Med en ständig ökning av konkurrens mellan företagen blir den personliga relationen med kunden allt viktigare. Produktens funktion står inte längre i centrum då den har ersatts av idén kring varan. Kunderna söker ett högre värde i produkten och företagen måste sträva efter att tillfredsställa och beröra kundens emotioner för att framstå som attraktiv. Idag talas det därför mycket om emotionell marknadsföring. Detta arbete ligger till grund för att få en förståelse i hur emotioner styrs via reklam och hur en etisk ståndpunkt påverkar kunden. Till hjälp har jag använt mig av teoristudier, en egen design för en påhittad vår-kollektionskampanj, samt en kvalitativ enkätundersökning för att få ett verkligt perspektiv av hur en tänkbar målgrupp ser och reagerar på reklam i olika former.Genom att tala ett lättförstått språk som attraherar och samtidigt differentierar företaget från konkurrenter, kan värdefulla emotioner väckas för att skapa en personlig relation med kunden. En etisk ståndpunkt kan vara värdefull för att visa ett högre intresse än att tjäna pengar och på så vis framstå som mer mänskligt och komma närmare kunden. / With a constant growth of competition between companies the personal relation to the customer becomes more and more important. The function of the product is no longer at the center of attention as it has been replaced by the idea of the product.The customers seek a higher value in the product and the companies must strive to satisfy and touch the emotions of the customers to appear attractive. That is why today there is a lot of talk about emotional marketing.This work is focusing on how to gain understanding about how emotions are steered and directed by advertisements and how a ethical standpoint affects the customer. For my help I have used theory studies, an original design for an imaginary spring collection campaign and last but not least a survey to gain a real perspective of how a conceivable target group thinks and reacts to advertisements in different forms.By speaking a comprehendable language that attracts and at the same time differentiates the company from its competitors, valuable emotional connections can be created in order to produce a personal relation to the customer. An ethical standpoint can be valuable in order to show a higher cause than simply money-making. By doing so the company can appear as more human and thereby get a closer relation to the customer.

At first glance, the image of a map looks familiar to a graphic designer. It comprisescolours, shapes and typography. But beyond the graphical surface it hides a complex system of techniques and rules, like the clockwork behind a dial. This thesis tries toapproach and improve map production from a starting point in graphic design. Byaddressing visitor maps for nature reserves it aims to make nature more accessibleand appealing to a larger group of people.The main purpose of the thesis is to examine how Swedish nature reserve visitormaps can be improved with focus on relevance for their aims and use and how thisis communicated through the visual presentation. A secondary purpose is to examinehow to produce such maps in a rational way, using digital geographic informationsystems (GIS) and adopted working processes. The research was conducted using a combination of traditional methods and techniques combined with research through design activity. Methods and techniques were gathered from ethnography, action-research and usability-research and include literature studies, interviews, questionnaire surveys, participatory observation, action-research protocols, beta-testing and collection of samples. The design activity resulted in both free-standing sketches and map-sketches forthe Gotlandic nature reserves Langhammars and Stora Karlsö. Two processes and one descriptive structure were developed and described: a process to adopt visual representations of map-information to its contextual relevance, a process to produce nature reserve visitor maps, and a structure to present practical design work in a scientificcontext. Results also comprised collected answers, discussions and samples from questionnaire surveys, participatory observation, interviews and general research.The thesis concludes that it is fruitful to consider the visitor map as “a product made for use” and apply a usability-approach as it is rather an example of visual information than visual communication. Close research of both sender and users is also important to be ableto select, adapt and fine-tune the information in the map in relation to its aims and use. The digital possibilities that enables GIS to provide easy accessible and accurate data can produce efficient workflows in map design if combined with the graphic designers experience to develop and streamline design processes. The combination of modern technology, practical design work and research is profitable in both an analogue and digital context and makes visitor maps a contemporary and interesting area for both researchers and practitioners.

No description available.

Today a great focus is placed on consumer’s choices and how those affect climate change and global warming. At the same time, messages about the climate crisis and mass extinction are circulating in the public. A lot of the responsibility for making better and more educated choices in order to reverse climate change is being placed on the individual and their actions. This can trigger a sense of helplessness or even increase psychological resistance. In climate- and sustainability communication there is often the assumption that people lack knowledge and are therefore unable to change their attitudes or behaviours. Many people arethough aware of climate change and the ways it affects our lives and future. There is however a gap between our green intentions and our current actions– the so-called, green gap. Climate- and sustainability communication are limited in how much they can achieve on their own. Political action and engagement is therefore a crucial part of communicating climate change and influencing the public’s knowledge, attitude and perception.

This project explores innovative methodologies for design education. It is an investigation of teaching design fundamentals in an outdoor classroom.

In this project I conduct two experiments in redistributing media power and reflect upon how successful they were. The experiments include a poster campaign specific to Richmond and a project dealing with educating people about guerrilla media techniques.

We are living in an age where the quantity of information has exceeded its quality. No doubt the digital and information revolutions have provided the world with countless positive improvements, but they have also increased the speed at which we live and work to the detriment of the heath of our world. This project explores ways in which designers can aid in an effort to slow down in order to reinvigorate a more sustainable graphic design product.

Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.

At the core of any designer’s activity is the process they engage with to create design. Process is not only a way to get from an idea to a completed work, it is also what determines our attitude towards design. This is the place where both the design and the designer are created. The gray area between nothing and something is where we go to discover design, and in turn to discover who we are and what matters to us. In this thesis I am investigating the nebulous place between ideas and things, thoughts and artifacts, and being just a person to becoming a designer. Every designer works differently, but we share something in common: through process, design is discovery.

I believe that spoken and written languages are verbal and visual expressions of cultures. Language is used to convey and sustain values and the belief system of people. Arabic is a language of complexity and formal beauty that is being disregarded and pushed away by its own native speakers. It is losing its value in the Arab world. In other words it is dying. Both the written and spoken language is being affected. As the world is interchanging, integrating, and becoming closer, there has been a strong impact on many societies, threatening their original culture. Arab cultures are abandoning the rich tradition of the Arabic language to universalize communication. My thesis investigates the relationships between typography as both a visual form of language and play as a mechanism to help children become more familiar and intimate with their native language.