War by Lorraine Schneide, 1967. Illustration reproduced from Hay (2020, illustration 21)

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Figure 3. Ron Haeberle’s anti-war poster “Four More Years?” displaying massacred civilian mothers, children, and others on a path in My Lai, Vietnam, 1972. Illustration reproduced from Emiko McAllister and Kuhn (2021, illustration 9.6)

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Figure 4. American marine corporal Billy Winn in Vietnam, written on his helmet "Make Love! Not War!" 1967. Illustration reproduced from Creative Review (2022, illustration 2)

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The civil rights movement began in the 1950’s within America with mass demonstrations and protests fighting for people’s right to live (Raiford and Romano 2006, xii).Many emotional posters were designed, protesting against the Vietnam War within the 1960’s, pushing the message ‘make love, not war’ which fought for millions of lives to be saved from the dangers of war. Floral depictions were used within designs regularly around this time to represent the life that needed to be protected instead of being destroyed by such destructive forces such as war. This influenced design greatly for decades to come with the use of floral patterns and depictions, within many designs, representing life and growth. The phrase ‘make love, not war’ is also beneficial to design history due to its renowned popularity through various generations, having dramatic influences on both society’s outlook over time and affecting numerous events in history (Hay 2020, 3:30). It is severely unhinged that millions of people over various decades have fought for their basic human rights and fought for change and little has changed.

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Naomi Hay. 2020 “Week 5 Intro to Design History.” Griffith Teacher. August 2, 2020 in Brisbane. Video, 22:19. YouTube. https://www.youtube.com/watch?v=1axNs1LZE4w&t=244s

Romano, Renee. C. and Raiford, Leigh. eds. 2006. The Civil Rights Movement in American Memory. Georgia: University of Georgia Press. https://books.google.com.au/books?hl=en&lr=&id=cUY_6XIhA-wC&oi=fnd&pg=PP1&dq=civil+rights+movement&ots=uSgKjCWK2M&sig=xu2aFbxJL8shxVQskzOXtihU8YA&redir_esc=y#v=onepage&q=civil%20rights%20movement&f=false

Emiko McAllister, Kirsten. and Kuhn, Annette. eds. Locating Memory: Photographic Acts. New York: Berghahn Books. https://books.google.com.au/books?hl=en&lr=&id=0uxmDwAAQBAJ&oi=fnd&pg=PA201&dq=vietnam+war+posters&ots=ST6g2Fz9R6&sig=OGmwfoTU1FVLSUAxq-GZ0GDlrZk&redir_esc=y#v=onepage&q=vietnam%20war%20posters&f=false

Creative Review. n.d. “Make Love Not War (1965).” Opinion. August 2, 2022. https://www.creativereview.co.uk/make-love-not-war-slogan/

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Figure 1. Founder of linguistics and semiotics, Ferdinand de Saussure, c.1900. Photograph reproduced from Hay (2020, illustration 28)

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Figure 2. American philosopher, Charles Sanders Peirce, 1891. Photograph reproduced from Hay (2020, illustration 29)

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Figure 3. Kitchener recruitment poster “Your Country Needs You” 1914. Poster reproduced from Leeuwen (2005, 120, illustration 6.1)

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Figure 4. Red Bull Energy Drink logo, 1987. Illustration reproduced from Nunez (2015, illustration 2)

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Semiotics are significantly utilised within everyday life and play a great role in communicating through signs. Ferdinand de Saussure and Charles Sanders Peirce progressively developed semiotics within the early 20th century and searched for deep meanings within the surface features of phenomena. Today semiotics are more so found within social situations and similarly relates to ideology, with characteristics from semiotics linking cultures and people where language barriers lie (Chandler, p.9). Therefore, semiotics play a beneficial role throughout design to help communicate messages to audiences in simplistic forms that can be easily read and understood. It is interesting how such a broad audience can understand and make connections between simple depictions, but also interpret differing meanings within similar signs.

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Chandler, Daniel. 2002. Semiotics for Beginners. Abingdon: Routledge https://www.britannica.com/science/semiotics

Naomi Hay. 2020 “Wk 7 Intro to Design History.” Griffith Teacher. August 2, 2020 in Brisbane. Video, 28:47. YouTube. https://www.youtube.com/watch?v=6ixgA-cSzoA

Nunez, Kirsty. 2015. “Semiotics in Marketing Research: Game Changing Marketing Research #3.” American Marketing Association. April 20, 2015. https://sdama.org/knowledge/semiotics-in-marketing-research-gaming-changing-marketing-research-3/

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Figure 1. David Carson’s Puma campaign design, 2018. Illustration reproduced from Hay (2020, illustration 36)

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Figure 2. David Carson’s Beach Culture magazine cover, 1990. Photograph reproduced from Hay (2020, illustration 40)

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Figure 3. David Carson in his California studio designing the first issue for ‘Ray Gun’ magazine.1992. Photograph reproduced from Blackwell (2000, 120, illustration 6.1)

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Figure 4. David Carson’s design for ‘Beach Culture’ magazine’s contents page. Illustration reproduced from Sweetapple (n.d. p.6, illustration 1)

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Figure 1. Edward Burtynsky’s photo of an oil skimming boat within the Gulf of Mexico, 2010. Photograph reproduced from Hay (2020, illustration 12)

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Figure 2. Edward Burtynsky’s photo of oil mining fields within California, 2003. Photograph reproduced from Hay (2020, illustration 13)

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Figure 3. Edward Burtynsky’s photo of oil fields within Alberta, Canada, 2001. Photograph reproduced from Truscello (2012, 192, illustration 1)

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Figure 4. Edward Burtynsky’s photo of a highway within California, 2009. Photograph reproduced from Truscello (2012. p.196, illustration 1)

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The environment is deteriorating at an alarming rate, and numerous designs over past centuries have not aided this growing issue. Edward Burtynsky is a photographer whose images over the past years have reflected how various designs are altering and mutilating many environments and habitats. His photographs display to society the affects of their actions in either producing, consuming or discarding harmful products. Edward’s photographs also exhibit how accustomed the public is to the harmful effects of design within day-to-day life, and how oblivious society is to the damage being caused within foreign environments. Action must be taken in the way designs are produced and the way we consume products, otherwise sustainable environments will perish and so will we. How could designers of the past be so careless in regard to their actions throughout various processes of design, and not care for the countless destructive affects they have had on the environment?

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Naomi Hay. 2020 “Wk 9 Intro to Design History.” Griffith Teacher. August 31, 2020 in Brisbane. Video, 29:36. YouTube. https://www.youtube.com/watch?v=JTKFQgJJeS4&t=1s

Truscello, Michael. 2012. “The New Topographics, Dark Ecology, And The Energy Infrastructure Of Nations: Considering Agency In The Photographs Of Edward Burtynsky And Mitch Epstein From A Post-Anarchist Perspective.” Imaginations. 3, no. 2: (September): 192-196. https://journals.library.ualberta.ca/imaginations/index.php/imaginations/article/view/27253

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David Carson was an American graphic designer within the 90s who significantly influenced design through greatly displaying the ideals of the post-modernistic agenda. Post-modernism sought to display the issues within society in an unconditional and vibrant way utilising striking colour schemes and alternative layouts. David Carson’s designs encouraged other designers to think outside the box and caught people’s attention through bold colour schemes, experimental typography and eye-catching layouts that differed to more accustomed magazine designs. His work captivated many big brands and he designed covers for many popular magazines (Hay 2020, 14:53). This would have greatly impacted design culture and aided the advertising of products to consumers primarily within younger demographics. It would be interesting to look into further what inspired David Carson to create such stimulating and unusual designs.

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Figure 1. Christopher Raeburn’s clothing repurposing military fabrics. Photograph reproduced from Hay (2020, illustration 37)

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Figure 2. Roya Aghighi’s coat made from algae. Photograph reproduced from Hay (2020, illustration 38)

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Figure 3. Miu’s digital printed fashion. Photograph reproduced from Niinimaki (2013, 27, illustration 1)

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Figure 4. Women cutting buttons of used sweaters to make blankets for IKEA. Photograph reproduced from Gwilt (2013. p.146, illustration 1)

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Fashion is an extensive industry that greatly contributes to environmental damage in various ways. This is why sustainability within fashion must be further researched and maintained during production, manufacturing and sourcing. According to the United Nations’ Environment program, the fashion industry contributes to 10% of global greenhouse gas emissions. Many companies are seeking out differing ways in which materials can be utilised to better the environment. This includes considering chemical minimisation, increases in renewable resource application, reduction of animal hide use, strengthening lifespans of products, and so on (Hay 2020, 10.50). Within the processes of making fashion sustainable, designs will evolve dramatically, and therefore will impact design history marginally. It is beneficial that sustainable fashion is upheld and progresses drastically, in order to save our environment from total collapse.

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Gwilt, Alison, and Rissanen, Timo, ed. 2011. Shaping Sustainable Fashion: Changing The Way We Make And Use Clothes. London: Earthscan. https://d1wqtxts1xzle7.cloudfront.net/55277116/Alison_Gwilt__Timo_Rissanen_Shaping_Sustainable_Fashion_Changing_the_Way_We_Make_and_Use_Clothes-with-cover-page-v2.pdf?Expires=1662456731&Signature=fknFMeM-O-Y~xEFp56VonZm8k3Sh4XW6MlylC3pypRC4IC9h4aqbvK0FIcX4hrZIYbHycdY2GQZ4ujyMSNUhGXJLXEc~~urS1KHSxkjAPzVk-06G-prmdAeppove7Q182UIvRBzKVq58CCT3ZkMf~SQKZRYKG9UhaDshmoWGdECJ~sonT-10EBCzXMDnmMNb6tFqYfS5iKKmfQHljhq-7xctzduRiJlwUjJTjuOyx6q6uPaYz3K1hQwyjjD6y9~zPcwLyJ8GD-05d3LN201K5e4moLKO-d8sMBIwQSh-V91iOlVHd2faT-TyrjKLUfLJ1k-WGuvaWZ1zPJyvBkO1Zg__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA

Naomi Hay. 2020 “Wk 10 Intro to Design History.” Griffith Teacher. September 3, 2020 in Brisbane. Video, 25:18. YouTube. https://www.youtube.com/watch?v=AVgq34vnnbI

Niinimaki, Kirsi, ed. 2013. Sustainable Fashion: New approaches. Helsinki: Aalto University. https://aaltodoc.aalto.fi/bitstream/handle/123456789/13769/isbn9789526055732.pdf?isAllowed=y&sequence=1

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Naomi Hay. 2020 “Wk 8 Intro to Design History.” Griffith Teacher. August 23, 2020 in Brisbane. Video, 18:30. YouTube. https://www.youtube.com/watch?v=c2Ik2xC8bxI&t=928s

Blackwell, Lewis. 2000. The End of Print: The Grafik Design of David Carson. Laurence King Publishing. https://books.google.com.au/books?hl=en&lr=&id=_19gFAumiQ4C&oi=fnd&pg=IA1&dq=david+carson&ots=1Ql_yjOp9N&sig=r2xCqPjipdUhq7PystMwgO_9u3U&redir_esc=y#v=onepage&q=david%20carson&f=false

Sweetapple, Kate. n.d. Designing Distance. Sydney: University of Technology. https://opus.lib.uts.edu.au/bitstream/10453/27925/1/2012004502OK.pdf

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Figure 1. Yves Behar’s Aura Power clothing, 2017. Photograph reproduced from Hay (2020, illustration 52)

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Figure 2. Yves Behar’s robotic companion, Elli-Q. Photograph reproduced from Hay (2020, illustration 54)

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Figure 3. Pat Marzahn and Hazel Schilling use the internet regularly and send emails to ease communication. Photograph reproduced from Waldhuter (2017, illustration 2)

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Figure 4. CaT Pin aids loneliness through monitoring conversation habits and alerts family if no human contact has arisen. Photograph reproduced from Bennett (2019, illustration 1)

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With various technological advances throughout the 21st century, many new innovative designs, concepts and products have been introduced. A mass consumer population derives from the elderly, requiring assistance within daily tasks and requiring health stability. Yves Behar is a great example of a designer who has created many concepts to aid elderly citizens. An example of this includes “Aura Power Clothing,” exhibited in 2017, assisting mobility through an ai sensing muscle movement throughout the body and stimulating muscles. (Hay 2020, 23.55) This reflects how design caters to consumers’ ever-growing needs and how design concepts must continuously evolve in fluctuating and creative ways. With technological advancements occurring so rapidly over such a short period of time, it is interesting to theorise what will become of our future?

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Bennett, James. 2019. “Mental health royal commission told wearable tech could help end loneliness.” ABC News, July 19, 2019. https://www.abc.net.au/news/2019-07-19/mental-health-royal-commission-hears-solutions-end-loneliness/11326770

Naomi Hay. 2020 “Wk 11 Intro to Design History.” Griffith Teacher. September 4, 2020 in Brisbane. Video, 32:32. YouTube. https://www.youtube.com/watch?v=llbr3zPlKYE&t=1s

Waldhuter, Lauren. 2017. “Elderly use of social media and technology on the rise as isolated pensioners get connected.” ABC News, February 4, 2017. https://www.abc.net.au/news/2017-02-04/elderly-use-of-social-media-and-technology-on-the-rise/8240508