IMPULSE #8—Data Visualisation

For the next part of my research, I chose to watch the Google talk ‘Storytelling with Data’ by Cole Nussbaumer Knaflic. I picked this specifically because, while David McCandless focuses on the beauty and ‘eye candy’ of data, Cole focuses on the clutter and the psychology of how we see. Since my project is all about ‘visual overload’ and how to use it strategically, I wanted to learn from someone who is an expert in the exact opposite: cleaning up the mess to make a clear point. I wanted to understand the rules of ‘perfection’ in data storytelling so that I can know exactly how and when to break them in my own maximalist designs.

In her talk, Cole explains that we aren’t naturally good at storytelling with data because we usually just ‘show’ the data instead of ‘explaining’ it. She talks a lot about Gestalt Principles of Visual Perception—how our brains look for order and try to group things together. One of her main points is about clutter. She says that every single element you add to a design takes up ‘cognitive load’ (which connects back to what I read in Steve Krug’s book). If you add too much, the user’s brain just shuts down because it’s too much work to process. Her goal is to strip everything away until only the most important ‘aha!’ moment is left.

What I found really useful was her advice on preattentive attributes. These are things like color, size, and position that our eyes notice before we even realize we are looking at them. Cole shows how you can use a single pop of color to lead the audience’s eye exactly where you want it. This made me think about my own posters for the ‘Growth of Consumerism’ project. While I want my posters to feel crowded and ‘loud’ to represent the mess of consumerism, I still need to use Cole’s logic to make sure the key message doesn’t get lost in the noise.

My conclusion after watching this is that storytelling is just as important as the data itself. If I just throw facts at people about how much waste the fashion industry creates, they might ignore it. But if I use Cole’s ‘storytelling’ structure—starting with a problem, building tension, and ending with a call to action—I can make a much stronger impression. Her approach is very ‘clean’ and corporate, which is a great contrast to the Maximalism I am exploring.

This talk is incredibly relevant to my master’s thesis because it taught me about the ethics of visual communication. Cole warns that we can easily mislead people with how we scale our graphs or use colors. In my work, I want to use ‘Strategic Friction’ to slow people down, but I have to be careful not to use ‘Dark Patterns’ or deceptive tactics that Cole and Harry Brignull warn about. My plan is to take her rules for clarity and focus and apply them to my maximalist layouts. I want to create a design that looks like a ‘conspiracy’ or a mess at first glance, but once the user starts ‘deciphering’ it, they find a very clear, data-driven story hidden inside. It’s about finding the balance between her ‘less is more’ and my ‘more is more’ to see which one actually changes consumer behavior in Croatia.

Disclaimer: AI was used in making this blog.

IMPULSE #7 —Don’t Make Me Think

For my research, I chose to read ‘Don’t Make Me Think, Revisited’ by Steve Krug because it is the most famous ‘manual’ for how modern websites and apps are designed today. I wanted to understand the core rules that big companies use to make our digital experiences so easy and fast. Krug’s main point is his ‘First Law of Usability’: a web page should be self-explanatory so that the user doesn’t have to spend any effort wondering how to use it. He explains that people don’t actually read pages; they scan them for the first thing that looks useful—a behavior he calls ‘muddling through.’ To make this work, he suggests using clear visual hierarchies, obvious buttons, and getting rid of any unnecessary instructions.

In the book, I read about the concept of ‘cognitive load’ and the ‘reservoir of goodwill.’ Krug explains that every time a user has to think—like wondering ‘Is this a link?’ or ‘Where did the menu go?’—a little bit of their patience and energy leaks away. To prevent this, he promotes a seamless and frictionless design. The goal is to make the user’s journey so invisible and effortless that they reach their goal (like buying something) without ever having to stop and process what is happening.

My main conclusion after reading this is that while Krug’s methods are great for making things ‘usable,’ they are also the reason why impulsive shopping is so successful. If everything is designed to be frictionless, we lose the moment of reflection. This is why the book is so relevant to my thesis; it represents the ‘fast’ world I am trying to critique. While Krug says ‘don’t make them think,’ I believe that in the context of over-consumption, we actually need to make people think.

In my opinion, Krug’s laws have been used by corporations to create a culture of passive consumption. My design direction is the opposite: I want to use Strategic Friction and Maximalism to bring back that cognitive load. I want to use complex layouts and ‘slow design’ to intentionally interrupt the mindless flow that Krug’s principles have perfected. My goal is to see how I can use the opposite of his rules to create a design that isn’t just easy to use, but one that makes the user more conscious and responsible. By studying the ‘bible’ of fast UX, I’ve found a clear starting point for my own ‘slow’ and educational approach.

Disclaimer: AI used

https://dn790002.ca.archive.org/0/items/SteveKrugDontMakeMeThink/Steve_Krug_Don%E2%80%99t_Make_Me_Think%2C.pdf

IMPULSE #6 — Buy Now: The shopping Conspiracy

The Netflix documentary ‘Buy Now: The Shopping Conspiracy’ is a perfect addition to my research because it directly shows how big corporations trick us into buying things we don’t actually need. The film doesn’t just talk about corporate greed; it explains the entire system designed to keep us trapped in a cycle of spending. What I found most interesting were the interviews with former marketing insiders; they openly admit to the psychological tricks they used to manipulate the public.

A major theme in the film is ‘planned obsolescence.’ This is something we all experience—like when a smartphone suddenly slows down after an update or a t-shirt falls apart after three washes. The documentary shows that this isn’t an accident. It started decades ago with the ‘Phoebus Cartel,’ where lightbulb manufacturers agreed to shorten the lifespan of bulbs so people would have to buy them more often. Today, this has become an industry standard. As a designer, this is a huge realization for me because I can see how design is often used to mask the poor quality of a product.

The film also does a great job of breaking down the psychology behind branding. Marketing isn’t just selling a product; it’s selling an emotion. They use brain research to figure out which colors, fonts, or messages—like ‘limited time offer’ or ‘huge sale’—trigger a sense of urgency in us. This creates a literal addiction to shopping. I realized that ads are basically selling a perfect version of ourselves that we will supposedly ‘become’ if we buy that item. It’s pure emotional manipulation, making us feel incomplete without the latest stuff.

I was especially hit by the part about the environmental disaster. The documentary visually shows massive landfills in poorer countries where all the clothes and electronics we throw away end up. It reminded me of what I saw in the ‘Terrapija 3.0’ project and the ‘Dobra ekonomija’ series. The film also warns about ‘greenwashing’—where companies use ‘natural’ and minimalist design aesthetics to look eco-friendly while they are actually still polluting the planet.

In my opinion, this movie is a ‘must-watch’ for any designer. It helps us realize how much responsibility we have when we create visual messages. The film inspired me to explore more in my own project how design can be more honest and help people see through these marketing tricks. Instead of design just being a tool to help someone sell more products, it should be used for education and making people think. For me, this documentary was a visual alarm that confirms my thesis: we need to stop playing by the rules of this ‘shopping conspiracy’ and start designing for real needs instead of manufactured desires.

Disclaimer: AI used

https://www.imdb.com/title/tt34350086

https://www.netflix.com/title/81554996

IMPULSE #5 — Terrapija 3.0, Design Week Zagreb

A vital component of my regional research was exploring Terrapija 3.0, the third iteration of a collaborative project involving my former faculty, University North (Sveučilište Sjever). Organized in partnership with the Terra Hub association and the renowned design studio 404, this project showcases student-designed posters selected by a professional jury. The exhibition addresses the ‘fast-paced’ nature of modern life, consumerism, and the urgent need for sustainability in the 21st century. The specific task assigned to the Media Design students, titled ‘Anti-Ad for a Fast World,’ challenged us to select a pressing global issue and design a visual critique that encourages the public to reconsider the environmental impact of their lifestyle choices.

The project highlights the ‘hidden price’ of our accelerated daily routines—ranging from fast travel and fast food to fast fashion, and even the rapid acquisition of knowledge through Artificial Intelligence. Behind these conveniences lie devastating consequences: skyrocketing energy consumption, mounting waste, and massive carbon emissions that exacerbate the global climate crisis. Terrapija 3.0 serves as a collective call for the world to slow down. The project was prominently exhibited at this year’s Zagreb Design Week, with selected posters also displayed within the university’s premises. Out of many submissions, the ten most impactful posters were chosen, each addressing a specific systemic problem.

The winning poster was created by student Lucija Oreški. Her work visually dissects the harmful consequences of industrial meat production that precede the consumption of fast food. The design illustrates the entire supply chain—from the deforestation required for grazing lands and the confinement of livestock to factory-induced air pollution and the excessive depletion of natural resources. The visual narrative concludes with mass processing and transport, dominated by a palette of deep reds and dark tones that symbolize danger, blood, and environmental degradation. The journey of meat to the consumer’s plate is depicted as a winding path of destruction, serving as a powerful visual indictment of the ecological cost of our dietary habits.

Another work that deeply informed my research was by Nika Šmic. Her poster utilizes the retail receipt—a ubiquitous and recognizable symbol of transaction—to expose the ‘true price’ of fast fashion; a price paid not by the consumer, but by the planet. Instead of a monetary value for a garment, the receipt lists ethical and environmental ‘costs’ such as exploited labor hours, sub-standard wages, chemical usage, water depletion, and textile waste. The final ‘total’ on the receipt leads to a single, haunting outcome: ecological collapse. By transforming a mundane object of consumption into a tool for transparency, the work forces the audience to stop and ask: What are we truly paying for when we buy cheap clothing?

Attending this exhibition was a crucial milestone in my creative process. The themes explored in Terrapija 3.0 are intrinsically linked to my master’s thesis on consumerism, irresponsible spending, and consumer accountability in Croatia. Seeing how my peers successfully utilized graphic design to create ‘anti-advertising’ provided me with fresh strategies for my own work. It reinforced my belief that design in Croatia must move beyond mere aesthetics and act as a provocative force that challenges the status quo of our local and global consumerist culture.

Disclaimer: AI used

https://terrapija.terrahub.eu/3.0/galerija

https://www.unin.hr/2025/09/otvorena-izlozba-terrapija-3-0-%E2%8F%A4-uspori-na-zagreb-design-weeku

IMPULSE #4 — Bookstore visit

During my research trip to Vienna, I visited Softcover, a specialty bookshop renowned for its curated selection of photo books, art books, indie magazines, and zines. My primary objective was to immerse myself in high-quality print media to find inspiration for my master’s thesis, specifically focusing on the aesthetics of maximalism, collage, and analog techniques. While browsing their extensive collection, I purchased the ‘Dictionary of Color Combinations—Volume 2’. Although this acquisition serves as a general resource for my various design projects, its deep dive into tonal relationships and unconventional palettes will be invaluable for establishing the visual mood of my thesis.

I was particularly interested in exploring publications that utilize archives and experimental layouts. I spent considerable time examining issues of Mold and Grafikmagazine, as their design philosophies align closely with my interest in dense, information-rich aesthetics. These magazines demonstrate how complex narratives can be structured through bold typography and layered imagery, providing a ‘feel’ that is both contemporary and analytically rigorous. Furthermore, I dedicated a significant portion of my visit to their Zine collection. Since a zine is one of the potential formats I am considering for my final project, this was a crucial opportunity to analyze different dimensions, paper stocks, and binding methods. Evaluating these niche products, including postcards and calendars, helped me visualize how my research could be translated into a tangible, collectible object rather than just a digital file.

To further broaden my perspective, I also visited Brot Books Deli, another exceptional venue offering a unique intersection of literature and design. Here, I focused my search on specialized typography books and examples of infographics and information visualization. I was specifically looking for how complex data is handled within the banking, technology, and pharmaceutical sectors. These industries often deal with dense, abstract information, and observing how they simplify—or strategically complicate—visual data provided me with new insights into how to present the economic aspects of consumerism.

Seeing these professional examples of information architecture reinforced my desire to use a maximalist approach that remains legible and educational. The visit to these specialty shops was not merely a shopping trip but a vital part of my ethnographic research into the current state of independent publishing. It allowed me to identify which physical formats resonate most with the themes of financial literacy and consumer behavior. By combining the raw, expressive energy of indie zines with the structured clarity of corporate infographics, I aim to create a final publication that is both visually arresting and intellectually stimulating. This experience has significantly helped me narrow down the media I wish to use, moving me closer to a final decision on whether to produce a high-end magazine or a more raw, experimental publication.

Disclaimer: AI was used

https://softcover.at/shop/?_sft_product_cat=book&sf_paged=6

https://brot.sk

IMPULSE #3 — Museum visits

In 2025, I visited Vienna Design Week with the primary objective of gathering inspiration and researching contemporary projects that could help refine the scope of my master’s thesis. My goal was to explore niche topics within the broader field of visual communication, seeking validation for my current creative direction while potentially identifying new, unexplored avenues for development.

Among the numerous exhibitions, the project that resonated most with me was the innovative use of modeling clay to document urban textures by Studio Pari-Pari. As part of their research, the studio captured physical structures within Vienna’s urban environment by pressing modeling clay directly onto surfaces and subsequently using these molds to create high-contrast prints with black ink. This analog methodology is a remarkably creative and engaging way to preserve ephemeral, easily overlooked architectural details. By transforming these textures into graphic elements, they can be ‘savored’ as standalone art or integrated into broader design materials. The resulting prints were displayed across the floor of the MUSA Startgalerie, creating an immersive visual landscape.

I have observed a similar trend on social media platforms like TikTok and Instagram, where artists and designers utilize portable scanners or manual clay molds to capture the reliefs of urban buildings, using the raw data as a foundation for digital design. This synthesis of digital and analog materials is currently a dominant trend in the industry, and I am particularly drawn to how it imbues design with a ‘human’ quality. I intend to incorporate these tactile aspects into my own project to make the abstract problem of consumerism feel more tangible and relatable. By adding physical symbols and ‘touchable’ textures, I aim to bridge the gap between the consumer and the systemic issues I am addressing. Furthermore, I do not discourage the use of Artificial Intelligence in this process; I view it not as a primary creator, but as a sophisticated support tool to be used in conjunction with traditional methods.

My research trip also included visits to the MAK – Museum of Applied Arts and the Wien Museum (wienmuseum.at), where I analyzed historical promotional posters to track the evolution of visual persuasion. These collections provided a fascinating look at how consumer values in Vienna have shifted over time and how citizens have historically reacted to changing shopping habits. Additionally, I attended an exhibition focused on meat consumption—a topic deeply intertwined with sustainability. This exhibition was particularly useful for observing how complex, data-heavy information can be presented systematically without losing visual appeal or emotional impact. The central question of the exhibit—how our eating habits must evolve for the future—mirrors the core inquiry of my project regarding over-consumption. These visits reinforced my belief that design must balance historical context with modern urgency to effectively influence public behavior.

https://www.wienmuseum.at/exhibition-archive

https://www.albertina.at/en/albertina-modern/about/albertina-modern

https://www.mak.at/en/exhibitions/permanent

https://www.viennadesignweek.at/en/archive/2025

IMPULSE #2 —Klanglicht festival Graz

During my research trip, I had the opportunity to visit Klanglicht, the renowned festival of light and sound in Graz, which celebrated its 10th anniversary this year. The festival featured an impressive lineup of international artists, including David Ram (Lotus Pods), Yasuhiro Chida (Aftereal and Fresnel), Olafur Eliasson (Eye See You), Onionlab (Echoes of Light), Alessandro Lupi (Liquid Lense), Julian Hölscher (Sphären), Liz West (Our Color Reflection), OchoReSotto (Arkestra of Light – Lifted), and the student project Vertigo from FH Joanneum IDK. While every exhibition was moving and left a lasting impression, a few specific installations were particularly instrumental in shaping my current design perspective.

One of the most impactful experiences was Echoes of Light by the Spanish collective Onionlab, created in collaboration with sound artist Shinji Wakasa. In this installation, individual reflections move through the space in a fragmented manner until, for a brief moment, they align, interact, and merge. Suddenly, the distorted images become clear and distinct. The project utilized inclined mirrors and interactive technologies, where sensors captured not only the movements of the audience but also their emotional responses, translating them in real-time into an immersive landscape of light and sound. I found this installation exhilarating; what initially appeared as a minimalist setup evolved into a complex, maximalist performance of moving light and loud, rhythmic sound.

This experience was crucial for my research into maximalist aesthetics. Seeing how complex systems, vibrant colors, and soundscapes interact in a physical space allowed me to visualize how visual overload can be harnessed strategically. As a Visual Communication major, I took this opportunity to view these installations through a lens I normally wouldn’t—exploring how environmental design can inform digital media. This visit helped me brainstorm new methods for presenting my ideas, considering both physical locations and digital environments where the combination of sound and color can create a more profound impact on the public.

I must also mention Our Color Reflection by Liz West, Vertigo by FH Joanneum, and Lotus Pods, all of which resonated with my interest in bright, maximalist vibes. The specific choices in color, movement, and dynamics provided a modern feel that stayed with me long after the festival ended. I realized that even in an era of digital visual overload, there is still a vital need for energetic and ‘happy’ design that evokes positive emotions and brings communities together.

Finally, Arkestra of Light – Lifted by OchoReSotto was a cornerstone for my research. By transforming the facade of the Trinity Church into a living, breathing entity, the collective merged light, sound, and emotion. Their use of both analog and digital animation techniques created dynamic patterns that balanced tranquility with raw energy. This hybrid approach—combining the analog with the digital—is particularly relevant to my work, as I have been exploring diverse media ranging from physical archives to AI-generated imagery. Seeing the successful ‘collaging’ of these different perspectives in a large-scale project helped me visualize the potential for my own master’s thesis, where maximalist aesthetics can be used to capture attention and educate in a world of constant visual competition.

Disclaimer: AI used

IMPULSE #1 — Good Economics

For my extensive research on the complex phenomenon of consumerism, I drew significant inspiration from ‘Dobra ekonomija’ (Good Economics), a Croatian documentary series dedicated to sustainable development and social responsibility. This series explores how modern economic systems can be redesigned to ensure a balanced and ethical life for both current and future generations, focusing on practical examples within Croatia and the broader global context. The creators approach sustainability not as an unattainable utopia, but as an urgent practical necessity for the survival of our planet and society. The show is meticulously structured into seasons, with each episode focusing on a specific sector of human existence and its environmental or social footprint.

The most recent season, which premiered in 2026, addresses pressing contemporary issues such as fashion, mobility, water management, and the impact of digital technologies. I chose to analyze this show to explore the potential gaps that design can fill and to gain a more profound understanding of the current challenges in Croatia’s consumerist culture. The first episode of the second season provides a fascinating look into how the fast fashion crisis is being tackled by local innovators. A standout example is the company ‘Regeneracija’ from Zabok, which demonstrates incredible ingenuity by repurposing textile waste for large-scale industrial infrastructure.

The episode opens by addressing the common psychological frustration of standing before a full closet and feeling like you have nothing to wear—a sentiment I deeply identify with based on my own personal experiences. It highlights the staggering fact that the global fashion industry has already produced enough clothing to dress the next several generations. Personally, I align with this critical perspective, which is why I prefer to shop second-hand through digital platforms like Vinted or in physical thrift stores to actively reduce my ecological footprint.

A major focus of the documentary is the catastrophic volume of clothing that ends up in landfills. ‘Regeneracija’ exemplifies the principles of the circular economy by processing tons of discarded textiles; remarkably, some of this recycled material has even been utilized in the construction of Croatia’s A1 highway. The episode also features visionary designers such as Staša Randall and Dijana Dražetić, who emphasize that ‘slow fashion’ is not merely a passing trend but an absolute necessity for future generations.

Furthermore, experts in the episode argue that the current industry model thrives on psychological manipulation and the promotion of over-consumption. This highlights a significant opportunity for designers to intervene by creating products that are durable, repairable, and emotionally lasting. By shifting the narrative from ‘disposable’ to ‘meaningful,’ design can bridge the gap between corporate profit and environmental ethics.

I am continuing to follow this documentary series as part of my preliminary research for my master’s thesis in Croatia. It serves as a vital tool for discovering potential partners, sponsors, and mentors who can ensure that my data remains current and accurate. Moreover, it introduces me to designers and experts whose work I can draw inspiration from. Moving forward, I intend to explore additional documentaries and diverse media forms that communicate similar topics to broaden my knowledge and help narrow down the scope of my thesis, which currently remains a wide and multifaceted area of study.

https://hrtprikazuje.hrt.hr/hrt1/dobra-ekonomija-12486579

https://hrtprikazuje.hrt.hr/hrt1/dobra-ekonomija-mobilnost-12507807

https://arhiva.zagrebdox.net/hr/2023/program/posebne_projekcije/dobra_ekonomija_dobra_ekonomija_epizoda_turizam.html

Thesis research #10 — First concept visualisation

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.

Thesis research #9 — Conducting a visual research

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.

https://archive.org/details/universalmethods0000mart