Global ETD Search

1	Redesign av facktidskriften Ingenjören Hellström, Erika January 2004 (has links) This degree project contains a theoretical and a practical part about magazine design. Literature aboutthe subject’s typography and magazine design has been studied and put into practice on the professionaljournal Ingenjören. Besides of that a study about the history of magazine typography for the lastfifty years has been done.Typography and other design factors are important for the magazine to be readable and gives at thesame time the magazine an identity of its own, which has become more and more important throughoutthe last decades.The result of this degree project is a new design for Ingenjören, a design that agrees more with howthe journal want to be considered. A new template, a dummy and a manual have been produced. A decisionof a board meeting of Ingenjörsförbundet in September is now what remains for the new design tobecome a reality. Redesign magasindesign typografi tidningsformgivning typografihistoria
2	Typografisk makt : Hur värderas typografi? Nyström, Erika January 2019 (has links) Typografi finns överallt. Det är en del av grafisk formgivning som är ramverket som vi på olika plattformar i media och i stadsbilden blir tilltalade och därigenom förstår omvärlden. Typografi påverkar i stor utsträckning hur vi tolkar ett innehåll och hur vi värderar allt från människor till åsikter. I mitt examensarbete "Typografisk makt" undersöker jag relationen mellan samhällets värderingar och typografi. Varför tar vi vissa typsnitt på allvar och andra ses som oseriösa? Jag har skrivit en essä och presenterar texten i två publikationer där jag med formgivningen vill kommentera olika sätt att förhålla sig till idéer om hur typografi bör fungera och se ut. I essän tar jag upp historiska aspekter som påverkat hur typografi värderas. Jag försöker även bena ut vilken roll egenskaper kopplade till kön har för roll i hur typografi värderas. / Typography is everywhere. It speaks to us and makes us understand the world. Why do we regard some typefaces as serious/professional and some as less serious? My project is an investigation of the relation between the values of society and typography. Power Typography Helvetica Grotesque Type Design Typeface Communication Graphic Design Design Type History Layout Women typography Calligraphy Font Visual Communication Feminism Font Design Typografi Feminism Kvinnor i typografi Makt Typsnittsdesign Grafisk kommunikation Helvetica Sans serif Linjär sans serif Visuell Kommunikation Formgivning Kalligrafi Typografisk Kommunikation Läsbarhet Typografihistoria Bokstäver Layout Historieskrivning Modernism Maktkritisk Normkritisk Normvidgande Designkritik Samhällskritik Värdering Norm Grafisk design Grafisk formgivning Design Design
3	Making a hybrid of Fraktur and Helvetica : Investigating typography's connection to power, from a historical perspective in a contemporary context Bager, Freja January 2018 (has links) Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevitable as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and functionalist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm. Power Typography Fraktur Blackletter Textura Helvetica Grotesque Type Design Typeface Communication Graphic Design Design Type History Calligraphy Font Font Design Gothic Typographic Communication Propaganda Visual Communication Visual Communication + Change Change Change Agent Agent of Change +Change Art Fine Arts Makt Typografi Gotik Typsnitt Typsnittsdesign Typografihistoria Kommunikation Grafisk kommunikation Visuell Kommunikation Formgivning Kalligrafi Typografisk Kommunikation Konst Design Design

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