Communication theory: VERDANT
COMMUNICATION THEORY IN THE FIELD OF DESIGN
Communication theory approaches meaning not as a fixed message that is directly transmitted from sender to receiver, but as something that emerges through interaction between them. In the field of design, this perspective is particularly significant, as every visual decision simultaneously functions both as a message and as a form of relationship established with the audience.
By working with form, color, composition, scale, rhythm, and typography, designers shape not only the external appearance of an object, but also the way it is interpreted. Design operates as a system of signs in which individual elements interact, creating a symbolic structure that carries emotional, cultural, and functional meaning.
From a semiotic perspective, visual elements can be understood as codes that trigger associations and activate accumulated perceptual experience. Curves, textures, or contrasts may signal softness, tension, stability, or movement. Even the smallest design decisions influence how users «read» a visual message. Meaning does not reside in isolated elements, but emerges from the system of relationships between form, context, and viewer.
Communication theory also emphasizes the importance of channel and medium. The same visual message may be perceived differently within a digital interface, on physical packaging, or in public space. Design must account for this variability and adapt to different communicative conditions.
Perception theories draw attention to the role of «noise» — factors that distort interpretation. Excessive detail, unclear visual hierarchy, or stylistic inconsistency can disrupt communication. One of the key tasks of design is to transform visual complexity into a clear and readable structure.
Narrative approaches suggest that people understand the world through stories. A designed object — from a single visual element to an entire brand system — can function as a narrative structure that fosters emotional connection, trust, and engagement.
Socio-cultural theories emphasize that meaning is always interpreted through the cultural context of the audience. Effective design does not impose meaning, but enters into dialogue, resonating with the viewer’s symbolic experience.
Taken together, these approaches demonstrate that design is not limited to aesthetics. It shapes relationships, guides behavior, clarifies function, and generates emotional response. Communication theory provides a foundation for understanding how visual decisions are perceived, interpreted, and experienced within specific contexts.
TRANSITION FROM THEORY TO DESIGN APPROACH
Understanding design as a system of meanings, relationships, and interpretations forms the basis of the following approach. If visual communication is created through interaction, context, and materiality, then objects can be understood not as neutral tools, but as active media that shape experience.
From this perspective, alpine equipment can be reimagined as a communicative system capable of forming alternative models of interaction between the human body, technology, and natural environments.
Context
Contemporary alpine equipment brands primarily structure their communication around performance, speed, and control. Within these narratives, nature is often presented as an environment to be conquered or overcome.Such an approach reinforces a utilitarian relationship with the landscape, positioning technology and the human body in opposition to the surrounding environment. In this framework, equipment is perceived exclusively as a protective tool rather than as a medium for interaction with nature.
Problem Field
Within the existing visual language of alpine brands, a communicative limitation can be observed: functional characteristics dominate, while the sensory, emotional, and ecological experience of being in the mountains remains secondary or entirely unarticulated.Goal and Positioning
This work aims to reframe alpine equipment as a communicative system in which materials, form, and embodied experience function as carriers of meaning. Instead of direct declarations, the proposed model positions equipment as a participant in a dialogue between the human body, technology, and natural environments.THE BRAND AS A COMMUNICATIVE SYSTEM
VERDANT
VERDANT is developed as a brand system grounded in the understanding of communication as a process of shared meaning-making. Materials, form, and sensory interaction translate abstract values — sustainability, closeness to nature, and technological development — into tangible experience.
Communication is not transmitted directly, but unfolds through interaction, interpretation, and embodied presence within the environment.
STRATEGY
Material as MessageAt the core of the system lies the idea that material itself functions as a message. Natural moss is integrated into constructive and visual solutions as both a functional and symbolic element. It operates on two levels:
1. Technical — as a natural thermal regulator providing warmth and comfort
2. Symbolic — as an image of organic growth, resilience, and ecological balance
Material thus becomes a medium of communication rather than a decorative detail.
User Position
The proposed model of interaction shifts the focus from domination to participation. The human presence in the mountains is understood not as that of a conqueror, but as part of the environment. Equipment becomes an interface between body and landscape, supporting adaptation and respect.COMMUNICATION MEDIA
Apparel LineModern winter outdoor brand identity board with green color palette, ski jacket, snowboards, minimal interior, clean professional mockup
The apparel line establishes primary bodily contact with the natural environment. Its construction combines engineered functionality with an organic logic of form, texture, and muted color palette. Communication occurs through warmth, tactility, and prolonged wearing experience.
Gloves
Close-up of winter gloves filled with green moss on snow, sustainable outdoor gear, high detail
Gloves operate at the level of micro-interactions — gesture, grip, and contact with snow. Through tactile details, they foster attentive and precise interaction with the surrounding environment.
Eco-friendly winter sports packaging with green and black boxes on snow, minimal premium branding
Sweater and socks
Green Nordic knitted winter sweater, cozy texture, lifestyle close-up; Green winter socks with mountain pattern, outdoor lifestyle close-up
The sweater extends the communicative system into non-performance contexts. It represents continuity between alpine activity and everyday life, translating the brand’s material logic into a slower, more domestic rhythm.
Soft structures, tactile surfaces, and restrained color choices maintain the emphasis on comfort and embodied experience, allowing meaning to unfold through prolonged wear rather than immediate visual impact.
Socks function at the level of intimate bodily contact. As a medium, they communicate through proximity and duration rather than visibility. Material choice, texture, and thermal qualities become primary carriers of meaning.
This scale emphasizes communication theory’s focus on embodied interpretation, where meaning is experienced rather than consciously decoded.
Helmet
Photorealistic ski helmet covered with green moss in a snowy forest, eco-friendly winter gear, cinematic lighting
The helmet communicates themes of protection and responsibility. It is not associated with aggression or extremity, but rather constructs an image of conscious presence within the natural environment.
Digital Application Interface
Minimal 2D illustrated mobile shopping app interface for a winter sports brand, green color palette, rounded cards, playful flat characters, clean modern UI design
The digital application interface functions as an informational and experiential medium. Rather than acting as a promotional tool, the interface supports navigation, orientation, and contextual awareness. Visual language emphasizes clarity, calm pacing, and reduced cognitive load, reflecting communication theory principles related to noise reduction and hierarchy.
Through interaction design, the interface translates the brand’s values into temporal experience: rhythm, transitions, and feedback become communicative elements that shape perception and trust.
Stickers
Cozy 2D illustrated sticker set for a winter ski brand, green color palette, flat vector style, rounded shapes, playful nature icons, retro texture
Stickers operate as small-scale, mobile communication carriers. Their role is not to dominate visual space, but to function as subtle markers of identity and belonging. Minimal graphic language and material references allow meaning to remain legible across diverse contexts without becoming intrusive.
As semiotic objects, stickers act as symbolic traces rather than advertisements, reinforcing recognition through repetition and familiarity.
Advertising Banners
Large ski resort billboard with Verdant branding and skiers in motion, snowy mountains, cinematic realism
Banners operate at the scale of public space. Minimal visual logic and environmental integration preserve clarity of communication without turning nature into a backdrop.
Jacket
A cozy, warm guy’s ski suit, black and green only, no logos. With 2D drawings of polar bears.
The jacket functions as a key interface between the body and external conditions. It combines technical performance with visual restraint, communicating reliability, adaptability, and environmental sensitivity.
As a highly visible medium, the jacket balances recognizability with subtlety, ensuring that communication remains legible without becoming declarative or aggressive.
VISUAL AND SENSORY COMMUNICATION
The visual language of the system is grounded in tactility and organic perception. Soft forms and textures inspired by moss and landscape emphasize material presence. The color palette functions as a semantic tool rather than a decorative choice.
Communication extends beyond graphics to include embodied experience, temperature, and contact with materials.
EFFECT AND SIGNIFICANCE
This system demonstrates how communication theory can serve as a foundation for the formation of a brand and product ecosystem. Alpine equipment is reimagined as a medium that supports a more conscious and respectful interaction with the natural environment.
COMMUNICATION THEORY AS THE BASIS
VERDANT bridges communication theory and design practice, forming a coherent system of meaning. Understanding design as a process of shared meaning-making made it possible to reframe alpine equipment not as a neutral technical object, but as a medium of interaction between the human body, technology, and the natural environment.
The principles of communication theory directly influenced the development of the brand in the following ways:
1. Understanding meaning as a process of interaction led to the rejection of direct declarative messaging. Brand communication is constructed through use experience, bodily contact, and interpretation rather than through slogans or explicit statements.
2. Viewing design as a system of signs informed the work with form, color, and material. Each element — from texture to color palette — was considered as a sign participating in the construction of overall meaning.
3. A semiotic approach enabled the use of moss as a material-metaphor operating simultaneously on technical and symbolic levels, without direct explanation or illustrative representation.
4. Consideration of communication channels and context resulted in the development of diverse media — from apparel and equipment to social media and advertising banners — while maintaining a unified semantic core across different scales and environments.
5. Awareness of the role of «noise» in communication shaped a restrained visual language based on clear hierarchy, minimalism, and the reduction of excessive graphic elements.
6. A narrative approach determined the sequence and character of visual communication, in which the brand constructs not isolated messages but a cohesive experience and a continuous story of interaction with the natural environment.
7. A socio-cultural perspective on communication ensured an orientation toward dialogue with the audience, where meaning is not imposed but co-constructed through personal experience, interpretation, and interaction.
Thus, communication theory functioned not as a supplementary tool, but as the structural foundation of the brand’s formation. It enabled the development of a design system in which form, material, and experience operate together, creating a conscious and sustainable model of interaction between humans and nature.
The theoretical part of this project is entirely based on materials from the Communication Theory course.
Recraft. AI-generated images. Accessed 2025.
ChatGPT. AI-generated images. Accessed 2025.
