Molly Lay - aicportfolios.net

5612 Lester Ave. Apt. #2 Phone: 513.319.1336
Cincinnati, OH 45213
E-mail: [email protected]
Molly Lay
Objective
To obtain a full-time creative Graphic Design position.
Expertise
• Adobe Illustrator
• Adobe Photoshop
• Adobe InDesign
• QuarkXPress
• Dreamweaver
• Flash
• Microsoft Office
Education The Art Institute of Cincinnati, Cincinnati, OH
July, 2008 Graduate
Associate Degree of Applied Science in Design/ Computer Graphics
Loveland High School, Loveland, OH
2002–2005 Graduate
• Advanced Placement Classes
• Art Club
• Mural Painting for School’s Interior
Work History
2007–Current
Outback Steakhouse, Cincinnati, OH
Server
• Customer Service
2004–2006
A-One Commercial Cleaners, Cincinnati, OH
Commercial Janitor
• Commercial Cleaning
• Office Maintenance
2002–2003
Corner Antiques, Loveland, OH
Customer Service
• Book Keeping of Sales and Profits
• Customer Assistance
• Phone and Store Sales
Accomplishments
• Northlich “Stand” Campaign Graphics
• Children’s Craft Center for the City of Loveland
• Photography Contest Winner for The City of Loveland
• Greeting Card Design for Local Folk Artist
• American Cancer Society Fundraising Board
5612 Lester Ave. Apt. #2 Phone: 513.319.1336
Cincinnati, OH 45213
E-mail: [email protected]
Molly Lay
References:
Lydia Lawless
Entrepreneur/Supervisor
A-One Commercial Cleaners
9325 Schlottman Rd. Loveland, OH 45140
513.503.7386
Alex Bayer
Manager/Artist
Cincinnati, OH
513.368.0103
Tom Greene
Professor/Illustrator
The Art Institute of Cincinnati
1171 East Kemper Rd. Cincinnati, OH 45246
513.751.1206
Randall M. Zimmerman
IT Computer Graphics Instructor
The Art Institute of Cincinnati
1171 East Kemper Rd. Cincinnati, OH 45246
513.751.1206
5612 Lester Ave. Apt. #2 Phone: 513.319.1336
Cincinnati, OH 45213
E-mail: [email protected]
Molly Lay
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Editorial Design
ER
Poster Design
Web Design
Corporate Identity
Ladislav Sutnar was a progenitor of the current
practice of information graphics, the lighter of a
torch that is carried today by Edward Tufte and
Richard Saul Wurman, among others. For a
wide range of American businesses, Sutnar
developed graphic systems that clarified vast
amounts of complex information, transforming
business data into digestible units. He was the
man responsible for putting the parentheses
around American telephone area-code numbers when they were first introduced.
The English author Anthony Trollope, who held
a day job as a postal employee, is not remembered for "designing" the British postal box in
1852. Likewise, Sutnar has not been credited
for the American area code, which was so integral to the design of the new calling system that
is was instantly adopted into the language. The
functional typography and iconography the he
developed as part of various design programs
for the Bell System in the late 1950s and early
'60s made public access to both emergency
and normal services considerably easier, while
giving America's telecommunications monopoly
a distinctive graphic identity. Yet the Bell
System denied him credit, considering graphic
designers as transparent as the functional
graphics they designed. Nonetheless, Sutnar's
unheralded contributions to information architecture remain milestones, not only of graphic
design history but of design for the public good.
As impersonal as the area-code design might
appear, the parentheses were actually among
"Provided the base for further extension of new design vocabulary and new design means, He
made Constructivism playful and used geometry to create the dynamics of organization," says
Noel Martin, who was a member of Sutnar's small circle of friends in the late 1950s.
“Without efficient typography, the jet plane pilot cannot read his instrument panel fast enough
to survive. [So] new means had to come to meet the quickening tempo of industry. Graphic
design was forced to develop higher standards of performance to speed up the transmission
of information. [And] the watchword of today is 'faster, faster'; produce faster, distribute faster,
communicate faster."
"To be a Sutnar in Czechoslovakia was to be a prince, " recalls his younger son Radoslav
Sutnar, who today is a real estate developer and consultant in Los Angeles.
Stretton Publishing Co. Ltd.
PO Box 65
Cnr Thames & Lorne St
Morrinsville
Phone: 07 889 4053
Fax: 07 889 4058
Ladislave Sutnar: Pioneer of Information Design
"The lack of discipline in our present-day urban industrial environment has produced a visual
condition, characterized by clutter, confusion and chaos," wrote Allon Shoener, the curator of
the exhibition Ladislav Sutnar: Visual Design in Action, which originated at the Contemporary
Arts Center in Cincinnati in 1961. "There is an urgent need for communication based upon
precision and clarity. This is the area in which Ladislav Sutnar excels."
By: Steven Heller
January 2008
!
!
Ladislave Sutnar: Pioneer of Information Design
By: Steven Hellller
As impersonal as the area-code design might
appear, the parentheses were actually among
Sutnar's signature devices, one of many he used
to distinguish and highlight information. As the art
director, from 1941 to 1960, of F.W. Dodge's
Sweet's Catalog Service, America's leading distributor and producer of trade and manufacturing
catalogues, Sutnar developed various typographic and iconographic navigational devices that
allowed users to efficiently traverse seas of data.
His icons are analogous to the friendly computer
symbols used today.
In addition to grid and tab systems, Sutnar made
common punctuation, such as commas, colons
and exclamation points, into linguistic traffic signs
by enlarging and repeating them. Although he
professed universality, he nevertheless possessed a graphic personality that was so distinctive from others practicing the International Style
that his work did not even require a credit line,
although he almost always took one.
"The lack of discipline in our present-day urban
industrial environment has produced a visual condition, characterized by clutter, confusion and
chaos," wrote Allon Shoener, the curator of the
exhibition Ladislav Sutnar: Visual Design in
Action, which originated at the Contemporary Arts
Center in Cincinnati in 1961. "There is an urgent
need for communication based upon precision
and clarity. This is the area in which Ladislav
Sutnar excels."
Like Jan Tschichold, Sutnar synthesized
European avant-gardisms, which he said "provided the base for further extension of new design
vocabulary and new design means," into a functional commercial lexicon that eschewed formalistic rules or art for art's sake. While he modified
aspects of the New Typography, he did not compromise its integrity in the same way that elements of Swiss Neue Grafik became mediocre
through mindless usage over time. "He made
Constructivism playful and used geometry to create the dynamics of organization," says Noel
Martin, who was a member of Sutnar's small circle of friends in the late 1950s.
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Book Cover Design
Editorial Design