Visual Communication Workshop
This workshop assignment was something of a surprise and, in retrospect, a team-building exercise for us students.
At the beginning of the lecture, our professor gave us an assignment, which was also going to be graded. We had about 4 hours until the lecture ended to finish this assignment and hand it in.
So let’s get to work!
„Poster design for an Exhibition of Experimental Typography“
The assignment was divided into 5 phases.
Phase 1: Form groups of 3-4 students and collaboratively determine a series of three attributes that will serve as the exhibition title, rooms, and motto. The development of this series will be discussed with the lecturer afterwards. You’ve got 10-20 minutes.Phase 2: Each group member will develop three distinct design-drafts within a 30-minute timeframe, based on one of the three attributes. These designs will then be discussed with both the lecturer and the group.
The most promising design from each student is selected collaboratively. You’ve got 45-minutes from now on.Phase 3: Each group member develops a design series for the selected design.
Phase 4: The designs are utilised to create format adaptations in three formats:
-Instagram posts (square),
-perimeter advertising,
-and folders (DIN long, printed on one side, folded twice).Phase 5: Submission of the designs.
Content requirements:
Date: 05.11.2021
Title: [Attribute]
Subtitle: Exhibition of experimental typography
Possible design elements:
-Typography (researches what is accessible)
-Basic shapes (circle, rectangle, line)
-Accent color
As you can see above, the attributes we chose were „ICH, WIR, DIE“, which translates to „I, WE, THEY“.
After phases 1&2, phase 3 began and we were able to start working on our final designs to create a series.
I decided to create 3 posters in a very minimalist style, only using black&white and different opacities.
Phase 3:
ICH:
In the creative realization of the „ICH-Poster“, I aimed for a profound visualization forming a cloud that consists entirely of the term „ICH“ in various opacities.
The central motif of the cloud is meant to represent the egocentricity and self-centeredness of the individual self, where there is a subtle danger of swiftly losing oneself in this self-absorption.
The use of various opacities within the cloud introduces an element of confusion and fragility to the overall image. Much like gas, egomania can quickly evaporate, and leave you with nothing in the end.
Despite this portrayal of self-centeredness, the „ICH“ is also presented as a mediator and perceiver of reality, aligning with Sigmund Freud’s psychoanalytical approach. Within this context, the „ICH“ conveys essential information, such as the exhibition name and the date. The lines that form around this data act as a frame for the picture, creating a formal enclosure of the „ICH“. These lines, while imposing a stifling and restrictive effect, also provide the necessary structure for the „ICH“ to justify its existence. Within these defined boundaries, the „ICH“ is allowed to develop freely, which can also be understood as a subtle critique of social restrictions and norms. This visual contrast makes it clear that, despite its self-centeredness, the „ICH“ plays a complex role as a mediator and provider of structure in one’s own life. Simultaneously, it emphasizes the tension between individual freedom and societal constraints.
WIR:
The design of the „WIR-Poster“ conveys a sense of openness, friendliness, and freedom. Similar to the previous „ICH-Poster“, the „WIR“ also uses various opacities. In contrast to the „ICH-Poster“, however, this does not create a disturbing feeling, but rather a unifying experience of different individuals. The different opacities come together and literally merge into a single element that creates something completely new – a community. The „WIR“ is presented as a collective work.
The placement of the data is the same as in the „ICH“ poster, but the vertical lines create a more open and inviting appearance, giving the impression of an invitation to contribute to this collective work.
This visual effect emphasizes the open nature of the „WIR“ and promotes a sense of participation and collaboration within the community.
DIE:
The design of the „DIE-Poster“ conveys a feeling of emptiness. It lacks both the crowding of the individual self as in the „ICH poster“ and the community of the „WIR“. Lonely and lost, an isolated „DIE“ alone occupies the space. The viewer is left with a feeling of abandonment and exclusion. The „DIE“ is fenced off lines that once formed the framework of the „ICH’s“ existence and the inviting verticals of the „WIR“.
In this context, the lines are used as a clear symbol of exclusion.The poster seems to be designed free of love and thus effortlessly reflects the absence of charity. In a society that allows such exclusion, the absence of compassion and benevolence becomes evident.
Phase 4: I decided to move forward with my „ICH-Poster“-Series and create format adaptations for a square instagram post, a perimeter advertising and a folder. I also created magazine excerpts.
