Ernest Alfred Walter George Aris FZS, SGA, (1882-1963) was born in Islington and moved to Bradford where he spent his formative years and attained a diploma at the Bradford Technical College of Fine Art in 1900. Aris was a professionally trained commercial artist, author, and prolific illustrator of 170 children’s and natural history books. He also illustrated over 250 books for other authors, including Enid Blyton, Beatrix Potter, and May Byron, as well as contributing to a number of leading periodicals, magazines and newspapers. Aris was not a member of any of the active artists’ clubs or societies and was possibly shunned by his contemporaries and peers, who considered him unoriginal and an unscrupulous opportunist. Volume I of this thesis seeks to examine these suggestions and assesses why Aris’s name, despite his significant output, has remained relatively anonymous and why much of his legacy appears to have been unidentified, overlooked or forgotten. Chapter 1 discusses the historical influences of anthropomorphism on Aris’s style and those of his immediate predecessors. I have categorised Aris’s books into three periods for this appraisal and examined his technical attributes and qualities, together with his trademark features and characteristics, with the purpose of identifying what makes Aris’s creative design instantly recognisable and his output of illustration so distinctive. Chapter 2 discusses Aris’s relationship with the children’s author and illustrator, Beatrix Potter. Aris holds a unique place in history in that he was commissioned by Beatrix Potter to provide illustrations for her book and was the only artist with whom she seriously contemplated a professional working partnership (1916). However, Frederick Warne and Beatrix Potter later accused Aris of plagiarism and of exploiting any opportunity to achieve a commercial advantage. There is an argument to suggest that Aris’s affiliation with Potter and the allegations of plagiarism had a significant impact on his long term reputation and was possibly the reason for adopting the pseudonym Robin A. Hood. Chapter 3 examines the creative scope and features of Aris’s prestigious commercial partnerships. These start from the beginning of his professional career at the turn of the twentieth century, which coincided with the technical development and advancement of the colour picture postcard. Aris was at the forefront of this revolution, designing several series of comic and humorous postcards for leading printers that are now associated with and representative of a bygone era. In 1915 Aris was commissioned to design six tram posters, which were selected by Frank Pick at London Transport, as part of the National Collection of Posters. Pick single handedly revolutionised poster art in Britain and was responsible for establishing the national collection, where these posters now reside and have remained forgotten and out of sight for the last century. In the 1920s the trend for collecting novelty cigarette cards enabled Aris to produce a number of outstanding natural history designs as well as the infamous Frisky series, where his mischievous sense of humour is much evident in his trademark characters. Perhaps Aris’s final and greatest legacy, however, lies in the legendary Cococubs campaign for Bournville Children’s Cocoa, which was described as ‘one of the cleverest publicity schemes of the year.’1 The success of the advertising campaign meant demand outstripped supply of the product, as youngsters eagerly sought the ‘free toy in every tin’ promotional figurines that Aris designed (1934-1936). Volume II of this thesis comprises of a unique catalogue of Aris’s creative output over fifty years and spans a range of commercial fields of art. The catalogue is divided into four parts. Part one consists of Aris’s literary publications, with a detailed bibliographic record and image of the cover of each book that he wrote and illustrated under his own name and pseudonyms, as well as prominent books Aris illustrated for other eminent authors and a compendium list of books Aris illustrated for authors and other publications. Part two is a record of Aris’s commercial work, including the early series of pictorial postcards that he completed for leading quality publishers at the start of his career (1904-1909) and the six pictorial natural history posters, which Aris was commissioned to undertake for the London Transport tram system (1915). Part three comprises of Aris’s collectables and contains the four unique series of cigarette cards that Aris designed for leading tobacco manufacturers (issued 1929-1935). Part four includes a comprehensive description of each of the limited editions and subtle colour variants of the Cococub lead figurines inserted into Bournville Children’s Cocoa (1934-1936). The aim of the thesis is to justify why I believe Aris deserves further merit for his contribution within the field of illustration and commercial artwork. I have sought to highlight the factors that make his contribution and the success of his creative designs within these different fields so significant. 1 The Grocery and the Provision Merchant Journal, November 1934, p. 276.

The aim of this research is to understand and explain designers - what makes them tick, what motivates them and why they do things in the way that they do. A research approach specific to people, being designers, and the social science framework associated with Pierre Bourdieu has been rigorously engaged. Designers have been spoken to face-to-face and given the opportunity to raise their concerns so that their engagement with design production is illuminated and considered. A series of interviews has been carried out with practising designers. The early interviews exposed areas of interest that could best be investigated by targeting older designers who could recount the changes in design production they had witnessed during their working lives. This life history approach has yielded social as opposed to technical descriptions of design practice and has identified significant technological and organisational changes that have affected designers in the past 30 years. The design habitus is a system of dispositions that enables designers to act as they do and be successful in such a complex, interactive activity as designing. Designers display the habitus through their practice and their interactions with other people, with the products they design and the machinery they use when designing. They make distinctions about the products of their activity on through designers’ continuous physical engagement with the objects of their work and their design colleagues. Their attitude to technology is typified by a willingness to embrace the new; they create new things themselves and this leads them to adopt new tools and adapt them to do their job.

Denna studie belyser hur barn i förskolan använder sina tidigare erfarenheter när de samtalar om genus utifrån illustrationerna i två utvalda barnböcker. De två barnböcker som används i studien är "Grodan och fågelsången", och "Hej och godnatt-vi har lekfnatt". Syftet med studien är att undersöka hur barnen i förskolan använder sina tidigare erfarenheter när de samtalar om genus. Med detta syfte lyfts även frågeställningarna vilka yttre faktorer fokuserar barnen på när de beskriver genus utifrån illustrationerna i barnböckerna samt vilka erfarenheter använder barnen när de samtalar om genus. Studien är genomförs på två olika förskolor och barnen som ingår i studien är 3-5 år. Den kvalitativa studien genomfördes med högläsning ur två barnböcker med efterföljande gruppsamtal som kan liknas vid ostrukturerade intervjuer. Sammanlagt har fyra gruppsamtal genomförst vid vilka varje grupp har fått lyssna på två böcker. Resultatet visar att de erfarenheter barnen använder sig av när de samtalar om genus är präglade av vuxnas uppfattningar och barnens egna upplevelser. Barnen använder även yttre faktorer som kläder, färger och röster när det samtalar om genus

The rapid proliferation of 3D volume data, including MRI and CT scans, is prompting the search within computer graphics for more effective volume visualisation techniques. Partially because of the traditional association with medical subjects, concepts borrowed from the domain of scientific illustration show great promise for enriching volume visualisation. This thesis describes the first general system dedicated to creating user-directed, variable-detail, scientific illustrations directly from volume data. In particular, using volume segmentation for explicit abstraction in non-photorealistic volume renderings is a new concept. The unique challenges and opportunities of volume data require rethinking many non-photorealistic algorithms that traditionally operate on polygonal meshes. The resulting 2D images are qualitatively different from but complementary to those normally seen in computer graphics, and inspire an analysis of the various artistic implications of volume models for scientific illustration.

Based on the fundamentals of visual art and function, this research has developed a product design methodology capable of quantification of the aesthetic qualities and proposing objective solutions to enhance the appearance related variables and characteristics of a product. The objective evaluation has been done via analysis of involuntary responses using eye-tracking data based on the visual perceiving process of design. The result confirmed the reliability of the methodology by generating constant results and a good match between the measured values and declared preference. In addition, the aesthetic enhancement methods based on quantified metrics with the sample designs have been provided. The result of the research suggests that eye-tracking technology is a reliable tool in aesthetic evaluation and has potential for further development.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Berättelsens huvudpersoner är finansmannen och fågeln som bor i hans trädgård. Världen har blivit fruktansvärt varm och slutet är nära. Men det bekymrar inte finansmannen, han ser ljust på framtiden.  Ett utforskande av animation och illustration med avstamp i vår nya tidsålder antropocen. / A short story about a financial man and a bird living in the Anthropocene. The world has become terribly warm and the end is near. But that doesn't bother the financial man, he takes a bright view of the future. An exploration of animation and illustration that departs from reflections on the Anthropocene.

I detta examensarbete undersöks normbildande och reproducering av normer i samband med bilder i läromedel som används av modersmålslärare i Eskilstuna Kommun. Arbetet bygger på problematiken att stereotyper och reproducering av normer är vanligt förkommande i läromedlen samt att lärarnas brist på tid och möjlighet att granska läromedlen normkritiskt. Syftet med arbetet är att formge ett gestaltningsförslag till ett illustrerat hjälpmedel för normkritisk granskning av läromedel till vilket modersmålslärarna i Eskilstuna är målgrupp. Teori-och metod- val samt gestaltningsarbete utgår från frågeställningar om vilka normer som är vanligast förekommande i sagda läromedel, vilka av dessa som bör behandlas i detta arbete samt hur materialets karaktärer bör illustreras baserat på retorik, kogni- tionsvetenskap och normkritiskt perspektiv. Resultat av de litteraturstudier, kvalita- tiva intervjuer, expertintervju och analyser av läromedel som utförts presenteras och diskuteras. Baserat på dessa resultat har ett gestaltningsarbete utförts och ett gestaltningsförslag har tagits fram. Arbetet avslutas med metodkritik, en diskussionsdel där frågeställningar besvaras, gestaltningsarbetet diskuteras och en slutsats levereras. / In this thesis, the formation and reproduction of norms in connection with pictures from teaching materials used by teachers in native languages in Eskilstuna Municipality, are researched. The thesis is based on the complex of problems that stereotypes and reproduction of norms are common in the teaching materials and the teachers lack time and possibilities to review the materials with a perspective of norm criticism. The thesis objective is to design a draft of a material from which the teachers can be supported when they are reviewing their teaching materials. The choice of theories and methods and design choices are based on questions about which norms are most common in the teaching materials, which of those should be considered in this thesis and how the materials characters should be illustrated based on rhetoric and cognition theories and a perspective of norm criticism. The results of literature studies, interviews and analyzes of teaching materials is presented and discussed. A design draft has been produced based on these results. Wrapping up the thesis is criticism of methods, a discussion which contains the answering of the question formulations and criticism of the design and lastly a con clusion is delivered.

The novel presents itself as a creative critical artefact, simultaneously fictitious and autoethnographic, borrowing from the disciplines of Fine Art and Film Studies to convey its troubling narrative. England has been torn apart in a civil war over immigration and ethnic minorities, the fighting long over but terrorists persisting in the knowledge that they are right. The Dogs, led by a disillusioned soldier from the traumatising conflict, recruit aimless adolescent boys wanting to be “men”, desensitising them to violence through film and ritualistic savagery. Lee struggles with the ease with which he excels in this world, far removed from his mother and young sister, Cissy, and it is only when he discovers that Muma is regularly prostituting the nine-year-old that his new aptitudes spill into his home. Lee and Cissy escape to the Dog’s base - a House that writes on its own walls, sitting close to the Wall bisecting the country, and it is here that Lee discovers the immolating roots of the faction, and the destructive impetus behind their acts. The artefact is sentient. It obfuscates its own text to protect Cissy, steals the words of other texts amidst scenes of torture to explain itself as it squirms and morphs within the reader’s hands, wrestles with its own abject content and sends endless warnings for the reader to stop and look away. This continues a theme of magical realism that sees animal totems as guardians and a landscape as emotionally scarred as any person by conflict and suffering. Reality is unstable, as are facile presumptions about justice and truth. Closer to Home is an example of practice-led research, wherein the text illuminates and examines the creative process behind writing physical violence, child sexual violence and simulacra violence, finding the domestic and familial roots of abject fiction writing.

This diploma thesis deals with Bryophyta studies as a part of curriculum at primary schools as well as at lower and upper grammar schools. It determines the field of studies and the expected outcomes in the Human and Nature subject matter, it searches for the link between bryophyta and cross-sectional topics. The relation of pupil's key competences to bryophyta is being reflected, too. It compares the subject range of Bryophyta in school books. Furthermore, the thesis sums up the history of botanical illustration in the world as well as in our country, it inquires into basic rules of botanical illustration and line drawing techniques. The contemporary field guides are completed by the means of the research of students' books, popular and specialist literature and internet portals. Based on the theoretical part, this diploma thesis determines the teaching methodology of bryophyta drawing. The list of bryophyta, which are suitable for line drawings and usable as a teaching aid, is based on the practical part of this diploma thesis. 43 author's drawings with uniform measuring scale are attached.