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This thesis was written as a supporting paper for a graphic design exhibit for a Master of Fine Arts Degree. The focus of my design is the creation of successful pieces of expressive graphic design that defy many traditional or formal rules of design. This thesis begins with a brief explanation of my methods and what I feel makes for good expressive design. These include a heavy reliance upon intuition, the necessity of traditional design education, historical and contemporary influences. I then characterize my motivations and methods of creating graphic design. Followed by the relation of my work to historical and contemporary influences. I conclude with a summary of the design work achieved in pursuit of this degree.

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Föreliggande undersökning genomförs i samarbete med uppdragsgivaren och HR-företaget Dala HR Partner. Syftet med undersökningen är att ta reda på hur logotyp och grafisk profil bör se ut för att på bästa sätt förmedla företagets mål och värderingar, seriös, kompetent, effektiv och trygg. En visuell innehållsanalys utfördes med syftet att få en bättre förståelse för hur andra HR-företag profilerar sig. Semi-strukturerade intervjuer utfördes med Dala HR Partners målgrupp samt en kompletterande enkätundersökning med personer med erfarenhet inom grafisk design för att få åsikter både från lekmän och yrkeserfarna. De olika materialinsamlingsmetoderna gav oss bra underlag till framtagningen av logotyp och grafisk profil som på bästa sätt skulle förmedla Dala HR Partners mål och värderingar, samt uppfylla de komponenter som utgör en fullständig grafisk identitet. Från undersökningen har det framgått att det är viktigt med en tanke bakom det visuella materialet för att egenskaperna ska förmedlas på bästa sätt. Valet av exempelvis färg och form har betydelse i hur företagets värderingar kommuniceras. Resultat av den slutgiltiga logotypen och grafiska profilen visar att de i stor utsträckning förmedlar Dala HR Partners värderingar och mål, seriös, kompetent, effektiv och trygg, vilket var målet med den här undersökningen och vårt examensarbete. / This survey is conducted in collaborati on with the client and HR company Dala HR Partner. The purpose of the survey is to find out how the logo and graphic profile should be designed to best convey the company's goals and values, serious, competent, efficient and safe. A visual content analysis was performed with the aim to get a better understanding of how other HR companies graphic profiles look like. Semistructured interviews were conducted with Dala HR Partners target audience and a complementary survey of people with experience in graphic design to get opinions both from laymen and experienced professionals. The different data collection methods gave us good basis for the development of the logo and graphic identity that would best convey Dala HR Partners goals and values, and comply with the components that make up a complete graphic identity. From the survey, it has emerged that it is important with an idea to the visual material for the properties to be conveyed in the best way. The choice of, for example, color and shape are important in how the company values are communicated. Results of the final logo and graphic profile shows that they largely conveys Dala HR Partners values and goals, serious, competent, efficient and safe, which was the goal of this study and our thesis.

This dissertation examines the ways in which design and design practitioners have defined value in the design discourse through the vocabulary and concept of goodness since 1870. These definitions of value have been central to design discourse both past and present and deal with the impact and purpose of design work as well as its role in the creation of the approaching future. Since before the coalescence of graphic design as a separate field of design, these questions have been tied to the form, function or social impact of the objects created by designers. Despite the prevalence of this line of inquiry in the discourse, current usage tends toward uncritical and uninformed usage because of a separation of the terminology from the historical context in which this conversation developed. The purpose of this investigation, then, is not to segment terms into “right” or “proper” definitions, but to apply a critical historical lens to the vocabulary of goodness as it has been used in the larger design discourse since 1870 in order to better understand the state of current discussions of value and to inform paths of future inquiry. In order to do so, this investigation developed a framework by which to understand the ways in which goodness has been contextualized over the last 150 years. This historical context does not limit us to a historicist approach to design, and it not presented as an essentialist or teleological marker of things to come. Instead, knowledge of the historical context and various uses of a term makes us better educated practitioners of design who are more capable of combating the individualistic fallacy of the enlightened genius. Through a fuller knowledge of the critical historical context in which our field’s vocabulary developed, we can better understand notions of creativity that position designers as expert guides through networks of information and meaning.

New media's emerging influence on society and the design profession is profound. Currently unrealized, the intersection of graphic design history and digital media is an area worthy of further examination. For graphic designers trained in the design of fixed content for traditional media, new media's challenge—to develop open-ended systems that adapt to dynamic content, customization, and multiple authorship—can be unsettling. But the potential benefits of this exploration are many. The ability to synthesize video, sound, static imagery, and textual information to present interactive content that adapts to the contemporary history of graphic design student's multi-modal and mobile lifestyle will provide a significant advantage.

A goal of environmental graphic design is to create identities that inform the public of a building's contents and occupants. The designer's use of recognizable exterior marks, symbols and signage dictates how well this information is communicated to prospective clients, visitors or observers. My creative project examines how informational environmental and graphic design can improve awareness and understanding of the mission of a building that was not constructed for its current social services use.

In this project, I explore how the processes and structures of non-design disciplines can influence typographic form. Using the field of geology as a test case, I apply geologic processes to typographic form in order to create dimensional structures that speak to a wide audience.