the slice collective:: upside down & backwards

WE ARE AUTHENTIC IN OUR WORK, WE CONSISTENTLY PROVIDE OUR CLIENTS WITH FRESH, ORIGINAL DESIGNS

WE ARE INNOVATORS IN OUR WORK, WE ARE WILLING TO BEND THE ELEMENTS AND PRINCIPLES OF DESIGN TO CREATE ADVANCED, UNEXPLORED COMPOSITIONS

WE ARE AMBITIOUS IN OUR WORK, WE CHALLENGE OURSELVES TO REACH EXCEPTIONAL GOALS

WE ARE ETHICALIN OUR WORK, WE OPERATE WITH HONESTAND SINCERE INTENTIONS

T HE P U L P

WE ARE SIX MULTIFACETED DESIGNERS.WE ARE THE SLICE COLLECTIVE.

WE ARE CREATORS IN OUR WORK, WE WILL STAY TRUE TO OUR

PERSONAL ARTISTIC VOICE WHILEPROVIDING FOR CLIENT NEEDS

WE ARE INFLUENCERS IN OUR WORK, WE ARE SENSITIVE TO SOCIETY

AND SEND POWERFUL, RESPONSIBLE MESSAGES

WE ARE COLLABORATORSIN OUR WORK, WE ARE KNOWLEDGABLE

OF EACH OTHERS SKILL SETS AND COMPLETE TASKS ACCORDINGLY

DESIGN STANDARDIDENTIFYING THE SLICE COLLECTIVE

STATIONERY

DESIGNING PUBLICATIONS

GENERAL THOUGHTS

NAME In text, we will be referred to as The Slice Collective. LOGO The Slice Collective logo will not be redrawn or modified in any way. Color overlays, distortions, etc. will not be used. The Slice Collective logo will appear prominently on all collective publications.

PAPER Media will be chosen by which provides the best colors,

textures, surfaces, weight and sizes for each individual project. TYPEFACESAll typefaces used will be legible and reflect the message being conveyed.

LETTERHEAD The Slice Collective letterhead will be used for all official documentations. Required margins are as follows: 2 inches on the top, 1-1/4 inches on the left,

½ inch on the right, and 1 inch on the bottom.

BUSINESS CARDS The Slice Collective business cards are required for collective members.

All collective publications will be clear and direct. Complimentary typefaces will be used whenever possible. All questions regarding the design standard should be directed to a collective executive.

TYPEFACE: DIN CONDENSEDWEIGHT: BOLD, ALL CAPS

SIZE: 26 PT TRACKING: 50

TYPEFACE: HELVETICA WEIGHT: LIGHT, ALL CAPS

SIZE: 12TRACKING: 0

R:68 G:79 B:83

R:165 G:194 B:202

R:192 G:79 B:83

R:136 G:138 B:141

R:225 G:242 B:0

R:255 G:244 B:78

R:255 G:246 B:132 R:255 G:249 B:174

R:98 G:146 B:164 R:35 G:31 B:32

STATIONERYO U R P R E F E R R E D A E S T H E T I C

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“Through a use of cohesive stationery, our clients will sense our professionalism and get a feel for our design style right off the bat. These pieces will also help our collective continually market our services in a creative

and memorable way.

An attractive, well designed business card can speak volumes to potential clients. The design style of our cards reflects our sharp aesthetic

approach to design.

-EMILY HINCKLEY, COLLECTIVE MEMBER

-TROY ANTINORA, COLLECTIVE MEMBER

VICTORIANART NOUVEAU

PLAKATSTIL /SASH PLAKATCONSTRUCTIVIST

ART DECODADA

INTERNATIONAL TYPOGRAPHIC STYLE

NEW YORK SCHOOLREVIVAL

ECLECTICPSYCHADELIC

JAPANESEPOLISH POSTER STYLE

AMERICAN PUNK

NEW WAVE NEO-PUNK

DECONSTRUCTIVISTEMIGRE

FONTISMCONTROLLED CHAOS

CONCEPTUAL POSTER & GLOBAL VISIONS

EUROPEAN & AMERICAN CONCEPTUAL

The Victorian movement is known as an aesthetic response to industrialization. It took place in England, America, and most of Europe.

The Art Nouveau movement got its start in England. Being the first international design style it rebelled the entire mindset of the Victorian era.

Plakastil took place in Germany, Europe, and United States . It has no ties to any schools or movements and consists of a universal style.

Constructivist artists borrowed ideas from Cubism, Suprematism and Futurism, but Constructivism was a completely new approach to design. Artists wanted to get rid of traditional concern with composition, and replace it with ʻconstruction,ʼ it was hoped that eventually there would be a method of mass production of art.

Art Deco, also known as Style Moderné, is an elegant style of decorative art and design. It features angular, symmetrical geometric forms, often described as clean and “streamlined” design.The movement began after World War I in response to the nationalism and rationalism that was believed to have caused the war. Dada was influenced by the ideas and innovations of Cubism, Futurism, Constructivism, and Expressionism.

Emphasizes sans serif type and readability. Heavy use of grid. Amoung sans serif Helvetica was widely used through the International/ Swiss style.

Made up of painters, musicians, poets, and dancers who were influenced by movements such as avant-garde, surrealism, abstraction, jazz, humor, and improvised acting. The Revival movement used vintage imagery as a backbone to create compelling imagery.

The Eclectic movement incorporates different aspects of various movements and combines them into a well balance piece with nice flow throughout. This movement incorporates many types of media and is represented with a wide color palette.

In response to the american youth hippie culture, Psychedelia is “the hippie movements return to communal living, its attempt at arts and craft production, and its union of art, music, and literature”.

Originating around 1910 from the European avant-garde. It was diminished in the mid 30ʼs due to militarization. Two decades later that style came back with the help of the Osaka World exhibition in 1970.

Following WWII there was limited forms of communication. The Polish government discovered the powerful effect of poster art. Polish artists and designers began creating poster art for films, politics, and other events

Also known as Neo-dada and Neo-Expressionism, Punk was “characterized by the use of raw-edged torn paper and ruling tape” throughout tabloids and poster surfacing during this time. “...comics played an important role in the visual imagery” of the Punk movement.

Focusing predominantly on graphics using photography, layering, hand lettering, different typographic and illustration styles, unique coloring and even experimenting with black and white. The movement of a younger culture which invented their own communication through design. Collaging was the predominant design style.

Deconstructionist challenged traditional communications. This movement changed traditional theories of Type and layouts and introduced new technologies.The movement that lead digital graphic design. As technology improved so did typefaces and designs.90ʼs movement centered around typography. Font creation facilitated by new technology. Gave way to self-taught experiments & advancements with type.

Computers allowed artists to create “irrational-looking” designs and experiment with effects. The designs followed the theory behind deconstructivism & rebelled against corporate designs.

Began with a group of artists in New York (Pushpin Studios). Characterized by experimentation and inventiveness with new forms and techniques to create a conceptually unified piece that may not be readily understood.

Pieces of this movement combined visuals in a poetic way to deliver a pointed message. Included many unique styles. Primarily comprised of young politically active designers.

C O N T I N U E D .

I am an illustrator and designer, currently residing in upstate New York. Drawing has always been a creative outlet for myself. At a young age I studied Gary Larson‘s cartoonistic style. As a teenager I started using pen and ink. A new found love. Throughout my artistic journey my sketch books have become a vital component and a haven for my ideas as an artist. Trying new mediums and experimenting has always been a driving force for myself as an artist. As a traditional illustrator I would not experience the essense of graphic design until my second year of college. I now understand my mission as a designer. To produce responsible and efficent design that the viewer can be directly effected by. Altough new to the game I am quickly starting to discover a personal style within my graphic work that is rapidly evolving.

Created by artist and designer John Alcorn. This book jacket was created with “pen, india ink, and flat color overlay.” I have chosen this piece because I can relate to the work in a personal way that embodies my style and use of pen and mix media. Alcorns piece compares to that of the plakatstil movement in Germany. Using flat color overlays and stark imagery. However Alcorn’s attention to line work and detail set him apart from the plakatstil style. The cotemporary work of the piublication is hard to compare to Alcorns style. While the contemporary is focused on a grid Alcorn focuses on the spacial reasoning involved with both the subjects and typography within the space. Alcorns craftsmanship is flawless and practices clean and effiencent design and layout. As a collectiev we strive for these aspects in our desgins. Alcorns line work and sense of color and space make this an expectional work.

Design created for RFR real estate developers by Graham Hanson Design. I have chosen this piece because of the powerful tyographic style. I can relate to this piece because I too have been using tight tracking and bold italic capitals. This piece relates to that of the Swiss style in terms of there use of typography not necessarily the diagonal layout but the bold and prominent text. This piece relates to the contemporary style of the publication for the same reasons. We use bold heavy text to give prominence and hierarchy within our typographic solutions. I think this pieces relates to our manifesto in that the design is clean, effiecent, powerful, and design sensitive to its viewers. The typograhic solutions that Graham Hanson Design uses is extremely strong, giving focus to a primary, secondary, and tierary typography. This is what makes this piece so exceptional.

ARTIST STATEMENT HISTORICAL CONTEMPORARY

C O N N O RD e H A A N

1. Ethical2. Creative3. Original4. Willing to create outside my comfort zoneI created this Andy Warhol style design using Adobe Illustrator. I find Pop Art very fascinating. It inspired me to strive to make my own original piece. When I created this piece, I used illustra-tor. I stepped out of my comfort zone and tried a new design style I had never tried before. What better model to use than the artist who made this style what it is today? Unlike the typical warhol-inspired design, these figured include more color and detail. The face, hair, and details are among the strong points of the compo-sition.However, the shadowing, glasses, ear, and collar on the right side could be improved upon in order to be a better resolved shape. To improve this piece, l would add detail to the ears, make the collar a little shorter, fix the shadow around the nose, and make the side of the glasses smaller.

The Iced A&P Coffee poster that was made by Joseph Binder is an inspriar-tion for my own work. The 2-D illustration mixed with a limited, yet bold color pal-ette drew me to this piece. It is a modern piece with a nod to Cubism. This poster is pre World War II era. This piece com-pares to my contemporary inspiration piece because it has an iconic feel to it and uses type and image to convey a message. This poster compares to my own creation because they are both illustrations reduced to simpler shapes. One way this compares to our publication is the bold lettering, the color blue and yellow. Personally, this piece follows our manifesto by being authentic and ambi-tious. I feel like all these aspects together are what make this piece exceptional.

I chose a piece by Graham Hanson De-sign designed for Undertone because I really like the concept. The studio clever-ly used pictures with white letter cut outs to create words. This compares to what we have been studying in class because this expresses modernism and goes along with International typographic style with the letters sticking out and being the main focal point. This piece goes along with the piece I created by having an iconic feel. The historical piece correlates because they are both utilizing type in a bold way. I feel like this piece would fol-low all the aspects of our manifesto and this makes it exceptional. I like the fact of how unique this is and no two pictures are alike.


D A N I E L L A

MELITA

As an artist my goal has always been to evoke deep emotion or thoughtfullness from my view-ers. I am interested in both photography and typography and their relationship with eachoth-er. Last semester, spring 2014, I was given an assignment to design a poster for a non-profit organization. Any orgnization of our choosing. When recieving this assignment I knew right away that I wanted to choose an organization that personally spoke to me. My grandfather had just had open heart surgery the previous year so I immediately thought of the Ameri-can heart association, I then went from there and decided to photograph my grandfather and use him as the main imagery. From there I chose a strong typeface and came up with a phrase that I thought would catch people’s eyes and speak to them on a personal lev-el. Overall I think I accomplished that, what I would change about it however is the small text in the bottom right corner, that could benefit from being scaled up in size.This piece shows what I stand for as an artist because it is a type and image example that is mainly dominated by photography. Photography is my passion, specifically photography of people that con-vey emotion. This photograph in my opinion does just that. As a designer I am proud of this piece.

This is a page spread designed by Alexey Brodovitch in the March issue of Harper’s Bazaar magazine in 1939. The photograph used in the design is by George Hoynin-gen-Huene. I chose this piece because I ad-mire his use of dominant photography within the layout on the left side and his creative use of type on the right side that resembles the form of the model in the photograph. I also appreciate his use of white space. This piece inspires me personally because it contains aspects of design that I am interest-ed in and hope to improve in my own work. His use of type and image on the spread and how he related them to each other is exceptional. This piece relates greatly to our design publication because like Brodovitch we created a design that involves substantial amounts of white space. It also resembles the contemporary piece I chose for the same reason, the use of white space and also the use of black and white photography. This is a beautiful example of the modern move-ment due to the rhythm that is created by the text that is also being balanced by the white spaced surrounding it. These were aspects of design that Alexy Brodovitch brought to the American Modern movement.

For my contemporary piece I chose these catalogue designs made for Saks Fifth Av-enue, created by Graham Hanson Design. The design embodies aspects of design that we used when creating our publication. For our publication we used black and white photography and large amount of white space. It also embodies certain aspects of the piece that I chose by Alexy Brodovitch. The publication design done by Graham Hanson incorporates photography domi-nantly, and the cropping and placement of their photographs resemble the work that Brodovitch would have done. I am drawn to this example of design because I admire the images of New York City on two of their pages and the large scale that they used. The design relates to our manifesto because it comes across strong, efficient, and influen-tial.


B R I E S E PENAHERRERA

My work does not focus on one sub-ject over another. I enjoy experiment-ing with alternate design methods and illustrative styles. I always use my sketchbook to draft ideas day and night. These ideas start traditional-ly and eventually develop over time within my sketchbook. I take pride in creating my own individual styles of illustration and design. Being original is the most important aspect of being a successful graphic designer. I look at myself as a creator who studies ideas of others and produces new ideas. It is important to have a wide variety of designing methods. I am strong in the area of drawing there-fore I use that strength to create a foundation to all my designs. Taking your strengths and elaborating them through other media is the best way to create new design. I use traditional methods and then move to digital to experiment and produce new work.

This poster art uses a familiar style of the Plakatstil early modern era. The poster displays an interesting use of type and image. The text is repre-sented in a new style for its time, with three dimensional qualities. But it also integrates image with it by including a cigarette protruding from the “O.” Along with many works of its time, it uses large areas of flat color. This is an aspect that may be seen in our collectives publication. Using large flat color helps produce a strong, bold product. Our publication uses clean imagery and design and the use of flat bold color helps assist this goal. This piece is exceptionally well done in many aspects. Its composition is strong considering it uses the negative space properly. It also has such an interesting design that the viewers eye is constantly moving around the piece. But most importantly is the success of text and image.

The design created by the Graham Hanson design studio was designed for the Paramount Bar & Grill. The Ho-tels Bar & Grill is located in New York City in the theatre district. The design of this piece uses the historical theatre ticket typography to create a unique look. This design style is echoed throughout the hotel and bar. Using such a consistent style with meaning behind it helps to create a unified product. Our publication is similar in the fact that we focused on how we used our type and where. This piece is created almost entirely through its use of typography. We attempted to use our type as the main aspect of our publication to ensure the information is viewed properly. Not only does this design studio use its typography in-telligently but the style they created is used intelligently and unique.

ARTIST STATEMENT HISTORICAL INSPIRATION CONTEMPORARYINSPIRATION

T R O YA N T I N O R A

As an artist, I strive to create clean designs with a clear and understandable message tailored for my target audience. I believe in using prominent typographic hierarchy, with San Serif Type and will often use analogous color schemes. I utilize the grid when creating my pieces and prefer to work with geometric shapes, specifically squares, rectangles, and triangles.

I was asked to create the piece above when I was a Public Relations Intern for Major and Career Exploration in The Compass. My task was to create a marketing campaign, including advertisements, for the Fall 2013 Coordinates to Success Conference featuring Daniel Seddiqui as the keynote speaker. I feel this piece is strong because it meets of the criteria that I strive for in my designs, which I listed above, and was successful in bringing in my target audience. One area for improvement for this piece would be the background. I feel that currently the background feels heavy and cluttered; reducing the opacity of the background could adjust this. Additionally, I feel that the title and subtitle need a rectangle behind it to ground the text in a similar manner that the other text in the piece is.

In 1945, artist Max Bill created a lithographic poster advertising the American architecture exhibition held in the Kunstgewerbemuseum Zürich, now known as the Museum of Design, Zürich. I chose this piece because Bill’s use of the grid and geometric shapes is inspirational to me and are qualities that I look to use in my own work. As we discussed in class, Bill’s work is considered a staple of the International Typographic Style movement for qualities such as his “modular grids, [use of] objective photography, clear and functional [presentation of information], and San Serif Type” (Clabough 5) just to name a few. This work compares to the work of Graham Hanson Design again for their use of San Serif Type, and their use of the grid and geometric shapes (Clabough 5). This work is considered an exceptional piece because of Bill’s use of the grid “to contain the elements,” his “cohesive principles of visual organization,” and for his mathematical approach of creating art (Meggs 374).

Earlier this year, Graham Hanson Design collaborated with the Cohen Media Group “to design a robust and highly integrated web experience” (Graham Hanson Design). I chose this work as I feel it also reflects on what I am trying to do in my designs. For example, Graham Hanson Design utilizes the grid to create a clear and sleek design, in addition to taking a minimalistic approach to make Cohen Media Group’s message clear and understandable to their audience. From my analysis, I found that this work is very similar to the other work within the Collective as they pull from multiple movements, two of which I noticed are the International Typographic Style and Neo Modern. I feel this work references the International Typographic Style movement by the way it clearly presents it’s information, their use of San Serif Type, and in the way they use the grid and geometric shapes (Clabough 5). This work references the Neo Modern movement again with their use of geometric shapes, basic colors, and clear navigation (Clabough 6). For multiple reasons, including the ones I listed above such as their use of the grid and the way they so straightforwardly present their information makes this an exceptional work.

ARTISTSTATEMENT

HISTORICAL INSPIRATION CONTEMPORARYINSPIRATION

K E I T HAMUNDSEN

As a designer and young adult, I am in the midst of figuring out my place in the world. This includes travel and self-reflection which are displayed in my work through text and image. I find success digitally by incorporating hand drawn elements and focusing on mixed media styles. My work although mostly digital, gains its strength from its traditional starting points. Displaying an e.e. cummings poem, this piece draws on elements found in a specific location. Almost as a page of a guide journal of sorts, this piece features scanned leaves found in the space, swatches of paint inspired by the colors found there and a painting done in the style of e.e. cummings. The textured background, handwritten text and use of mixed media combine to create a visually and conceptually unified piece. If I were to do this piece differently, I would reduce the scale of some of the elements so as to create a better defined visual hierarchy. I would also lighten the value of the background to create more contrast with the thin handwritten text.

I find Lousie Fili to be an inspirational artist for her many designs which include hand done typography. Filli’s knack for typography is sucessful at branding products and making bold, sophisticated statements. I personally enjoy how she works traditionally and digitially seamlessly. Drawing on Art Deco and Victorian and styles, which represent geometric pattern and ornate decorations respectively, Lousie Filli created an elegant book jacket design for a book authored by herself and her husband, Steven Heller. This piece utilizes cohesive color scheme and bold patterning. The geometry within this piece can be seen in our collective publications on pages like The Design Standard where we employed line and shape in an intricate way. Thin line work is also present in both pieces. This is an exceptional piece because it has play between organic and geometric line and shape. The imagery paired with a secondary, very cohesive color scheme sets the book up as great piece of design.

I chose the Rockefeller Center marketing campaign by Graham Hanson Design because it has an emphasis on typography. This campaign also utilizes Image in a bold way, focusing on items individually from specific storefronts in the center. This campaign is aligned with the American Modern movement as it is similar to editorial and advertising design done by Herbert Matter. A similar design approach can be seen on our publication pages. Both projects have predominantly white background featuring bold text. This campaign represents exceptional work because it combines organic patterning within bold symbols and cohesively employs a bright color palette (strategically chosen to brand the shopping center as a vibrant, premier space). The overall floral theme is found within designed patterning, the photographs of the products and flower images alongside product photos.


E M I L YHINCKLEY

THE CONTRIBUTERSTHE CONTRIBUTERS

BRIESE PENAHERRERAmanifesto

timelinecredits page

covermembers page

CONNOR DEHAANmanifestotimeline

EMILY HINCKLEYmanifestotimeline

TROY ANTINORAmanifestotimelinecoverdesign standard member page

DANIELLA MELITAmanifesto

timelinebibliography

members page

KEITH AMUNDESONmanifesto

timelinedesign standardmembers page

CONNOR DEHAANmanifestotimelinedesign standard

EMILY HINCKLEYmanifestotimelinetable of contentscovermembers page

member page

manifestotimeline

EKEITH AMUNDSEN

BIBLIOGRAPHYBibliography

EARLY MODERN:

Victorian: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New

Century. 3rd ed. New York: Abrams, 2011. Print.

Unknown. Sutton's Compound Cream of Ammonia. 1907. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 14. Print.

Art Nouveau: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


Toulouse-Lautrec, Henri De. Reine De Joie. 1892. The Museum of Modern Art, New York. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 40. Print. Plakasti l & Sach Plakat:

Erdt, Hans Rudi. Opel. 1911. Reinhold Brown Gallery, New York. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 79. Print.

Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. Print.

Constructivism: "Constructivism." The Art Story.org. The Art Story Foundation, n.d. Web. 30 Oct.

2014. <http%3A%2F%2Fwww.theartstory.org%2Fmovement-constructivism.htm>.

Rodchenko, Alexander. 1925. Leningrad Publishing House, Libris, New York. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 103. Print.

Art Deco (Style Moderné):

"Artists by Movement: Art Deco." The Ultimate Guide to Great Art Online

Artcyclopedia. N.p., n.d. Web. 30 Oct. 2014. <http://www.artcyclopedia.com/history/art-deco.html>.

Rodchenko, Alexander, and Varvara Stepanova. Books. 1924. Eduardo Benito. Vogue. Magazine cover, May 1,1926. Courtesy Vogue, The Condé Nast Publications Inc.

The Editors of Encyclopædia Britannica. "Art Deco (art Movement)."

Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 29 Oct. 2014. <http://www.britannica.com/EBchecked/topic/36505/Art-Deco>.

DADA:

"Dada Movement, Artists and Major Works." The Art Story.org - Your Guide to Modern Art. The Art Story Foundation, n.d. Web. 28 Oct. 2014. <http://www.theartstory.org/movement-dada.htm>.

Schwitters, Kurt, and Theo Van Doesburg. Kleine Dada Soirée. 1992. Dada Event, Reinhold Brown Gallery, New York. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 168. Print.

MODERN:

International Typographic Style: Müller-Brockmann, Josef. Weniger Lärm (Less Noise). 1960. Graphic Style:

From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 199. Print.

".. :: The International Typographic Style Timeline :: .." .. :: The International Typographic Style Timeline :: .. N.p., n.d. Web. 30 Oct. 2014. <http://smearedblackink.com/swiss_style_timeline/>.

New York School: Clabough, Cynthia. "New York School: Modern—American Style." Art 365 History

of Graphic Design. SUNY Oswego, Oswego, NY. Fall 2014. Lecture.

Kotin, Albert. Westerly. 1957. Oil on Canvas. N.p.

"The New York School - Boundless Open Textbook." Boundless. N.p., n.d. Web. 30 Oct. 2014. <https://www.boundless.com/art-history/textbooks/boundless-art-history-textbook/europe-and-america-1900-1950-36/abstract-expressionism-230/the-new-york-school-823-1926/>.

Revival: Ganzel, Bill. "World Events during the 1950s and 60s." World Events during the

1950s and 60s. Ganzel Group, 2007. Web. 18 Nov. 2014. <http://www.livinghistoryfarm.org/farminginthe50s/worldevents_01.html>.

Glaser, Milton. Holiday. 1967. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 203. Print.


Eclectic: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New

Century. 3rd ed. New York: Abrams, 2011. Print. McMullen, James. Paul Desmond: Late Lament. 1987. Graphic Style: From

Victorian to New Century. 3rd ed. New York: Abrams, 2011. 204. Print. Stepanyuk, Mykola. "Understanding Eclectic Style in Interior Design | Cruzine." Understanding Eclectic Style in Interior Design | Cruzine. N.p., 24 Feb.!

2011. Web. 04 Nov. 2014. <http://www.cruzine.com/2011/02/24/eclectic-style-interior-design/>.

Psychedelic: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New

Century. 3rd ed. New York: Abrams, 2011. Print. Holtom, Gerald. Symbol for Peace. 1958. Design. Psychedelic 60s. Graphic

Design History. Web. 8 Nov. 2014. <http://visualartsdepartment.wordpress.com/psychedelic-60s/>.

"Psychedelic 60s." Graphic Design History. N.p., n.d. Web. 08 Nov. 2014. <http://visualartsdepartment.wordpress.com/psychedelic-60s/>

Polish Poster: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


Starowieyski, Franciszek. Stanislaw Ignacy Witkiewicz- They/ Oni Original Polish Theater Poster. 1978. Polish Poster.com. Polish Poster.com, 2010. Web. 8 Nov. 2014. <http://www.polishposter.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=0628>.

Japanese: 1986. The 2nd Exhibition, Shigeo Fukuda Exhibition, Ginza Graphic Gallery.

DNP Foundation for Cultural Promotion. Dai Nippon Printing Co. Web. 8 Nov. 2014. <http://www.dnp.co.jp/gallery/ggg_e/exhibition/g002/index.html>.


Punk: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


Panter, Gary, and Francoise Mouly. Raw #3. N.d. Francoise Mouly: Underappreciated and Essential. 6 Apr. 2008. Web. 8 Nov. 2014. <http://sanseverything.wordpress.com/2008/04/06/francoise-mouly-underappreciated-and-essential/>.

POST MODERN:

New Wave: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


Kosstrin, Jane, and David Sterling. Fetish. 1980. Double Space, New York. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 227. Print.

Neo Punk:

Chantry, Art. Give Peace a Dance. 1987. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 228. Print.


Deconstruction: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


McCoy, Kathrine. Cranbook Graduate Design. 1989. Cranbook Academy. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 236. Print.

Émigré: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


VanderLans, Rudy. Emigre #24: Neomania. 1992. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 238. Print.

Fontism: "Fontism." Digital Era. Word Press, n.d. Web. 4 Nov. 2014.

<http%3A%2F%2Funi.edu%2Fsteveeae%2Fidc%2Fdesigneras%2F%3Fpage_id%3D17>.

Stephan Farrell. Entropy. Typeface, 1993. Courtesy Courtesy Slip Studios

Controlled Chaos: Heller, Steven, and Seymour Chwast. Graphic Style: From Victorian to New


Keaton, Jeffrey, and Christopher Davis. MTV Unplugged. 1995. Graphic Style: From Victorian to New Century. 3rd ed. New York: Abrams, 2011. 244. Print.

Conceptual Posters and Global Visions: Duchamps, Marcel, and Milton Glaser. Bob Dylan Poster. 1966. Poster Made for

CBS Records. Business Week. Web. 9 Nov. 2014. <http://images.businessweek.com/ss/06/01/milton_glaser/source/2.htm>.

Meggs, Philip B., Alston W. Purvis, and Philip B. Meggs’ History of Graphic Design. Hoboken, NJ: J. Wiley & Sons, 2006. Print.

European & American Conceptual: Grapus. Mickey Hitler. 1982. Exhibition Poster, Paris, France.

Meggs, Philip B., Alston W. Purvis, and Philip B. Meggs’ History of Graphic Design. Hoboken, NJ: J. Wiley & Sons, 2006. Print.

BIBLIOGRAPHY

MEMBER PAGES:

- Each put in our own pieces - All of us used : Graham Hanson Design 17 Collective

http://grahamhanson.com/about/ KEITH:

- Historical: Bill, Max. American architecture exhibition poster. 1945. Clabough, Cynthia. “On Graphic Style.” Art 365 History of Graphic Design.

SUNY Oswego, Oswego, NY. Fall 2014. Lecture Meggs, Philip B., and Alston W. Purvis. "Pioneers of the Movement." Meggs'

History of Graphic Design. Hoboken, NJ: J. Wiley & Sons, 2006. 373-75. Print.

- Contemporary: Clabough, Cynthia. “On Graphic Style.” Art 365 History of Graphic Design.

SUNY Oswego, Oswego, NY. Fall 2014. Lecture

Graham Hanson Design. "Cohen Media Group." Behance. 18 July 2014. Web. 18 Nov. 2014. <https://www.behance.net/gallery/18453667/Cohen-Media-Group>.

Graham Hanson Design. "Cohen Media Group." Graham Hanson Design. Graham Hanson Design, n.d. Web. 09 Nov. 2014. <http://grahamhanson.com/work/cohen-media-group/>.

Graham Hanson Design. GHD_Work_CB_Slideshow_CMG.jpg. Digital image. Graham Hanson Design. Web. <http://grahamhanson.com/wp-content/uploads/2014/03/GHD_Work_CB_Slideshow_CMG.jpg>.

- Amundsen, Keith. Untitled. 2014. Digital. Oswego, New York.

DANIELLA:

- Historical: Clabough, Cynthia. "The Field of Design." Art 365 History of Graphic Design.

SUNY Oswego, Oswego, NY. Fall 2014. Lecture. Binder, Joseph. Iced A&P Coffee.1939. Meggs’ History of Graphic Design. Hoboken,NJ: J.Wiley & Sons, 2006. 356. Print.

- Contemporary: Graham Hanson Design. "Undertone." Graham Hanson Design. Graham Hanson

Design, n.d. Web. 09 Nov. 2014. <http://grahamhanson.com/work/undertone/>.

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- Melita, Daniella. Andy Warhol. 2014. Adobe Illustrator. Oswego, New York.

BRIESE:

- Historical: "Alexey Brodovitch." - Iconofgraphics.com. Web. 24 Nov. 2014.

<http://www.iconofgraphics.com/alexey-brodovitch/>.

- Contemporary: Graham Hanson Design. "Saks OFF 5th." Graham Hanson Design. Graham

Hanson Design, n.d. Web. 09 Nov. 2014. <http://grahamhanson.com/work/saks-off-5th/>

- Penaherrera, Briese. The Heart. 2014. Poster. Oswego, New York.

EMILY:

- Historical: Clabough, Cynthia. "Filli." Art 365 History of Graphic Design. SUNY Oswego,

Oswego, NY. Fall 2014. Artist Sample. Fili, Louise. Il Conte. 2008. Pinot Grigio. Web. 24 Nov. 2014.

<http://www.montgomerycollege.edu/~mvaughan/web_slideshow4/Art%20of%20the%20Label/resources/images/large/bridgefsfileUsersmarthavaughanDocumentslabel_art_slideshowLouise%20Fili-Il%20Conte%20Pinot%20Grigio.jpg>.

- Contemporary: Graham Hanson Design. "Rockefeller Center." Graham Hanson Design. Graham

Hanson Design, n.d. Web. 09 Nov. 2014. <http://grahamhanson.com/works/rockefeller-center/>

- Hinckley, Emily. Most Beautiful Darling. 2012.Mixed Media, Adobe Photoshop. Oswego, New York.

CONNOR:

- Historical: Clabough, Cynthia. "In-Class Presentation Plate." Art 365 History of Graphic

Design. SUNY Oswego, Oswego, NY. Fall 2014. Alcorn, John. La Morra Cinese. 1972. Florence, Italy. Evolution By Design.

Rizzoli. Web. 23 Nov. 2014. <http://www.alcorngallery.com/John_Alcorn/JohnAlcorn_image.php?number=041>.

- Contemporary:

Graham Hanson Design. "RFR." Graham Hanson Design. Graham Hanson Design, n.d. Web. 09 Nov. 2014. <http://grahamhanson.com/work/rfr/>

- Dehaan, Connor. Nanny's Trip. 2014. Mixed Media. Oswego, New York.

BIBLIOGRAPHY

TROY:

- Historical: Willrab. Problem. 1918. Poster for Cigarette Company. Graphic Style: From

Victorian to New Century. 3rd ed. New York: Abrams, 2011. 76-77. Print. - Contemporary:

Graham Hanson Design. "Paramount Hotel." Graham Hanson Design. Graham Hanson Design, n.d. Web. 09 Nov. 2014. <!http://grahamhanson.com/work/paramount-hotel/>

- Antinora, Troy. No Title. 2014. Digital Illustration. Oswego, New York.

EVENTS ON TIMELINE:

"Know These Important Events from the 1980s." About. Web. 24 Nov. 2014.

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BIBLIOGRAPHY