Full-page advertisements demand a slightly different discipline than their smaller counterparts. At this scale, composition becomes not just a matter of balance, but of direction. For this reason, I often develop at least two complete versions of the same artwork. In the first two ads shown here, the layout follows a golden-spiral logic in which the company’s products unfold from smaller elements into larger, more complex systems—an intentional visual metaphor for technological progress. One version unwraps clockwise, the other counter-clockwise. Depending on whether the ad appears on the left- or right-hand page of a spread, one direction may read more naturally than the other.
As with many projects in scientific advertising, these full-page ads promote the same products across multiple publications and years. This is not a limitation so much as a condition of real work: the customer defines what must be shown, and the designer’s task is to make it clear, credible, and engaging without inventing differences that do not exist. When the subject remains stable, attention shifts to structure—how elements enter the page, how they relate spatially, and how the eye is guided without force.
Color plays a quietly important role here as well. Although many of the components depicted are physically black, I intentionally introduce a subtle blue bias rather than relying on pure black, which often reads yellowish in print. The result is a cooler, more technical tone that aligns better with optical instrumentation and maintains consistency across different printing conditions. These full-page ads are less about visual spectacle than about control: of direction, hierarchy, and nuance—small decisions that matter more as the page gets larger.
