Inom kommunikationsbranschen råder det hög konkurrens om arbeten för både nyutexaminerade arbetssökande och de med erfarenhet. En viktig del i ansök-ningshandlingarna är en portfolio som visuellt visar personens kompetens och talang.Denna kvantitativa studie har genom en webbenkät med 50 byråer inom kom-munikationsbranschen undersökt hur de rekryterar ny personal samt deras per-spektiv kring portfolion i samband med detta. Studien har även syftat till att belysa skillnader i svaren beroende på byråernas storlek.Resultaten från enkäten visade att den vanligaste kanalen vid anställning inom kommunikationsbranschen är via personliga kontakter och att det är portfolions kvalité som väger tyngst vid anställning. Vid ansökan föredrog byråerna en digital portfolio men vid en arbetsintervju såg de helst en kombination av en fysisk och digital portfolio. Mindre skillnader fanns i svaren beroende på byrå-storleken. / In the communication industry, the competition is challenging amongst both new graduates looking for employment and those with experience. An im-portant part of the application is a portfolio that visually shows the person's skills and talents.An online questionnaire survey of 50 firms in the communications industry was used to investigate how they recruit new staff, as well as their perspective on the portfolio in this context. The study is also aimed at highlighting differences in the responses, depending on the size of the agencies.The results of the survey showed that the most common way for employment in the communications industry is through personal contacts, and that the quality of the portfolio is the most important when hiring. When applying for a job the agencies preferred to receive a digital portfolio, but at a job interview they pre-ferred a combination of a physical and digital portfolio. Minor differences were found in the responses depending on the size of the agency.

En definition av kreativitet kan beskrivas som en förmåga att hitta lösningar påproblem som inte ännu har en färdig lösning. Att tillhandahålla en förmåga äratt veta hur du går tillväga och en sådan går att utveckla, öva in och träna upp,det gäller bara att veta hur. Ett problem dyker som oftast upp när en processredan är igång och i ett tillstånd av ovetskap kan det kännas som att ingenlösning duger. En grafisk designer är beroende av sitt kreativa tänkande ochutan det skulle dess arbete inte fungera. Frågan är då hur en grafisk designer tarsig ur en kreativ svacka, när förmågan av att finna en lösning inte är tillräckligoch då kreativiteten känns som bortblåst? Hur går man tillväga och finns detnågra generella metoder att anamma? Detta är frågor som besvarats i mitt arbeteutifrån insamlad fakta. Intervjuerna och analyserna som utförts ligger till grundför resultatet och presenteras här i form av 6 olika teman: Träna, Tid, Paus,Hjälp, Kämpa och Självkännedom. / A definition of creativity can be described as an ability to find solutions toproblems that do not yet have an answer. To provide an ability is to know howto go about it and such can be developed through practice and training, you onlymust know how. A problem usually appears while in a process and in a state ofignorance, it may even seem that no solution is good enough. Graphic designersare dependent on their creative thinking and it would be damaging, career wise,if this ability would disappear. The question then is how graphic designers takesthemselves out of a creative dip? When the ability to find a solution is notsufficient and when the creative way of thinking is blocked, how do you handleit, when in doubt, and what general proceedings is there to embrace? These arequestions answered in my work based on collected facts. The interviews andanalyzes carried out from the basis for the results and are presented here in formof 6 different themes: Training, Time, Pause, Help, Fight and Self-awareness.

The theoretical part of the thesis in his first chapter of the book deals with a phenomenon that accompanies since its inception and how it affects us the literary world. The next phase will analyze literary types and origin of fiction itself, which strongly supported the reading culture and to encourage the creation of rights bestsellers. The next section will focus on the book and its difficult journey from writer to designer, printers and finally to the reader. The next phase deals with books in physical and electronic form, the reader walks of life and then directly bestseller term, as the current phenomenon of literary culture. Then represents one of the writers Dan Brown and his books of content and visual aspects. The last part will deal with the linking book design and art education in the practical part of the thesis description of the treatment, resulting arises file publishing a collection of selected books by Dan Brown.

Les organisations qui s’engagent dans une démarche de responsabilité sociale sont appelées à mieux prendre en considération les impacts environnementaux, sociaux et économiques de leurs activités et à communiquer publiquement les engagements qu’il prennent. Ces engagements sont véhiculés à travers différents médias réalisés par un designer graphique. Comme les notions de responsabilité sociale sont complexes et les engagements uniques à chaque organisation, le designer doit s’assurer de bien comprendre le message à transmettre pour rendre les médias cohérents autant dans leur forme que dans leur contenu. Pour aider le designer à répondre à ce défi, une démarche participative, qui vise la collaboration entre les parties prenantes en amont du processus, a été testée dans le cadre de cette recherche. Elle consistait à observer et à documenter, en contexte de pratique réel, comment une démarche participative pouvait soutenir la communication graphique de la responsabilité sociale d’une organisation. La création de l’identité visuelle et des médias de l’Institut de l’environnement, du développement durable et de l’économie circulaire a été choisi comme cas d’étude. Suivant une méthodologie inspirée de la recherche-action, nous avons pu identifier et valider les freins et les leviers de la démarche avec les participants. Les résultats obtenus soulignent l’apport positif de la démarche au processus de conception. Elle a permis aux parties prenantes de visualiser collectivement les valeurs de RS à communiquer grâce à un partage de connaissances. De plus, le processus itératif et participatif a facilité l’appropriation du projet par l’organisation. Le manque de temps, de ressources humaines et de ressources économiques constituent les principaux freins au maintien de la démarche au-delà de l’étape d’idéation et de rétroaction. L’analyse des données recueillies a permis de formuler des recommandations en vue d’améliorer la démarche pour en favoriser l’usage auprès de la communauté de pratique du design graphique et des organisations qui recourent à ses services pour communiquer leur responsabilité sociale. / Organizations are increasingly choosing to implement corporate social responsibility in their activities. To do so, they are invited to consider the environmental, social and economic impacts of their activities and decisions and, consequently, share it with their stakeholders. These commitments are conveyed to the audience through different medias created by a graphic designer. Since corporate social responsibility knowledge is complex and unique to each organization, the designer has to carefully understand the organization’s message in order to create medias that are consistent in their form and content. To help the graphic designer respond to this challenge, a participative approach was tested through this research. The objective was to observe and document, while collaborating with a group of stakeholders, on a graphic design project and understand how a participative approach can support the graphic communication of an organization’s corporate social responsibility. The graphic design of the corporate identity and the medias of EDDEC Institute of environment, sustainable development and circular economy was selected to conduct this research. A methodology, inspired by action-research, was chosen to identify, with the project’s stakeholders, the brakes and levers of the approach. The results are confirming the general benefits of the participative approach to the creative process. Stakeholders were able to share and visualize their understanding of the organization’s corporate social responsibility. The iterative process, which is part of the approach, also helped the appropriation of the corporate identity by the organization’s stakeholders. Despite these positive aspects, limitations due to short delays and insufficient human and financial resources were major constraints in supporting the participative approach during the entire process. Recommendations towards the improvement of this participative approach were then formulated for its eventual usage by the graphic design community and its clients, in order to communicate their corporate social responsibility.