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On 14.09, 19:00–20:00, I led a one‑hour seminar on the fundamentals of visual communication for the Yemeni Students’ Union in Germany. The premise was simple: creativity benefits from structure. By turning type, color, spacing, and layout into deliberate systems, complexity becomes legible—and ideas travel farther.
The session stayed tool‑agnostic and focused on principles that hold across design, photography, video, and interfaces. We began with typography as tone and hierarchy, then moved through color harmony and saturation as carriers of emotion and contrast for accessibility. From there, we mapped layout decisions to grids and alignment, using white space as a strategic constraint that clarifies what matters. We treated images and graphics as partners to text, not decoration—high‑resolution, purpose‑chosen, and placed to support reading order. Rounding out the system, we worked through consistency, simplicity, balance, and proximity so multiple artifacts read as one identity.
Attendees left with a compact vocabulary—typography, color, layout, white space, hierarchy, consistency, alignment, contrast, simplicity, balance, proximity, scale, and typographic hierarchy—and a mental model: design as organized intent. My aim, as always, was to pair systems thinking with visual storytelling—clean structure, deliberate sequencing, and edits that serve the message—while leaving enough room for curiosity to surprise.
I’m Awwab Mohammed, a computer science student based in Krefeld who pairs systems thinking with visual storytelling across design, photography, and video. I care about structure, clarity, and constraint—not as limits but as levers to make ideas legible and useful. My process is simple: organize with intent, communicate with precision, and leave enough room for curiosity to surprise.
I grew up in Sana’a, where a family computer became my portal to learning and making. Over the years—and through moves to Malaysia and then Germany—I taught myself by building, testing, and iterating, first in images and later in code. That habit still guides me: I gravitate to problems where thoughtful organization and clear criteria turn complexity into something navigable.
Organization is my backbone. I map concepts into systems, trim friction from workflows, and optimize for process efficiency without losing warmth. In photography and video, that translates to clean setups, deliberate sequencing, and edits that serve the story. In design, it shows up as quiet hierarchy, measured typography, and compositions where every element earns its place. In computing, it’s disciplined attention to correctness, performance, and maintainability.
This showroom curates work that balances intention with experiment—portraits, scenes, and visual studies that prioritize readability, pacing, and mood. It’s intentionally a work in progress: as my studies mature, I’ll add selected Git projects to sit alongside the visuals. The goal isn’t breadth for its own sake; it’s a coherent practice where engineering rigor supports creative clarity.
My values are explicit. Privacy shapes how I handle data and assets. Sustainability informs scope and production choices. Accessibility guides layout, language, and navigation. These constraints make the work better: more considerate, more durable, and easier to understand—whether the reader is a hiring manager scanning for signal, a client seeking reliability, or a collaborator looking for shared standards.
What’s next is straightforward: more visual series, more iterative design studies, and, in time, open-source work that reflects a growing technical foundation. If the work resonates, the next step is a conversation.