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Incomplet Design History

Incomplet Design History

Yazan: Amanda Horton
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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
  • The History Behind Aunt Jemima
    22 Oct 2026

    The Aunt Jemima brand is recognized as the first company to use a living trademark that relied on racist stereotypes. Originating in 1889, the brand relied on the "mammy" archetype, known for depicting black women as docile, faithful slaves meant to soothe white guilt and market a fantasy of the Old South. In 1888, Chris Rutt and Charles Underwood bought a floundering flour mill in St. Joseph, Missouri. In an effort to sell off the excess flour, they developed a pancake mix that they sold in paper bags with their Pearl Milling Company name. Rutt and Underwood wanted a brand name that would set it apart from other products on the market. The Aunt Jemima name is reportedly from a minstrel show and this branding would last until 2021, when Quaker, who now owns the Aunt Jemima brand, announced they would phase out Aunt Jemima and rename the products to the original Pearl Milling Company.

    TIMELINE

    1889 – Chris Rutt and Charles Underwood acquire a bankrupt flour mill and create a self-rising pancake flour and name it Aunt Jemima

    1890– Rutt and Underwood go bankrupt and sell the company and recipe to R.T. Davis.

    1893 – Nancy Green, a former slave born in Kentucky, debuts as the first Aunt Jemima at the World's Columbian Expo in Chicago. Purd Wright writes the fictional biography "The Life of Aunt Jemima,"

    1903 – Robert Clark takes control of the company and renames it Aunt Jemima Mills.

    1919 – Illustrator N.C. Wyeth joins the ad campaign under James Webb Young to reshape the brand's image.

    1920s – Aunt Jemima becomes a ubiquitous part of American life and grocery stores.

    1933 – Quaker Oats resurrects the "living trademark" for the Chicago Century of Progress Exposition, hiring Anna Robinson as the new face of the brand.

    1955 – Quaker Oats opens "Aunt Jemima's Pancake House" in Disneyland, featuring Aylene Lewis as the face of the restaurant.

    Early 1960s – The NAACP officially calls for a boycott of the Aunt Jemima brand.

    1964 – The Disneyland restaurant is renamed "Aunt Jemima's Kitchen".

    1968 – The brand image is revised, though the figure remains depicted as a slave woman with a head rag.

    1970 – Disneyland removes the name "Aunt Jemima" from its restaurant.

    1989 – Quaker Oats executes a major image overhaul, depicting her as a "working grandmother" rather than a slave.

    1990 – The last national television campaign airs before a four-year hiatus.

    September 1994: The brand launches its first national TV campaign since 1990, hiring singer Gladys Knight to represent the product.

    2019 – Quaker Oats significantly reduces marketing for the brand

    May 25, 2020 – The murder of George Floyd

    June 15, 2020 – A TikTok video by Kirby Lauryen criticizing the Aunt Jemima brand goes viral.

    June 17, 2020 – Quaker Oats announces it will phase out the Aunt Jemima brand name and image.

    February 9, 2021 – Quaker Oats announces the new brand name: Pearl Milling Company

    June 2021: – New packaging is launched in grocery stores

    REFERENCES

    Gerhardt, D. R. (2022). The Last Breakfast with Aunt Jemima and Its Impact on Trademark Theory. The Columbia Journal of Law & the Arts, 45(2), 231-262. ProQuest.

    Harris, M. D. (2003). Colored Pictures: Race and Visual Representation. University of North Carolina Press.

    Kalaitzandonakes, M., Ellison, B., & Lusk, J. L. (2024, August). Goodbye Aunt Jemima: Consumer Preferences for Pancake Mix Following Rebranding. Journal of Agricultural and Applied Economics; Baton Rouge, 56(3), 445-462. ProQuest.

    Kaplan, S. C. (2021). The Black Reproductive: Unfree Labor and Insurgent Motherhood. University of Minnesota Press.

    Manring, M. M. (1998). Slave in a Box: The Strange Career of Aunt Jemima. University Press of Virginia.

    McElya, M. (2007). Clinging to Mammy: The Faithful Slave in Twentieth-Century America. Harvard University Press.

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    19 dk.
  • Graphics of the Grateful Dead
    15 Oct 2026
    The Grateful Dead occupy a singular place in American music and visual culture, achieving lasting success despite minimal radio play and a radically unconventional approach to performance, distribution, and branding. Founded in California in 1965, the band cultivated its audience through live, improvisational performances in which no two shows were ever the same. This emphasis on experience over reproducibility fostered a devoted fan base, known as Deadheads, and encouraged practices such as concert taping, tape trading, and fan-led circulation that have been described as an early form of viral marketing. Equally distinctive was the Grateful Dead’s approach to visual identity. Rather than relying on a single logo or cohesive corporate identity system, the band embraced a fluid system of symbols that evolved through collaboration with artists, designers, engineers, and fans. The Grateful Dead’s iconography was a decentralized and countercultural model of visual identity, focusing on key symbols such as the “Steal Your Face” (Stealie) skull and lightning bolt, the Skull and Roses (Bertha), the Dancing Bears, and the Terrapins. Created by figures including Owsley “Bear” Stanley, Bob Thomas, Alton Kelley, Stanley Mouse, and Rick Griffin, these icons emerged from practical needs, psychedelic aesthetics, historical references, and fan participation rather than a top-down branding strategy. Permissive attitudes toward taping and unsanctioned merchandise helped expand the band’s visual language through fan creativity on Shakedown Street and beyond. Together, these practices reveal how the Grateful Dead built a powerful and enduring visual identity rooted in collaboration, adaptability, and community. All of which challenge conventional assumptions about branding, authorship, and control in graphic design history. TIMELINE 1938 - Bob Thomas is born 1940 - Phil Lesh is born, Stanley “Mouse” Miller is born, Alton Kelley is born 1942 - Jerry Garcia is born 1945 - Ron "Pigpen" McKernan is born 1946 - Bill Kreutzmann is born 1947 - Bob Weir is born 1965 - The Grateful Dead band formed in Palo Alto, California 1966 - September, Grateful Dead perform at Avalon Ballroom, Kelley and Mouse designed poster 1969 - Steal Your Face or Stealie logo developed by Owsley Stanley & Bob Thomas, Live Dead album released. 1971 - Grateful Dead Live double LP released with Skull & Roses cover by Kelley & Mouse 1973 - Ron "Pigpen" McKernan dies, History of the Grateful Dead, Volume One (Bear's Choice) album released 1976 - the Steal Your Face Album was released 1985 - Rick Griffin creates minuteman logo for 20th anniversary tour 1993 - Bob Thomas dies 1995 - Jerry Garcia dies, the Band breaks up 2008 - Alton Kelley dies 2024 - Phil Lesh dies 2026 - Bob Weir dies REFERENCES Barnes, B. (2014). Everything I Know about Business I Learned from the Grateful Dead: The Ten Most Innovative Lessons from a Long, Strange Trip. Benson, M. (2016). Why the Grateful Dead Matter (1st ed.). ForeEdge, an imprint of University Press of New England. Browne, D. (2024, October 30). See the Original Art That Inspired the Grateful Dead’s Classic Logo. Rolling Stone. https://www.rollingstone.com/music/music-features/grateful-dead-original-art-logo-1316160/ Bryant, M. (2015). Sullivan, Edmund Joseph (1869–1933), illustrator and cartoonist. In Oxford Dictionary of National Biography. Oxford University Press. Cushway, P. (2012). Art of the Dead. National Geographic Books. Edgers, G. (2015, May 22). Meet the artist who invented the Grateful Dead’skull and roses logo: Stanley “Mouse” Miller talks Dead, monsters on hot rods and dung-eating beetles on Journey albums. The Washington Post (Online). Fabulous, M. (2025, January 30). Grateful Dead Art: The Stories and Inspiration Behind the Icons we Love. Meghan Fabulous. https://www.meghanfabulous.com/blogs/the-daily-fab/grateful-dead-art-the-stories-and-inspiration-behind-the-icons-we-love?srsltid=AfmBOopyfVHYjIyIqIu0BEPWGHw6gHDeFEmNIDLxN5qGrFJ5lfb376j4 Fricke, D. (2011, Apr 14). The Grateful Dead remember LSD guru Owsley Stanley. Rolling Stone, 26. Grushkin, P. (1987). The Art of Rock: Posters from Presley to Punk. Jackson, B., McNally, D., Peters, S., & Wills, C. (2003). Grateful Dead: The Illustrated Trip. DK Publishing Kapoor, M. (n.d.). Why Edward FitzGerald’s Rubáiyát of Omar Khayyam is One of the Most Controversial Translations Ever | Sahapedia. Sahapedia. https://www.sahapedia.org/why-edward-fitzgeralds-rubaiyat-omar-khayyam-one-most-controversial-translations-ever#:~:text=While%20there%20have%20been%20many,never%20wrote%20to%20the%20Rub%C3%A1iy%C3%A1t. McNally, D. (2002). A long strange trip: inside the history of The Grateful Dead. Broadway Books. OBITUARIES: Owsley "Bear" Stanley. (2011, 05). Goldmine, 37, 93. Patton, A. (2023, February 17). A guide to Grateful Dead Iconography. American Songwriter. https://americansongwriter.com/a-guide-to-grateful-dead-iconography/ ...
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    21 dk.
  • Queer Symbols
    8 Oct 2026
    Throughout history, LGBTQ+ communities have used a wide range of icons, colors, badges, and symbols to communicate identity, resistance, and belonging, often under conditions of surveillance, persecution, and criminalization. Queer symbols as both coded language and visible markers, shifted in meaning as social conditions changed. Oscar Wilde used subtle visual cues like the Green Carnation of the Victorian Aesthetic Movement to signal queer identity in an era when homosexual acts were criminalized in Britain and beyond. The Pink Triangle, a symbol imposed by the Nazi regime to mark gay men as “other.” While it began as a tool of oppression, the Pink Triangle was later reclaimed as a sign of resilience, survival, and protest. The color lavender was an early twentieth-century coded reference, though it was weaponized during the McCarthy-era Lavender Scare before being reclaimed by lesbian activists such as the Radicalesbians and the Lavender Menace. Additional symbols, including the Lavender Rhinoceros and the Lambda, demonstrate how queer communities have repeatedly transformed stigma into empowerment through visual culture. The Pride Flag, arguably the most iconic queer symbol today, was designed by Gilbert Baker in 1978, and it has adapted and changed over the years to better reflect the diversity of LGBTQ+ identities. Together, these histories reveal how queer symbols function as tools of survival, protest, and self-definition, illustrating that visual identity within LGBTQ+ culture is neither fixed nor singular, but continually reshaped through struggle, reclamation, and collective action. TIMELINE 1871 - Criminal codes enacted in Germany defined homosexual acts between men as a criminal offense. 1885 - Gross indecency laws were enacted in the UK to prosecute sexual acts between men 1892 - Oscar Wilde wears a green carnation as a coded symbol of sexuality 1894 - The Green Carnation is published 1895 - Oscar Wilde is convicted of Gross Indecency 1938 - Nazis force gay men to wear a pink triangle in concentration camps 1950s-1960s - Lavender Scare 1952 - Alan Turing is convicted of Gross Indecency 1969 - June 28, the Stonewall riots were LGBTQ demonstrations in response to a police raid at the Stonewall in. 1969 - Author and activist Betty Friedan warns of the Lavender Menace (Lesbians) 1970 - on the 1st anniversary of the Stonewall riots, the first Pride Parades take place. 1970 - Tom Doerr introduced the lambda as a symbol for the Gay Activists Alliance 1974 - The Lavender Rhinoceros is introduced in Boston, Massachusetts, as a symbol of visibility for the LGBTQ community 1978 - Gilbert Baker designs the rainbow flag, 8 colors 1979 - The Rainbow flag is reintroduced with 6 colors 1986 - The Silence Equals Death Collective adopts an inverted version of the pink triangle for their message 1987 - National March on Washington for Lesbian and Gay Rights poster uses pink triangle 1987- Gross Indecency laws were repealed in Canada 1988 - The National Coming Out Day logo is very geometric and includes multiple references to Lavender triangles and at least one pink triangle 1994 - Mile-long Pride flag, created by Gilbert Baker, is carried down 5th avenue in Manhattan 1999 - Transgender flag introduced 2003 - The gross indecency provisions were repealed in UK 2005 - Black and pink organization in Massachusetts adopts a variation of the pink triangle for its logo 2021 - Progress Pride flag introduced REFERENCES Campbell, A. (2019). Queer X design : 50 years of signs, symbols, banners, logos, and graphic art of LGBTQ (First edition.). Black Dog & Leventhal Publishers. Cole, S. (2000). Invisible Men?. In ‘Don We Now Our Gay Apparel’: Gay Men’s Dress in the Twentieth Century (pp. 59–70). Oxford: Berg. Retrieved October 1, 2025, from http://dx.doi.org/10.2752/9781847888679/DWNOGA0008 Gray, A. (2019, June 3). How a lavender rhino became a symbol of gay resistance in ’70s Boston | WBUR News. WBUR.org. https://www.wbur.org/news/2019/06/03/lavender-rhino-gay-resistance-boston Hastings, C. (2020, June 4). _How lavender became a symbol of LGBTQ resistanc_e. CNN. https://www.cnn.com/style/article/lgbtq-lavender-symbolism-pride Jewish Badge: During the Nazi era | Holocaust Encyclopedia. (n.d.). Holocaust Encyclopedia. https://encyclopedia.ushmm.org/content/en/article/jewish-badge-during-the-nazi-era Mark, J. J., & Sailko. (2025). LGBTQ+ in the ancient world. World History Encyclopedia. https://www.worldhistory.org/article/1790/lgbtq-in-the-ancient-world/ Matthews David, A. (2018). Tainted Love: Oscar Wilde’s Toxic Green Carnation, Queerness, and Chromophobia. In J. Faiers & M.W. Bulgarella (Ed.). Colors in Fashion (pp. 127–142). London: Bloomsbury Academic. Retrieved October 1, 2025, from http://dx.doi.org/10.5040/9781474273701.ch-012 McMillan, K. (n.d.). Violet delights: A queer history of purple. V&A Dundee. https://www.vam.ac.uk/dundee/articles/...
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    16 dk.
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