Archive for the 'Peter Klebba' Category

Peter Klebba

February 15, 2011

VS.1.1 – Spacial Interaction: The piece requires the viewer to change their physical location in order to recieve the message.

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VS.1.2 – Physical Interaction: The piece requires the viewer to physically interact with it in order to change the message or ultimately help complete it.

Visual Studies

1- Defining and exploring different types of visual interaction.
2- Exploring different devices used to gain attention.
3- Simple visuals to represent complex issues (or something like this).

Activism Through Interactive Design

This world is full of important issues that people need to be made aware of and become informed about. The standard way this issue is being taken care of now is through media, primarily television and radio news broadcasts, newspapers, magazines, and the Internet. While these methods are important and effective, they are not reaching as broad of an audience as they should be. This is because all of these vehicles for communication are passive. People rarely receive this type of information unless they take the initiative to seek it out themselves. This is where graphic design comes in. As the FTF Manifesto of 2000 states, “The profession’s time and energy is used up manufacturing demand for things that are inessential at best.” This is in reference to commercial design/advertising. “There are pursuits more worthy of our problem-solving skills,” (FTFM 2000).

I intend on addressing this problem by designing pieces that require a certain level of interaction, beyond just viewing and reading. The personal investment will allow the viewer to connect with the design/issue on a deeper level. This goal of getting the viewer invested will come from designing pieces that work on more than one level. If a person was to approach a design piece with a certain expectation and realize, upon closer exploration, a different/surprising message, the experience is going to be more memorable or leave a strong impression. Hopefully, the experience will draw out a response to the primary message; the strategy here being a way to evoke an emotion and then contrast it.

Good examples off this emotion contrast strategy can be seen in the Graphic Imperative poster collection. Many of the artist used different devices to communicate similar messages: serious world issues. The iRaq poster uses Apple ad campaign imagery and a humorous word play, but upon investigating, the message is very dark. This makes it hard to forget.

Thesis Statement:
I intend to activate awareness and response to serious world issues through the use of interactive graphic design. If viewers can reach a level of self investment when experiencing design, they will be more likely to remember or act on the message being communicated.

Terms and Definitions:

the doctrine or practice of vigorous action or involvement as a means of achieving political or other goals, sometimes by demonstrations, protests, etc.

1.not reacting visibly to something that might be expected to produce manifestations of an emotion or feeling.

2.not participating readily or actively; inactive

1. The means of communication, as radio and television, newspapers, and magazines, that reach or influence people widely.

Definitions to keep in mind:

graphic design
1. the art or profession of visual communication that combines images, words, and ideas to convey information to an audience, esp. to produce a specific effect.


1.a paid announcement, as of goods for sale, in newspapers or magazines, on radio or television, etc.

2.a public notice, esp. in print.

3.the action of making generally known; a calling to the attention of the public.


-Steven Heller: Design Humor: The Art of Graphic Wit
-Seymour Chwast/ Steff Geissbuhler
-Stefan Sagmeister
-A little of Banksy’s
-Imagination Studio
-The Bubble Project

Case Studies

Kevin Lee: Your Pin Money, His Life Fountain.
My Analysis:
Here’s an example of design with a level of interactivity. The donation box allows you to donate change in order to let the little man drink. This gives you a memorable experience that symbolizes what your donation is really going toward. The little man symbolizes real people in China and lets you know your donation is going to end up changing a life. Your interaction (although symbolic) will leave you feeling as if you actively took part in this process.

It also works on another level. It uses a device (in this case: humor)  in order to attract attention. Suppose you approached this box from the reverse side and never realized there was a written-out message. You might still be prompted to participate because you get the opportunity to directly interact with this piece of art. You get the fun little moment of activity and the box/cause gets supported, even if the viewer was n ever to uncover the primary message.

Damon Stapleton: Feed SA Campaign

My Analysis:
This is a good example of design that is much harder ignore as opposed to TV, the radio, newspapers, ect. The device here being surprise. Shoppers are definitely going to be surprised when they see these images in their cart. These designs are especially effective in their use to evoke the emotion of guilt. The shopper has to interact with these ‘children’ and physically ‘give’ food to them and when they leave they have to then ‘take’ it away. The below paragraph states that there were collection tins at the pay-station. This point in the interaction is were the emotion would be the strongest–the point where the shopper had to take the food away from the children. The design probably left an impact on every shopper, the shoppers who donated would leave as if they were helping an serious issue, where the people who didn’t donate, may have felt guilty. Either way the design affected the people who saw it.

Sagmeister: Get Tested Poster

My Analysis:

A good example of a 2D form if interaction. The viewer takes a piece of the poster. They become part of the process of the posters transformation. Also, the viewer may feel obligated to get tested after taking one of the pieces opposed just receiving a message by simply reading it.



The Graphic Imperative


Graphic Agitation 2: Social and Political Graphics in the Digital Age

Liz McQuiston

Design Humor: The Art of Graphic Wit
Steven Heller


Beandrea Davis, from Colorlines

Alleviating Crisis Through Propaganda
Ismiaji Cahyono

Reading Log
-Content Pending


1- humor as a device
2- interactivity and functionality
3- site-specific

Set 2 Proposals

Interactivity and Functionality
I am interested in graphic design that serves more than one function, specifically design that requires audience interaction. Not interactivity using computers or animations but tactile interaction (3-dimensional–perhaps the use of ones hands). I plan on studying/exploring unique ways to let design control how the viewer receives the message but also allowing the viewer to have a level of control and possibly discover the (or another) message themselves.

The world is flooded with design that is un-engaging and has a short life-span and (for example: ‘green’ design) pieces can be designed that go beyond their initial functions.

Humor as a Device
I am interested in humor as a device in design. It’s said that good humor is surprising but true and this is why it’s effective and memorable. Humor used in design takes on a different role when compared to other concentrations in art like cartoons. I believe that humor becomes even stronger when used unexpectedly, for example, humor that is used in conveying a serious message. The Graphic Imperative posters used a lot of humor to present very serious issues (political, social, or environmental). This creates a contrast of emotion when perceiving the art. The surprise of the humor might make you laugh but the truth behind it brings the seriousness to it. I propose to explore the effects of humor in design through different applications like interactivity, installation, and traditional print.

Things I’ve been looking at:
Writing of Steven Heller: Design Humor: The Art of Graphic Wit
Work of: Seymour Chwast, Steff Geissbuhler (his peace poster).

Some work from: Olly Moss, Jay Ryan, Stefan Sagmeister, Banksy.

I am interested in site-specific design. When something is designed with the environment in mind, there is an added level of purpose.  I plan on investigating different applications of design that is intended for a specific location or application. I can see that universal design serves a very broad audience but can often lack a relationship with the specific environment/area/culture it ends up living in. This idea can create a stronger connection with the viewer.

Things I’ve been looking at:
Work of Stefan Sagmeister.
A little of Banksy’s.