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Screenshot of my Visual Diary Archive over 12 weeks.

The theme I choose for my visual diary assignment was to use a specific colour each week as a visual prompt, working my way through the spectrum sharing things that caught my eye.

It really forced me to actively seek out work every week which turned out to be a great thing. I discovered so much new work, artists and designers, trawled through design and photographic archives, and revisited personal favourites. It helped to inform work on other assignments and vice-versa; research for other assignments I was working on show up on my feed.

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Tab - Yellow, by Alastair Keady. Modular multiple hand pulled inks on 330gsm G.F Smith Naturalis paper. Edition of 8, 720 x 1020mm.

I really like Alastair Keady's work and layering use of modular sorts that is reminiscent of The Neuharts' work I've posted here previously. His use of silver leaf in a circular design reminds me of Patrick Scott's work. It's beautiful and lunar-like. The variation of yellow in the print is gorgeous.

Tab is a study of a common modular tab-shaped element applied to a grid structure, with alternating over-printed orientation, and shifts of hue and saturation within the yellow field. The pattern is disturbed by one silver-gilded aberration in the formula. The piece is about subtle shifts, and building complexity with simple elements.

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Atelier, 2021, identity designed by Evan McGuinness at Bielke+Yang.

Atelier is a platform for the discovery and purchase of art directly from professional artists. I really like the typeface used here especially with the tweak to the /A making it an easel when used in combination with abstract frames/forms. The designer did this as while Atelier is essentially a digital product, it was important to reference the tactile, physical artworks that are present in their product.

Leading the identity is the powerful and practical use of Dinamo’s ABC Synt as the primary typeface. With roots in the Scotch Roman style, ABC Synt has a certain classic initial expression, which references the rigid rhythm and traditional forms of its standard cut. The Slant and Turbo styles, however, add a contemporary playful element to the identity, This is essential for Atelier. 

Combined with the bold, energetic colour palette this results in an expression that separates Atelier from their competitors and adds to the sense of making art accessible. 

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Do women have to be naked to get to get into the Met. Museum?, poster by Guerrilla Girls, 1989. 280 x 710 mm.

Such a striking poster from Guerrilla Girls which places their trade mark gorilla mask over an image of a naked woman from the famous painting, La Grande Odalisque, by Jean Auguste Dominique Ingres. The image is paired with bold text highlighting the imbalance of women artists represented in the collection compared to the number of nudes featured in collection works that are female. The words 5%, artists, 85%, and nudes are in pink drawing emphasis to them in the black text.

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Punk flyer from Reclaiming History: An Archive of Black, Flyer No. 327 for a Halloween costume party at Fishbone at Club Lingerie, LA, CA.

I love the lo-fi diy quality of punk flyers. The style is ingrained in the genre and a viewer immediately knows this is a flyer for a punk gig at Halloween. These punk flyers are often photocopies of collaged photos and illustration. I love the creep factor of the photographic images of the hands and the frog (even though it took a while to figure that one out) paired with the hand drawn graphics and text. And the main figure as a mash up of various horror characters is extra creepy. I think it's striking and effective as a flyer.

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Tilting the lens, 2021, designed by Michelle Walsh and Grace Coakley at Cova Communications.

I really like the research and testing elements that are behind this minimalist design that prioritises accessibility for a brand with a focus on equal access for all. The typeface is legible and impactful and the colour palette is strong and provides good contrast without being jarring.

Tilting the Lens is a new global consultancy working to make the world accessible and equitable for everyone. Founded by Sinéad Burke in 2020, the organisation aims to create innovative solutions through collaboration, education, and design. The first brand identity for Tilting the Lens had to introduce this vital work to a wide audience, on an international stage.

The brand elements include a responsive logo designed for legibility and impact, and a vibrant colour palette that always prioritises accessibility. There are also unique organic forms that represent individuality and confidence that can be used decoratively or as frames within the brand system. We worked on a range of brand materials such as business cards, presentation templates and social media design.

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Cailín Maith, iron on patch by Nessa Finnegan.

I love Nessa Finnegan’s illustrations and design work with strong feminist themes and messaging. She makes a lot of Irish language work like her Fear Mná Tote Bags these patches. She has also created textiles with Sheela-na-gig designs ☘️

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Where the Wild Things Are, 1963, words and pictures by Maurice Sendak.

This story and illustrations have such a special place in my heart. My absolute favourite book as a kid, the illustrations make me hugely nostalgic. Sendak created a magical land, a little bit dark and very intriguing. I love his illustrations with sketch lines and dark colour palette. Max, the protaganist, overflowing with stubbornness and adventure brings the reader along as he sails away from home and dances under the moon through lush forests in a 'wild rumpus' with the Wild Things. The Wild Things are smitten by Max, they adore him and crown him their king. When Max finally decides its time for him to return home, the Wild Things are heartbroken, then angry, and utter the famous line “Oh, please don't go—we'll eat you up—we love you so!”.

Sendak explores themes about kids growth, survival and their need for independence. Ultimately the story is about family, and despite needing our own space, how we also need our loved ones - “And Max, the king of all wild things, was lonely and wanted to be where someone loved him best of all.”

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Connacht Rugby, identity rebrand by designbank mbd, 2021.

As a Galway native and a rugby fan, especially Connacht fan, I love this recent identity rebrand. The previous logo with blue rugby oval was dated, this is an excellent refresh. I particularly like the update to the provincial crest emblem with added meaning to the design like the five feathers to represent the 5 counties of Connacht, and the Celtic script used in the typeface.

The rebrand was well received by fans as a modern, confident and almost tribal identity which reflects the strength of both the ambition and the pride associated with the club. Pre-season jersey sales were up 35% year-on-year.

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Stamp from the first series of definitive Irish stamps issued in 1922.

I mentioned the first series of definitive Irish stamps in an earlier post on contemporary stamp design, so it seems only right to include one of them during my green colour week.

After the Irish Free State was established in 1922, the state issued the first set of definitive Irish stamps. Four artists were chosen from an open call for the four different designs which all featured the word Éire prominently. The designs were full on Celtic Revival style using traditional Irish lettering, symbols and artwork. This example which features a map of Ireland without a partition with Northern Ireland embraces new found independence and uses the colour green as a strong representation of Ireland. The same year Irish postboxes were painted green, replacing the traditional red of the British mail service ☘️

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On the road to Keem Strand, Achill Island, Co. Mayo Ireland, c.1960s. C-type print. Photograph by John Hinde.

I absolutely love John Hinde's colour photographs of Ireland. His vibrant images often present an unrecognisable Ireland, one that is saturated in colour and sunshine.

John Hinde was a pioneer of colour photography and one of the most successful and prolific postcard publishers in the world. His largest collection of postcards celebrated Ireland. In them, he portrayed an island brightened by his imagination: a place where children were red-haired and freckled, the sun always shining and the sky forever blue. His idealistic images were to become the stereotypical portrayal of Ireland for many years, and to this day elicit nostalgia from viewers worldwide.

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Telecom Éireann logo, 1983, design by Peter Dabinett Kilkenny Design Workshops.

The Telecom Éireann logo is iconic in Irish Design and featured on the company's identity until 1999 when they rebranded to Eircom.

The logo combines the traditional Irish uncial forms of ‘T’ and ‘E’ in a modern graphic simplicity. The joined initials neatly suggest several relevant ideas, as in a telephone dial, handset or coiled cable. In the motif, international style converges with the spiral ornamentation characteristic of pre-Christian Ireland, to convey a modern semi-state company proud of its local heritage.

​The logo was nicknamed 'the snail', and is regarded as an Irish design classic to this day. So much so that Damn Fine Print recently released (and sold out) a selection of tribute printed apparel.

Telecom Éireann crewneck sweater by Damn Fine Print

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Coláistí Samhraidh Stamp Series, May 2022 for An Post, designed by Paul McBride and Holly Smyth at Detail. Design Studio.

Postage stamps can be seen as a barometer of design. Celebrating days, figures, or historical events of national significance. Contemporary artists have been commissioned to design new stamps in Ireland since the first set of definitive Irish stamps were issued by the Irish Free State in 1922. Irish design influences and trends can be traced through stamp design over the past 100 years. This set designed in 2022 highlight an ongoing trend for illustrative design. I love how playful this set is, the design works well for the theme of Irish summers spent in the Gaeltacht.

The designers described it: The annual trip to the Gaeltacht is long held rite of passage in Irish life, so with this series we wanted to reflect the cross generational experience through playful illustration while having the Irish language and the idea of a conversation 'as gaelige' connecting the two stamps. For many teens it marks their first trip away from home and parents so the concept reflects the experience of sending letters to and from parents and friends, a key to the Gaeltacht experience and of course to An Post.

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Scares, illustration by Poorly Drawn Lines

One of my favourite illustrators. Just always funny and I love the simple, minimalist style of illustration.

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Various advertising designs by Jan de Fouw, Collection National Irish Visual Arts Library (NIVAL), NCAD, Dublin.

I love Jan de Fouw’s often joyful design work. He created wonderful characters with colourful designs for eye-catching advertisements and travel posters 💙

Jan De Fouw arrived in Dublin from his native Netherlands in 1951 to work as a freelance graphic designer. He had trained at the Royal College of Art in the Hague under a teacher who had once been a student in the German Bauhaus. De Fouw was one of many Dutch designers who came to Ireland in the 1950s, partly on the initiative of Sun Advertising, to work for Aer Lingus who began using modern advertising to promote their service abroad. Over his early career in Ireland, De Fouw worked for a diverse range of companies including the Irish Tourist Board, Aer Lingus, Bord na Mona and the Office of Public Works. De Fouw joined the magazine publication Ireland of the Welcomes on its second issue in 1951, where he worked as a designer for the following 44 years, becoming its Art Director in the 1980s. De Fouw was a Director of Black Church Print Studios and guest lectured at the National College of Art and Design in Dublin. He was also a member of the curatorial committee of the National Print Museum from 1995 until 2012. This collection of graphic design materials was donated to NIVAL by the artist in 1999.

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I learned how to embroider this year and I’m always on the lookout for inspiration. This is one of my favourite embroidery artists, her work is so detailed and beautiful ✨

https://instagram.com/magicalfern_embroidery

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Finn Heat, photograph, Maria Lax.

Maria Lax's use of colour is just stunning. Her images create a sense of mystery and intrigue with her cinematic use of unusual landscapes with striking colour.

“I’m from a small town in Northern Finland surrounded by a vast, sparsely populated wilderness. Most pass through the town on their way someplace else without ever knowing it was a hotspot for UFO sightings in the 1960’s.

Unaware of this history myself, it wasn’t until I read my grandfather’s book that I learnt of the incredible stories of supernatural events, bravery and struggle against hardship in what is largely a barren land. Already suffering from dementia, he was unable to answer any of the questions I had so I went looking for the answers. I turned to the people who saw the mysterious lights, to newspaper archives and my family’s photo albums from the era.

The UFO sightings coincided with a time of great struggle for Northern Finland. People flooded from the countryside to the cities in search of jobs leaving abandoned houses scattered across this beautiful but harsh landscape. It’s no wonder that the UFO sightings embodied a fear of the future, the unknown and the inexorable shift in lifestyles and livelihoods going on around them. Some reacted to the mysterious lights with fear, some took them as a sign they were not alone.” –Maria Lax https://opendoors.gallery/artworks/maria-lax/some-kind-of-heavenly-fire/finn-heat