I mitt examensarbete har jag valt att fokusera på att skapa en visuell identitet till mina föräldrarshantverksföretag och att etablera dem online. De har aldrig haft en grafisk identitet av någotslag, trots att de varit i branschen över 30 år. Den enda visuella identitet som existerat ärderas produkter, tomtarna, som fått tala för sig själva. Jag har därmed valt att bygga vidare påjust denna grund för att bibehålla deras varumärkesidentitet och genuinitet. Under arbetet harjag utvecklat en logotyp, en hemsida, skapat en närvaro på sociala medier på Facebook ochInstagram, designat ett utskick för mer åtråvärda kunder, samt gjort en kortfilm för att presenteradem och deras yrke. Som grund för arbetet har jag utgått från intervjuer, workshopsoch deltagande design i samarbete med mina föräldrar, för att få en känsla för vad just de villförmedla för framtida kunder. Företaget har även genomgått ett namnbyte för att bättre speglaverksamheten. / This is a study of a small craftwork establishment, and the balance between creating a graphicidentity and maintaining the essence and voice that has been developed through the company’s30 year history. Through close collaboration with the clients we have pinpointed thebrand personality and how they want their visual identity to be represented towards potentialfuture clients. To establish this I have used the methods of participatory design through interviews,workshop and business model canvas. For the end result I have developed a graphicidentity that contains a website, logotype, social media presence on Facebook and Instagram,and designed a sendout that will be targeted towards their more desirable clients. I have alsoproduced a short film to present both of them as creators and th eir products and will be thelarger piece of the storytelling aspect of my work. The company has also undergone a namechange to better reflect the business.

As a graphic designer and as a creative in general, my interest has always been in the conceptualization and execution of brand identities. I am most comfortable as a designer when I am working in the realm of art direction, and most of my design heroes and inspirations are legendary art directors and designers like Paula Scher, Paul Rand, and Michael Bierut. Logo and wordmark design in particular are among my favorite aspects of design, and finding ways to creatively apply these foundational aspects of a brand to each stage of the user experience is exciting to me. The stages of the user experience which I designed and art directed for my honors thesis included a logo symbol, a wordmark, a set of packaging designs, a storefront, a landing page, and an engaging ad campaign. Designing a brand identity across digital and physical mediums while maintaining a high level of cohesion and story is a rigorous process, and my progress was far from linear. The most important thing I learned was to trust the process; wherever it took me. I am excited to bring what I’ve come to realize during the execution of this project to the industry and to help brands, big and small, design for the digital age across every level of their user experience.

Práce uvádí základní informace o průmyslové sběrnici AS-Interface a popisuje její funkce. Dále se zabývá rozšířením stávajícího FTZ AS-Interface Slave Simulátoru o dotykový display, který značně usnadní ovládání tohoto simulačního nástroje. Je zde nastíněn návrh a řešení uživatelského dotykového rozhraní k tomuto simulátoru s použitím Amulet LCD modulu STK 480272C. Vývoj tohoto rozhraní je proveden pomocí GEMstudia, softwaru firmy Amulet Technologies a grafických programů. Dále tato studie pojednává o softwarové úpravě FTZ AS-i Slave Smilulátoru. Jedná se o úpravu řídícího FPGA v jazyce VHDL zajišťující komunikaci s dotykovým displejem. Poslední kapitola se týká problematiky spojené s návrhem uživatelsky přívětivé aplikace.

This diploma thesis deals with corporate identity of a tractor manufacturer. For this purpose fictive company called Haart was created. The endeavour of this corporate identity is to make an image of a reliable company which specialises in the production of high-quality agricultural machines. This is accomplished by an orange-grey colour scheme where orange stands for living (agricultural production) and grey refers to lifeless (tractor is a machine). The final corporate identity is presented next to company stationery, merchandise, orientation graphics and web page also on the tractor designed within the pre-diploma project. For advertising graphics needs typeface Haart was created. Part of this diploma project is also the creation of a design manual. It describes all elements of Haart‘s corporate identity.

Ape Boards is my own newly formed label, which manufactures snowboards and kiteboards. For this thing I have proposed a substantial logotype, which has a function as a unifying element across the whole brand and designs boards. Website (www.apeboards.com). A first collection of snowboards and kiteboards from which I had made 7 pieces for a thesis. Designs do not 'mass' lust, because the objective is not a big production or promotion, but based on what I liked. From the minimalism through the color geometry to the gorillas, according to which the brand was named.

<p>We make decisions every day, some with the potential for a huge impact on our lives. This process of decision-making is crucial not only for individuals but for industries, including construction. Unlike the manufacturing industry, where one can make certain decisions regarding an actual product by looking at it in real time, the nature of construction is different. Here, decisions are to be made on a product which will be built somewhere in the near future. The complex and interim nature of construction projects, along with factors like time essence, increasing scale of projects and multitude of stakeholders, makes it even more difficult to reach consensus. Incorporating VR can aid in getting an insight on the final product at the very beginning of the project life cycle. With a visual representation, the stakeholders involved can collaborate on a single platform to assess the project, share common knowledge and make choices that would produce better results in all major aspects like cost, quality, time and safety. This study aims at assessing decision-making in the earlier stages of construction and then evaluating the performance of immersive and non-immersive VR platforms.</p> <br> <p> </p>

Rökning är en ovana som många personer ägnar sig åt, det speglas inte minst på gatorna vart man än går. Fimpar på gator runt om i städer är en miljöbov som sällan uppmärksammas. Trots att det finns allmänna askkoppar för fimparna att slängas i, hamnar de ofta på gatan och blir en fara för djur och natur. Denna studie syftar på att ta fram ett designförslag på hur en omkonstruerad cigarettförpackning, som rymmer cigarettfimpar, kan se ut. Det undersöks även hur en cigarettförpacknings konstruktion kan uppmana konsumenter att inte slänga fimpar på marken, vilket i stort kan ha en positiv effekt på miljön. Den målgrupp som är relevant att undersöka är alltså alla rökare i Sverige. En digital enkät skickades inledningsvis ut för att ta reda på folks vanor och åsikter kring rökning. Detta resulterade i en bekräftelse av forskningsfrågorna där respondenterna önskade en smidig lösning som minskade antalet fimpar på marken, varpå några föreslog att en cigarettförpackning hade en funktion liknande snusdosans dubbla lock. Representanter från kartongproducenter kontaktades för att få information om material och dess möjligheter. Designprocessen inleddes med en konceptgenerering med hjälp av mindmapping och brainstorming. Ur detta föddes tio idéer som sedan reducerades till tre koncept genom en pugh-chart. LoFi-prototyper skapades av dessa och presenterades för åtta deltagare under semistrukturerade intervjuer. Intervjuerna resulterade i att två koncept föredrogs, men författarna tog beslutet att utveckla ett av dem. En slutgiltig prototyp skapades, vilken var konstruerad som en vanlig cigarettförpackning med flip top lock, men var knappt två centimeter längre. Detta gav utrymme i förpackningens botten att ha en separat plats för använda fimpar. Värderingen av den slutgiltiga prototypen skedde genom ytterligare en digital enkät som skickades ut till samtliga deltagare från den tidigare semistrukturerade intervjun. Genom att de besvarade påståenden samt beskrev prototypen fritt kunde det konstateras att alla deltagare inte är lika positivt inställda till denna förpacknings utformning, men att majoriteten ändå skulle använda en cigarettförpackning som denna till att förvara fimpar när inget bättre alternativ finns. Dessutom uppgav respondenterna att förpackningen skulle motivera dem personligen att slänga färre fimpar på marken, samt att förpackningen skulle minska antalet fimpar i naturen generellt. Därmed kan det konstateras att en alternativ cigarettförpackning troligtvis skulle minska antalet fimpar på marken och ge en positiv effekt på miljön i stort. / Smoking is a bad habit whose traces can be seen widely on the streets. The cigarette butts pose an environmental threat that seldom is given attention. Although there are public ashtrays, cigarette butts often end up on the ground and become a risk for animals and nature. This study aims to produce a design suggestion for a reconstructed cigarette packaging that can hold used cigarette butts. It will also be examined how a cigarette packaging’s construction can invite consumers to avoid tossing cigarette butts on the ground, which at large can have a positive impact on the environment. The relevant target group that will be analysed is all smokers in Sweden. A survey was distributed in order to examine the smoking habits of persons and their opinions about smoking and cigarettes. The result showed that the respondents wanted a handy solution that would reduce the amount of cigarette butts on the ground, whereupon some proposed that the cigarette packaging could utilize a feature like the double lid on the packaging of swedish snus. Representatives from large carton board producers were also contacted in order to retrieve information concerning material and their possibilities. The design process started by generating concepts with mind mapping and brainstorming. This resulted in ten ideas that later was reduced to three concepts via a Pugh-chart. LoFi-prototypes of the three concepts were created, which were presented to eight participants in semi structured interviews. The interviews led to two concepts being prefered by the respondents, where the writers chose to develop one of them. A final prototype was developed and produced. This was constructed as a general cigarette packaging with a flip top lid, but was barely two centimeters longer. This created a space in the bottom of the packaging to contain used cigarette butts. The valuation of the finished prototype was done by an additional survey that was distributed to the same participants that partook in the semi-structured interview. By having them answer statements and describe the prototype freely, it was clear that every respondent didn’t have a positive attitude towards the prototype’s construction. However, a majority of the participants claimed that they would use a cigarette packaging like this to hold the cigarette butts when no better option was available. Additionally, the respondents stated that the cigarette packaging would personally motivate them to discard fewer cigarette butts on the ground, and also that the cigarette packaging would decrease the amount of cigarette butts in the environment generally. Consequently, an alternative cigarette packaging would possibly reduce the amount of cigarette butts on the streets and therefore positively affect the environment.

La presente investigación analiza el sistema de señalética y diseño gráfico ambiental del Metro de Lima y la manera que impacta en la movilidad de las personas con discapacidad visual. Se identifica las características del sistema, las necesidades de las personas con discapacidad visual respecto a su movilidad y el modo de interacción de éstas con este establecimiento. Se propone como hipótesis que el sistema de señalética y diseño gráfico ambiental tiene deficiencias que impactan de manera social en la vida de las personas con discapacidad visual. Para esta investigación se aplica un enfoque cualitativo, se analiza un espacio y un grupo humano determinado, a través de la observación, investigación de campo, análisis visual y de experiencias. Se recaudó documentación visual, listas de frecuencias y cotejo. Los principales hallazgos fueron que el sistema efectivamente tiene deficiencias que lo convierten en un servicio limitado y no inclusivo, provocando inaccesibilidad al transporte de personas con discapacidad visual. En consecuencia, hay una restricción de participación social, dificultad de poder satisfacer necesidades y deseos diarios. Para concluir, el sistema sí impacta en las formas de desplazamiento de estas personas, afecta su desarrollo personal al no poder cumplir con necesidades diarias y en su desenvolvimiento social e inclusivo puesto que, a través de la posibilidad de movilidad autónoma en los espacios hay interacción, como hacer actividades o conocer, hablar, estar con otro. Además, se propone crear una solución con un diseño universal, que no sea exclusivo de personas que presenten discapacidades físicas, sino que sea apto para todos. / This research analyzes the environmental signage and graphic design system of the Metro de Lima and the way it impacts the mobility of people with visual disabilities. It seeks to analyze the characteristics of the system, identify the needs regarding its mobility and the mode of impact. It was proposed as a hypothesis that the environmental signage and graphic design system has deficiencies that have a social impact on the lives of people with visual disabilities. The most functional for this research is a qualitative approach, a space and a certain group are analyzed, through observation, field research, visual analysis and experiences. Visual documentation and frequency lists and checklists were collected. The main findings were that the system does indeed have deficiencies that make it a limited and non-inclusive service, causing inaccessibility to transportation. Consequently, there is a restriction of social participation, difficulty of being able to satisfy daily needs and desires. To conclude, the system does impact on the mobility of these people, affects their personal development by not being able to meet daily needs and their social and inclusive development since, through mobility in spaces there is interaction, such as doing activities or meet, talk, be with another. In addition, it is proposed to create a solution with a universal design, which is not exclusive to people with physical disabilities, but is suitable for everyone. / Trabajo de investigación

Detta examensarbete bygger på en upplevd problematikav personal på ett LSS-boende för ungdomar som delgivitsmig. Genom denna kontakt kunde en tydlig beskrivning gesom problemområdet, förutsättningar och begränsningar,vilket gav projektet en tydlig initial utgångspunkt. Problematikensom urskiljts på boendet var kortfattat att brukarnainte har tillgång till bankomatkort och att vissa dessutominte har tillgång till sina pengar alls. Detta skapar svårigheterdå de skall handla på butiker som övergått till att varakontantlösa. Konsekvenserna av detta är tydlig, man kaninte betala för sig och detta grundar sig i två saker. Trendenav att digitaliseras och bli kontantlös samt att personer medintellektuell funktionsvariation har svårigheter med förståelsenför digitala pengar, där detta projekt främst fokuserarpå den slutliga problematiken.Denna problematik kommer att bemötas med en utgångspunktinom grafisk design och hur det kontantlösasamhället kan utvecklas genom olika designlösningar. Enidégenerering resulterade i att projektet inriktar sig på:att skapa en applikation som förenklar och förtydligar dedigitala pengarnas värde. Detta skall uppnås genom attförse användaren med visuella stöd som kan anpassasefter personlig preferens. Utöver detta skall verktyget ävenfungera som ett betalkort för att utnyttja möjligheten attgrafiskt visa en transaktions påverkan av totala saldot. / This thesis is based on a perceived problem from staffmembers of an accommodation for youths with disabilitiesthat has been shared with me. Through this contact I got aclear view of the troubles that occured, the possibilities andlimitations that revolved around the subject. The problemthat had been identified was how the youths did not haveaccess to or sometimes were not trusted with a cash cardfor different reasons. This has created a problem for thesepeople when they are trying to shop from a store that hasbecome cashless. The consequences of this is clear, theycannot pay for themselves wich is based on two things.The trend of stores turning cashless and that people withintellectual disabilities have difficulties with understandingthe value of digital money. In this thesis I focus on the latter,the understanding of digital money.The problem will be treated with graphic design as a startingpoint and investigate how the cashless community canevolve to be more including. An initial idea session resultedin a focus of creating the following: An application thatsimplifies and clarifies digital monetary value. This will beperceived through providing the target group with a visualaid that can be customized based on the users comprehensionand preferences. The app will also include a paymentfeature that utilizes the opportunity to give the user visualaid. This can provide the user with a deeper understandingof the impact of the transaction on their total ammount.

Den här uppsatsen undersöker hur parfymproducenter väljer att visuellt kommunicera sina varumärken och designa förpackningar. Detta utförs genom visuell retorik där studien undersöker de strategier som använts i reklam samt hur brandingen återspeglas i förpackningsdesignen. Undersökningsmaterialet utgörs av utvalda produkter hos de tre parfymvarumärkena Dior, Paco Rabanne och Byredo. Analysen innefattar även frågan om hur kvinnor och män representeras i varumärkets bildspråk, till exempel om de endast porträtteras i enlighet med sina respektive könsstereotyper. Den grafiska designens utveckling har gjort det möjligt att producera olika former av grafiska uttryck på flaskor och förpackningar. Trots dessa möjligheter är parfymindustrin ofta könskodad och likt många andra branscher väldigt likriktad i sin visuella kommunikation, det vill säga att företag ofta följer en typ av norm eller tradition för hur de förväntas kommunicera och hur deras visuella identiteter ska se ut.  Uppsatsen har föregåtts av ett relaterat designprojekt, där ett skovarumärke med ett annorlunda bildspråk och förpackning skapats. Dess visuella kommunikation har skiljt sig från de konkurrerande varumärkena beträffande uttryck och maner. Ett spännande projekt där positioneringen även visar på risken för otydlighet. Undersökningen visar att parfymvarumärkenas branding återspeglas i förpackningsdesignen genom trycket av logotyp och att kombinationen av grafiska element, typsnitt, färg och form där den huvudsakliga uppgiften är att rikta sig mot kvinnor eller män, är överrepresenterad. Den visar också att könsstereotyper men även särskiljande kommunikation finns representerad inom parfymreklam. / This essay examines how perfume producers choose to visually communicate their brand and packaging design. This is done through visual rhetoric where the study examines the strategies used in advertising and how the branding is reflected in the packaging design for some selected products of the three perfume brands Dior, Paco Rabanne and Byredo. The analysis also includes the question of how women and men are represented in the brand’s imagery, for example if they are only portrayed in accordance with their respective gender stereotypes. The development of graphic design has made it possible to produce various forms of graphic expression on bottles and packaging. Despite these possibilities, the perfume industry is often gender-coded and, like many other industries, very uniform in its visual communication, that is to say companies often follow a type of norm or tradition for how they are expected to communicate and what their visual identities should look like. The essay was preceded by a related design project, where a shoe brand with a different imagery and packaging was created. Its visual communication has differed from the competing brands in terms of expression and manner. An exciting project where the positioning also shows the risk of ambiguity. The survey shows that the branding of perfume brands is reflected in the packaging design through the print of the logo and that the combination of graphic elements, fonts, color and shape where the main task is to target women or men, is overrepresented. It also shows that gender stereotypes but also distinctive communication are represented in perfume advertising.