The Spanish Civil War is typically presented as a military narrative of the ideological battle between socialism and fascism, foreshadowing World War II. Yet the Spanish war continued trends begun during World War I, notably the use of propaganda posters and the movement of women into visible roles within the public sphere. Employing cultural studies methods to read propaganda poster art from the Spanish war as texts, this thesis analyzes the ways in which this persuasive medium represented extremes of gender discourse within the context of letters, memoirs, and other experiential accounts. This thesis analyzes symbols present in propaganda art and considers how their meanings interacted with the changing gendered identities of Republic and nation. Even within the relatively egalitarian Republic, political factions constructed conflicting representations of femininity in propaganda art, and women’s accounts indicate that despite ideological differences, both sides still shared a patriarchal worldview.

Syfte: Syftet med denna studie är att undersöka om man ur de sex tapetförsäljnings företagens resultaträkningar kan utläsas om inredningsprogrammen haft någon påverkan på tapetförsäljnings företagens resultat.    Metod: För att kunna utföra denna studie har vi gjort en kvantitativ undersökning av företagens resultaträkningar från 1991 till 2010. De data vi har fått fram har vi redovisat i fyra grafer för att få fram skillnaderna i varje segment, samt skillnaderna mellan de olika segmenten.   Resultat & slutsats: Vi har kommit fram till att det inte finns något enhälligt svar till om inredningsprogrammen har haft någon påverkan på tapettillverkarnas resultat. Det finns flera orsaker till varför resultaten har gått upp och ner för företagen. En orsak är de finanskriser som har varit, men även medelinkomstutvecklingen, vårt förhållningssätt till våra bostäder, och att bostäder blivit en kapitalinvestering.   Förslag till fortsattforskning: Vi skulle vilja föreslå att man som fortsatt forskning går utanför våra avgränsningar och undersöker hur återförsäljare och målerifirmor har upplevt om inredningsprogrammen har haft betydelse för hur mycket tapeter de har fått sälja/fått i uppdrag att sätta upp. Detta kan göras med en blandning av enkäter och intervjuer.   Studiens bidrag: Då detta arbete är det första av sitt slag så anser vi att det kan användas som en språngbräda för de som vill göra en fortsättning och fördjupning av studier inom samma område. Företagens nytta av vår studie kan vara att inredningsprogrammens påverkan på resultaträkningarna inte varit signifikant.   Nyckelord: Tapeter, resultaträkningar, finanskris, medelinkomst, inredningsprogram, resultat efter finansiella poster.

Darbo objektas Patyčios mokyklinio amžiaus vaikų tarpe. Darbo tikslas Sukurti 6 plakatų ciklą „Patyčios“, skirtą mokyklinio amžiaus, besityčiojantiems vaikams, siekiant parodyti jiems patiems gręsiančias piktadarysčių pasekmes. Darbo uždaviniai 1. Kryptingai išanalizuoti mokslinę literatūrą, siekiant atskleisti patyčių reiškinio esmines charakteristikas tarp bendraamžių. 2. Identifikuoti egzistuojančių patyčių pagrindines priežastis tarp bendraamžių mokykloje. 3. Numatyti galimas pasekmes besityčiojantiems vaikams. 4. Susisteminti informaciją ir ją pritaikyti plakatų temoms. 5. Sukurti plakatų personažus, atspindinčius besityčiojančius vaikus. 6. Rasti kompozicijos, gamybos, medžiagos, konstrukcijos sprendimus. 7. Sukurti lankstinuką – atmintinę. 8. Sukurti pagrindinio personažo, dominuojančio plakatuose, kostiumą, kuris taptu viso darbo simboliu. / The object Ridicule among school-age children. The aim of the 6 create a poster series "twit" for school-age children, to show them the same threat of evil consequences. Job Tasks 1st Focused analysis of scientific literature in order to reveal the essential characteristics of the phenomenon of bullying between peers. 2nd Identify the root causes of the existing bullying among their peers at school. 3rd Anticipating the potential consequences besityčiojantiems children. 4th Structured information and adapt it to a poster themes. 5th Characters to create a poster reflecting besityčiojančius children. 6th Find Songs, manufacturing, materials, design solutions. 7th Create Brochure - memory. 8th Create a main character, the dominant form of posters, costumes, who would become the symbol of the whole work.

Mano bakalauro darbas vadinasi “Matai, čia esu aš”. Šio darbo tikslas – panaudojant šiuolaikines išraiškos priemone ir technologiją įdomiai pateikti mane dominusią problemą: aktoriaus menamo personažo ir paties aktoriaus asmenybės sutapatinimas žiūrovo sąmonėje. Kuris yra tikrasis? Kuriuo lengviau būti? Ką apskritai reiškia būti savimi? Šiuo darbu noriu atkreipti mūsų dėmesį į tai, kad toks sutapatinimas neskatina žiūrovo kritiškai mąstyti, o aktorius būna labai destruktyvus, pavyzdžiui, skaudus V. Šapranausko atvėjis. Temą pateikti pasirinkau reklaminio plakato formą. Tačiau formatas nestandartinis – trys plakatai 70x290 (cm), atspausta ant audinio. Tai yra mano fotografuoti konkrečių aktorių portretai. Dalis veido yra aktorius realiame gyvenime, dalis su jo kuriamo personažo grimu. Papildoma priemonė dviprasmiškumui pabrėžti – dalinamas į spalvotą ir nespalvotą dalis. Portretai yra papildomi C. Chandler “Aš, Fellini” knygos mintimis apie aktoriaus darbą ir pateikiama pagrindinė darbo žinutė “Matai, čia esu aš”. Tokį plakatų dydį ir technologiją pasirinkau todėl, kad yra numatyta plakatus eksponuoti skirtingose aplinkose. Didelis mastelis tam, kad plakatai taptų ryškiu aplinkos akcentu, o atspaudas ant audinio pasirinktas tam, kad būtų lengva transportuoti ir eksponuoti. Atlikdama šį darbą turėjau pademonstruoti gebėjimus pabrėžti problemą, pasirinkti išraiškias priemones, labiausiai atitinkančias mano situacijoje. Sukauptas žinias ir praktiką galima pritaikyti mokykloje... [toliau žr. visą tekstą] / My Bachelor’s final thesis is titled "Look this is me". The aim - use of modern means of expression and technology to give perception of this problem: the character of an actor and the actor's personal identification in the minds of the viewer. Which is true? Which is easier to be? What does it mean to be true yourself? This work is trying to draw our attention to the fact that such identification does not encourage the viewer to think critically, and the actor is very destructive like in such severe case as V. Šapranauskas. This topic was chosen to be presented in a promotional poster form: non-standard format - three posters 70x290 (cm), printed on fabric. Portraits of specific actors were used from my personal photo shoot. Half of an actor’s face is from a real life and the other part is made with a makeup which represents its character. An additional measure to emphasize the ambiguity – photo division into colored and black and white parts. These portraits has added thoughts from a book of C. Chandler, "I, Fellini" and the main thesis message "Look this is me". The exact size and technology was chosen because this poster is supposed to be exhibited in different environments and places: a large scale in order to make posters bright and ambient accent and the printing on the fabric - for an easy transportation and display. While working on this thesis I had to demonstrate the ability to highlight the problem, to choose the means of expression most relevant to my situation... [to full text]

This thesis Ostalgie in Czech art summarizes recent history of art aimed to fifties and sixties of the twentieth century and also the fundamental notion of Czech cultural time - socialist realism. In opposition to the term 'socialist realism', there is a term 'ostalgie', which is focused on a nostalgic memories during normalization. In the theoretical part of this thesis author presents and explains the two main terms and focuses on the cultural aspects which were brought or denied to the nation by to the socialistic system in those times. In the practical part the author follows the theoretical part, especially in creating posters, which is influenced by nostalgic spirit.

Esta pesquisa apresentará estudos das linguagens aplicadas ao design gráfico através de estudos e análises de trabalhos impressos que possuem representações do automóvel em seu projeto. Seu objetivo é identifi car e analisar cartazes em seu formato e conteúdo, de forma a documentar e compreender o desenvolvimento dessa atividade no recorte de tempo que abrigou os diferentes estilos estéticos que compõem o design gráfico moderno. Esse período compreende o fim do século XIX até o final da década de 1960. Para tanto, será necessário o estudo de fatores sociais, culturais, políticos, históricos, econômicos e tecnológicos que influenciaram o desenvolvimento destes projetos. Dessa forma, esta pesquisa agrupará, de forma ainda rara, informações e projetos de design gráfi- co relacionados com o universo do automóvel e automobilismo. Além disso, ela possibilitará compreender as formas que o designer encontrou para retratar um objeto que gradualmente se transformou de novidade em ícone da sociedade. / The present work aim to study of visual languages applied to graphic design by analysing printed works that has automobiles representations in it\'s project. The main objective is to identify and analyse posters judging by their format and content, in order to document and understand the development of this activity during the period of time where the different aestethics styles that compose the modern graphic design. This period is between the XIX century until the end of the 1940\'s. (Therefore,) it is necessary to study the social, cultural, political, historical, economical and technological factors during that period to fully comprehend the infl uences on the development of such projects. Thus, this research presents, in a rare form, informations and graphic design projects related to the automobile universe and the automobilism. Furthermore, this research will contribute to understand the ways the designer found to represent an object that gradually transformed from novelty to a society icon.

No description available.

ANOTATION This thesis examines a discourse of photography and poster, with the aim to join these two phenomena into a single summary theory and create their general characteristics. The work searches for intersections between photography and graphic design/poster and applies them in the theory of poster creation. In the didactic part, the theoretical principles are introduced into teaching art classes at primary schools. The same approach is applied in the artwork itself. Keywords: Photography, grafic design, poster, photo poster, new media, typography

Med detta kandidatarbete vill vi uppmärksamma och förmedla hållbarhet, med fokus på konsumtion och plastnedskräpning i haven. Kandidatarbetet kommer löpa ut i en gestaltning som kommer befinna sig i ett fysiskt rum. Det fysiska rummet är ett fikarum och befinner sig på marinmuséumet i Karlskrona, vilket även är våran externa samarbetspart.Vi anser att det är viktigt att skriva om konsumtion och plastnedskräpning i hav eftersom det har en förödande påverkan på mänskligheten och för våran planet. Gestaltningen i kandidatarbetet kommer ta stöd utav perspektivet X for change. Metoder och idégenerering metoder som hjälpt vårt arbete framåt är brainstorming, moodboard, mindmaps och prototyper. Vi valde dessa metoder eftersom vi ansåg att detta kunde ge största möjliga potential för arbetet. I slutändan har vi en gestaltning som löpt ut genom många olika beslut och selektioner. Vi använder en teknik som kallas double exposure 3d som vi placerat på en av väggarna i rummet. Double exposure 3d betyder att man med hjälp av ett par “gamla” 3d glasögon, som har en blå och en röd sida, kan filtrera bort olika färgkanaler som då resulterar i två olika bilder, men som samtidigt är en hel. Vi har gjort två illustration av plastnedskräpning där ena läggs på den röda sidan och den andra på blåa sidan. Detta för att representera nutiden och hur framtiden kommer att se ut om vi fortsätter med våran ohållbara konsumtion och nedskräpning. Illustrationen är fiktionell och är endas en representation om hur världen skulle kunna se ut i framtiden. Väggen kommer även att stödjas av informativa posters med bland annat förslag på vad en individ kan bidra till. / With this bachelor thesis we want to raise awareness and to convey sustainability, with a focus on consumption and plastic littering in the sea. This bachelor thesis will result in a design that will be in a physical room. The physical room is a breakroom and is located in the Naval museum in Karlskrona, which is also our external partner. We believe that it is important to write about consumption and plastic littering in the sea because it has a devastating impact on humanity and our planet. The design that this bachelor thesis will produce will be supported by the design perspective X for Change. Methods and idea generating methods that helped our work move forward are brainstorming, moodboard, mindmaps and prototypes. We chose these methods because we consider that it could provide the greatest possible potential for the work. In the end we have a design created through many different decisions and selection. We use a technique called double exposure 3d which we placed on one of the walls of the room. Double exposure 3d is that with the help of a pair of “old” 3d glasses, which has a blue and red side, can filter out different color channels which then results in two different images, which at the same time is a whole. We made two illustrations of plastic littering where one is put on the red side and the other on the blue side. This is to represent today and how the future will look like if we continue with our unsustainable consumption and littering. The illustration is fictional and is only a representation of how the world could look in the future. The wall will also be supported by informative posters, including suggestions on what an individual can contribute with.

Made available in DSpace on 2016-04-26T18:11:20Z (GMT). No. of bitstreams: 1 Maria Alice S Ferreira.pdf: 41877524 bytes, checksum: e264ffb06c58be493538c840ca4c76b9 (MD5) Previous issue date: 2011-12-05 / The research aims to trace a historical overview, critical and analytical about the posters nineteenth-century Paris and its importance for the development of visual communication in the same way as the poster-art study in Sao Paulo at the beginning of the century, locating them within call Urban Art, and reflecting on the effects of communication, that interfere with the contemporary visuality. Consequently, analysis of visual inheritance brought the beginning of the twentieth to the twenty-first century and its intersections. The research problem is to investigate the transit of visuality from modern to contemporary, from the object visualities poster and how these make up the urbanity of these periods. Secondly, if this is the question of how the sign represents a space of transgression and the hypothesis that it really opens up new possibilities for the development of visual languages. Finally, the main objective of the thesis attempts to reflect on the connections between objects from similar motives of urban representation and convergence between the arts and communications from the object poster. The corpus will consist of posters of the last two decades of the nineteenth century until about 1914, produced and exhibited in the city of Paris by the artists Jules Cheret, Mucha, Steinlen, L. Capiello, Grasset, Toulouse-Lautrec. As well as art posters, displayed in the city of Sao Paulo in the first decade of this century produced by anonymous designers within the scope of visual Art-Urbana. The methodology will be applied to research literature review and survey of the iconographic posters and photographic records of nineteenth-century art posters pasted in the city of São Paulo between 2009 and 2011. From this iconography is intended to compare the look of the cities of Paris and Sao Paulo. This study is supported in the conceptions of modernity, Walter Benjamin, historiographical references in graphic design in Art History and Urban in the frame of Peircean semiotic to trim the analysis of the object. The project, therefore, are relevant to the contemporary study of communication as it ponders the questions of the poster as an object of communication within the Belle Epoque and contemporary aesthetic and possible relationships between them / A pesquisa pretende traçar um panorama histórico, crítico e analítico a respeito dos cartazes oitocentistas parisienses e sua importância para o desenvolvimento da comunicação visual, assim como da mesma maneira estudar o pôster-arte em São Paulo neste início do século XXI, localizando-os dentro da chamada Arte Urbana, e refletindo sobre seus efeitos de comunicação, que interferem na visualidade contemporânea. Consequentemente, analisar as heranças trazidas da visualidade do começo do século XX para o século XXI e suas intersecções. O problema da pesquisa é investigar o trânsito da visualidade do moderno para o contemporâneo, a partir do objeto cartaz e como estas visualidades compõem a urbanidade desses períodos. Em segundo lugar, se faz presente a indagação de como o cartaz representa um espaço de transgressão e a hipótese de que ele realmente traz novas possibilidades para o desenvolvimento das linguagens visuais. Por fim, como principal objetivo a tese tenta refletir sobre as conexões entre os objetos a partir de motivos de representação urbana similares e as convergências entre as artes e as comunicações a partir do objeto cartaz. O corpus se constituirá por cartazes das duas últimas décadas do século XIX até mais ou menos 1914, produzidos e expostos na cidade de Paris pelos artistas Jules Cheret, Mucha, Steinlen, L. Capiello, Grasset e Toulouse-Lautrec. Bem como por pôsteres-arte, expostos na cidade de São Paulo na primeira década do século XXI produzidos por designers anônimos, dentro do âmbito da visualidade da Arte-Urbana. A metodologia aplicada à pesquisa será de revisão bibliográfica, bem como levantamento iconográfico dos cartazes oitocentistas e registros fotográficos dos pôsteres-arte colados na cidade de São Paulo entre 2009 e 2011. A partir dessa iconografia pretende-se comparar as visualidades das cidades de Paris e São Paulo. O presente estudo está amparado nas concepções de modernidade de Walter Benjamin, nas referências historiográficas do design gráfico, na História da Arte Urbana bem como no referencial da semiótica peirceana que aparará as análises do objeto. O projeto, portanto, se mostra relevante para o estudo contemporâneo das comunicações já que se propõe refletir sobre as questões do cartaz como objeto comunicacional dentro da Belle Époque e da contemporaneidade e as possíveis relações estéticas entre eles