Shaping Emotion

Project type

Master’s Thesis in Communication Design, Theoretical Research Foundation

semester

SS 2025

Supervisors

Dipl. Des. (FH) Magnus Feil MFA

Category

Facial Perception & Beauty, Empirical Surveys, Historical and Contemporary Analysis, Two Theoretical Projects

Universal Visual Codes

Shaping Emotion examines how simplified “facial archetypes” function as a compact semiotic system that shapes emotional perception in visual communication. Drawing on semiotics, psychology, and neuroscience, the thesis combines a historical survey, small empirical studies, the illustrated book Layers of Feeling, an ambiguous photographic ad campaign, and a brief AI-assisted experiment to probe authenticity and beauty ideals.

Research Questions

Practical Projects

Layers of Feeling

A subjective, playful book that exaggerates emotion through colourful illustration, moving from dense collages to abstract forms to reveal the essence of feeling.

Faces, Feeling and Trust

A neutral, colourless photo study capturing pure expression and testing sincerity versus performance, with an AI-assisted Remini experiment on authenticity and beauty.

Fictional Poster Campaign
Illustrated Artistic Book

Integrative

Historical

Empirical

Ethical

Conclusion

What the Research Revealed

Faces communicate both instinctively and culturally. Simple shapes can trigger recognition, but reading emotion shifts with medium, context, and culture. Drawings invite projection and empathy, photos signal realism. Across projects, emotion emerges from the relation between form, presentation, and viewer. Reducing detail often clarifies feeling and opens space for personal connection.

Toward More Thoughtful Design

The research yields a framework for responsible, emotion-aware design. Choose a style to fit the goal, emphasise key facial cues, test with real audiences, and disclose AI. Empathy and cultural insight matter as much as visual skill. Observation, iteration, and theory guide choices that make even minimal faces feel meaningful.