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

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

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

Archive

KLANGLICHT

10 ECHOES OF LIGHT

14 ARKESTRA OF LIGHT – LIFTED

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