The project Super Superficial takes my own practice as its starting point. Being someone who expresses myself through physical objects, working with sustainability is a given for me. Therefore my former mantra, when creating, was to “do as little harm as possible”. But during the master’s  programme, I felt the need to rethink this. Where was the joy of creating? Where was the hope? The complexity? All the things I wish to pass on to the people who come in contact with my work. The things I believe we need for real change to happen. I wanted to expand my idea of sustainability to not only be a question of materials, but also to include the emotional impact that my creations can have. To not limit myself to a concept of less is more but instead to add and layer and color! My goal was to realize a visual world that I dream to inhabit. Just as the realm of emotions is often regarded as an unserious subject, the surface on a piece of furniture is seen by many as superficial. But the surface is where we encounter an object, the place where we use our senses, and this meeting point is where my ideas has come to life. Working with color and ornamentation I have reclaimed the surface on the lounge chair as an actualized place of power and change.

Annonsering i sociala medier blir allt vanligare i takt med att digitaliseringen utvecklas,därmed blir det en viktig del för företag att tänka kring annonsernas utformning. Medhjälp av färger i annonseringen på sociala medier kan det förändra konsumentens syn påprodukten eller annonsen. Studiens syfte var att få djupare förståelse för hur företagarbetar med färger i annonser på sociala medier. För att få svar på syftet använde vi ossav frågeställningarna “Hur och på vilket sätt påverkas konsumenter av färger i annonserpå sociala medier?” och “Hur mycket tenderar företag att tänka på färger när depublicerar en annons i deras sociala medier?” Det används en deduktiv forskningsansatsmed en kvalitativ metod. Den empiriska datan insamlades med hjälp av intervjuer av fyraföretag där respondenterna arbetade med sociala medier inom företagen. Studien visadeatt företag arbetar med färger på deras annonsering för att få varumärkesigenkänningsamt skapa en känsla hos kunden. Vidare visade studien att företagen inte har lång tid påsig att uppmärksammas av kunderna på sociala medier, utan de använder färger somfångar kundens intresse. / Advertising in social media is becoming more common as digitization develops, thus itbecomes an important part for companies to think about the design of ads. Using colors insocial media advertising can change the consumer's view of the ad or product. Thepurpose of the study was to gain a deeper understanding of how companies work withcolors in ads on social media. To answer the purpose, we used the questions "How and inwhat way are consumers affected by colors in social media ads?" and "How much docompanies tend to think about colors when they publish an ad on their social media?" Adeductive research approach with a qualitative method is used. The empirical data wascollected using interviews of four companies where the respondents worked with socialmedia within the companies. The study showed that companies work with colors on theiradvertising to get brand recognition and to create a feeling with the customer.Furthermore, the study showed that the companies do not have a long time to be noticedby customers on social media, that is why they use colors to capture the customer'sinterest.

This research aims to examine the logos of lifestyle brands and explore whether certain logo colors elicit a purchase response in consumers. Color Theory and Impression Management Theory are examined alongside the idea of this study. Two-hundred-nine United States residents 18 years of age and older who are not color blind or color deficient participated in a voluntary online survey where they were presented with several differently colored lifestyle brand logos and then prompted to choose which color of lifestyle brand logo would prompt them to purchase a product from the brand in question. The variables of gender, age and, favorite color were also examined in the survey. Results from Qualtrics Survey Software and SPSS showed that even though an individual chose a certain color as their favorite color, that favorite color was not always the color they chose when choosing the preferred color of a lifestyle brand logo.

The effects of the child's chronological age, his sex, and a second concept of color were studied as they effected the counting skills and number recognition abilities in preschool children. The research was conducted at the Utah State University Child Development Laboratories with the subjects being three and four-year-old children enrolled at that time. Each child was given counting and number recognition tasks involving cubes in sets of one color and also in sets which involved two colors. It was found that as the age of the child increased, his ability to correctly count and label sets of cubes also increased. An interest ing trend was found when the sex and the age of the child were considered together. Girls and boys responded differently t o the counting and number recognition tasks. At an earlier age girls showed a greater language facility with the numbers; on the other hand, boys showed an earlier development in meaning of numbers. The smaller numbers involved were easier for the children to identify and seemed to hold much more meaning for them . The introduction of the color variable influenced the ability of the child to correctly label the number of cubes; however, many of the children did not mention the presence of cubes of two colors.

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My MFA project titled, “Lantern's Diary” is a synergy of colors, tactile experiences, and reflections on change. The artwork is based on cultural influences. The physical form of the lantern is a metaphor of culture identity—in Eastern culture, paper has been used in architecture, furniture, clothing, funerals, writing materials, and lanterns. Its function as a material is to fulfill the necessity of daily life and ceremonial rituals. Hence, paper plays an important role in the Eastern society. The color spectrum representing “Change” corresponds with the western system of color organization. The gallery space plays a spatial aesthetic role in guiding one's interpretative journey through the artwork. The cooler colors were placed closer to the entrance of the gallery. Then the warmer colors were arranged and set in the furthest end of the left-hand corner of the gallery. As a result, the warmer colors would draw the viewers to walk around to the other end of the exhibit, signifying the importance of looking on the bright side of things as we go through life changes, with bright hope at the end. I was interested in the thinking and production process. I sketched a lot in my sketchbook and made some prototypes as references. The lanterns were made from reeds and handmade paper. Each of the thirty lanterns is about seven to eight feet tall and hangs from the ceiling of the gallery. The structural form of each lantern may vary a little in detail, but they are all based on the same design concept—a chrysalis. Reeds, commonly used in basket weaving were used to make the skeleton structure of the lanterns. Understanding the profound process of making the lanterns is important, as it mirrors us making sense of changes in our lives as they unfold.

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The type of media shared through social media channels has shifted from text content to include an increasingly large number of images. Visual traces resulting from people's online social behavior have the potential to reveal insights about our habits, activities and preferences. The role of social network-related factors have been well studied in previous research. Yet, few studies have sought to understand how user behavior in social networks is dependent on the image itself. The goal of my dissertation is to understand how people engage with image content, and I seek to uncover the role of presentation and image content on people's preferences. To achieve this goal, I study the image sharing communities, Flickr, Instagram and Pinterest, using quantitative and qualitative methods. First, I show how colors -- a fundamental property of an image -- could impact the virality of an image on Pinterest. I consider three dimensions of color: hue, saturation and brightness and evaluate their role in the diffusion of the image on Pinterest, while controlling for social network reach and activity. Next, I shift the focus from abstract colors to a higher-level presentation of images. I study the role of filters on the Flickr mobile application as proxies to visual computation. To understand how people use filters, I conduct an interview study with 15 Flickr mobile users about their filter use. I analyze Flickr mobile images to discover the role of filters in engaging users. Presentation is not the only factor that makes an image interesting. To gain deeper insights in what makes an image more engaging in social image sharing sites, I study the images of people on the Instagram network. I compare images of people with those that do not have faces and find that images with human faces are more engaging. I also look at the role of age and gender of people in the image in engaging users. Finally, I examine different content categories, with and without filters, and study the impact of content category on engagement. I use large-scale data from Flickr and interviews with Flickr mobile users to draw insights into filter use and content engagement. This dissertation takes a first step toward understanding content and presentation of images and how they impact one aspect of user behavior online. It provides several theoretical and design implications for effective design, creation and imposition of rules on image sharing communities. This dissertation opens up a new direction for future research in multimedia-mediated communication.