Véritables actifs patrimoniaux, les objets de collection sont difficilement identifiables et qualifiables. Ne disposant pas d’une définition juridique classique, les objets de collection répondent d’une part, à une liste de biens issue des législations fiscales et d’autre part, aux différents critères énoncés par les instructions fiscales. Force est de constater que la gestion patrimoniale des objets de collection est actuellement écartée des schémas patrimoniaux. Toutefois, les possesseurs d’objets de collection sont régulièrement confrontés à des problématiques relatives à la transmission du patrimoine. Ainsi, il convient de s’interroger sur les différentes techniques patrimoniales qui permettent de réduire la pression fiscale relative à la transmission des objets de collection / Actual patrimonial assets, collectible items are hard to recognize and classify. Not possessing a conventional legal definition, collectible items meet on the one hand a list of assets coming from the tax legislation and on the other hand, the various criteria set by the tax instructions. It is clear that the asset management of collectible items is currently excluded from the patrimonial structures. However, owners of collectible items are regularly confronted with problems relating to the transfer of assets. Thus, it is appropriate to consider the various patrimonial techniques that allow one to reduce the tax burden on the transfer of collectible items

Seasoned players of free to play trading card games or players that invest large amount of money in digital or physical trading card games, end up having superfluous cards that hold no value to them. The purpose of this thesis is to create designs that would counter this problem. We analysed a selection of popular games on the market to get a better understanding about the depth of the problem and existing designs and mechanics to counter said problem. With the knowledge gained from the research, we intended design several systems that would give cards a polymorphic value. To validate those designs we decided to conduct qualitative interviews with highly experienced players of the genre. We discovered from our research and interviews that the problem with superfluous cards was larger than we had anticipated, and few games had taken steps to counter the problem. The systems we designed gave cards a polymorphic value, and the designs were proven successful through our validation. Our research and interviews suggest that by implementing polymorphic attributes to cards it could lessen or even remove the problem of superfluous cards, and at the same time increase the sales figures on booster packs. / <p>Jerry Jonsson går speldesign och programmering och Lina Tonegran går speldesign och grafik.</p>

The first edition of a series holds value. It is a bookmark that holds a place in time that the artist can look back to and see the progress that led up to that point, as well as the continued progress that's been made after. Designing and creating a set of characters, bringing the main character through 3D modeling, and printing it has multiple uses in the industry. The techniques learned through this process have been used in toy design, stop-motion animation, museums, and medical applications. 3D printing is advancing and providing an opportunity to create high-definition models that can be reproduced quickly while maintaining their initial integrity. This paper will go through the model's design concept and how to execute it. It is also a culmination of all the traditional skills acquired from a fine art background combined with all the new skills learned in the digital media field. This project aims to create a cohesive set of 2D character concepts centered around the story By Command of the Prince Daniel (Nikolaevich, 1915). The main antagonist, Baba Yaga, was then brought through the 3D modeling process so she could be resin printed and turned into a collectible figurine. Descriptive character traits from her stories were reimagined while providing a unique approach to the design that still preserves the story's essence.

Preview image from Ariel Adam's Baba Yaga: Character Design and Collectible Figurine. / https://dc.etsu.edu/digitalmedia-culminating-experience-gallery/1000/thumbnail.jpg

A tese que se apresenta tem por objetivo compreender o vínculo entre o extraordinário volume de vendas de obras de cunho erudito (literatura clássica, filosofia e teatro) em bancas de jornais e a estrutura editorial, publicitária e distributiva de uma grande empresa de comunicação. Para estudar a questão, estabelecemos: 1) as condições histórico-sociais que permitiram o crescimento de uma pequena editora, fundada por estrangeiros em São Paulo, capital, no final dos anos 1940; 2) as características materiais e textuais das publicações e sua intrínseca relação como condicionante do perfil de público a que eram destinadas; 3) o papel da máquina publicitária da Editora Abril e a competente capacidade de concepção e difusão de discursos promocionais, com eficaz teor persuasivo a segmentos específicos de consumidores; 4) as estratégias de distribuição editorial através das bancas de jornais, um canal distinto do legitimado espaço das livrarias. Conclui-se que, tendo em perspectiva um público pouco familiarizado com esse tipo de produto cultural; um país com precária estrutura produtiva para impressão de livros; um setor editorial com baixa tiragem média; e o reduzido hábito de leitura entre a população, os aspectos estabelecidos se coadunaram de maneira a possibilitar que o fenômeno alta tiragem e venda de livros ditos de \"alta cultura\" se efetivasse. / The aim of this thesis is to understand the link between the extraordinary volume of sales of scholarly works (classical literature, philosophy and theater) in newsstands and the editorial, advertising and distributive structure of a large communication company. To study the question, we established: 1) the social-historical conditions that allowed the growth of a small publishing house, founded by foreigners in the city of São Paulo, in the late 1940s; 2) the material and textual characteristics of the publications and their intrinsic relation as conditioning of the public profile to which they were destined; 3) the role of Editora Abril advertising machine and the ability to design and disseminate promotional speeches with effective persuasive content for specific segments of consumers; 4) the strategies of editorial distribution through newsstands, a distinct channel from the legitimate space of bookstores. It is concluded that, having in perspective an unfamiliar audience with this type of cultural product; a country with a poor production structure for book printing; an editorial sector with low average circulation; and the reduced habit of reading among the population, the established aspects were in line with each other so as to enable the high phenomenon of \"high culture\" books to be produced and sold.

A tese que se apresenta tem por objetivo compreender o vínculo entre o extraordinário volume de vendas de obras de cunho erudito (literatura clássica, filosofia e teatro) em bancas de jornais e a estrutura editorial, publicitária e distributiva de uma grande empresa de comunicação. Para estudar a questão, estabelecemos: 1) as condições histórico-sociais que permitiram o crescimento de uma pequena editora, fundada por estrangeiros em São Paulo, capital, no final dos anos 1940; 2) as características materiais e textuais das publicações e sua intrínseca relação como condicionante do perfil de público a que eram destinadas; 3) o papel da máquina publicitária da Editora Abril e a competente capacidade de concepção e difusão de discursos promocionais, com eficaz teor persuasivo a segmentos específicos de consumidores; 4) as estratégias de distribuição editorial através das bancas de jornais, um canal distinto do legitimado espaço das livrarias. Conclui-se que, tendo em perspectiva um público pouco familiarizado com esse tipo de produto cultural; um país com precária estrutura produtiva para impressão de livros; um setor editorial com baixa tiragem média; e o reduzido hábito de leitura entre a população, os aspectos estabelecidos se coadunaram de maneira a possibilitar que o fenômeno alta tiragem e venda de livros ditos de \"alta cultura\" se efetivasse. / The aim of this thesis is to understand the link between the extraordinary volume of sales of scholarly works (classical literature, philosophy and theater) in newsstands and the editorial, advertising and distributive structure of a large communication company. To study the question, we established: 1) the social-historical conditions that allowed the growth of a small publishing house, founded by foreigners in the city of São Paulo, in the late 1940s; 2) the material and textual characteristics of the publications and their intrinsic relation as conditioning of the public profile to which they were destined; 3) the role of Editora Abril advertising machine and the ability to design and disseminate promotional speeches with effective persuasive content for specific segments of consumers; 4) the strategies of editorial distribution through newsstands, a distinct channel from the legitimate space of bookstores. It is concluded that, having in perspective an unfamiliar audience with this type of cultural product; a country with a poor production structure for book printing; an editorial sector with low average circulation; and the reduced habit of reading among the population, the established aspects were in line with each other so as to enable the high phenomenon of \"high culture\" books to be produced and sold.

My project unfolds on three different scales:  Materials, Objects and a Space. A research on materials and new technique for their transformation, a creation of functional objects out of the transformed materials, and finally, a spatial environment for the created objects. Real-life site visits to various factories and craftsmen, discussions with makers, sourcing leftover materials, transforming materials into borderline art/design objects are among the key elements of my research methodology.  The three scales of my work are unified by the notion of Rituals. My understanding of rituals is not about creating a new religion but focuses rather on the activities in our everyday that can become rituals. It is about finding magic in the mundane. Daily routines and rituals are one of the main things that can keep us grounded, especially in a time of crisis. I believe that material explorations and working with the senses are important and relevant for the field of Spatial design and that my approach to engaging different scales within the project brings something new and yet not vastly explored.