Supergraphics

Supergraphics originated in mid-1960s^[3] and surged in popularity during the 1970s.^[4] Early practitioners of supergraphics included graphic designers Barbara Stauffacher Solomon,^[11][12] Morag Myerscough, Lance Wyman,^[13][2] and Deborah Sussman.^[8][7][14] Sea Ranch, a 1965^[15] project by Barbara Stauffacher Solomon, introduced supergraphics to a wide American audience.^{[16][8][17][18]} After a decline in popularity in the decades that followed, supergraphics experienced a resurgence in 2000s.^[6][19]

The term supergraphics was first used by teacher and critic C. Ray Smith^[19][6] in 1967^[4] to describe experimental work developed by the postmodern architectural movement of Supermannerists.^[6][19] Smith's definition of supergraphics excluded depiction of alphanumerics or figurative illustrations. Over time, the term had been expanded to include any large-scale architectural graphics that alter the viewer's perception of architectural environment.^[4][6][7] Modern interpretation of supergraphics also includes graphics that are projected digitally or displayed on screens.^[19]