Graphic design is a craft that aims to use visual elements to communicate messages, but what happens when the concept the designer wants to communicate is based on something invisible? How can a designer translate into visual language something that by nature cannot be perceived by vision?
The book “No. 5 Culture Chanel” by the Deutch graphic designer, Irma Boom, was the perfect example of translating something invisible into visual communication. It is a visual journey that unfolds through an interplay of text, image, and patterns, offering an intimate and profound exploration of the relationship between fashion, art, and history. Boom’s ambition was to challenge the conventional constraints of a printed book and create a work that seamlessly fused concepts and content. She delved deep into the formal attributes of the perfume and skillfully translated them into visual elements. Her goal was to craft something that is present yet remains mysterious much like the essence of perfume itself. To achieve this, she exclusively employed embossing as the printing method, utilizing an old letterpress machine without ink on pristine white pages. This unique technique not only conveys the ephemeral and light nature of fragrance but also transforms the book into a sensory experience, that brings to perception what is invisible.
I want to analyze the relationship between this book “No. 5 Culture Chanel” and the work I have been developing, by reflecting on my process and Irma Boom’s practice. I want to especially reflect on my take-aways from her work as I attempt to progress mine.
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Boom and I shared the same challenge of exploring through visual communication a concept that is neither tangible nor visible. On Irma’s case, she relied on embossing as a printed technique. By embossing, she cleverly played with the notion that the book’s concept exists yet remains elusive. From a distance, the book may appear as a 300-page reel of blank sheets, but upon closer inspection, intricate patterns, famous quotes, and imagery emerge, narrating the perfume’s story. In my case I have been exploring ways in which graphic design skills intersect with spirituality. My focus has been prayer as a verbal expression. However, my interest in typography and the relationship I discovered between language, form, and spirituality inspired me to craft text compositions delving into the essence of prayer as a form of expression. To accomplish this, I employed techniques such as altering spacing, positioning, form, and the flow of words, aiming to disrupt the viewer’s customary way of perceiving and engaging with intimate dialogues. While Boom’s work centers on the tool, mine centers on the form.
This striking contrast has prompted me to think how I can advance my own practice through the mastery of craft. Boom’s work serves as a compelling example of the significance of honing one’s craft to convey complex and intangible concepts effectively. Consequently, my last studio work has been explorations of papers, inks, and text layouts to depict the visual aspects of intimate discourses.
One of the things that I admire about Irma’s work is the ability to envision her books as more than mere reading materials; she sees them as objects that communicate ideas and stories to all human senses, transcending the limitations of sight alone. She crafts printed works that challenge traditional book conventions. In a society where visual perception holds significant sway and where tangible representations tend to facilitate a deeper understanding of ideas, she has created books that are meant not just to be read but to be experienced, touched, felt, smelled, and interacted with. In the case of “No. 5 Culture Chanel”, it is intended to be touched. Its intricate embossed pages transform paper into a textile-like substance reminiscent of Chanel’s distinguished fabrics.
Similarly, in my own work, there was a pivotal moment where my inquiries led me to ponder: “How can the tools of graphic communication be harnessed to encourage people to engage with prayer?” My intent was to explore how various forms of graphic mediums could serve as prompts for individuals to connect with prayer. To achieve this, I designed a range of booklets that relied on instructional guidance to facilitate active participation in prayer. I incorporated the use of translucent papers to convey the delicate, profound, and intimate essence of prayer. The use of these papers revealed the call and response aspect that focuses on a combination of two things, one reacting to another in a visual way. Through this process, I reached the conclusion that each formal decision made in the design journey plays a crucial role in establishing a profound connection between the medium and the content. Just as Irma Boom’s meticulous attention to detail, choice of materials, and methods bolsters the efficacy of conveying her book’s concepts.
A parallel can be drawn between my work and “No. 5 Culture Chanel,” specifically concerning the formal aspect of our projects. Both endeavors have placed a strong emphasis on simplicity. In Boom’s work, this minimalism is used in response to Chanel’s guidelines, known for their elegance and refinement, capturing the ethereal, delicate, and enigmatic essence of the perfume through printed media. While in my case, I have aimed to convey notions of lightness, fragility, and vulnerability, symbolizing that a prayer is a deeply personal dialogue, representing one of the most honest, simple, and profound expressions emerging from an individual’s spirit. Nonetheless, the common thread in both works is the intention to transcend the realm of aesthetics. Our intention to use printed media as an interface that allows us to delve into narrative, storytelling, meaning, language, and the facilitation of unique experiential journeys.
The process of studying and learning from Irma Boom’s practice has proven to be insightful in the progression of my own work. As I have strived to stretch the boundaries of my concept, establishing my own practice Irma’s work has been a touchstone. It has allowed me to challenge my ideas, question my notions, seek ways to expand upon my work. One of the standout qualities I’ve observed in Irma Boom’s work is her adeptness at translating theoretical concepts into the realm of graphic communication. My greatest insight is “creativity married to process”, and the continuous development of my work through the lens of craftsmanship. My central focus remains on the exploration of materials and printing techniques that can accentuate the deeply personal and meaningful practice of connecting with the sacred and engaging in a dialogue with the divine. It is about showcasing the intersection where the tangible and intangible facets of language collide in a visually compelling manner.
Boom,I. (2013) No. 5 Culture Chanel.
