The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.

This thesis is a science fiction exploration of a future dystopian world where privacy becomes a dominant currency that is distributed according to social class and ranking mechanisms. It utilizes speculative world-building to study the unanticipated implications of technology on personal privacy, surveillance and social inequality on future societies. The project introduces The Mall, as a highly efficient and hyper-connected world, but also exposes its downfall as a society with heightened cultural and socio-political disparities. Inspired by past civilizations, the development of the modern nation-state as well as contemporary society, the design adapts, appropriates and reformulates existing cultures into new hybrid possibilities. This thesis project is presented as an illustrated coded tapestry that allows the viewer to explore and interact with various components of the narrative to speculate and critique an alternative future-world void of privacy.

為讀者提供一份現代化的報紙，是各報身處多元化媒體競爭下，必須不斷創新改進的途徑。自報禁解除迄今，不少報紙陸續採取改版策略，尤其身為報社編輯，如何運用現代化科技，將讀者想看的重要新聞，以凸顯的形式設計成美觀、易讀的版面，發揮報紙好看、好讀、好找的特性，期使在新科技與新興媒體衝擊下，仍可在市場占有一席之地，正是本研究的最大目的。 　　研究方法是採深度訪談，針對七家報社十個大台北新聞版編輯為研究對象。研究問題可歸納為： 　　（一）在新科技與新興媒體衝擊下，不同報社之大台北新聞版編輯所設計版面之相同處與相異處；同時規劃未來報業所認定的理想版面雛型。 　　（二）探討不同報社之大台北新聞版編輯選擇新聞所考量因素之相同點與相異點；以及相同報社之大台北新聞版編輯選擇新聞所考量因素之差異情形。 　　研究步驟除了先了解受訪者個人背景資料外，在作版面分析時，則是針對欄位、標題、照片、圖象、色彩等變項分別探討。結果發現從事新聞工作時間愈長者，薪資所得愈高；但受限於報社制度不同，大多數編輯工作仍無法享有充分的自主權。 　　在版面編排部分，編輯是依版面設計、新聞重要性與新聞字數多寡決定欄位和字數，且都採塊狀拼版，每欄字數不宜一致化；標題字數最好不超過十字，至於應用何種字體，多半取決於主管規定，且會使用筆記式標題的情況並不多；理想的新聞照片數是三張，但受限於來源，版面可能出現毫無作用的照片，彩色版則是不可能呈現無照片；圖象在版面中的確有其重要性，但多數受訪者對報紙版面應否走向圖象化則持保留態度；對彩色版的處理，都是由美術編輯負責，雖然新聞版尚無全面彩色化，但卻是未來必然趨勢，文字編輯有必要加強這方面專業技能。 　　在選擇新聞部分，小版比大版編輯對新聞的取捨較無選擇權利；受訪者也會有移情作用，會依個人好惡、對事件的認知，以主觀意識決定重要新聞；當然也會考慮讀者所好，且只要不與政策牴觸，編報時是不會特別考慮報社利益的。 　　由於各報社實施電腦化情形不盡相同，也直接影響編輯作業。對於已完全電腦化的報社編輯認為作業比過去便利，也縮短流程，正朝版面精緻化目標邁進。這也是平面媒體在多元媒體競爭下，必須更善用新科技，以求不斷創新突破。 　　也就是說，新聞有深入淺出的內容，版面一目了然，最好全部彩色，有圖有表，並朝高度系統化編排，以索引、提示之形式方便讀者閱讀，同時以新科技解決中文編報的技術問題，這些都將是編輯工作努力的指標。

The purpose of this study was to develop recommendations for using more efficient lighting and better graphic design to create a more uniform structure in the exhibition hall “Road to the past” in Jönköping County Museum by answering the following questions at issue: 1) How are the objects in the exhibition hall “Road to the past” exposed today? 2) How can you use lighting and graphic design to create structure in the exhibition and strengthen the expression in the exhibition? Our work is based on observations and open group interviews. We observed the exhibition hall “Road to the past” during day and evening. In the same hall, we observed a guided tour that we followed up with open group interviews. Finally, we observed four exhibition halls in Stockholm that are located at the Historical Museum, Royal Armory and at the Army Museum. The purpose of the observation of exhibition hall "Road to the past" was to answer the first question of issue. The observations in Stockholm, the observation of the tour and the interviews were some of the basis for responding to our second question of issue. The results of this study show that graphic design and lighting design can enhance the expression of the exhibition hall. Examples are given of how to work with colors that attract attention and how information texts can be designed in a guided and easy to read manner. In addition, it explains how the lighting can be adjusted to the objects in the hall as well as the human vision. To spatially dispose the objects in the exhibition in a logic and guiding way is also described as a method to enhance the expression of the exhibition. The result of the investigation shows that through color selection, and outline of the lighting one also can create a flow of the exhibition hall that leads the visitor through the exhibition. We conclude that the visitors’ experience of the exhibition hall “Road to the past” at the moment is strongly linked to whether it is part of a guided tour or not. The essay discusses solutions so that the exhibition can be more self-guiding. / Syftet med detta examensarbete var att ta fram rekommendationer för hur man med hjälp av mer ändamålsenlig belysning och grafisk design kan skapa en tydligare och mer enhetlig struktur i utställningen ”Vägen till det förflutna” vid Jönköpings Läns Museum genom att besvara följande frågeställningar: 1) Hur exponeras föremålen i utställningssalen ”Vägen till det förflutna” i dagsläget? 2) Hur kan man stärka uttrycket i utställningen och skapa en tydligare och mer enhetlig struktur med hjälp av bättre grafisk design och mer ändamålsenlig belysning? Vi har i studien använt oss av observationer och öppna gruppintervjuer. Inledningsvis observerade vi utställningssalen ”Vägen till det förflutna” under dags och kvällstid. Efter detta genomförde vi en observation av en guidad tur i samma sal som vi sedan följde upp med öppna gruppintervjuer. Slutligen observerade vi fyra andra utställningssalar i Stockholm som finns belägna på Historiska Museet, Livrustkammaren och på Armémuseum. Syftet med observationen av utställningssalen ”Vägen till det förflutna” var att svara på frågeställning ett. Observationerna i Stockholm, observationen av den guidade turen samt intervjuerna har använts för att svara på frågeställning två. Resultatet av studien visar att man med grafisk design och ljusdesign kan förstärka uttrycken i utställningssalen. Exempel ges på hur man kan jobba med färgval som attraherar och lockar till uppmärksamhet och hur informationstexter kan utformas på ett guidande och lättläst sätt. Vidare beskrivs hur belysningen kan anpassas, dels till salens föremål och dels till det mänskliga synsinnet.  Att spatialt disponera utställningsföremålen vägledande och logiskt beskrivs också som ett sätt att förstärka uttrycket i utställningen. Resultatet av undersökningen visar att man genom färgval, disposition och belysning också kan skapa ett flöde i utställningssalen som leder besökaren genom utställningen. Vi har dragit slutsatsen att besökarnas upplevelser av utställningssalen "Vägen till det förflutna" i nuläget är starkt kopplade till om man ingår i en guidad tur eller inte. I arbetet diskuteras lösningar för hur utställningen i högre grad kan göras självguidande.

Trashures celebrates my debut in the sustainable world and is my public statement of change. It is essentially provocative, informative and educational and serves three major fronts. First, Trashures aims to raise awareness among visual artists. Second, it seeks to introduce and explore the use of agri-pulp papers in Graphic Design, as a viable commercial solution. Third, it culminates in an invitation to visual artists to search for sustainable solutions. Trashures is about transformations. It highlights the transformation of passive materials into active ones, or the transformation of waste into either papers or as subject matter, as a sustainable way to think over waste and consider it as a potential and genuine resource in Graphic Design.

@font-face { font-family: "Calibri"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; text-indent: 0.5in; line-height: 200%; font-size: 11pt; font-family: "Times New Roman"; }div.Section1 { page: Section1; } Foster Child is my attempt to bring to light my love for dolls as creatures to be created and imagined again and again. In terms of childhood play, toys function and exist on many levels. Each becomes a friend to some and, in some cases, a confidant. Dolls become more than a plastic play-thing and through the eyes of the individual take on a life of their own based upon the user’s own personal experiences. What I deem my creation will inherently change to someone else’s and even to my mood. I aim to offer the ability to create and blur the lines of these creations. My work is self-explorative and tells of the circumstances from my childhood I hold close.

<p>The purpose of this study was to develop recommendations for using more efficient lighting and better graphic design to create a more uniform structure in the exhibition hall “Road to the past” in Jönköping County Museum by answering the following questions at issue:</p><p>1) How are the objects in the exhibition hall “Road to the past” exposed today?</p><p>2) How can you use lighting and graphic design to create structure in the exhibition and strengthen the expression in the exhibition?</p><p>Our work is based on observations and open group interviews. We observed the exhibition hall “Road to the past” during day and evening. In the same hall, we observed a guided tour that we followed up with open group interviews. Finally, we observed four exhibition halls in Stockholm that are located at the Historical Museum, Royal Armory and at the Army Museum. The purpose of the observation of exhibition hall "Road to the past" was to answer the first question of issue. The observations in Stockholm, the observation of the tour and the interviews were some of the basis for responding to our second question of issue.</p><p>The results of this study show that graphic design and lighting design can enhance the expression of the exhibition hall. Examples are given of how to work with colors that attract attention and how information texts can be designed in a guided and easy to read manner. In addition, it explains how the lighting can be adjusted to the objects in the hall as well as the human vision. To spatially dispose the objects in the exhibition in a logic and guiding way is also described as a method to enhance the expression of the exhibition. The result of the investigation shows that through color selection, and outline of the lighting one also can create a flow of the exhibition hall that leads the visitor through the exhibition.</p><p>We conclude that the visitors’ experience of the exhibition hall “Road to the past” at the moment is strongly linked to whether it is part of a guided tour or not. The essay discusses solutions so that the exhibition can be more self-guiding.</p> / <p>Syftet med detta examensarbete var att ta fram rekommendationer för hur man med hjälp av mer ändamålsenlig belysning och grafisk design kan skapa en tydligare och mer enhetlig struktur i utställningen ”Vägen till det förflutna” vid Jönköpings Läns Museum genom att besvara följande frågeställningar:</p><p>1) Hur exponeras föremålen i utställningssalen ”Vägen till det förflutna” i dagsläget?</p><p>2) Hur kan man stärka uttrycket i utställningen och skapa en tydligare och mer enhetlig struktur med hjälp av bättre grafisk design och mer ändamålsenlig belysning?</p><p>Vi har i studien använt oss av observationer och öppna gruppintervjuer. Inledningsvis observerade vi utställningssalen ”Vägen till det förflutna” under dags och kvällstid. Efter detta genomförde vi en observation av en guidad tur i samma sal som vi sedan följde upp med öppna gruppintervjuer. Slutligen observerade vi fyra andra utställningssalar i Stockholm som finns belägna på Historiska Museet, Livrustkammaren och på Armémuseum. Syftet med observationen av utställningssalen ”Vägen till det förflutna” var att svara på frågeställning ett. Observationerna i Stockholm, observationen av den guidade turen samt intervjuerna har använts för att svara på frågeställning två.</p><p>Resultatet av studien visar att man med grafisk design och ljusdesign kan förstärka uttrycken i utställningssalen. Exempel ges på hur man kan jobba med färgval som attraherar och lockar till uppmärksamhet och hur informationstexter kan utformas på ett guidande och lättläst sätt. Vidare beskrivs hur belysningen kan anpassas, dels till salens föremål och dels till det mänskliga synsinnet.  Att spatialt disponera utställningsföremålen vägledande och logiskt beskrivs också som ett sätt att förstärka uttrycket i utställningen. Resultatet av undersökningen visar att man genom färgval, disposition och belysning också kan skapa ett flöde i utställningssalen som leder besökaren genom utställningen.</p><p>Vi har dragit slutsatsen att besökarnas upplevelser av utställningssalen "Vägen till det förflutna" i nuläget är starkt kopplade till om man ingår i en guidad tur eller inte. I arbetet diskuteras lösningar för hur utställningen i högre grad kan göras självguidande.</p>

This study developed a Methodology for the systematic and strategic fostering of creativity in graphic design education at university level. The thesis identified four social-psychological factors that have an effect on graphic design students' creative ability, namely their level of intrinsic motivation for creative activities; their ability to maintain autonomous, self-regulative behaviour that is conducive to creativity; a healthy self-belief in their creative ability and the minimization of negative stress in the educational milieu where creative tasks are undertaken. Each of these factors imply a range of strategies that may be used to maintain and stimulate creativity in graphic design education, such as the use of certain types of feedback, evaluation procedures that supports creativity, the creation of a safe, democratic, non-controlling classroom climate or the deliberate use of music and humoristic activities in the educational milieu. Additionally, a range of cognitive strategies that may be used for idea generation in graphic design are proposed. They include divergent thinking techniques, such as 'Random Association'; 'Morphological Synthesis'; 'Metaphors and Analogies'; 'Mind-mapping'; 'Idea Checklist'; 'Visual Thinking' and 'Sense Connections'. Each technique is described in terms of its unique methodology, advantages, creative potential and its applicability to graphic design. The study also proposes a tactical approach to the creative process, suggesting various cognitive strategies that may be used for each phase of the creative process. These strategies ensure that the whole spectrum of cognitive activities required for the successful production of a creative product is executed. The sum of these cognitive and social-psychological strategies provided the basis for the development -of two theoretical constructs that may be implemented as part of an undergraduate graphic design curriculum to cultivate creativity in students. They are: (1) a Learning Program in Creativity studies that consists of a number of study units and aims to provide tuition in the theoretical foundation that students need to enhance their creative ability (2) a range of General Guidelines that aim to provide educators with a range of didactic strategies and practices to support and stimulate creative ability in graphic design students. / Thesis (Ph.D. (History of Arts))--North-West University, Potchefstroom Campus, 2006.

Prekės ženklo grafinės raiškos ryšys su vartotojo psichologiniu galios poreikiu prekių ženkluose. Prekės ženklo grafikos reikšmių suvokimo ir įsisavinimo procesai. / Links between brand’s graphic expression and user's need for psychological power in brand. Comprehension and absorption processes of brand’s graphic values.

Internet and social media have opened up new possibilities for companies and organisations tocommunicate their brand. It only takes a few seconds to communicate the message of a website to theuser. This indicates the importance of having the intended message of the website communicated clearlyin order to give the user a correct impression of the company or the organisation. When it comes to theconcept design of a website, it’s important that all different parts is presented uniformly. This reportdescribes the process and the end product of a concept design for a food event. The concept designincludes interaction design, a graphic identity and digital strategies in a website that all togheter creates astartingpoint for the branding of the event. In the creation of the logotyp which is as part of the graphicidentity it was important to anticipate the needs of the users and the other stakeholders. An interviewstudy was conducted with a focus group of the purpose to investigate users' feelings and reactions basedon the first impressions of three different logo proposals. The investigation was fruitful and increased ourunderstanding about what the participants thought about the different logotypes and colour combinations.Along with a few corrections we reach a brand identity that could be effective in communicating themessage of the event. During the design process, we had regular weekly meetings with the client who alsoapproved the final logo, graphic identity as well as the digital strategies and functions of the website. Theresult shows that a careful preparatory phase is a necessity to establish the client's goals and vision as wellas our own early in the process. This helped us to keep the design work on a steady path through thewhole process as well as creating a unified concept design for the event.