Category: Communication Design

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

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.

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

When choosing the medium for my project, I usually gravitate toward practical formats associated with advertising and visual communication in public spaces. However, for this specific project, I am still carefully weighing whether to pursue a strictly experimental approach or a more practical, promotional one. This decision is complex because both directions offer distinct, yet equally valuable, possibilities for communicating the chosen topic to a diverse audience.

If I opt for a promotional and awareness-based approach, the primary medium would be a comprehensive poster campaign. This would include both digital versions specifically tailored for social media platforms and printed materials designed for physical environments. In this case, strategic placement would be the most crucial factor for the campaign’s ultimate success. Printed posters would need to be strategically positioned in high-traffic locations frequently visited by the target audience, such as urban public spaces, educational institutions, and various cultural venues. Simultaneously, digital posters adapted for social media would play an even more significant role in achieving widespread visibility.

Social media materials are particularly vital because the primary target group for this project consists of Generation Z and Generation Alpha. These generations spend a substantial amount of their daily time online; for them, the digital landscape is not only their primary communication channel but also one of the key sources of the very problems this project addresses. Digital media allows for rapid distribution, high visibility, and direct interaction, making it an exceptionally powerful tool for raising social awareness. Additionally, digital content can easily transcend local geographical boundaries, allowing the campaign to reach audiences across all of Croatia or even internationally, depending on its aesthetic relevance and visual impact.

On the other hand, I am also considering a more experimental approach in the form of a specialized publication. This medium would serve as a dedicated space for deep visual exploration, where various graphic and conceptual strategies could be used to represent complex themes such as consumerism, financial instability, and the current state of financial literacy in Croatia. Through the use of experimental layouts, unconventional typography, abstract imagery, and complex data visualization, the publication could offer a much deeper and more reflective engagement with the topic. This medium would focus less on mass promotion and more on critical analysis and rigorous visual research. Such a resource would be particularly valuable for designers, marketing professionals, educators, or students working on similar social and economic issues.

A third compelling option would be to design a magazine that effectively combines both aforementioned approaches. This format could balance promotional communication with experimental design methods, depending on its internal structure and distribution strategy. A magazine allows for a much broader narrative, enabling both striking, immediate visual messages and more in-depth, long-form content. It could function simultaneously as a promotional tool and as a meticulously designed object that encourages long-term reflection and discussion, successfully bridging the gap between fast-paced awareness campaigns and experimental graphic design.

Each of these mediums carries its own set of financial and conceptual advantages. While digital and print posters are generally more accessible and effective for broad public communication, publications and magazines offer greater intellectual depth and creative freedom. My final decision will ultimately depend on the desired impact of the project and the specific balance between practicality and experimentation that best serves the core theme.

Disclaimer: AI used in the text

I began my research on the topic by observing my surroundings in physical spaces such as stores or on the street, but also in digital spaces through applications and platforms.

The process of collecting material was structured into four categories to ensure a comprehensive analysis of the visual language of consumption in physical and digital spaces:

1. Archival materials and printed promotional materials
2. Photographs of spaces and objects
3. Current and relevant digital materials
4. 4. AI-generated content

Archival materials and printed promotional materials

Analysis of the collected archival materials and printed promotional materials shows that the typography is striking, dynamic and diverse. Several typographic fonts and cuts are alternated. The main element is the illustration that prevails, while text and information are few. The style is playful and striking. In addition to illustrations, bright colors are an important element. Red, blue and yellow were used most often.

Catalogs

Printed and digital catalogs share a similar visual style to physical stores. Here, actual labels and tags are replaced by dominant graphic elements that are often larger than the actual product display. Prices and discounts are systematically marked in bright, eye-catching colors. This maximalist approach to catalog design ensures that the sales message visually “overwhelms” the information about the product itself, further encouraging a quick and impulsive purchase decision.

A characteristic of catalog design is a regular grid, which gives it a specific, recognizable look. A regular grid is reminiscent of cutting out coupons that can be taken to the store to receive a discount. Some stores use such a recognizable style, while others present items more dynamically, in different dimensions to emphasize the importance of the best offers.

Photos of spaces and objects

In physical stores, especially during special discounts, offers are highlighted with printed materials, screens, stickers and labels on products. Discounts are marked with strong sans-serif typography and bright colors like yellow and red, or in brand colors. Often, information is highlighted in a circular format.

Current and relevant digital materials

Mobile applications for online shopping and digital catalogs (eng. newsletters) use specific aesthetics and marketing and design strategies to encourage the user to interact regularly and make impulsive purchases.

Visual analysis reveals the frequent use of bright, saturated colors, the use of emoticons and striking decorative elements such as graphic signs for percentages and discounts. This aesthetic serves to quickly draw attention to offers.

Certain platforms use the so-called dark patterns such as time-limited offers that count down the remaining seconds, which creates a FOMO effect (fear of missing out) in the customer. An example is food delivery apps, such as Wolt, which after the order is completed offer an additional purchase without delivery costs or make discounts conditional on the exact time of the order.

Platforms like AliExpress use automated processes to direct users to new pages with “bundle deals,” which subtly encourage the purchase of larger quantities of products under the guise of significant savings.

Digital catalogs use personalization through birthday or anniversary offers to create an emotional connection with the brand. On the other hand, apps like Lidl use gamification – visually displaying the progress in spending required to win prizes, thus turning the shopping process into a kind of game, further encouraging continued spending. This principle can also be seen during the holiday season, during Advent, when the user has to log into the app daily in order to get a one-time discount.

AI-generated content

Generated visuals* represent initial attempts obtained using the Adobe Firefly tool, using the method of generating images from text commands (prompts). The visuals address the topic of excessive spending, impulsive purchases, and the potential future consequences of such habits.

The images focus on users who are faced with the problem of uncontrolled and irresponsible shopping, which results in extreme accumulation of objects and waste in their immediate living space, but also in the wider environment.

Using artificial intelligence, it is possible to create visuals that depict speculative futures or dystopian, exaggerated consequences. Such visual hyperbole serves to achieve a stronger effect on the viewer and to more clearly visualize the complex problems that society may face in the future.

Adbusters Magazine

The Adbusters project, founded in Vancouver in 1989 by Kalle Lasn, is the foundation of contemporary culture jamming — an activist method of disrupting dominant marketing narratives. Culture jamming seeks to subvert (“break”) the media messages of large corporations by using their own visual codes against them. Through collaborations with designers such as Jonathan Barnbrook, the magazine has developed a distinctive aesthetic of visual resistance. Barnbrook, known for his politically engaged style, uses aggressive typography and maximalist collage to create deliberately “heavy” compositions. The goal is to stop the passive observer and force them to confront the ethical consequences of hyper-consumerism, transforming advertising from a means of seduction into a means of social critique.

Less — web extension

The “Less” web extension was created as part of the Digital Hygiene and Ethical Design initiative. It represents a practical application of the theory of interactional friction and directly intervenes in the digital ecosystem of large retail chains. Less intentionally slows down the shopping process by introducing a pause before completing the purchase and paying. This process interrupts automated impulsive and thoughtless purchases made under the influence of design or marketing and allows the user to take a break from exposure to methods of persuasion to purchase. After waiting, the user can refuse a necessary and informed purchase.

Commons – Sustainable App

Commons App, Kanadska je mobilna aplikacija fokusirana na održivost s ciljem edukacije i osviještavanja kupaca o etičkim, morlanim, zdravstvenim i financijskim procesima kupnje i konzumiranja. Najmjenjena je svjesnim potrošaćima koji žele napraviti pozitivni utjecaj na okoliš.

Vizualni stil aplikacija suvremen je i minimalan, s fokusom na infromacije, infografike i vizualizaciju podataka kako bi se korisnik lako snašao u sadržaju i educirao.

Brand je aktivan i na društvenim mrežama, osobito na Instagramu gdje redovito objavljuje relevantne informacije i novosti u sferi održivosti i potrošače kulture u svijetu.

1. Visual research – AI, archives, search engines
2. Photography research
3.  Target group

Terrapija 3.0 — Antireklama za brzi svijet

Terrapija edukativni program koji podiže svijest o klimatskim promjenama. Treći je projekt, napravljen 2025. zajedno sa studentima Medijskog dizajna, Sveučilišta Sjever na temu antireklama za brzi svijet. Zadatak studenata bio je odabrati jednu od ponuđenih tema i osmisli antireklamu koja će potaknuti ljude da razmisle o utjecaju brzog načina života na planet.

https://adbusters.org

https://www.thecommons.earth

https://terrapija.terrahub.eu/3.0

According to the latest estimate by the Croatian Bureau of Statistics, inflation in 2025 was 3.7 percent, while on a monthly basis, i.e. compared to November last year, it was 0.4 percent lower.

Although the decrease in inflation is positive, the inflation rate should not exceed 2 percent on an annual basis, which puts Croatia at the top of the eurozone in terms of inflation rate.

The daily consequences of inflation are shown by information that Zagreb residents with average incomes who rent an apartment or repay a loan spend almost 70% of their income on housing costs. A single person in Croatia needs an average of 708 euros to cover living expenses without renting an apartment, and a family of four spends an average of 2,475 euros.

Research and data analysis show that despite inflation, low wages and high costs, Croatians are buying more than in previous years, and in 2025, an increase in the number of invoices and invoice amounts was recorded, and December holiday spending reached a record 2.55 billion euros.

Shopping is increasingly moving online. The Asian mobile application Temu with items at low and affordable prices became the most downloaded free application in Croatia in 2024, which was the first signal of a future increase in physical orders.

This is also confirmed by data collected by HAKOM from providers in the postal services market. A significant contribution to growth was again made by the parcel services segment, which in 2025 amounted to 2.7 million, or 18.8 percent more than in 2024.

In the last three months of 2025, 75 percent of Croatian citizens shopped on specialized websites, which is 4 percent more than in 2024, according to research by the Croatian Chamber of Commerce.

In the mentioned period, the customer made an average purchase on 2.25 internet sites. The most active group of online buyers are young people between the ages of 16 and 29, among whom as many as 94 percent shopped in web stores in the last three months, which is 5% more than in 2024. Women shop online more often, 79 percent compared to men 72 percent, and compared to 2024, the number of women shopping online increased by 7 percent.

Financial literacy

Financial literacy is a process in which financial investors/sellers improve their understanding of financial products and concepts and, through the information and/or instructions provided, develop the necessary skills and confidence to become more aware of financial opportunities and risks, be able to make informed decisions and know how to adequately seek help” (Source: OECD/INFE).

Although there has been an increase in the overall level of financial literacy in Croatia, young people aged 18 to 29 still show the greatest lack of financial knowledge.

Financial literacy can be divided into three categories: financial knowledge, financial behavior and attitude towards spending money.

On Wednesday, September 24, 2025, the CroCIP — Croatian Central Info Point for Debt Advice Services and Financial Literacy project was presented at the House of Europe in Zagreb, which aims to raise the level of financial literacy of citizens. Ana Zorić, Director of the Directorate for the Economy and Financial System of the Ministry of Finance, emphasized that the need for continuous investment in financial education has never been greater and that financial literacy is becoming a part of everyday life and a culture of responsible money management.

Državni zavod za statistiku. (n.d.). Trgovina na malo. https://podaci.dzs.hr/hr/podaci/trgovina-i-ostale-usluge/trgovina-na-malo/

Hrvatska pošta. (2025, 4. veljače). U 2024. korisnicima uručene rekordne količine paketa. https://hrvatska.posta.hr/hr/u-2024-korisnicima-urucene-rekordne-kolicine-paketa

Hrvatska regulatorna agencija za mrežne djelatnosti. (n.d.-a). Na tržištu poštanskih usluga ostvaren veći broj usluga. https://www.hakom.hr/hr/na-trzistu-postanskih-usluga-ostvaren-veci-broj-usluga/12397

Hrvatska regulatorna agencija za mrežne djelatnosti. (n.d.-b). Trendovi na tržištu poštanskih usluga: Sve više paketa i sve manje pisama. https://www.hakom.hr/hr/trendovi-na-trzistu-postanskih-usluga-sve-vise-paketa-i-sve-manje-pisama/12169

Ja TRGOVAC. (2025, 24. prosinca). HGK: Blagdanska potrošnja potvrđuje pozitivne trendove u maloprodaji. https://jatrgovac.com/hgk-blagdanska-potrosnja-potvrduje-pozitivne-trendove-u-maloprodaji/

Katalinić, D. (2026, 8. siječnja). Inflacija usporila, ali i dalje za isti novac kupujemo manje: Kupovna moć građana ipak ne raste. Novi list. https://www.novilist.hr/novosti/inflacija-usporila-ali-i-dalje-za-isti-novac-kupujemo-manje-kupovna-moc-gradana-ipak-ne-raste/

Redakcija Kodeks. (2025, 30. kolovoza). Kako inflacija stvarno utječe na naš život i kakva je situacija u Hrvatskoj? Kodeks.hr. kodex.hr

In contemporary design of visual communications, the term “friction” ceases to be an obstacle to be removed and becomes a strategic tool for achieving deeper user engagement. While traditional design strives for a flawless experience without effort (eng. seamless design), in order to enable the user to save time and understand current and future procedures more easily, the intentional introduction of friction encourages critical reflection and interrupts the passive consumption of content.

The design approach with friction is based on the concept of “Slow Technology”, which was introduced by Hallnäs and Redström (2001) with the aim of presenting technology in a way that makes people think. Building on that, “slow design” (eng. Slow Design) (Grosse-Herin et al., 2013) seeks to intentionally and purposefully slow down the processes of production and consumption, promoting ecological and social sustainability against the speed dominated by consumerism and which encourages reckless shopping.

The intentional introduction of friction or distraction is defined as a method that helps to bring awareness to the background aspects of the experience. This allows the user to make a conscious choice instead of an impulsive reaction.

Friction in design can be applied in several forms.

1. Cognitive friction, by using unexpected visual elements or complex typography, forces the brain to try to decipher the message.

2. Emotional friction causes discomfort or shock to break through the armor of indifference and trigger an emotional response.

3. Interactional friction intentionally makes the purchase process more difficult to slow down the buyer and leave room for rational thought.

In the context of maximalism, the accumulation of information and intentional complexity do not serve to confuse but create a barrier that prevents reckless consumption. Thus, maximalist design forces the individual to take on the role of an informed and responsible user in an overloaded environment.

However, the strategic use of friction has a dangerous side in the digital landscape: dark patterns. While ethical friction aims to empower the user through awareness, dark patterns (or deceptive patterns) subvert these principles to exploit human psychology. As defined by Harry Brignull in his book Deceptive Patterns, they are UI/UX choices carefully crafted to trick users into making decisions that serve the company’s interests rather than their own. Unlike the “slow design” philosophy that introduces friction to curb impulsiveness, dark patterns often work by removing friction where it should be—like the overly simple “one-click” purchase—while simultaneously introducing extreme friction to prevent users from exercising their rights.

A prime example is “Roach Motel,” where signing up for a subscription is seamless, but canceling requires navigating a maze of interactional friction. Similarly, “Confirmshaming” exploits emotional friction; Instead of provoking thought, it uses guilt to manipulate the user (e.g., a button that says “No thanks, I don’t want to save money”). The difference between the two lies in transparency and intent. While maximalism uses complexity to demand informed presence, dark patterns use “deception” or “trick questions” to exploit cognitive fatigue. According to the Federal Trade Commission (FTC), these tactics are increasingly regulated because they circumvent the “conscious choice” that ethical friction is supposed to protect. Ultimately, while friction can be a tool for awareness, in the form of dark patterns it becomes a weapon of manipulation.

Disclaimer: AI used

Benedetti, A., & Mauri, M. (2023). Design for friction: An inquiry to position friction as a method for reflection in design interventions. Convergences – Journal of Research and Arts Education, 16(31), 139. doi.org

Krug, S. (2014). Don’t make me think, revisited: A common sense approach to Web usability (3. izd.). New Riders. https://dn790002.ca.archive.org/0/items/SteveKrugDontMakeMeThink/Steve_Krug_Don%E2%80%99t_Make_Me_Think%2C.pdf

Lauritzsen, S. (2022, 23. ožujka). Five types of design friction and why they’re awesome. Medium. https://medium.com/@syverlauritz/five-types-of-design-friction-and-why-theyre-awesome-11f850072b8f

Maximalism in design is characterized by layering, complexity, abundance, and decorativeness. The use of rich and vibrant colors, intricate patterns, textures, strong and expressive typography, filled space, and layered elements creates a sense of depth and visual interest. Maximalist design often features multiple layers of graphics, textures, and elements, resulting in a dense and immersive visual experience that is purposeful and impactful.

Maximalism is a powerful tool for personal expression. It is an emotional response to the sterility and sleekness of the minimal design style. Maximalism celebrates individuality and breaks the rules without being uncontrolled or imprecise. It allows individual tastes, narratives, and histories to shine through the design. The guiding principle of maximalism is “more is more.” It is about embracing complexity and rejecting the idea of ​​”less is more.”

Among the authors who have rejected modernist purity, David Carson, Paula Scher, and Stefan Sagmeister stand out, using visual complexity as a tool to attract attention in a saturated media space.

David Carson introduces intentional “friction” through the deconstruction of typography in Ray Gun magazine. His work suggests that in a world overloaded with information, a message must resist to be noticed.

Paula Scher uses maximalism through monumental, layered typography. Her work does not shy away from overload but she is using it to create a strong identity that can survive in noisy competition with other market messages.

Stefan Sagmeister brings emotion and tactility, often using a density of detail. His designs are not for quick consumption but require time for observation, thus directly opposing the culture of impulsive and irresponsible shopping.

The analysis of these authors shows that maximalism in contemporary design serves as a weapon for communication. He uses aesthetic overload to break through the barrier of passive consumption, proving that in the era of hyper-consumerism, form does not only follow function, but also the intensity of the market struggle for the attention of the individual.

With its complexity, layering, and visual power, the maximalist style, if not thought out, can appear visually inaccessible and inconsistent, but the abundance of details can also visually overload the user. This characteristic can be studied from the perspective of a tool for presenting themes such as consumerism and excessive consumption to be visually presented in a credible way. Inaccessibility is not a flaw, but rather intentional communication noise that encourages the user to stop, think, and concentrate on the displayed content and its connotation. This approach to the form follows function argument, seeing consumerism as function, and maximalism as its form. Function does not always have to be ease of use or cleanliness but can be a credible representation of the social state (the chaos of consumerism). If the theme is chaos, then the design must be chaotic to be functional in its communication.

Design4Retail. (2023, 19. lipnja). Maximalism in graphic design. https://www.design4retail.co.uk/news-blog/maximalism-in-graphic-design/

David Carson Design. (n.d.). Ray Gun. https://www.davidcarsondesign.com/t/tag/raygun/

Iakovlev, Y. (n.d.). Maximalism in graphic design. Zeka Design. https://www.zekagraphic.com/maximalism-in-graphic-design/

Invoxico Technologies. (2024, 22. kolovoza). Maximalism in graphic and web design. https://www.invoxico.com/maximalism-in-graphic-and-web-design/

Sejpal, K. (2025, 6. studenoga). Maximalism is the new minimalism, atleast for now. Medium. https://medium.com/write-a-catalyst/maximalism-is-the-new-minimalism-atleast-for-now-735f8e344fb0

Vermeulen, S. (n.d.). Revival of maximalism in graphic design. Vermeulen Design. https://www.vermeulen-design.com/blog/revival-of-maximalism-in-graphic-design

A consumer society is one in which the level of consumption is at a high level due to the influence of modern technology, high productivity, marketing policy and the growth of living standards. Although it is created from positive influences, the negative tendencies of such a society are the development of dependence on imposed and often unnecessary forms of consumption and the encouragement of passive consumption in favor of high profits of producers.

From irrational consumer behavior, an excessive desire of an individual to consume goods and services and their possession appears. Consumerism is described in professional and scientific literature as a social phenomenon, or a way of life and an expression, while consumption itself is an act and does not have a negative connotation, but rather denotes the use of goods and services to satisfy needs. Modern consumer culture is considered unsustainable (Bodley, 2001, 71) and insatiable (Campbell, 2005, 37). Because excess consumption is no longer driven by need, but by lust (Bauman, 2012). When consumption crosses the border of need, it turns into consumerism and consumption out of lust. Collin Campbell identifies “longing” as a characteristic cultural state of a consumer society. Longing is manifested through daydreaming, advertising, marketing, the design of the products we buy, and the places we buy and consume.

Consumer literacy is essential for informed, responsible, and conscientious purchasing from an economic, health, and ethical perspective. It is defined as the set of knowledge and skills that enable consumers to make informed purchasing decisions, understand their rights and obligations, and critically evaluate marketing messages. By understanding consumer culture more deeply, consumers understand the importance of actively gathering and analyzing product information (composition, origin, price, environmental impact) before making a purchase, thus resisting impulsive marketing pressures.

Impulse buying is an unplanned, spontaneous purchase that results from exposure to stimuli and is decided upon at the time of purchase. Impulse buying accounts for a significant portion of a consumer’s total purchase and can be triggered by the introduction of a new product, a brand, or a product offering on special offer. Impulsive buying can be triggered by internal factors such as the emotional state and characteristics of the buyer, and external factors such as the space and layout of the store.

Previous research has shown that impulsive buying, considered an unplanned form of shopping, occurs in 90% of people. It is estimated that in the USA, around 1/3 of all purchases made during sales are impulse purchases annually.

Although most consumers describe themselves as rationally and responsibly planning their purchases, they are still prone to impulse buying, especially in situations involving special offers. Men find prices ending in 9 more attractive and cheaper than women and are more likely to round them down. Older age groups and less educated respondents show greater sensitivity to psychological prices, while younger respondents value product design and brand more.

Some of my literature links are on my language (Croatian) since I recognized importance of understanding the topic locally but can also be found on English.

Jönsson, E., & Ölund, R. (2021). Oops! I Did It Again… : Exploring consumers’ post-purchase emotions in regards to impulsive shopping and product returns online. (Dissertation). Retrieved from https://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-52686

Mihić, M. i Kursan, I. (2010). Utjecaj demografskih i individualnih čimbenika na impulzivnu kupovinu. Market-Tržište, 22 (1), 7-28. Preuzeto s https://hrcak.srce.hr/62108

Buzov, L. (2017). Utjecaj osobnih čimbenika (kupca) i karakteristika prodajnog mjesta na impulzivno ponašanje u kupnji [Diplomski rad, Sveučilište u Splitu]. Repozitorij Ekonomskog fakulteta u Splitu. https://repozitorij.efst.unist.hr/object/efst:1738

Čolić, S. (Ur.). (2013). Potrošačka kultura i konzumerizam. Institut društvenih znanosti Ivo Pilar.

Grgić, M. (2017, 21. studenoga). Psihologija potrošača: Tko su zapravo impulzivni kupci? Istraži me. https://www.istrazime.com/psihologija-potrosaca/impulzivni-kupci/