"George Crofutt, publisher of a fashionable western travel guide series, commissioned the creation of 'American Progress' by the Brooklyn resident, painter, and lithographer, John Gast. Crofutt reproduced the petite painting, done in 1872, as a color lithograph poster and also engraved the image in the guidebooks he published widely circulating the image. The painting depicts a sense of technological development's advancement upon the untamed land like the coming of an impenetrable, inevitable militia with one uncharacteristic exception––the company is led by a feminine figure.
In the wake of four years of Civil War, the creation of the promotional material of 'American Progress' portrays a spiritualized feminine that provides nurturing, protective guidance and fortitude for the extension of civilization over wilderness and the 'uncivilized,' the enigmatic, and the primal. Disembodied, the idealized feminine portrays the evolution of the split of spirit from daily life as well as the sanctified superiority of the immigrants above human beings who lived in harmony with the spirit of the land.
The dominating and centralized angelic being's paradoxical innocence and sensually alluring presence has the effect of distracting and softening the reality and the violence of this movement to 'win the west' where Native Americans depart the frame as non– natives stake claims in the form of prospectors, as settlers: farmers, homesteaders, and travelers. One of the popular artists of the times, Maynard Dixon speaks of the untruth of the romanticized representation of facts as he complained he was being paid to lie in his artwork and portrayals of life on the wild prairie (Dixon).
Fueled by an underlying desire to be free from tyrannical government and the prospect of a new life and livelihood in a world new to them, Euro–Americans manifested suffering and persecution similar to the very situation they sought to escape."
(Archive for Research in Archetypal Symbolism)
Fig.1 John Gast (1872). "American Progress", painting: oil
"One indication of the rate of change being experienced by professionals who design communication is how quickly our work and our work contexts become obsolete. Thus, only ten years ago, Zachry  observed that, 'In this time, countless professionals have devoted themselves to developing manuals, reference sheets, guidebooks, keyboard templates, online help systems, etc. that – to varying degrees – have been used and abandoned as technologies change' (p.22). In less than thirty years, communication designers have gone from documenting Fortran compilers , through cognitive analyses of documentation users' tasks with minimalist manuals [10, 29] through SGML markup challenges  to DITA , Wikis , and visual representations of the activities of communication designers themselves ."
(Brad Mehlenbacher, p.59)
Fig.1 Alan Kitching (September 1975). 'The Antics computer animation system', Interactive Systems Conference
2). Mehlenbacher, B. (2009). Multidisciplinarity and 21st century communication design. SIGDOC'09: The 27th ACM International Conference on Design of Communication Proceedings. Bloomington, IN: ACM, 59–65.