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The starting point for my degree project was the experience of an “in-betweenship”: to be in the middle of two cultures. If language is a bearer of culture and typography the body of language, as a graphic designer I was curious about what typography could be created from this intermediate position. In particular, I wanted to work with methods, tools, and expressions derived from my Jewish heritage in order to change my conditions for type construction and language. I have explored the typographic ligature as a method and form; historically created to save time and space in typesetting, but here used to find common denominators between two structurally different scripts. One question in particular has guided my process: can I create something whole from an intermediate position – something that isn’t one or the other, but a third possibility? The result is a calligraphic, interscriptual typeface with hybrids of Latin and Hebrew letters that can be read from left-to-right in English, as well as right-to-left in Yiddish. Based on my own poem about this in-betweenship – introduced on p.50 – the visual appearence comes from the codependency between the two scripts, a well as the compromises this merge entailed. This way, it doesn’t only represent my own hybridized experience but also the Jewish experience at large, shaped by influences from other cultures and languages over centuries of flight and migration.

The dissertation is devoted to the study of the communicative potential of industrial heritage. The subject of the study is the methods of forming the communicative potential in the cultural cluster "Summer at the Factory" in the city of Sysert. The purpose of the dissertation is to identify the techniques and methods of design for the development of design support for the festival. Part of the study is devoted to the problems of rethinking the functions of the territories and buildings of abandoned factories. The world and domestic experience of rethinking the industrial heritage, examples of creative centers, creative clusters, exhibition galleries located in such objects are studied. The methods and techniques of design support in creative clusters are identified. Graphic and environmental objects for the design support of the festival "Summer at the Factory" are developed. / Диссертационная работа посвящена исследованию коммуникативного потенциала индустриального наследия. Предметом исследования являются методы формирования коммуникативного потенциала в культурном кластере «Лето на заводе» в городе Сысерть. Цель диссертационной работы — выявить приемы и методы дизайна для разработки дизайн-сопровождение фестиваля. Часть исследования посвящена проблемам переосмысления функций территорий и зданий заброшенных заводов. Изучен мировой и отечественный опыт переосмысления индустриального наследия, примеры творческих центров, креативных кластеров, выставочных галерей, размещенных в подобных объектах. Выявлены методы и приемы дизайн-сопровождения в креативных кластерах. Разработаны графические и средовые объекты для дизайн-сопровождения фестиваля «Лето на заводе».

This project examines opportunities for history exhibition design practices. Research into museum studies and creative work in typography, photography, graphic design and architecture result in curation and design of a prototypical exhibit about the granite quarrying industry of Stonington, Maine.

My project investigates the intersection of typography and furniture. It questions the language of these objects and compares the two, based on an assumption of similarity. Each supports the assertion of the language system of the other.

Criatividade no uso de recursos de impressão, reprodução, gravação, acabamento gráficos, editorial, encadernação e materiais, em design gráfico, denominados processos, é o tema desta pesquisa. A investigação procede de projetos resultantes da prática disciplinar e é documentada por imagem, fotografias, para ciência visual. Estudos técnico, formal (relativo à forma) e projetual investigam relações entre processo e forma, resultando em um repertório de parâmetros e possibilidades. Forma pura é gráfica e a construída, matéria conformada por processos, meios de produção pelos quais se trabalha forma. Conhecimentos de processos são recursos de projeto, e apropriações criativas destes, qualificam um bom design / Creativity in the use of printing, reproduction, engraving, graphic finishings, editorial, binding and material resources in graphic design, denominated processes, is the theme of this research. The investigation is originated by projects, product of disciplinary practice, and is documented by image, for visual science. Technical, formal (related to form), and project studies explore relationships between process and form, resulting in a repertoire of parameters and possibilities. Pure form is graphic and constructed form, material shaped by processes, means of production by which form is tooled. The knowledge of processes is project resources, and creative appropriations of them, qualify a good design

A pesquisa é voltada para o estudo da obra de Saul Steinberg, com enfoque nas contribuições de sua produção para o desenvolvimento do cartum moderno e das artes gráficas. Para tanto, busca sistematizar a vida e obra de Steinberg (1914-1999), com ênfase nas transformações ocorridas em seu trabalho no decorrer de sua carreira, relacionando-as ao conjunto de sua produção, ao contexto histórico e à produção das artes gráficas - cartum, ilustração, desenho gráfico. O trabalho busca desenvolver uma análise do desenho do artista, partindo da hipótese de seu caráter moderno - baseado em síntese e simplicidade. É intenção desta pesquisa, também, contribuir com o mapeamento de parte da história das artes gráficas do Brasil e do mundo, neste caso privilegiando a produção gráfica moderna do século XX. / The research deals with the study of the work of Saul Steinberg, with focus in the contributions of his work to the development of the modern cartoon and graphic arts. It tries to systematize the life and work of Steinberg (1914-1999), with emphasis in the transformations occured in his work, related to his whole production, to the historial context, and to the production of the graphic arts. The research tries to develop an analysis of the Steinberg´s drawing, taking into consideration the hypothesis of its modern particularity - established in synthesis and simplicity. Is an intention of this research to contribute with the mapping of part of the graphic art history of Brazil and the world, focusing in the graphic modern production of the 20th century.

Typografi finns överallt. Det är en del av grafisk formgivning som är ramverket som vi på olika plattformar i media och i stadsbilden blir tilltalade och därigenom förstår omvärlden. Typografi påverkar i stor utsträckning hur vi tolkar ett innehåll och hur vi värderar allt från människor till åsikter. I mitt examensarbete "Typografisk makt" undersöker jag relationen mellan samhällets värderingar och typografi. Varför tar vi vissa typsnitt på allvar och andra ses som oseriösa? Jag har skrivit en essä och presenterar texten i två publikationer där jag med formgivningen vill kommentera olika sätt att förhålla sig till idéer om hur typografi bör fungera och se ut. I essän tar jag upp historiska aspekter som påverkat hur typografi värderas. Jag försöker även bena ut vilken roll egenskaper kopplade till kön har för roll i hur typografi värderas. / Typography is everywhere. It speaks to us and makes us understand the world. Why do we regard some typefaces as serious/professional and some as less serious? My project is an investigation of the relation between the values of society and typography.

A pesquisa de caráter qualitativo teve como objetivo levantar e discutir maneiras pelas quais o campo do design pode contribuir para a divulgação científica para o público infantil. A partir de um levantamento de casos de comunicação da ciência para crianças no Brasil e exterior, de naturezas e mídias diversas, foram identificados os processos de design empregados e determinados os eixos investigativos da pesquisa: processos colaborativos, processos participativos, ludicidade e design da informação. Para evidenciar e discutir as questões relativas aos quatro eixos, foi realizado um estudo de caso sobre o livro informativo para crianças Lá fora - Guia para descobrir a natureza (textos de Maria Ana Peixe Dias e Inês Teixeira do Rosário, ilustrações de Bernardo P. Carvalho, editora Planeta Tangerina, Portugal, 2014). O estudo de caso baseou-se em revisão bibliográfica relativa a: processos colaborativos, processos participativos, processos voltados ao lúdico, design da informação, livros ilustrados e livros informativos para crianças. As análises sugerem que as contribuições do campo para a divulgação científica para crianças potencializam-se quanto mais abrangente for o escopo de participação do design e quanto mais inicial for o estágio de projetação em que é introduzido. Além disso, de cada eixo investigativo sobressaem contribuições específicas ligadas às forma de participação do design no processo de produção da divulgação, a saber: o rigor informativo, investigativo e crítico, e a criatividade na abordagem dos temas da ciência (processos colaborativos); a defesa da autonomia, do protagonismo e do respeito às necessidades cognitivas e emocionais da criança (processos participativos); a aproximação poética, aberta, imaginativa e complexa dos assuntos tratados (processos voltados à ludicidade); e o cuidado com a usabilidade dos objetos, a legibilidade e a visualização da informação (design da informação). / This qualitative study aimed to raise and discuss ways in which the design field can contribute to science communication for children. Specific applied design processes and certain investigative axes of research were identified from a survey of cases of science communication for children in Brazil and abroad, of different natures and media: collaborative processes, participatory processes, playfulness and information design. In order to highlight and discuss questions relating to these four axes, we conducted a case study of the children\'s information book Lá fora - Guia para descobrir a natureza (texts by Maria Ana Peixe Dias and Inês Teixeira do Rosário, illustrations by Bernardo P. Carvalho, Planeta Tangerina, Portugal, 2014). The case study is based on literature review on: collaborative processes, participatory processes, processes aimed at playfulness, information design, picturebooks and children\'s information books. The analysis suggests that the design field contribution to science communication for children can be enhanced the more comprehensive its scope is and the earlier it is introduced in the design process. In addition, each investigative axis highlights specific contributions, linked to the form of participation that design takes on the production process of the publication, namely: the informative, investigative and critical accuracy, and the creativity in addressing the themes of science (collaborative processes); the defense of autonomy, leadership and respect to cognitive and emotional needs of the child (participatory processes); the poetic, open, imaginative and complex approach of subjects addressed (processes aimed at playfulness); the attention to the usability and readability of objects, and its information visualization (information design).

Claims of customization and control by socio-technical industries are altering the role of consumer and producer. These narratives are often misleading attempts to engage consumers with new forms of technology. By addressing capitalist intent, material, and the reproduction limits of 3-D printed objects’, I observe the aspirational promise of becoming a producer of my own belongings through new networks of production. I am interested in gaining a better understanding of the data consumed that perpetuates hyper-consumptive tendencies for new technological apparatuses. My role as a designer focuses on the resolution of not only the surface of the object through 3-D printing, but the social implications to acknowledge consequential conditions of new forms of consumer technology.