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Steven Winiecki Graphic Designer


Student Bronze

2013


THE H STORY OF GRAPH C DES GN

Early Writing

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

Alphabets

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

Asian Contribution 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

Illuminated Manuscripts 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

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

CUNEIFORM TABLET 3200 BCE

ROSETTA STONE 197-196 BCE

SHI TAO THE LOVE OF LOTUS 1707 CE

VATIGAN VERGIL THE DEATH OF LAOCOON EARLY 5TH CENTURY CE

METAL LETTER BITS FOR PRINTING 1450

IVORY TABLET OF KING ZET 3100 BCE

THE PYRGI LAMELLAE 500 BCE

LI FANGYING ALBUM OF EIGHT LEAVES 1744 CE

CHI RHO PAGE THE BOOK OF KELLS 794-806 CE

ADAM AND EVE ALBRECHT DURER 1504

EGYPTIAN CYLINDER SEAL 800 BCE

THE PHONETIC ALPHABET 1500 BCE

LANTINGJI XU WANG XIZHI 353 CE

THE BOOK OF DURROW 680 CE

COPPERPLAtE ENGRAVING 1430s (INVENTED)

18th Century Typography 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

ROMAIN DU ROI LOUIS SIMONNEAU 1700

ROMAIN DU ROI MANUEL LOUIS SIMONNEAU TYPOGRAPHIQUE 1700 PIERRE SIMON FOURNIER 1764

MANUALE TIPOGRAFICO GIAMBATTISTA BODONI 1818

Industrial Revolution & Typographic Explosion 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

Victorian

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

Arts & Crafts Movement 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

Art Noveau

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

Modernism

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

Bauhaus

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

The New Typography 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

American Modernism 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 International Typographic Style 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 New York School 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

Postmodern Graphic Design in the Global Village 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

Post-modernism

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

3-D TYPEFACE VINCENT FIGGINS 1815

THE PENCIL OF NATURE 1844-1846

HOBBY HORSE ARTHUR MACKMURDO 1884

GE TRADEMARK A.L. RICH 1890

MILITARY RECRUITING JAMES FLAGG 1917

BAUHAUS SEAL OSCAR SCHLEMMER 1922

THE TROUSERS JAN TSCHICHOLD 1927

OFFICE OF EMERGENCY MANAGEMENT JEAN CARLU 1941

FUR DAS ALTER CARLO VIVARELLI 1949

EXODUS SAUL BASS 1960

EGYPTIAN TYPEFACE WILLIAM CASLON IV 1816

VALENTINE CARD LOUIS PRANG 1883

KELMSCOTT PRESS WILLIAM MORRIS 1892

JOB CIGARETTES ALPHONSE MUCHA 1898

LONDON UNDERGROUND AUSTIN COOPER 1924

BAUHAUS EXHIBITION JOOST SCHMIDT 1923

THE FOUR GOSPELS ERIC GILL 1931

SCOPE MAGAZINE WILL BURTIN 1941

GISELLE ARMIN HOFMANN 1959

SEVENTEEN COVER CIPE PINELES 1949

SYMBOL SIGNS ROGER COOK DON SHANOSKY 1974

BLAZER FINANCIAL STEFF GEISSBUHLER 1974

FAT FACE ROBERT THORNE 1821

KREBS LITHOGRAPHING CO. 1883

BOOKLET COVER FREDERIC W. GOUDY 1911

TROPON HENRI VAN DE VELDE 1899

METROPOLIS HEINZ SCHULZ-NEUDAMM 1926

EXHIBITION POSTER HERBERT BAYER 1926

SWISS TOURISM HERBERT MATTER 1934

NAVY RECRUITING JOSEPH BINDER 1954

HELVETICA TYPEFACE HOFFMAN/MIEDINGER 1961

ESQUIRE COVER GEORGE LOIS CARL FISCHER 1969

MTV LOGO MANHATTAN DESIGN 1981

SWATCH WATCH PAULA SCHER 1985

Helvetica Light Helvetica Light Obl Helvetica Regular Helvetica Oblique Helvetica Bold

ABC TRADEMARK PAUL RAND 1965

TYPOGRAFISCHE MONATSBLATTER DAN FRIEDMAN 1971


Automotive


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Net Wt. 1 OZ (28g)

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

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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

NET WT. 16.9 FL OZ (500 mL)

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.

Directions: Eat 6 chews 15 minutes prior to exercise or competition to keep you fueled and going strong.

Other Ingredients: Sucrose, Citric Acid, Microcrystalline Cellulose, Stearic Acid, Natural Flavor, Sucralose, FD&C Yellow #6, Magnesium Stearate, Silica.

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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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


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.

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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. .47g


SKI M

Manufactured for Milk Co., Bradenton, Florida 34206 USA Under License 2013 Milk Co.

WHOLE

FOR BEST TASTE, USE BY:

Ingredients: Grade A Milk and Vitamin D3

Please Recycle

DO NOT consume if inner seal is torn or missing.

NET WT. 59 FL OZ

KEEP REFRIGERATED

WHOL

Manufactured for Milk Co., Bradenton, Florida 34206 USA Under License 2013 Milk Co.

SKIM

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FOR BEST TASTE, USE BY:

Ingredients: Grade A Milk and Vitamin D3

Please Recycle

DO NOT consume if inner seal is torn or missing.

NET WT. 59 FL OZ

KEEP REFRIGERATED


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Net Wt. 3.2 oz (90 g)

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 Logo ADDYs Logo -AAF Mountain billboard Photograph -Oldtimer Rest Stop NEA Baptist Logo NEA Baptist building blocks NEA Baptist photographs NEA 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 Logo Memphis Zoo Animals -Memphis Zoo Chaps Logo -Chaps Chanel Logo -Chanel Gucci Logo -Gucci GNC Logo -GNC Palmolive For Kids Logo Colgate-Palmolive Logo -Colgate-Palmolive

ALL other photographs And Designs Copyright -Steven Winiecki (Graphic Designer)


Steven Winiecki- Portfolio