To facilitate a deeper and more rigorous exploration of the chosen topic, I moved beyond a simple photo study and relied on several established methods of visual research and analysis. These are formally described in the literature by Martin and Hanington in their 2012 work, Universal Methods of Design: 100 Ways to Research Complex Problems, Develop Innovative Ideas, and Design Effective Solutions. Utilizing these structured methods enabled a more comprehensive approach to understanding the complex social and visual phenomena inherently linked to modern consumerism and financial literacy in Croatia.
As a primary component of the research process, I systematically documented and photographed various environments and artifacts that define contemporary consumer culture. This extensive visual survey included retail spaces, discount signage, storefront displays, promotional posters, and printed advertising leaflets, as well as digital touchpoints like newsletters, shopping applications, and e-commerce websites. After gathering this vast amount of raw material, I organized and categorized it according to several strategic criteria. The primary distinction was based on whether the medium was digital or analog, the intended communicative purpose of the artifact, and the specific visual style employed in its design. For this analytical phase, I applied the Picture Cards method, which allowed me to visually group and compare materials in a highly intuitive and spatial manner. This systematic approach was instrumental in identifying recurring visual patterns, stylistic trends, and dominant design strategies that prevail across different media formats.
To gain a more profound understanding of the underlying narratives within financial literacy and consumerism, I also concentrated on the textual rhetoric found in the collected materials. I extracted key phrases, slogans, and marketing messages, subsequently organizing them into thematic blocks using the Word Clouds method. This specific technique made it significantly easier to recognize frequently used terminology, dominant persuasive narratives, and the stark differences in how financial topics and consumer behaviors are framed for the public. Through this meticulous process, I was able to identify both the most prominent concepts and the problematic gaps or oversimplifications present in current communication strategies.
The research encompassed multiple layers of categorization, including target demographics, various interpretations of financial literacy, and the functional distinctions between printed and digital formats. Due to the fragmented nature of the gathered data, I applied the BGO (Big–Global–Overview) method to organize the information in a transparent and structured way. This allowed me to map the complex relationships between different categories and transform raw insights into actionable design intelligence. It also enabled me to pinpoint potential weaknesses or missing elements in the earlier stages of the research, which proved invaluable for refining the final project concept.
As a final synthesis, I created an initial visual interpretation of these research findings. This took the form of a preliminary design informed by a Moodboard that curated a wide range of visual references. Within the ‘Creation and Conception’ course, I designed a poster addressing the exponential growth of consumerism. The poster utilized a bold, maximalist visual language, blending expressive typography with raw photographic elements. This initial visualization served as a practical stress test for my research outcomes, providing a robust foundation for the future development of the project’s overarching visual identity and communication strategy.
