El presente artículo describe la importancia de realizar estrategias de branding para un colectivo específico de empresas que tienen planteado usar el mercado de bienes y servicios como un intermedio para alcanzar objetivos éticos y contribuidores hacia el ámbito social y ambiental. En este caso, las Empresas B, un nicho de empresas que aún sigue siendo un fenómeno emergente.   Se realizó una investigación de clase mixta, en la cual se empleó una técnica cualitativa para encontrar datos relevantes sobre el fenómeno que estudia la incorporación de la sostenibilidad a la gestión de identidad de marca de Empresas B en relación con sus consumidores. Y a su vez, se efectuó una técnica cuantitativa con motivo de recolectar información directa del target a través de encuestas online. Los resultados a partir de lo investigado demostraron que un gran porcentaje de los millennials peruanos desconocen lo que es una Empresa B. Esto ocurre debido a que no se lograba comunicar visualmente el concepto de cada marca a su totalidad, ya que no se difunde contenido ordenado y consistente en los medios de comunicación correctos de cada empresa B, y por lo tanto no resulta memorable en la mente de los consumidores. Se concluyó que las estrategias adecuadas para realizar el branding de una Empresa B sintetizan el entendimiento de un problema para realizar una ejecución gráfica y a partir de ello, trazar una comunicación coherente. De igual forma, la importancia de potenciar su imagen de marca, reside en el propósito de contribuir con el medio ambiente y a la vez encontrar una posición favorable en el mercado. De este modo, los consumidores tendrán la oportunidad estar informados sobre diversos movimientos los cuales tiene como objetivo solucionar problemas por los cuales ellos mismos reclaman de manera eficaz, interactiva, incluyente. / This article describes the importance of carrying out branding strategies for a specific group of companies that plan to use the market for goods and services as an intermediate to achieve ethical and contributing objectives towards the social and environmental field. In this case, B Corp, a niche of companies that is still an emerging phenomenon. A mixed class investigation was carried out, in which a qualitative technique was used to find relevant data on the phenomenon that studies the incorporation of sustainability into the management of brand identity of B Corps in relation to its consumers. And in turn, a quantitative technique was carried out to collect direct information from the target through online surveys. The results from what was investigated showed that a large percentage of Peruvian millennials do not know what a Company B is. This occurs because it was not possible to visually communicate the concept of each brand in its entirety, since no ordered content is disseminated. and consistent in the correct media of each company B, and therefore not memorable in the minds of consumers. It was concluded that the appropriate strategies to perform the branding of a B Corporation synthesize the understanding of a problem to carry out a graphic execution and, from that, draw a coherent communication. Similarly, the importance of enhancing your brand image lies in the purpose of contributing to the environment and at the same time finding a favorable position in the market. In this way, consumers will have the opportunity to be informed about various movements which aims to solve problems for which they themselves claim in an effective, interactive, inclusive way. / Trabajo de investigación

This thesis is in the field of information design with a focus on spatial design. The study has been conducted to investigate how theories and methods in information design can be applied to digitally communicate activity zone functions in an activity-based flex office. Previous research indicates that one of the biggest challenges with the transition from celloffice to activity-based flex office is that the new way of working is not used as planned. A zoning that is obvious to everyone is recommended. The thesis includes a study of how employees relate to the workplace and how they interact with the digital tool Campuskartan, which has been applied to facilitate the everyday work. The methodological work includes a physical and digital site analysis that describes and evaluates visual elements and functions. It also includes an analysis of the factors that indicate strengths and challenges in terms of the interaction between the physical and the digital space. Employees at Mälardalen University have functioned as a focus group to capture needs from a user perspective and a qualitative interview with an expert have contributed good insights to the study. Subsequently, a participatory observation has been implemented to understand the university's communication work and overall goals with the transition to a new way of working. The study also has a scientific theoretical basis that includes previous research in activitybased flex office and how the digitalization has affected how we work. The study highlights theories in, among other things, visual communication and cognition as well as interaction design. With support from the methodological work, previous research and theories, a visual concept has been created in order to digitally communicate the functions of the activity zones and how employees can relate to them. / Detta är ett examensarbete inom informationsdesign med inriktning rumslig gestaltning. Studien har genomförts för att undersöka hur teorier och metoder inom informationsdesign kan tillämpas för att digitalt kommunicera aktivitetszoners funktioner på ett aktivitetsbaserat flexkontor. Tidigare forskning tyder på att en av största utmaningarna med övergången från cellkontor till aktivitetsbaserat flexkontor är att det nya arbetssättet inte nyttjas som planerat. En zonindelning som är tydlig för alla är även att rekommendera. Studien inkluderar en undersökning av hur medarbetare förhåller sig till arbetsplatsen samt hur de interagerar med det digitala verktyget Campuskartan som har tillämpats för att underlätta arbetsvardagen. Det metodiska arbetet inkluderar en fysisk och digital platsanalys som beskriver och värderar visuella element och funktioner. Det inkluderar även en analys av vilka faktorer som tyder på styrkor och utmaningar vad gäller samspelet mellan det fysiska och det digitala rummet. Medarbetare på Mälardalens högskola har fungerat som en fokusgrupp för att fånga upp behov ur ett användarperspektiv och en kvalitativ intervju med sakkunnig har genomförts i syfte att bidra med goda insikter till studien. Därefter har en deltagande observation genomförts för att förstå högskolans kommunikationsarbete och övergripande mål med övergången till ett nytt sätt att arbeta på. Studien har även en vetenskaplig teoretisk grund som inkluderar tidigare forskning inom aktivitetsbaserat flexkontor och hur digitaliseringen har påverkat hur vi arbetar. Studien lyfter teorier inom bland annat visuell kommunikation och kognition samt interaktionsdesign. Med stöd i det metodiska arbetet, tidigare forskning och teorier har ett visuellt koncept skapats i syfte att digitalt kommunicera aktivitetszonernas funktioner samt hur medarbetare kan förhålla sig till dem.

Opgaven tager udgangspunkt i en undersøgelse af, hvordan illustrator Svein Nyhus i billedbogen Mammas Hår, skrevet af Gro Dahle i 2007, benytter sig af visuelle metaforer til at kommunikere bogens depressionstema til børn. Formålet er at finde ud af, på hvilken måde visuelle metaforer kan bruges som kommunikationsværktøj af visuelle kommunikatører generelt. Som baggrund for undersøgelsen ligger teori omkring visuel retorik, metaforer, samt udviklingspsykologi og kognition. Ud fra denne teoretiske baggrund er opstillet en tese om brugen af metafor i kommunikationen af komplekse emner. Gennem såvel en indholdsanalyse som en semiotisk analyse af illustrationerne i Mammas Hår, samt en efterfølgende sammenligning af analyseresultaterne med tesen, fremgår det, at visuelle metaforer både kan fungere enkeltvis og interagere indbyrdes, og at visuel metafor både kan bruges til at introducere nye, ukendte emner, samt til at fremhæve visse aspekter af et emne. Endeligt lægges der op til en diskussion omkring den visuelle kommunikatørs ansvar samt om forholdet mellem teori og praksis. / This essay is based on an investigation of illustrator Svein Nyhus’ use of visual metaphors in the children’s picture book Mammas Hår, written by Gro Dahle in 2007, in communicating the theme of depression to children. The purpose is to find out in which ways visual metaphor can be used as a communication tool for visual communicators in general. The essay starts with an introduction to visual rhetoric, metaphor as well as developmental and cognition theories. From this theoretical basis, a thesis on the use of metaphor in the communication of complex concepts is presented. Through a content analysis and a semiotic analysis of the illustrations in Mammas Hår, and a subsequent comparison of the analysis results with the thesis, it is found that visual metaphor can work both individually as well as through reciprocal interaction, and that visual metaphor can be used both to introduce new, unknown concepts as well as to highlight certain aspects of a concept. Finally, a discussion about the responsibility of the visual communicator and the relationship between theory and practice is introduced.

In the domain of access control, the notion of zone is still ambiguous. The zone demands clearer contextualization that resonates with the security operators in their workplace. Through interpretive research, this project aims to investigate intuitive ways to monitor the overview of security through visualisation and propose a groundwork that can facilitate discussion around future possibilities of zones in physical access control. Based on the sense making process, this project presents three visualisation models: textual, physical, and abstract. Each model explores various representations of zones to communicate zone-to-zone relationships to improve usability. Also, the design work demonstrates diverse expressive qualities interacting with spaces that are physical, conceptual, and logical. In the most practical sense, the zone means groups of doors, however, the zone also embodies an abstract layer of interpretation that is not strictly connected to a physical space.

The diploma thesis focuses on the leading Czech graphic studio Najbrt, its history, art work and media image. Its aim is to provide a comprehensive overview of its development from its foundation to the present day, and then to examine the studio's representation in the most read Czech print media through quantitative and qualitative content analysis. In the theoretical part, in addition to a historical summary of Studio Najbrt, the value of visual communication and a brief outline of the history of graphic design are presented. Furthermore, the individual components of a complex visual style, on the preparation and processing of which Studio Najbrt primarily focuses, are described. The theoretical basis for media representation of reality and its effects on the recipient are also presented, approached from a social constructivist perspective. The practical part contains the results of the analysis and presents how the selected media report on Studio Najbrt, what topics are most frequently mentioned in its context and how much space and attention is given to selected aspects of the studio or its works.

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En stor del av vårt kulturarv och samtidshistoria förmedlas genom konstutställningar på privata/ enskilda konsthallar och konstmuseer. Förutom en konstupplevelse möts vi också av dold information som visar metoder, teknik och olika ställningstagande som gjorts för att kunna tillgängliggöra en utställning. Allt detta ger oss viktig information om samtidens fysiska och digitala arenor. För att få tillgång till information om dagens utställningar även i framtiden krävs att informationen bevaras (arkiveras/lagras) och att den går att återfinna. Studiens syfte har varit att undersöka hur fyra privata/enskilda aktörer dokumenterar, bevarar och tillgängliggör sina utställningar och hur de ser på begreppet kulturarv samt hur den rådande corona-pandemin 2020/2021 påverkat dem i deras arbete. Studien har också undersökt hur digitala modeller, verktyg och arbetssätt har använts av några statliga/offentliga konstmuseer, som ett sätt att utveckla utställningspresentationen utifrån ett globalt och långsiktigt perspektiv och underlätta planering och samarbete kring utställningsproduktion. Slutsatsen är att den privata/enskilda kultursektorn har ett annat uppdrag, krav och behov av att förmedla konst än vad den statliga/offentliga kultursektorn har. Därför kan man se skillnader i sättet att se på dokumentation, bevarande och tillgängliggörande. Pandemiåret 2020 har utvecklat deras sätt att tänka och arbeta kring kulturinformation och distribution. Besökare och arrangörer har fått ändra sitt fysiska beteende med tanke på smittspridning/social distansering och blivit hänvisade till digitala alternativ. Detta har ökat tillgängligheten till konsten också för de grupper som inte tidigare kunnat fysiskt bevista en utställning. Ett nytt kulturkommunikationssätt med interaktivitet har initierats och en ny form av kulturkonsumtion, kultur on-demand, har utvecklats. / A large part of our cultural heritage and contemporary history is conveyed through art exhibitions at private art galleries and art museums. In addition to an art experience, we also encounter hidden information concerning aspects such as methods, technology and various positions taken to be able to use an exhibition. All this gives us important information about contemporary physical and digital arenas. In order to have access to information about today's exhibitions even in the future, it is necessary that the information is preserved (archived/stored) and that it can be found. The purpose of the study has been to investigate how four private art galleries and art museums document, preserve, make their exhibitions available, how they view the concept of cultural heritage, as well as how the prevailing corona pandemic 2020/2021 has affected them in their work. In addition, the study has also examined how digital models, tools and working methods have been used by public art museums, as a way to develop the exhibition presentation from a global and long-term perspective as well as to facilitate planning and collaboration around exhibition production. The conclusion is that private art galleries and museums have a different mission, requirements and need to convey art than the public art museums has. Therefore, one can see differences in the way of looking at documentation, preservation and making the information available. The pandemic year 2020 has developed their way of thinking about and working with cultural information and distribution. Visitors and organizers have had to change their physical behavior in view of the spread of infection/social distancing and have been referred to digital alternatives. This has increased the accessibility of art also for those groups who have not previously physically attended an art exhibition. A new way of cultural communication with interactivity has been initiated and a new form of cultural consumption, culture on-demand, has been developed.

I have always been very interested in typography and type design and I have long harbored a desire to create something that could benefit my home country Zimbabwe, Afrika and the rest of the world through creativity. I imagine what my language might have looked like if it weren't for the Latin or Roman alphabet. During my childhood, I often encountered individuals who belittled my native language, chiShona. My educational experience at an all-girls, private Catholic school reinforced the notion that speaking English was socially desirable, and those who spoke their native language were subject to ridicule and derogatory labels such as gwash or ghetto. Despite this, I found great joy in speaking my mother tongue, which is widely spoken in my urban community. The chiShona written language is plagued by a number of problems, such as the lack of a consistent way of spelling words across all dialects. The current orthography does not accurately represent the spoken form of the language, making it difficult for writers and speakers to convey their ideas effectively. In this publication I explore typography of a Zimbabwean language and reimagine what chiShona may have looked like if it had not been colonised. As a speaker of chiShona, my mother tongue, I am fascinated by the possibility of developing a written language for my language and finding effective methods of teaching it.  This was done with the help of collaborators Rutendo Shannon Goneso and Pule kaJanolintji.

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No description available.