I SEE

The English-language expression “I see” is tempting, as it is all too easy to translate it as “I see”. The correct translation, however, is “I understand”! The lettering in the background of the picture stretches from left to right over the entire upper half of the picture in ever lighter graded shades of yellow and is interwoven with likewise contrasting graded shades of grey that become darker as the connecting element of all the letters.

In the foreground of the picture, in the lower half, there is a table without any other objects with three three-legged chairs in industrial design arranged around the table (the three chairs symbolise the three letters of the company MBS, which are unconsciously completed by means of the logo). The unoccupied chairs are in a warm orange colour and contrast with the table top in shades of blue in a coplementary contrast that heightens the effect of the colours.

The pictorial elements I SEE and TISCH-STUHL-GRUPPE are in turn interwoven in colour in such a way that their respective contours are clearly preserved by means of colour demarcations. The three chairs are framed by three small triangular picture elements in recurring yellow tones in the lower half of the picture, which create a certain spatiality in perspective.

The central pictorial element is the “FACE” in a warm red tone as the logo of MBS, which in turn stands out transparently as a connecting element in the centre of the picture between the pictorial elements described above! The logo with the contoured face stands as the central building block of seeing in the sense of recognising and being recognised.

The gradually brightening yellow in the lettering symbolises the increasing transparency in interpersonal relationships with constant openness and growing trust. The contrasting darker stripe indicates a more profound basis that further builds up a relationship and thus increases its value. The process of a communication is a mental development during “seeing each other” and “seeing consciously”.

Visible and conspicuous are three empty chairs, which may also rather remind of corona-related circumstances, but their inviting character invites to be “occupied” (the design theory is always looking for complements, here: chair – human being). To be occupied in the sense of sincere communication, both between staff members and even more so between staff members and clients. And only then are the issues at hand “put on the table” in order to communicate in a customer- and solution-oriented way.

This circumstance is given “space and time”, whether in analogue or digital form, to enable trusting cooperation. This is expressed in the logo (FACE) of a sincere seeing, a “looking at” at eye level and a “recognising” seeing with the conscious statement: I SEE!        ■