Today, the world contains a large number of important non-profit organizations (NPOs) that seek to maintain the welfare of people and animals and to preserve the natural world. NPOs are extremely dependent on funds from the public which has resulted in severe competition between these organizations. This has also come as a result of the cut down of government support and a shortage of donations. Their lack of financial resources indicates that NPOs around the world face major challenges and are therefore in need of customized tools to increase their revenue and ensure their survival. With the purpose of increasing donations towards NPOs, this study aims to research how a media object can be developed and marketed in Bali to motivate tourists into donating money to the Bali Animal Welfare Association (BAWA) which is located in Canguu, Bali. By doing this, NPOs can use this research as tool for application within their own organization to increase their revenues.The media object that was chosen for this research was a poster, placed in the streets of Canggu, Bali and was selected because it has been shown that visual communication is a powerful tool for encouraging prosocial human behavior. The aim was to document how the media object affected levels of tourist engagement and ultimately their motivation to donate money to an NPO. A number of theories of motivation and behavior were used to form the foundation for this research. The methodology used included qualitative data collection by way of interviews, observations of local conditions pertinent to tourist interaction with media objects, as well as information gathered through a focus group involving local tourists. Research Through Design (RTD) was the framework that was used to structure the process for the creation and the testing of the prototype (the media object). The RTD included four phases, two of which were not completed due to complications involving the COVID-19 pandemic. The research concluded that the environment, attitudes towards legitimacy and emotional engagement all played a crucial role for the effectiveness and ultimately the success of a media object. Furthermore, it was concluded that there is a need for extended research on tourists’ behavior as well as consumer behavior, in relation to donors, in order to fully understand how a media object should be developed to motivate a tourist to donate money to an NPO.

Maija is a graphic novel about identity, family, the tumultuous and often forgotten history of the Baltic region and, ultimately, how I have sought to create a relationship to a place from which I feel so disconnected. Using drawing as a means to bring myself closer to a lost family, as an act to record the past and also as a tool to create a possible future. Using my own hand, I am circling the past to bring it to a connecting point with my own present.

M. Tech. (Department of Visual Arts and Design: Fashion, Faculty of Human Sciences), Vaal University of Technology. / INTRODUCTION AND BACKGROUND The fashion trade is a global industry (Amankhwah, Badoe & Chichi 2014:144) that plays a major role in the socio-economic development of many countries (Sarpong, Howard & Osei-Ntiri 2011:98). A number of Asian countries, for example, have been known to thrive in the international textile and fashion trade, owing to their successful training programs in fashion and apparel design (Maiyo, Abong’o & Tuigon’g 2014:63). In South Africa (SA) fashion is also seen as an important industry, as it forms part of economic development programs (Dlodlo 2014:191) and aids in income generation for individuals, not only in major cities, but also in smaller towns and peri-urban areas. Thus, the statement can be made that the successful training of individuals through training programs (with regard to fashion-related skills) has a direct link to a thriving fashion industry and a direct impact on individuals, group and community income generation. Nonetheless, not all individuals within the fashion industry have acquired formal fashion training. Some may have obtained fashion-related skills (such as sewing, pattern making and fashion drawing) through family members, short courses, school or in-service work experience elsewhere. These skills, particularly fashion drawing and illustration (hereafter referred to as fashion drawing), are necessary visual communication tools with which the designer relays their ideas and designs to the client. Visual communication is a pictorial form of communication where visual symbols are incorporated in order to convey information (Liu 2015:41) and this process of visual communication enables both parties to be equally clear about the proposed design (Tatham & Seaman 2004:114; Calderin 2013:148). Thus, specifically in relation to the field of fashion, visual communication is used to communicate designs or ideas to individuals in a visual manner by making use of sketches, photographs, drawings, etc. However, in a previous study conducted in the Sedibeng District Municipality (SDM) (Van Wyk 2007:78), it was found that the most prominent skill that fashion entrepreneurs felt they needed, but lacked, is that of fashion drawing. Of the total sample population, 19% indicated that they do not possess fashion drawing skills. Although this is not a significantly high number, it is important to note that 66% of the mentioned study’s respondents had obtained qualifications from tertiary institutions (Van Wyk 2007:77), which would in all probability have included a fashion drawing curriculum. The lack of drawing skills could be problematic, as this lack relates to client satisfaction which, in turn, promotes the success of entrepreneurial endeavours (Burns & Bryant 2002:42). To address this, the current study was aimed at determining the level, nature and type of fashion drawing applied by fashion entrepreneurs with no formal fashion-related training (FEWNFFRT)1 within the Emfuleni Local Municipality (ELM). This ascertainment was completed in terms, specifically, of the following: the use of fashion sketches to visually communicate the design of the garment to the client; the challenges experienced by the fashion entrepreneurs when communicating an idea or design to a client; and the need for training in fashion drawing as a means of visual communication. A quantitative, non-experimental needs assessment was conducted among a group of FEWNFFRT within the ELM. It is important for the reader to note that this specific research study formed part of a larger study, in which the data was gathered in a joint manner with another researcher (whose study focussed on the business skills training needs for FEWNFFRT in the ELM). To clarify, data was collected and analysed together, but the interpretation and application of the data differed due to different research questions, focus and context. Therefore, while the same data was gathered and used in conjunction with another researcher, it should be noted that this study followed a unique angle. The reason for the joint data collection was dictated by the specific constraint of the study in terms of the specific inclusion criteria to which the sample population had to adhere. Interviewer-administered questionnaires were employed in order to gather data from respondents. This type of data collection tool was seen as the most appropriate for the collection of data for this study, as it was conducted in a verbal manner and allowed the interviewer to explain questions and instruction to the respondents in cases where questions were in any way unclear or the respondents were uncertain. This in turn ensured a higher response rate and enhanced the quality of the data gathered. Insight gained from this study aided in generating a new understanding of the fashion drawing skills training needs of fashion entrepreneurs in the ELM region, which may guide future research aimed at developing training programs, materials and interventions with regard to fashion drawing skills.

My thesis discusses whether culture can be used to predict visual design preferences in documentation and whether cultures with similar attributes demonstrate similar visual design preferences. The visual design of a document is an important element in effective communication to an audience. If the audience is outside the United States, it is important to understand the attributes of that culture to create documents that are most effective for the audience. Cultural theorist Geert Hofstede describes cultural attributes in terms of six cultural dimensions: individualism versus collectivism, high versus low power distance, high versus low uncertainty avoidance, masculinity versus femininity, long-term versus short-term orientation, and indulgence versus restraint. This thesis explores whether we can identify visual design preferences in high uncertainty avoidance cultures and high power distance cultures, such as Spain and Latin American countries. To explore this topic, a study was done on sample report documents from a single company which operates in the United States, Latin America and Spain. Choosing only one company to collect samples from provided a way of discounting different corporate cultures as an influence on standards, tools and how documents are developed. As a framework for comparison of the documents, Kostelnick's visual design matrix was used to analyze the documents for graphics, data displays, document unifiers, decoding devices, and cuing devices. The results show that some elements of visual design can be predicted by cultural attribute, and there is a correlation between different cultures and their preference for similar design elements. iv For U.S. technical communicators working on documents for Latin American and Spanish audiences, documents need to be shorter in length with simple data displays and need to use more cuing devices to be effective for audiences in these cultures. This study also shows that for technical communicators designing documents for audiences in other cultures, studying the audience and the specific attributes of that culture will provide direction on how to design an effective technical document for that audience.

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There’s a party this evening but Tilde is feeling too awkward. Travelling between mediums. What are the visual narratives I use in comics? What can be told better when adapted to the movie format? Which comic elements am I unable to translate to the film format? The relationship with the reader suddenly has the limitations of time, and explorations of sound. Does the experience of diving into a different medium affect how I swim in my usual field? With a background of 17 years’ experience as a comic artist, I explore the art of making a short movie. My degree project is a stand-alone short film and a chapter from a comic in the making. / Det är fest ikväll men Tilde känner sig för nervös. En resa mellan medier. Vilka visuella narrativ använder jag som serieskapare? Vad kan berättas bättre när det anpassas till film? Vilka serieelement kan jag inte översätta till film? Relationen till läsaren får här ett hinder i form av relationen till tid, men med ljudet som en ny möjlighet. Kommer erfarenheten av att doppa fötterna i ett annat fält påverka hur jag simmar i mitt egna? Efter 17 år i serietecknarbranschen kastar jag mig in i att göra en kortfilm. Mitt examensarbete är en fristående kortfilm och ett kapitel i en längre serieberättelse.

Könssegregerade arbetsplatser och yrkesområden är något som kan vara till företagets nackdel, då det har visat sig att könssegregering kan bidra till sämre resultat och arbetsklimat. Segregeringen gör det också svårare för arbetsgivare att hitta rätt kompetens, vilket är ett stort problem i Värmland och anledningen till att projektet “Attraktionskraft Värmland” har startats av regionen. Projektet vill, tillsammans med företagen, göra arbetsmarknaden mer jämställd och minska segregeringen för att eliminera den kompetensbrist som råder i länet. En av de könssegregerade branscherna i Värmland är tillverkningsindustrin, som överrepresenteras av män.  Med inspiration av detta är syftet med studien att undersöka hur man kan locka fler kvinnliga medarbetare till branschen genom att ändra de fördomar och stereotyper som finns kring den. Detta med hjälp av att använda den grafiska profilen för att uttrycka jämställdhet och signalera att arbetsplatsen är inbjudande för alla kön. Studiens frågeställningar blev då:  På vilket sätt uttrycks jämställdhet genom semiotiska tecken i den grafiska profilen för företag inom tillverkningsindustrin i Värmland? Vad finns det för visuella element som kan vara problematiskt kopplat till jämställdhet i en grafisk profil? För att uppnå detta användes Luptons (2011) designprocess och en semiotisk multimodal analys av hemsidor från företag inom tillverkningsindustrin i Värmland. Tillsammans med den tidigare forskningen, teorier och resultatet av analysen visade analysen att sådant som färg, form, samt representation av kön och könsroller är påverkande i huruvida uttrycket på en hemsida upplevs som maskulint eller feminint. Efter analysen togs det fram en grafisk profil och mockup på hemsida som exempel på hur det går att använda dessa grafiska element för att skapa ett uttryck som inte diskriminerar något kön samt kan upplevas som inbjudande för alla könsidentiteter. Exemplet ska också visa hur det går att ändra den grafiska profilen med dessa aspekter i åtanke utan att tappa företagets grundvärderingar och identitet. Nyckelord: Grafisk design, grafiska profiler, jämställdhet, visuell kommunikation, employer branding / Gender-segregated workplaces and industries are something that can be to the company's disadvantage, as it has been shown that gender segregation can contribute to poorer results and work climate. Segregation also makes it more difficult for employers to find the right skills, which is a major problem in Värmland and the reason why the project "Attraction Värmland" has been launched by the region. Together with businesses, the project aims to make the labor market more equal and reduce segregation to eliminate the skills shortage in the county. One of the most gender-segregated sectors in Värmland is the manufacturing industry, which is overrepresented by men. Inspired by this, the purpose of the study is to explore how to attract more female employees to that industry by changing the prejudices and stereotypes surrounding it. This is done by using the graphic profile to express gender equality and signal that the workplace is inviting to all genders. The study's questions then became: How is gender equality expressed through semiotic signs in the graphic profile of companies in the manufacturing industry in Värmland? What visual elements can be problematic in relation to gender equality in a graphic profile? To achieve this, Lupton's (2011) design process and a semiotic multimodal analysis of websites from companies in the manufacturing industry in Värmland were used. Together with the previous research, theories, and the results of the analysis, the study showed that things like color, shape, and representation of gender and gender roles are influential in whether the expression on a website is perceived as masculine or feminine. After the analysis, a graphic profile and mockup of the website were developed as an example of how it is possible to use these graphic elements to create an expression that does not discriminate against any gender and can be perceived as inviting to all gender identities. The example also wants to show how it is possible to change the graphic profile with these aspects in mind without losing the company's core values and identity. Keywords: Graphic design, graphic profiles, gender equality, visual communication, employer branding