by Sofie Neudecker -

Conclusion and Last Interview

General information about the interviewee: 

Age: 22 years
Gender: Female
Occupation: Student

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

The process of identifying human emotion. Interpretating human emotions from facial expressions through analysing facial features such as movement of the eyes, eyebrows, or mouth and identifying feelings such as happiness, anger, fear, or surprise. 

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

–       The eyes: Changes in the size of the eyes, squinting, or the direction of gaze.

–       The eyebrows: Raised, furrowed, or drawn together.

–       The mouth: Smiles, frowns, pursed lips, or other changes in the mouth’s shape.

–       The environment and context in which the interaction takes place. 

–       Observing if the facial expression is consistent with the body language. 

  • Which specific features and aspects do you pay attention to in this scenario?

I look at whether the eyes are wide or narrow, if there is direct eye contact or not, also in combination with the eyebrows if they are raised or furrowed. I look at the mouth, if someone is smiling, tight-lipped or frowning. I look at the forehead. 

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

Yes, the proportions and arrangement of facial features are important when perceiving a face. I perceive symmetrical faces generally more attractive. Balanced features tend to create a more pleasing and harmonious look. On the other hand, unique proportions and arrangements can make a face more memorable. It helps to recognize and remember faces. 

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

Yes, certain facial features and expressions can indeed influence the way I feel. Seeing someone smile can naturally make me feel happier and more connected. Just as a smile can create happiness in me,while witnessing someone’s sadness, anger, or fear will make me feel also sad, angry or fear. If someone shows a fearful expression, I might also feel a sense of urgency or alertness, especially if the context suggests a shared threat or danger. Positive facial expressions, such as nodding and smiling, can provide positive reinforcement, boosting my mood and confidence. 

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

Faces that are more symmetrical are generally perceived as more attractive. The overall harmony and balance of facial features contribute to attractiveness. Features should complement each other without any one feature overpowering the others. A genuine smile that reaches the eyes. I find that unique or distinctive features, such as a particular eye shape, freckles, or a charming smile, can make a face stand out and be more memorable.

·      Is there a difference for you between the attractiveness of male and female faces?

There is a difference in the way I perceive the attractiveness of male and female faces. Certain attributes make a male face more attractive and vice versa. For example, facial hair like a beard or stubble, can add to the attractiveness by emphasizing masculinity. On the other hand softer and more delicate features emphasize femininity. 

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

I appreciate faces with a natural look enhanced by a touch of makeup. A light touch of makeup can enhance natural features like the eyes, cheekbones and lips but without overpowering them. Minimal makeup maintains the authenticity of the person’s appearance, making them look more genuine and approachable. 

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

No, I don’t recognize facial shapes in everyday objects around me. 

  • Does this recognition affect the way you feel about those objects or the way you interact with them?

No recognition of facial shapes in everyday objects, therefore no influence on the way I feel or interact with them. 

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

I rarely do it, only in particular social situations out of politeness. Sometimes, I prefer to hide anger or frustration to prevent escalating a conflict. Maintaining a neutral or positive expression in professional settings is important for appearing competent and approachable. For example, in roles that involve customer interaction, showing positive emotions can enhance customer satisfaction, even if those emotions aren’t genuine. Deep breathing can help in calming downs and maintaining a neutral expression. Moreover, being aware of your own facial expressions and body language can help to manage it. 

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

Potentially understanding facial shapes can help artists create more realistic and accurate portraits. Artists can create more dynamic and expressive faces. In addition, it can potentially help designers create more effective marketing campaigns that evoke specific emotions and therefore make the campaign more compelling and persuasive. Looking at the future, it could also help with creating realistic and expressive avatars enhancing user interaction and experience of virtual and augmented reality. 

  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

The first art piece that I thought of is Leonardo da Vinci’s “Mona Lisa”, as it has intrigued viewers for so many years. Another design could be the Memoji or Animoji by Apple. It is a feature on the phone that uses facial recognition technology to create a character that mimic user’s facial expressions. Advertisements often use faces with specific expressions to evoke emotions such as happiness, trust or excitement. 

Conclusion

Working with a variety of media—graphical images in different styles, photography, and direct interviews—proved to be highly engaging and insightful for our experiments. This diversity enriched our design research by providing multiple perspectives and deeper insights into user experiences and emotions. The next step is to utilize this material to create a comprehensive survey for a larger test group. By simplifying the topic, directly asking targeted questions, and incorporating different images to evoke and assign emotions, we aim to gather valuable data to further refine our design approach.

by Sofie Neudecker -

19. Series of Interviews 02

General information about the interviewee:

Age: 62
Gender: Male
Occupation: communications engineer

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

    Facial Emotion Recognitionis a technique for recognising human mood and emotions based on a person’s facial expression. It plays a role in areas such as medicine, security, market research and social research. Automated methods, AI and machine learning algorithms offer great potential for the future use of this technology.

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

    When analysing another person’s facial expression, visual cues such as movements of the eyebrows, eyes, mouth and other facial muscles play a crucial role.
  • Which specific features and aspects do you pay attention to in this scenario?

    In the course of evolution, reactions such as the movement of the eyebrows, eyes, mouth, forehead or other areas of the face have become established in human facial expressions. The purpose of these facial expressions is non-verbal communication with the other person, which takes place unconsciously. These facial reactions, which cannot be fully controlled, can be used to draw conclusions about the emotions that trigger them.

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

    Yes, they play an important role in distinguishing between different faces. Computer algorithms for facial recognition work with a few distinctive proportions that can identify a face quite clearly. In addition to other features such as colour or skin texture, proportions play an important role in assessing the beauty of a face. Both general and personal standards are used to assess the beauty of a face.

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

    Certain facial features do have an effect on how a person is perceived. A person with a pretty face is perceived as more likeable. Emotions in the other person’s face directly influence your own emotions, such as pity, joy, confidence or affection.

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

    Attributes that make a face attractive are colour, symmetry, proportionality, clear skin, youthfulness, and positive expressions. Symmetry plays a crucial role because it signals genetic health and developmental stability, making the face more visually appealing.
  • Is there a difference for you between the attractiveness of male and female faces?

    Absolutely! Hard and angular faces can definitely look attractive on men, whereas I prefer soft faces on women. A woman’s beard is irritating, whereas it is normal for a man.

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

    I find make-up rather distracting on men. If at all, it has to be very minimal and inconspicuous.
    For women, I also prefer less make-up, which is always appropriate and gives a natural look. However, some types can tolerate more make-up, which can create a somewhat more exotic look. However, this comes with the risk that it may not suit your own type.

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

    Yes, sometimes you can recognise facial shapes in objects. A well-known example is the man in the moon, but you can also recognise facial shapes in clouds or in the leaves of trees.
    Some things, such as emojis or pumpkin faces, are modelled on the face.
  • Does this recognition affect the way you feel about those objects or the way you interact with them?

    Absolutely. The moon, for example, is humanised, given a kind of soul. The „smile“ emoji, for example, was developed to generate a positive reaction.

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

    Yes, it is often necessary to hide your emotions as much as possible. It is often not customary to show emotions at business meetings. Emotions can signal weakness to the other person, which can be undesirable, especially in competitive situations.
    Finally, a tendency to partially conceal feelings has also developed as a result of upbringing.
    However, certain facial expressions occur unconsciously and can only be controlled imperfectly.

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

    There are two aspects to assessing facial shapes and expressions in art and design.
    Firstly, artists often want to convey or express a mood or emotion. In doing so, they can utilise the effect of facial expressions on other people, which has developed over the course of evolution.
    On the other hand, artists are often dependent on consumer feedback. Here too, an understanding of facial shapes and expressions can be useful.
  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

    Mona Lisa, for example. Or the painting „The Scream“ by Edvard Munch.
    The Greek statues had rather flat facial features, many monarchs had themselves portrayed with determined facial features. In film art, facial expression is an essential element.

General information about the interviewee:

Age: 24 years
Gender: Male
Occupation: PhD Student in Visual Analytics
TU Graz

1. Understanding Facial Emotion Recognition:

Can you describe what the term „Facial Emotion Recognition“ means to you?

When we want to express our feelings, we show them to others by changing our face muscles – known as facial expressions. Another person picks up these emotions through our face which is facial emotion recognition. 

2. Analyzing Facial Expressions:

What helps you analyze the facial expression of another person when you see them?

Shape of mouth (laughing, engineer smile 😐, etc.), muscles around eyes, eyebrows

Which specific features and aspects do you pay attention to in this scenario? See previous question

3. Proportion and Arrangement:

Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?
A symmetrical face is beautiful to look at, but asymmetrical or disproportional features catches our attention easier.

4. Influence on Emotions:

Can certain facial features and expressions influence the way you feel? How do they affect your emotions?
When a person expresses sadness through hanging eyebrows, sad smile, tears streaming down their face, we naturally won’t feell extremely happy about that – it also makes us feel sadness in some way.

5. Attractiveness of Faces:

What attributes make a face attractive to you? What role does symmetry play?
Correct proportions – this is possible through symmetry. Well adjusted lips – not that botox stuff, especially when the botox thing goes wrong, it destroys symmetry. A skin with correct color tone indicates healthiness -> attractive. 

Is there a difference for you between the attractiveness of male and female faces?
Female faces are attractive by their majestic and elegant shape, they look smooth and symmetrical. Attractive male faces have distinctive features, they look more angular, more “rough” which might indicate strength and robustness in some way (I believe?) 

6. Preferences for Makeup:

Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?
Of course a shitload of makeup is certainly not attractive and makes the face look artificial and plastic. Very little makeup might help to hide unwanted features or put more emphasis on good features such as lips.

7. Facial Shapes in Everyday Objects:

Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?
Cars – every single car has that face with the two headlights and the radiator grille. There is even a saying in Austria “Do hob I erstmoi gschaut wie a Auto”

Does this recognition affect the way you feel about those objects or the way you interact with them
Probably a question for psychologists, since this belongs to the research area of our subconscious behavior.

8. Controlling Facial Expressions:

Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?
There are certain funny situations, for example when playing a game with friends which is about lying, you need to have a “Pokerface”

9. Relevance to Art and Design:

How do you think understanding facial shapes and expressions can benefit artists and designers in their work?
If you want to make people buy certain products, you want them to feel happy – so maybe arouse their subconciousness with the help of a “hidden” happy face.

Can you think of any examples where the perception of facial features has influenced a piece of art or a design project? Sorry, no.

by Sofie Neudecker -

18. Series of Interviews 01

In my recent research, I conducted a series of interviews to delve into the intricacies of individual face perception and the unique emotions elicited by specific facial features. The primary objective was to identify commonalities across various interviews that could lead to broader, generalized statements about face perception. Concurrently, I aimed to highlight the deeply personal and subjective nature of how we perceive faces. This dual focus allowed for a comprehensive understanding of both the universal patterns and the individualized nuances in face perception.

General information about the first interviewee:

Age: 32 years
Gender: Male
Occupation: Freelance Copywriter

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?

The ability to discern a person’s emotional state based on facial expression. 

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?

I would say mostly instinct — registering expressions on an unconscious level. Or consciously comparing and contrasting facial expressions with past experiences, for example associating frowning with someone being unhappy about something. 

  • Which specific features and aspects do you pay attention to in this scenario?

Probably mostly the eyes. 

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?

I’d like to say no but I think they probably are, though I’ve never given it any active thought so I can’t say for certain. Again I think it’s probably unconscious. 

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?

Definitely. I think the more pronounced expressions like smiling and frowning can definitely influence me — especially in terms of compassion and empathy. 

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?

Authenticity for me is one of the most attractive features of a face, but I think this is more difficult to define in terms of specific expressions and attributes. When I can see that someone is genuine and authentic, and when this is expressed through their face, then I would consider that to be attractive. 

  • Is there a difference for you between the attractiveness of male and female faces?

I don’t think so. When I reflect on the kind of male faces I find attractive they mostly tend to be more feminine in terms of aesthetics. 

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?

No makeup at all. I prefer to see someone as they look naturally. 

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?

Yes. Sometimes I see faces in letter boxes and houses — in the ways that windows and doors are arranged. 

  • Does this recognition affect the way you feel about those objects or the way you interact with them?

Definitely. As soon as I see a face in an object I start to project a personality onto it, and so I feel some sympathy and affection towards it.

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?

I think so, but it happens so spontaneously that I’m hardly aware that I’m doing it. Mostly I think it’s when I’m trying to hide my disappointment or surprise, but I don’t think I’m very successful most of the time — there’s that split-second moment before I take conscious control of my face, when the real emotion comes out, and at that point it’s already too late!

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?

Maybe it can help with infusing inanimate objects with a sense of life and personality. It might also help an artist inject subtle emotions and cues into their work that the audience might not consciously pick up on. A facial expression is an external manifestation of an internal process, maybe designers and artists can use this sort of understanding to externalise and humanise something that would otherwise remain hidden and lifeless.

  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?

The first thing that comes to mind is Picasso, though I can’t say why. 

Information about the second interviewee:

General information about the second interviewee:

Age: 23 years
Gender: female
Occupation: designer 😉

1.  Understanding Facial Emotion Recognition:

  • Can you describe what the term „Facial Emotion Recognition“ means to you?
    • To me it describes the technology to recognise the emotions and feelings in a persons’ face.

2.  Analyzing Facial Expressions:

  • What helps you analyze the facial expression of another person when you see them?
    • For me a big part are the eyes, the eyebrows and the way you move your mouth (or your lips and the little, hardly noticeable movements)
  • Which specific features and aspects do you pay attention to in this scenario?
    • It depends on the situation, when it comes to the overall wellbeing of the person, the eyes are the most important to me, however, when it’s about emotions about a certain topic, the eyebrows and the mouth area I think help me more to analyse the other person…

3.  Proportion and Arrangement:

  • Are the proportions and arrangement of facial features important to you when perceiving a face? If so, how?
    • The proportions and arrangement of facial features is not really important to me, because every person is different and so I get used to everyone’s face and adapt my perception to the individual faces. But in general people might make the same facial expressions and they mean different things to everyone.

4.  Influence on Emotions:

  • Can certain facial features and expressions influence the way you feel? How do they affect your emotions?
    • Yes! Absolutely! I think mostly when someone moves the eyebrows
      in a hardly noticeable way, in the way of saying „what?!“ It definitely can be intimidating or confusing, at the same time a different way
      of moving your eyebrows can make you feel understood and cared for.

5.  Attractiveness of Faces:

  • What attributes make a face attractive to you? What role does symmetry play?
    • I was struggeling with this question a lot – and I still don’t really know how I’m supposed to answer it… But generally speaking I think to me the individual parts of the face make a face attractive to me and that is mostly the eyes and the expression in them. Symmetry plays that big of a role, but when I’m thinking of „perfect“ attractiveness, I imagine a really symmetrical face with quite „perfect“ features.
  • Is there a difference for you between the attractiveness of male and female faces?
    • For me yes, as prejudices as this sounds, but an attractive male face is a bit edgier and a attractive female face has more round and gentle features.

6.  Preferences for Makeup:

  • Do you prefer faces with a lot of makeup, very little makeup, or no makeup at all? What degree of makeup do you like the most and why?
    • I think no makeup or the kind of no makeup-makeup is my favourite. It’s natural and I think it’s great when you can use makeup to enhance your features, not put them underneath a 3cm layer of makeup.

7.  Facial Shapes in Everyday Objects:

  • Do you sometimes recognize facial shapes in everyday objects around you? If yes, can you provide a few examples?
    • Yes – today I saw a potato that had a shape of a face. Or light switches – they always look at you.
  • Does this recognition affect the way you feel about those objects or the way you interact with them?
    • Well, somehow I always want to take a photo of them, as a collection of things I see faces in. And in some cases (like with a microwave that for me was a screaming face) I want to give those object names. 

8.  Controlling Facial Expressions:

  • Do you sometimes try to control your own facial expressions to hide your true feelings or to display emotions you aren’t actually feeling? If yes, why do you do it, and how do you manage it?
    • I try sometimes to hide my facial expressions, mostly when I think someone had a weird idea or when I don’t like the food so much, but I am really bad at it…😅

9.  Relevance to Art and Design:

  • How do you think understanding facial shapes and expressions can benefit artists and designers in their work?
    • I think it can teach you the rules, and the general kind of structure of eyebrows, eyes, nose, mouth on the different facial shapes, and make you realise how different every face is and all the possibilities to mix and match – so to understand the „rules“ and be able to combine differntly and to think differently.
  • Can you think of any examples where the perception of facial features has influenced a piece of art or a design project?
    • Right now not really, but I’ll think about it more… 😉
by Maike Klemm -

19 – Reflecting on the semester

This semester, I continued my exploration of handmade design, building on my previous research. Handmade design remains relevant, resonating with themes of political movements, sustainability, and nostalgia. The choice between handmade and digital design impacts both the consumer’s perception and the designer’s workflow.

Throughout the semester, I engaged in both digital projects using advanced AI tools and traditional techniques like bookbinding and letterpress printing. Personally, I found the analog process particularly exciting and creatively stimulating, as it allowed for immediate, tangible outcomes.

Reflecting on these experiences, I decided to further explore handmade design from two perspectives: its effects and the process itself. My first experiment, a survey on brand associations, revealed that handmade design aligns strongly with brands emphasizing ethical and political values, though it also evokes feelings of fun and youthfulness. My second experiment examined whether people could distinguish between genuinely handmade designs and digital imitations. The results were mixed, suggesting that the visual cues of handmade aesthetics can be replicated digitally, though the authenticity of true handmade designs may create a stronger impact.

An article about The Guardian’s creative team handcrafting election artwork underscored the relevance of handmade design in contemporary media, emphasizing trust and authenticity in an era of disinformation.

In conclusion, this semester has deepened my appreciation for handmade design. Despite its time-consuming nature, the tangible results and creative satisfaction make it worthwhile. While digital imitations can replicate the look, the authenticity and effort behind true handmade designs offer a unique and genuine impact in an increasingly digital world.

by Maike Klemm -

18 – Results of Experiment 2

For my second experiment I wanted to find out if people can spot the difference between handmade designs and digital designs that have an analog look to them. This way I wanted to find out if the effects of the handmade aesthetic require the actual time and effort or if a fake will lead to the same look, and the consumer doesn’t even notice.

In my experiment I showed my participants 6 designs, 3 of which were handmade and 3 of which only have a handmade look added to them. I asked them to tell me which ones are analog in their opinion.

The results varied, and my participants never all had the same opinion. At first, I showed them two collages, one analog and one digital and here the participants agreed the most. 71% correctly assesed the handmade collage and 86% could tell that the other one was made digitally. Even the digital illustration was found out by 71%. It was harder for them to tell the letterpress print was made by hand. Only 43% could tell, so the majority guessed wrong. For photography there seems to be a similar confusion. Out of two pictures, one analog and one digital, both were believed to be made digitally by a majority of 57%.

To conclude the results, it is not that obvious if a design is made analog or digital with a fake analog look. The tendency was correct on only 4 out of 6 designs, and never was it obvious to everyone. Especially with photography and letterpress it seems to be harder to tell. I do think the results could possibly be different if I showed them the works in person, instead of digitally on a screen – because this is where you can really see the difference of analog design.

These results show that the look and the effect of the handmade aesthetic on the consumer are not necessarily dependent on the process of creation. I personally find these results quite unmotivating because it means that the special effort that is put in when making something by hand, cannot always be observed. But at least it tends to be observable.

During my preparation I asked myself if it is that much more efficient to fake the handmade look. Since I got all my “fakes” from tutorials online I noticed that on top of creating the digital work (which can sometimes take quite long too), you then have to put in an extra effort to make it look imperfect. I think here it really depends on the medium. For photography, it is clearly still faster to make it digitally and fake the look, but for example for illustration, I can imagine a designer drawing something by hand quicker than building it on illustrator and then making it appear imperfect afterwards. Therefore, I believe it is a complex question, that can only be answered depending on a specific design. It cannot be said generally if a “fake handmade” design has the same effect as an analog one, and neither can it be said that it is easier and quicker to produce a digital one. Also since the handmade look has associations like „authenticity“, I think it could really backfire to fake the look, because some consumers might still notice.

by Maike Klemm -

17 – Experiment 2

For my second experiment I wanted to find out if it really matters that an artwork is made by hand or if it is enough for it to just have a handmade aesthetic. This idea came to me after I stumbled upon a video of a designer who explained how he fakes a handmade look.

In order to investigate this, I created a quiz with different artworks, some of which are actually handmade or produced in an analog way and some of which are digital creations that have a handmade look added to them. I asked my participants to click on the pictures they believe are handmade/analog.

For the handmade/analog works I chose some that I came across during my research the past two semesters. A collage I wrote about in my las blogpost, a letterpress print I saw at DruckZeug, and an analog picture I took. The digital fakes I all took from online tutorials on faking the analog aesthetic. I chose a collage, an illustration and a photograph, to get a wide variety of different techniques.

I am really interested in the outcome of this survey. Since I have been working on this topic for a while now, I find it a bit easier to tell the difference, but I am not sure how obvious it is to others. To get an even more realistic answer I sent this survey not only to designers but also Students from other fields, that have never produced a design neither digitally nor analog.

Survey:

https://docs.google.com/forms/d/e/1FAIpQLSd33c3Oaq99Fl94Kv90USmyBBjMbVv9NlxL7qs0L-cw2fr9eQ/viewform

sources:

https://www.itsnicethat.com/features/the-guardian-election-editorial-graphic-design-illustration-spotlight-140624

https://www.instagram.com/druckzeug

youtube.com/watch?v=df0HpEn4hmk&t=506s

youtube.com/watch?v=koml2ZNeCqU

https://www.instagram.com/reel/C6q_EaEAWge/?igsh=cHVoanJuenY2ZXpp

by larissa.holweg -

Books:

Verpackung Marketing : Packvertising

Produktion und Veredelung

Beispiele von diversen Verpackungen

Beispiele Alkoholika und developing Progress

Beispiele

Geschichte der Verpackung

Beispiele

Geschichte der Faltverpackung

by Maike Klemm -

16 – On the Guardian creative team making all its election artwork by hand

“The rise in disinformation and fakery cemented the idea to do the opposite and lean into the craft of doing things for real.” – Chris Clark

During my free time I stumbled upon an article about how the creative team of the guardian create all their artworks concerning the election by hand, in an imperfect aesthetic. This caught my attention right away, because it fits my topic perfectly. Why would a big newspaper take the time and effort to create handmade graphics?

The creative director of this campaign Chris Clark said: “The main spark of inspiration came from a conversation with a desk editor describing the country as ‘broken’, with nothing fitting or working quite as it should. This in parallel with the rise in disinformation, and fakery either through AI or generative articles really cemented the idea to do the direct opposite and be as honest and transparent in the creative process as we could – to lean into the craft of doing things for real.”

One of the main ideas was to build trust. With all the misinformation and fake news that are spread surrounding elections, it was important for them to create an authentic, trustworthy and approachable atmosphere for the readers.

But by using ripped paper cut outs they also want to visualize a “broken Britain” and how it could be put back together.

They choose to make the graphics by hand instead of faking the look on a computer. Because why fake it if you can make the real thing, and because they were in the privilege of having a good and agile team. The style is influenced by the specific employees and has variations in it. It allows for quick working, that would take much longer on a Mac, the digital design director says. He also mentions that in the beginning it was hard to stop themselves from reworking the results but especially by limiting their time they got much more productive. Now they create up to six artworks a day.

It is not like in digital design, where you usually have a strict style guide, but instead the regular process of it and the methods are what creates consistency. They set up some rules, like using mainly black and white pictures, that they either cut out or rip, but the rest is left open to create the most fitting results for the stories.

When asked how they make the designs look so distinctively handmade, the creative director answered the following: “In not only embracing the imperfections but amplifying them. We’re deliberately not removing any of the damaged paper, worn photocopies or dirty toner, and trying to be as responsive and immediate as possible. We’re often choosing the first composition and giving them very little enhancement from what is captured in the camera. “

This confirms my assumption from last semester, that “handmade” can be a countermovement to new technological developments like AI. With more and more fake images circulation on the internet, and free tools to create these, it makes sense that people feel safer when seeing an analogue image. I found it really interesting that such a big campaign chose the handmade style, but it also confirms the relevance of the topic of handmade design. It’s not only for niche, small businesses to sell on etsy and craft martkets but also for the masses. And yet this campaign also fits right in with my findings about the associations of the handmade look. Craftivism gave handmade visuals a irrevocable connection to politics and morals. This can be seen clearly by this creative campaign of political coverage.

Source: https://www.itsnicethat.com/features/the-guardian-election-editorial-graphic-design-illustration-spotlight-140624

by Sofie Neudecker -

17. Different Emotional Expressions

Shooting displaying different emotions

How to use the images for experiments

Here are some photographs I have taken of myself, each capturing different emotions. My next step is to present these images to a larger test group. To enhance neutrality and emphasize the facial expressions, the photos are in high-contrast black and white. One approach is to have participants view the images and generate their own adjectives to describe the emotions. Alternatively, I could offer three specific adjectives for them to choose from. To explore the perception of subtle micro-expressions, these adjectives should represent specific subcategories of broader emotions; for instance, terrified, anxious, and frightened could all fall under fear. A third option is to provide a comprehensive list of adjectives from which participants can select one for each photograph. Ultimately, I aim to determine if there are any consistent or common patterns in the adjectives assigned by the test group.

by larissa.holweg -

Process and Ideas:

Since the survey revealed that the majority of respondents would prefer a traditional card game, I will likely focus my efforts in that direction. However, the question remains whether the idea of incorporating QR codes or augmented reality (AR) can still be utilized to enhance the experience. For instance, imagine having a QR code on the packaging that customers can scan while in the store. This could provide them with access to the latest promotions, detailed information about the game, or even an augmented reality preview of the game’s features and content.

Such an interactive element could significantly influence their buying decision by giving them a more immersive and informative glimpse into what they are purchasing. It would allow potential buyers to visualize the game’s components and understand its value before making a purchase.