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PARTIAL CLIENT LIST: Institute of Contemporary Art at MECA Victoria Mansion Portland Stage Company Stonecoast Brewing Company Black Mountain Acupuncture Jeremy Joseph Woodworks Lagarto Glass 2005 20042005 20022004 20012005 19992001 EMPLOYMENT HISTORY Art Director The Bollard¹ Graphic Designer The Portland Phoenix Graphic Designer and Prepress Technician Full Court Press2 Freelance and Client Direct Design Assistant Director Maine Summer Institute in Graphic Design3 OBJECTIVE To create smart, functional, clean, and considered design for a wide range of perceptive clients. To pursue the dream of respecting the art of design and to value inspiration over compensation. To share my spirit and enthusiasm with appreciative clients.

EDUCATION 19972001 Maine College of Art, BFA in Graphic Design and New Media4 COMPLETE EMPLOYMENT HISTORY (CHRONOLOGICAL) camp counselor a, warehouse stocker b, office painter c, meat slicer d, sandwich maker e, dishwasher f, doorman g, office assistant h, gofer i, front end manager j, video store clerk k, freelance designer l, prepress technician m, graphic designer n, art director o. 2001 1999 1997 1996 1985 AWARDS & HONORS Chosen designer, ICA poster design competition5 Dean's List, MECA Tony Pandy Award, HMRAB6 Ron Cross Memorial Scholarship Young Author's Conference Award, Brewer7 EMPLOYMENT SATISFACTION

10 8 6 4 2 0
















Letters correspond to COMPLETE EMPLOYMENT HISTORY and satisfaction is represented by 110, 0 being entirely meritless employment and 10 being most worthwhile. While no job was without worth, and certainly all employment furthered essential skills in problem solving and keeping perspective in life, the graph clearly shows a natural inclination toward DESIGN as Sean Wilkinson's ideal profession.

1 Working for The Bollard has given me the opportunity to have a hand in the look and feel of a publication from its inception, which has been both challenging and educational. 2 My work for FCP was often tedious and frustrating, but in my 18 months there I learned an incredible amount of indispensable printing knowledge. I now am well versed in pre-press technology, ink behaviors, and paper choices, further informing my design decisions. 3 The most important step in my design experience. Working with worldrenowned designers like Skolos-Wedell, Melle Hammer, Lucille Tenazas, Bruno Monguzzi, and Douglass Scott reinforced my concepts of smart design and solidified the idea that I had no choice but to design for the rest of my life. 4 Maine College of Art provided a focused, fundamental-centric design schooling. I consider the knowledge that I gained there an invaluable asset to my design skills.

5 One of the most educational aspects of MECA was its emphasis on real world application and exposure. My first freelance jobs came from professors as a result of my exposure as a designer through MECA. 6 In 1997 I had the honor of having one of my iron sculptures chosen for inclusion on the gates of the new Shakespeare's Globe Theater in London. Her Majesty's Royal Association of Blacksmiths awarded the Tony Pandy Cup. 7 I remember wearing a clip-on tie and reading a story aloud to a room full of people. The rest is fuzzy.

* 808 CONGRESS STREET PORTLAND, MAINE sean @ 207.415.9196


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