Writing is design. Humor is communication, and graphic design is always a visual translation of political and social issues.

Text is not only content, but also idea, form, rhythm, and composition.

This work examines the intersection of satire and graphic design: their interrelationship, their aesthetic principles, and, in particular, the role of female perspectives in satire. Am I visualizing a text or verbalizing an image? How does the timing and typographic hierarchy of a visual punchline work? And what kind of design reduction does a punchline need to be successful?

To this end, the humorous aesthetics of artists such as Klaus Staeck and Barbara Kruger, as well as movements such as the Guerrilla Girls and the emergence of Internet Ugly, are also examined.

The book Ridendo formare verum (Shaping Truth Through Laughter) brings together my own humorous graphics: collages, illustrations, infographics, memes, and word art. It shows how language and images can reinforce each other—and how satire functions as a design practice.

Finally, the work invites communication designers to use conceptual and creative writing as a tool for their design practice. For satire and humor are translations—they seek to decode, entertain, and reveal. Satire translates the complicated into the simple. The painful the bearable. Humor communicates on an emotional level and is therefore considered an integral part of contemporary communication design, not only in this work.