Multiculturalism constitutes a mixture of expressions where languages are fundamental, not only as the vehicular form of thought, but also as a powerful tool for social cohesion and relationships within a community. Languages are often the first barrier encountered when communicating or relating to other culture. Whereas, typography can provide valid solutions, not only in terms of text layout but also regarding the specific aspects of multilingualism: the design of glyphs for multilingual text composition. Type design is at the core of how communication takes place in our multicultural society. As multilingual communication becomes more apparent, the need for multi-script fonts including more than a single script is unquestionable. This practice-based research focuses on the designing of a multi script Latin-Arabic typeface for literary reading text purposes based on an understanding of Arabic script in order for the result obtained to be respectful of the tradition of Arabic calligraphy. The approach to Arabic has been carried out taking into account the Spanish Arabic tradition from a study on the Arabic types which were designed and in use in Spain during the Printing Press years. The methodology proposed tries to complete every stage in the work process, from sketching to final font production, with the aim of harmonising both Latin and Arabic scripts in the same font file: Pradell Al-Andalus. Pradell Al-Andalus, although not designed to be a revival of any specific Arabic Spanish typeface, establishes a link with Spanish type History in order to build a bridge between tradition and our contemporary multilingual needs.

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This thesis investigates the changes and challenges technology has created in the field of technical illustration. Technical illustration includes the fields of technical drawing as well as scientific and medical illustration. Previously, technical illustrators learned and used traditional illustration methods, without the aid of computers. However, technology has rapidly entered the field and has changed the education, work environment, skills, and role of the technical illustrator. I note both the benefits and disadvantages that current technical illustrators are facing in their work. I explore both sides of the digital media and traditional art debate while focusing on the technical illustrator's role, tools and methods used in the illustration process, education, idea-generation, and the future of technical illustration. By emphasizing the issues associated with the incorporation of digital media into traditional methods, I hope to bring awareness to the transformation of technical illustration and the future of this discipline.

In this project I explore the development of bird illustrations in early American natural history publication. I follow three groups in Philadelphia from 1812 to 1858: institutions, artist-naturalists, and printmakers. Each of these groups modeled a certain normative vision of illustration, promoting, producing, and publishing images that reflected their senses of what constituted good illustration. I argue that no single set of actors in this narrative did work that would become the ultimate standard-bearer for ornithological illustration; rather, all of them negotiated the conflicting interests of their own work as positioned against, or alongside, those who had come before. Their diverse intentions, aesthetic and practical, sat prominently in their separate visions of drawing birds; utility, artistry, and feasibility of the images directed the creation of the illustrations. How they used their ideal ways of depicting birds changed the ways that their successors would confront the practice of illustrating birds. / Master of Science

In this thesis I explore the relationship between the cultural memory bank we all have and how it creates Typologies within media and Architecture. This is shown through breaking down existing architecture within media to create a code, and then implementing that code upon my own work. To test this I illustrated the notable structures within the written science fiction work "Red Rising" by Pierce Brown. / Master of Architecture / This thesis explores how media impacts architecture and how architecture impacts media. I study a couple of existing works and then implement my own research to create an illustrated take on the Science Fiction book "Red Rising" by Pierce Brown.

I denna rapport har jag redogjort för hur jag gått tillväga i skapandet av ett illustrerat handledningsmaterial som kan förklara för elever i årskurs 4-9 hur olikablomväxter och deras livscykel ser ut. Uppdraget har varit ett samarbete mellan mig och Uppsala botaniska trädgård. Detta handledningsmaterial som skapats ska användas av lärare eller handledare under studiedagar på Uppsala botaniska trädgård i undervisning om blomväxter. Informationen i arbetsmaterialet innefattar hur blomväxters livscykel kan se ut, hur blommor kan sprida sina frön och hur blommor pollineras.För att komma fram till hur dessa kretslopp och företeelser kan illustreras för att visa den väsentliga informationen har jag använt mig av teorier inom informationsdesign. En omvärldsanalys och målgruppsanalys har också genomförts för att undersöka hur liknande material kan se ut, och vilka förutsättningar målgruppen har för att ta till sig informationen. / In this report, I explain how and what I have done to create an illustrated learning material that can explain the different events in the life cycle of flowering plants for pupils in grades 4-9. This has has been a collaboration between me and the Uppsala Botanical Garden. This material is meant to be used by teachers or personnel during visits at the Uppsala Botanical Garden to teach pupils about flowering plants. The information in the finished material include how the lifecycle of flowering plants might look like, how these plants can spread their seeds and how flowers are pollinated.To find out how to illustrate the important information of these evenets I have used principles of information design. A situational analysis and target audience analysis has also been conducted to investigate how this kind of learning materials might look like and under what conditions the pupils understand the information.

Abstrakt På uppdrag från Diabetesteamet och Diabit vid Linköpings universitetssjukhus har en förbättrad informationsfilm tagits fram. Informationsfilmen presenterar relevant fakta som anses vara nödvändig för de barn och unga som drabbats av diabetes typ 1. Rapporten redogör för tillvägagångssätt som använts för utformningen av en användbar informationsfilm. Materialet skall användas på webbsidan och mötesplatsen Diabit, samt de träffar som teamet anordnar utanför sjukhuset. För att tillmötesgå den aktuella målgruppen är informationen mestadels bildbaserad då barn och unga lättare tar till sig information via det mediet. Genom undersökningar och studier inom ämnen som diabetes, visuellt berättande, manér, färg och form och inlärningsförmåga, samt utprovning av manéret under arbetets gång kan ett slutgiltigt resultat framställas. / Abstract On behalf of the Diabetes team and Diabit at Linköping University Hospital has an improved information movie been developed. The information movie presents relevant facts that are considered necessary for the children and young people who suffer from diabetes type 1. The report describes the approach used for the design of a useful information movie. The material will be used on the website and the meeting place Diabit, as well as the gatherings that the team organizes outside the hospital. To meet the target group the information is mostly image-based since children and young people more easily assimilate information through that medium. Through surveys and studies on topics such as diabetes, visual storytelling, image styles, color and shape, learning ability and also testing of the image styles throughout the work process, and a final result can be produced.

<p>Den här rapporten behandlar ämnet informationsdesign. Informationsdesign är ett flervetenskapligt ämne som omfattar studier av tekniker och processer för framtagning av informationsmaterial. Textdesign, bilddesign och grafisk design är tre av de vetenskapliga ämnen som ingår i informationsdesign. Informationsgrafik är en kombination av text, bild och grafisk form och informationsdesign lämpar sig därför ypperligt för ämnet i denna rapport. Syftet med detta examensarbete har varit att producera informativ och intresseväckande informationsgrafik till en specialtidning som Dagens Industri ger ut i samband med tennisturneringen Swedish Open i Båstad.</p><p>Informationsgrafikerna består av dels en orienteringskarta som kommer att finnas på sista sidan de dagar tidningen ges ut, dels av tio underliggande informationsgrafiker med tenniskuriosa. Inledningsvis i denna rapport går jag igenom bakgrund, syfte, målgrupp och avgränsningar för examensarbetet. Därefter följer ett kapitel som beskriver teorin bakom examensarbetet, däribland centrala begrepp, informationsgrafikens historia samt hur nyhetsgrafik ser ut i Sverige och utomlands i dag. Rapportens huvuddel består av en beskrivning av arbetsgången för produktionen av informationsgrafikerna samt en beskrivning av de resultat jag kommit fram till vid utprovningen av informationsgrafikerna. Rapporten avslutas med ett avsnitt där jag återger de slutsatser jag kommit fram till under examensarbetet.</p><p>Informationsgrafikerna utprovades mot fem personer för att ge en indikation på hur informationsgrafikerna fungerade. De få oklarheter som uppdagades i utprovningen korrigerades sedan i informationsgrafiken. På det hela taget indikerade resultatet att informationsdesign ger en lättförståelig informationsgrafik.</p>

Cavalier Perspective has previously been described as merely a pictorial technique of spatial representation within the history of Chinese painting. It is a common belief that this unique visual system is capable of providing an experience of three-dimensional spatial perception in both representational art and actual space, in a manner similar to technique of foreshortening and perspective in post-renaissance western art. However, as Chinese ancient artists have a different understanding of geometry and philosophy, it is difficult to either define the origin and nature of the technique itself or to identify which particular visual phenomena it is intended to communicate, when artists transform three-dimensional space into two-dimensional surface information. The thesis begins by presenting an iconological analysis of the Chinese visual representation of space, in order to develop this visual study into a psychological analysis of the perception of three-dimensional form. To redefine Cavalier Perspective, it is necessary to firstly conduct a historical survey based on available visual evidence of both architecture and landscape representation. In both cases, the represented objects are transformed into flattened forms; and a psychological consequence thus appears involving the loss of a sense of depth in vision, which consequently contributes to the psychology of visual perception. To reassemble, and thus reactivate a similar perception in the representation of space, Chinese ancient artists are also believed to have created specific visual schemes to help reconstitute the perception of depth; thus rendering pictorial space perceptible. Cavalier Perspective is seen as just such a perceptual system. Consequently, the theoretical part of the thesis conducts an iconological study by elaborating a hierarchy of form, technique, and scheme in the history of Chinese spatial representation. After that, a theoretical association is formulated between iconology and visual perception, in which visual techniques are identified as potential cues to indicate depth. The translation between visual technique and depth cue appears so compulsive for both modem scholars and ancient artists that, to a certain extent, the progress of the visual arts could be described as the discovery of techniques for presenting depth through purposive patterns of form. Symbolic images are therefore seen to have their concrete formal basis established upon both pictorial idea and, more importantly, the psychology of visual perception. The thesis aspires to challenge CP by means of this formal analysis. Whether it belongs to a simple technique or a sophisticated visual scheme of ancient Chinese artists; the representational space of geometry; the making of visual perception by means of technical implements; and the bodily experience in actual space, are all shown to be indispensible parts of the present research. A concluding case study of the Chinese landscape garden gives a further demonstration that the pictorial ideas and visual techniques that once contributed to the iconological and psychological understanding of Chinese painting have also delivered an idealised form of spatial perception within the garden - where the sense of depth is firstly eliminated, and then artistically reconstituted. In this way, the nature of cavalier perspective will therefore have been explored on two levels - in the form of both spatial representation and bodily perception in actual space.