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  • The glass ceiling is a metaphor for the social barrier preventing women from being promoted to leadership positions.
  • This newspaper summarizes the developments of five years and offers in-depth information. Each type of voice (personal testimony, neutral facts, inspirational statements, statistics) is conveyed through its own typographic language.
  • The typography of the neutral article appears scientific and formal, however powerful in detail. The personal testimony seems more direct and also lively through flush left alignment.
  • The better a country performs in gender equality, the more space the voices take up.
  • Important quotes are highlighted. The letters take up more space than was intended while not apologizing for their demonstrative visibility.
  • The statistics in a dry monospaced font leave room, so that the other texts are able to spread out.
  • The added poster visualizes my personal view on the glass ceiling close to a moodboard. Since the rest of the newspaper is informative and didactic, the poster stays more abstract and leaves room for interpretation.
  • The poster also acts as an homage to April Greiman’s “Does it make sense?” (Design Quarterly, 1986). She was a pioneer of feminist design.
  • At the diploma exhibition at ZHdK my poster slowly moved over a 15 m x 5 m wall.
  • By raising awareness and informing on the issue of the glass ceiling, women will gain equal opportunities over time.
  • With the final layout, I created a complex yet clear, variable system. Only by means of typography I visualize the successive breaking of the glass ceiling. With its high recognizability, the layout becomes the corporate design of this newspaper series.
  • Bachelor diploma project at ZHdK. My mentors were Giliane Cachin, Marietta Eugster and David Keshavjee.
  • The glass ceiling is a metaphor for the social barrier preventing women from being promoted to leadership positions.
  • This newspaper summarizes the developments of five years and offers in-depth information. Each type of voice (personal testimony, neutral facts, inspirational statements, statistics) is conveyed through its own typographic language.
  • The typography of the neutral article appears scientific and formal, however powerful in detail. The personal testimony seems more direct and also lively through flush left alignment.
  • The better a country performs in gender equality, the more space the voices take up.
  • Important quotes are highlighted. The letters take up more space than was intended while not apologizing for their demonstrative visibility.
  • The statistics in a dry monospaced font leave room, so that the other texts are able to spread out.
  • The added poster visualizes my personal view on the glass ceiling close to a moodboard. Since the rest of the newspaper is informative and didactic, the poster stays more abstract and leaves room for interpretation.
  • The poster also acts as an homage to April Greiman’s “Does it make sense?” (Design Quarterly, 1986). She was a pioneer of feminist design.
  • At the diploma exhibition at ZHdK my poster slowly moved over a 15 m x 5 m wall.
  • By raising awareness and informing on the issue of the glass ceiling, women will gain equal opportunities over time.
  • With the final layout, I created a complex yet clear, variable system. Only by means of typography I visualize the successive breaking of the glass ceiling. With its high recognizability, the layout becomes the corporate design of this newspaper series.
  • Bachelor diploma project at ZHdK. My mentors were Giliane Cachin, Marietta Eugster and David Keshavjee.
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