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Diversity

THE H STORY OF GRAPH C DES GN

For nearly fifteen centuries, people looked with fascination upon Egyptian hieroglyphs without understanding their meaning. Napoleon conducted an expedition in which his troops discovered a black slab with two languages and three scripts. (The Rosetta Stone) Ancient Egypt clearly represents the early phases of Western civilization, as we know it today. Greek culture received much of its knowledge from the Egyptians. -Meggs

The Greek alphabet first came into use around 700 BC. Within 300 years the Greeks had developed from dependence on oral tradition based on myths, to a rationalistic, logical culture, which laid the foundation for logic, science, philosophy, psychology, political science, and individualism. The Romans owed their very existence to the Etruscans, and obliterated them, perhaps from ordinary greed, perhaps to hide a truth too degrading to admit. -Meggs

During the eight-century CE, Chinese culture and the Buddhist religion were exported to Japan, where the earliest surviving datable printing was produced. Dynastic records attribute the invention of paper to the eunuch and high government official Ts’ai Lun, who reported his invention to Emperor Ho in 105 CE.This process for making paper continued almost unchanged until papermaking was mechanized in nineteenth century England. -Meggs

During the 1200s the Romanesque period evolved into the Gothic and the rise of the universities created an expanding market for books. For example, twenty thousand of Paris’s hundred thousand residents were students who flocked to the city to attend the university there. Literacy was on the rise, and professional lay illuminators emerged to help meet the growing demand for books. -Meggs

The cultural and political climate was changing during this time. .To fill the formal void, architects, painters, and sculptors enthusiastically embraced the classical forms of ancient Greek and Roman art, which captivated the public in the 1790s.The state of English printing was such that a printing house, type foundry, and ink manufactory had to be established to produce work of the desired quality -Meggs

The Industrial Revolution generated a shift in the social and economic role of typographic communication. Before the nineteenth century, dissemination of information through books and broadsheets was its dominant function. The faster pace and mass-communication needs of an increasingly urban and industrialized society produced a rapid expansion of jobbing printers, advertising, and posters. -Meggs

The reign of Victoria (1819-1901) spanned two-thirds of the nineteenth century. The Victorian era was a time of strong moral and religious beliefs, proper social conventions, and optimism. The Victorians searched for a design spirit to express their epoch. Aesthetic confusion led to a number of often-contradictory design approaches and philosophies mixed together in a scattered fashion. -Meggs

The legacy of the Arts and Crafts movement extends beyond visual appearances. Its attitudes about materials, function, and social value became an important inspiration for twentieth-century graphic designers. Its positive impact on graphic design continues a century after William Morris’s death through the revivals of earlier typeface designs, the continued efforts toward excellence in book design and typography, and the private press movement that continues to this day. -Meggs

Early art nouveau objects and furniture had been primarily one-of-a-kind or limited edition items. But as the design of posters and periodicals brought art nouveau to an ever-widening circle, far greater quantities were produced. Some manufacturers focused on the bottom line by turning out vast amounts of merchandise and graphics with lower design standards. -Meggs

Modernist pictorial graphs in Europe focused on the total integration of word and image, which became one of the most enduring currents of twentieth-century graphic design. The approach began with Bernhard’s 1905 Priester matches poster, responded to the communications needs of World War I and the formal innovations of cubism and other early modern-art movements, and emerged to play a major role in defining the visual sensibilities of the 1920s and 1930s. -Meggs

Many of the immigrants who brought European design principles to the U.S. arrived virtually penniless and with minimal possessions, but they were armed with talent, ideas, and a strong belief in design as a valuable human activity that could contribute to the improvement of human communication and the human condition. The American experience was greatly enriched by their presence. –Meggs

The accomplishments and influences of the Bauhaus transcend its fourteen-year life, thirty-three faculty members, and about 1,250 students. It created a viable, modern design movement spanning architecture, product design, and visual communications. A modernist approach to visual education was developed, and the faculty’s class-preparation and teaching methods made a major contribution to visual theory. -Meggs

Bauhaus The NewTypography

Early Writing Alphabets Asian Contribution

IlluminatedManuscripts

Rise of print in Europe/ Renaissance Graphic Design

During the remarkable first decades of typography, German printers and graphic artists established a national tradition of the illustrated book and spread the new medium of communication throughout Europe and even to the New World. At the same time, a cultural renaissance emerged in Italy and swept graphic design in unprecedented new directions. -Meggs

18th Century Typography

Industrial Revolution &Typographic Explosion

Victorian Arts & CraftsMovement

Art Noveau Modernism

This puts it into deliberate opposition to the old typography whose aim was "beauty" and whose clarity did not attain the high level we require today. This utmost clarity is necessary today because of the manifold claims for our attention made by the extraordinary amount of print, which demands the greatest economy of expression. -Die Neue Typographia, pg. 66

The visual characteristics of this style include a unity of design achieved by asymmetrical organization of the design elements on a mathematically constructed grid; objective photography and copy that present visual and verbal information in a clear and factual manner, free from the exaggerated claims of propaganda and commercial advertising; and the use of sans-serif typography set in a flush-left and ragged right margin configuration. -Meggs

The InternationalTypographic Style

TheNew YorkSchool

The New York school was born from an excitement about European modernism and fueled by economic and technological expansion; it became a dominant force in graphic design from the 1940s until the 1970s. Many of its practitioners, young revolutionaries who altered the course of American visual communications in the 1940s and 1950s, continued to design into the 1990s. -Meggs

Throughout this time the cultural norms of Western society were being scrutinized, and the authority of traditional institutions was being questioned. Pluralism emerged as people began to dispute the underlying tenets of modernism. The continuing quest for equality by women and minorities contributed to a growing climate of cultural diversity, as did immigration, international travel, and global communications. -Meggs

Postmodern Graphic Designin the Global Village

By the 1970s, many believed the modern era was drawing to a close in art, design, politics, and literature. The cultural norms of Western society were being scrutinized, and the authority of traditional institutions was being questioned. Pluralism emerged as people began to dispute the underlying tenets of modernism. Accepted viewpoints were challenged by those who sought to remedy bias and distortion in the historical record. -Meggs

Post-modernismAmericanModernism

CUNEIFORM TABLET3200 BCE

IVORY TABLET OF KING ZET

3100 BCE

EGYPTIAN CYLINDER SEAL

800 BCE

ROSETTA STONE

197-196 BCE

SHI TAO THE LOVE OF LOTUS

1707 CE VATIGAN VERGIL

THE DEATH OF LAOCOON EARLY 5TH CENTURY CE

ROMAIN DU ROILOUIS SIMONNEAU

1700

THE PENCIL OF NATURE

1844-1846

HOBBY HORSEARTHUR MACKMURDO

1884

GE TRADEMARK A.L. RICH

1890

MILITARY RECRUITING JAMES FLAGG

1917

BAUHAUS SEALOSCAR SCHLEMMER

1922

THE TROUSERSJAN TSCHICHOLD

1927

OFFICE OF EMERGENCY MANAGEMENT

JEAN CARLU1941

FUR DAS ALTERCARLO VIVARELLI

1949

EXODUSSAUL BASS

1960

ABC TRADEMARKPAUL RAND

1965

TYPOGRAFISCHEMONATSBLATTERDAN FRIEDMAN

1971

THE PYRGI LAMELLAE

500 BCE

LI FANGYING ALBUM OF EIGHT LEAVES

1744 CE

MANUEL TYPOGRAPHIQUE

PIERRE SIMON FOURNIER1764

EGYPTIAN TYPEFACE

WILLIAM CASLON IV 1816

VALENTINE CARD

LOUIS PRANG1883

KELMSCOTTPRESS

WILLIAM MORRIS1892

JOB CIGARETTESALPHONSE MUCHA

1898

LONDON UNDERGROUNDAUSTIN COOPER

1924

BAUHAUS EXHIBITION

JOOST SCHMIDT1923

THE FOUR GOSPELSERIC GILL

1931

SCOPE MAGAZINEWILL BURTIN

1941

GISELLEARMIN HOFMANN

1959

SEVENTEEN COVERCIPE PINELES

1949

SYMBOL SIGNSROGER COOK

DON SHANOSKY1974

BLAZER FINANCIALSTEFF GEISSBUHLER

1974

THE PHONETIC ALPHABET

1500 BCE

LANTINGJI XU WANG XIZHI

353 CE

THE BOOK OF DURROW

680 CE

MANUALE TIPOGRAFICO

GIAMBATTISTA BODONI1818

FAT FACEROBERT THORNE

1821

KREBS LITHOGRAPHING CO.

1883

BOOKLET COVERFREDERIC W. GOUDY

1911

TROPON HENRI VAN DE VELDE

1899

METROPOLISHEINZ SCHULZ-NEUDAMM

1926

EXHIBITION POSTER

HERBERT BAYER1926

SWISS TOURISMHERBERT MATTER

1934

NAVY RECRUITINGJOSEPH BINDER

1954

HELVETICATYPEFACE

HOFFMAN/MIEDINGER1961

ESQUIRE COVERGEORGE LOIS CARL FISCHER

1969

MTV LOGOMANHATTAN DESIGN

1981

SWATCH WATCHPAULA SCHER

1985

CHI RHO PAGE THE BOOK OF KELLS

794-806 CE

METAL LETTER BITS FOR PRINTING

1450

ADAM AND EVEALBRECHT DURER

1504

COPPERPLAtE ENGRAVING

1430s (INVENTED)

3-D TYPEFACEVINCENT FIGGINS

1815

Helvetica LightHelvetica Light OblHelvetica RegularHelvetica ObliqueHelvetica Bold

ROMAIN DU ROILOUIS SIMONNEAU

1700

M E M P H I S

ZOO

SELF PROMOTIONAL CHOCOLATE BAR

EDUCATION

Arkansas State University Jonesboro, AR BFA in Graphic Design

AWARDS

Student Bronze Addy “Self Portrait” Poster Illustration, 2013

DESIGN PROFICIENCY Advertising Design Web Design Photography

TECHNICAL PROFICIENCY

Adobe Illustrator Adobe Photoshop WORK EXPERIENCE

NEA Baptist Hospital Jonesboro, AR Spring 2013 Graphic Design Internship

Neapolitan Agency Little Rock, AR Summer 2012 Logo Illustration ASU AIGA Jonesboro, AR Member Since 2010

REFERENCES

Ms. Kimberly Vickrey Jonesboro, AR (870) 530-0466

Mr. John Salvest Jonesboro, AR (870) 972-3050

Steven Winieckistevenwiniecki@gmail.com

stevenwiniecki.com(501) 732-6096

Student Bronze Addy“RC Cola Moon Pie Festival”Logo Illustration, 2013

Package DesignCampaign DesignSculpture

Adobe InDesignAdobe Dreamweaver

King Biscuit Blues FestivalHelena, ARSpring 2013Poster Illustration

Design Against FurSpring 2011Poster Illustration

Mr. Scott AtchleyHot Springs, AR(501) 525-3651

Ms. Nicole FrakesJonesboro, AR(870) 919-8482

[INTERIOR WRAPPER- OUTSIDE VIEW]

[INTERIOR WRAPPER- INTERIOR VIEW][PRINTED RESUME]

DESIGN PROFICIENCYDESIGN PROFICIENCY

Advertising Design Web Design Photography

TECHNICAL PROFICIENCYTECHNICAL PROFICIENCY

Adobe Illustrator Adobe Photoshop

WORK EXPERIENCEWORK EXPERIENCE

NEA Baptist Hospital Jonesboro, AR Spring 2013 Graphic Design Internship

Neapolitan Agency Little Rock, AR Summer 2012 Logo Illustration

ASU AIGA Jonesboro, AR Member Since 2010

REFERENCESREFERENCES

Ms. Kimberly Vickrey Jonesboro, AR (870) 530-0466

Mr. John Salvest Jonesboro, AR (870) 972-3050

Package DesignCampaign DesignSculpture

Adobe InDesignAdobe Dreamweaver

King Biscuit Blues FestivalHelena, ARSpring 2013Poster Illustration

Design Against FurSpring 2011Poster Illustration

Mr. Scott AtchleyHot Springs, AR(501) 525-3651

Ms. Nicole FrakesJonesboro, AR(870) 919-8482

[INTERIOR PROTECTIVE WAX PAPER]

[LOGO-MOLDED WHITE CHOCOLATE BAR]

NutritionFactsServing Size 1 bar (82g)Calories 320 Calories from Fat 260*Percent Daily Values are based on a 2,000 cal. diet.

Amount / Serving % Daily Value

Total Fat 28g 32% Saturated Fat 8g 22% Trans Fat 0g Cholesterol 8mg 4%Sodium 25mg 2%

Vitamin A 2% Vitamin C 0%

Amount / Serving % Daily Value

Total Carbohydrate 16g 8% Dietary Fiber 4g 10% Sugars 23gProtein 4g

Calcium 7% Iron 7%

INGREDIENTS: SUGAR (SUGAR CORNSTARCH), PARTIALLY HYDROGENATED PALM KERNEL OIL, WHEY POWDER, SOY LECITHIN, AND ARTIFICIAL FLAVOR.

[BUSINESS CARD INSERT]

[EXTERIOR WRAPPER- OUTSIDE VIEW]

Steven Winiecki(501) 732-6096stevenwiniecki.comstevenwiniecki@gmail.com