VCD101 Blog

What did you learn?  During task two I started by researching some famous designers quotes to use for the ransom quote portion. I learned that it is common to see specific words emphasised to enhance their impact and get the message across faster and more efficiently. I got to use new techniques like using the scanner for my paper collage and I learned how to use the pen tool, explored the grid system for my booklet and how to create interesting text layouts, experimenting with positioning, scale, contrast and shape. I researched various monograms, new and old, which inspired some of my designs along with my own experimental monogram designs. Pinpoint some key challenges along the way.  The most common challenges I faced were with new technology and techniques. The scanner and pen tools felt counterintuitive to use, which meant I had to alter my ideas on the fly and figure out new techniques to get as close as I could to the results I hoped for. I didn't manage to complete my paper

Monograms date back to ancient Greece and Rome, where they were used on coins to show the minting authority or city. Artists and craftsmen also used monograms to sign their work.  In the medieval period, monograms were used by royalty and the clergy as a symbol of authority and authenticity. Kings and bishops would use monogram seals on official documents.  During the Renaissance, monograms became more ornate and were often used in artworks and personal items. They were a symbol of personal or family identity, appearing on everything from bookplates to silverware.  In the 17th and 18th centuries, monograms were popular among nobility and the upper classes in Europe, used for personal items like linens, clothing, and furniture. By the 19th century, monogrammed items became more accessible to the middle class, used to show refinement and status.  With the rise of branding, companies began to use monograms as part of their logos. Famous examples include the overlapped “CC” of Chanel and t

  MASSIMO VIGNELLI - “greed is really the religion of vulgarity.” This quote suggests that the excessive desire for wealth or material possessions, which is greed, showcases a lack of refinement or sophistication, equivalent to vulgarity. It implies that prioritising material gain above all else is shallow and absent of deeper spiritual or ethical values. Vignelli said this to critique the commercialised and materialistic society we live in. He believed that this led to decline in design and cultural values. “Big Think Interview with Massimo Vignelli.”  Big Think , bigthink.com/videos/big-think-interview-with-massimo-vignelli/.  Accessed 10 May 2024. Ransom Quote

Wes Wilson Wes Wilson, one of the most prominent artists of the 1960s psychedelic poster movement, created work that was reflective of the cultural, social, and political changes of the decade. His vibrant and distorted designs were artistic expressions and visual representations of the era's countercultural spirit. The 1960s were marked by a dramatic shift in cultural values, especially among the younger generation. The rise of the counterculture movement, characterised by a rejection of mainstream norms and a search for alternative lifestyles, influenced Wilson's art. This period saw the emergence of the hippie movement, which advocated for peace, love, and communal living, often opposing the materialism and conservatism of their parents' generation. Wilson’s posters, with their swirling, organic forms and vibrant, often clashing colours, visually represented the psychedelic experience through the use of hallucinogenic drugs like LSD. His work was directly connected to th

  Bauhaus Joost Schmidt’s 1923 poster for the Bauhaus exhibition in Weimar is an iconic example of early 20th-century avant-garde design, embodying the principles of the Bauhaus movement. Schmidt’s poster uses several compositional strategies that reflect the Bauhaus ethos of uniting art, craft, and technology. A ma in compos itional strategy in Schmidt’s poster is the use of geometric abstraction. The design is dominated by a bold interplay of shapes, lines, and colours. Circles, rectangles, and lines are arranged in a dynamic, balanced composition that guides the viewer’s eye across the poster. This geometric approach not only creates visual interest but also reflects the Bauhaus emphasis on fundamental shapes and forms in design. Typography plays a vital role in Schmidt’s composition. The text is integrated into the overall design, rather than being a separate element. He uses sans-serif typefaces, which are clean and modern, aligning with the Bauhaus preference for functional, unad