The KMS showreel shows 4500 images in four and a half minutes, and is acoustically
accompanied by rapid techno rhythms. Suddenly, the ﬂood of images breaks
off abruptly; slightly entranced, you squint and ask yourself what it is that
you have really seen just now (see link under www.kms-team.de).
What was shown was the work we did over the last year. With this ﬁlm,
we counted on the curiosity of the viewer – on the fact that the viewer
would want to see once more what he/she didn’t quite manage to discern
on the ﬁrst viewing. In so doing, we of course also accepted the possibility
of being misunderstood. Which of the 4500 motifs would be remembered in the
end depends on the existing patterns of perception. Every person sees something
different. Perception is subjective and only an interpretation of what really
exists. What we see is in the ﬁrst instance not what our senses register,
but rather what we want to see.
This basically quite trivial realization is of great importance in the area of
design and communication. It is really elementary to our work, for the precondition
for the target group’s ability to understand that design can be clearly
categorized by existing patterns of perception.
In the following, I want to explain how we use the knowledge of the selective
character of perception in our work for communicative purposes. I chose the
corporate image we developed for Porsche Design as an example that illustrates
this aspect particularly well.
The task was to develop a new corporate design for the Porsche Design brand,
which would support the planned establishment of the brand in the luxury and
The analysis of the existing situation of the ﬁrm Porsche Design founded
by the Porsche grandson Ferdinand A. Porsche showed two things in particular.
First, in developing the brand Porsche Design, it would be possible to exploit
the great potential of the Porsche automobile brand, which up to this point
had been used insufﬁciently and not consistently. Second, it became clear
that in the past there had been no strategic planning with respect to the product
range so that the task now would be to unite this extremely heterogeneous range
of products under one roof.
We thus began with the already established brand Porsche, which evokes speciﬁc
associations like technical know-how, sportive driving, masculinity and success.
On these existing patterns of perception we formed our communication for Porsche