steven winiecki- portfolio
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ÂTRANSCRIPT
Steven Winiecki
Graphic Designer
Student Bronze 2013
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
Automotive
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NET WT. 16.9 FL OZ (500 mL)
Other Ingredients: Maltodextrin, Protein Blend (Whey Protein Concentrate, Hydrolyzed Whey Protein), Dextrose, Fructose, Vitamin & Mineral Premix, Citric Acid, Malic Acid, Natural and Artificial Flavors, Tartaric Acid, Lecithin, Sucralose, FD&C Blue #2
These statements have not been evaluated by the Food and Drug Administration.This product is not intended to diagnose, treat, cure, or prevent any disease.
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Net Wt. 1 OZ (28g)
Other Ingredients: Sucrose, Citric Acid, M
icrocrystalline Cellulose, Stearic Acid, Natural Flavor, Sucralose, FD&C Yellow #6, M
agnesium
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Keep out of reach of children. Store in a cool, dry place. For more information: 1-800-462-2548 Dist. by General Nutrition Corporation, Pittsburg, PA 75222
These statements have
not been evaluated by the Food and Drug Adm
inistration.This product is not intended to diagnose, treat, cure, or prevent any disease.
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Other Ingredients: Proprietary Protein Blend (Soy Isolate, Whey Isolate, Whey Isolate, Whey Concentrate, Milk Protein Concentrate and Wheat Isolate), Maltitol, Palm Kernel Oil and Palm Oils, Vegetable Glycerin, Sorbitol, Chocolate Liquor, Cocoa Powder (Processed With Alkali) , Sugar, Gelatin, Chicory Root Extract, Cocoa Butter, Maltodextrin, Vegetable Monoglycerides, Natural Flavor, Water, Soy Lecithin, Titanium Dioxide (color), Salt, Potassium Sorbate (as a preservative), Citric Acid, Beta Carotene, Vitamin A Palmitate, Tapioca Starch, Sorbitan Tristearate, Sucralose. WARNING: Contaings: Milk, Peanuts, Soybeans and Wheat. Manufactured in a plant that processes peanut, tree nut, soy, wheat, milk, and egg products.
WH
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Ingredients: Grade A Milk and Vitamin D3
NET WT. 59 FL OZ
Man
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Co.
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dent
on, F
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206
US
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PleaseRecycle
FOR BEST TASTE, USE BY:
KEEP REFRIGERATED
DO NOT consume if inner seal is torn or missing.
WH
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Man
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Co.
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dent
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206
US
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3 M
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PleaseRecycle
FOR BEST TASTE, USE BY:
NET WT. 59 FL OZ
KEEP REFRIGERATED
Ingredients: Grade A Milk and Vitamin D3
DO NOT consume if inner seal is torn or missing.
SKI
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Cut Along Line
Cut Along Line
Net Wt. 3.2 oz (90 g)
0 123456 789012
Ingredients: Soap (Sodium Tallowate, Sodium Cocoate, and/or Socium Palm Kernelate), Water, Glycerine, Fragrance, Sodium, Chloride, Hydrogentated Tallow Acid, Coconut Acid, Titanium Dioxide, Pentasodium Penetate, Pentaerithrityl Tetra-di-t-butyl Hydroxyhydro-cinna-mate, D&C Yellow No. 10, D&C Green No. 5.
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Credits
AAF LogoADDYs Logo-AAF
Mountain billboard Photograph-Oldtimer Rest Stop
NEA Baptist LogoNEA Baptist building blocks NEA Baptist photographsNEA Baptist “Building health care around you.”-Nicole Frakes (NEA Baptist Graphic Designer)
History of Graphic Design Images-Educational Institution use
Priority Club Rewards Logos-Priority Club Rewards
Andy Warhol signature-Andy Warhol
“29 Things” Poster Text Copy-Doug Bartow (Art Director/Designer)
Memphis Zoo LogoMemphis Zoo Animals-Memphis Zoo
Chaps Logo-Chaps
Chanel Logo-Chanel
Gucci Logo-Gucci
GNC Logo-GNC
Palmolive For Kids LogoColgate-Palmolive Logo-Colgate-Palmolive ALL other photographs
And DesignsCopyright
-Steven Winiecki (Graphic Designer)