Within the ‘Creation and Conception’ course, I utilized the central theme of ‘Growth’ to specifically investigate and experiment with the sub-theme of the relentless growth of consumerism. This academic framework allowed me to visualize the complex dynamics of consumerist culture and explore how designers can visually replicate feelings of clutter, chaos, and visual overload in a meaningful and strategic way. The primary objective was to communicate the weight of this topic through deliberate and inconvenient design choices.
The creative process began with analog methods, specifically the creation of physical collages to represent the concept of growth. I produced five distinct collages that interpreted growth in a negative, yet highly dynamic, manner. In these works, shapes would overflow and emerge from one another, mimicking the invasive spread of a malignancy or the chaotic accumulation of waste in a landfill. This exercise was fundamental in helping me understand how abstract shapes alone, without the aid of typography, can communicate a powerful narrative. I later integrated these principles of organic, overwhelming growth when incorporating photography and symbols into my digital designs.
Following the collage phase, the research shifted toward the functional and expressive roles of typography. I conducted several short exercises experimenting with letterforms and layouts to demonstrate that growth is a dynamic, evolving process rather than a static state. These experiments led to the initial sketches for my ‘Over-Consumerism’ poster. During this stage, I collected a vast array of visual materials, including original photographs, emojis, symbols, stickers, and other internet-related ephemera.
Initially, I designed simpler visuals, such as A3 posters, but this exercise revealed a significant flaw: the designs felt too positive and playful for such a critical and difficult subject. I realized that my work should not inadvertently resemble the very advertisements that promote consumption; instead, it needed to surprise, alarm, and provoke awareness. Consequently, I shifted my strategy by incorporating real-world symbols and infographics that presented accurate market data. I focused my research predominantly on the fashion and cosmetic industries, as they are primary drivers of modern excess.
For the final execution, I opted for a bold, high-contrast typeface to ensure the message felt serious and loud. The resulting dynamic layout is intentionally cramped and busy, mirroring the reality of over-purchasing and the cognitive overload caused by endless sales and promotions. Information is repeated aggressively, white space is virtually non-existent, and text elements overlap to create a sense of claustrophobia. The color palette of yellow and black was inspired by aposematism in nature—signals used by animals to warn of danger or poison. This serves as a metaphor for how consumerism acts as a toxic force on the individual.
The photographs used—depicting boxes, currency, receipts, and shopping carts—are universally recognized symbols of commerce. These images are strategically layered to overlap and even obscure the text, symbolizing how flashy marketing imagery often hides the grim reality of the consumerism crisis. Rather than targeting a specific demographic, this poster provides a global overview of consumer practices. It serves as an exploration of how a maximalist aesthetic can be used subversively: by employing the same aggressive visual strategies that corporations use to encourage spending, the poster instead forces the viewer to reconsider their next purchase.
