Global ETD Search

1	LOVE HOME Karlsson, Pierre January 2021 (has links) No description available. typsnittsdesign typografi samling grafisk formgivning Humanities and the Arts Humaniora och konst
2	Chicha, Guaman Poma y el tejido : Om visuellt arv och motstånd Nordling Blanco, Sissela January 2023 (has links) I en tid där den politiska retoriken alltmer öppet polariserar och stöter ut det som inte anses vara svenskt nog, utgår jag från min egen mixade bakgrund och viljan att omfamna det oönskade. Med avstamp i Guaman Pomas bokstavsformer, Chicha-affischens gradienter och väven som format utforskar jag visuella referenser som arv och nutida motstånd. / In a political time that incressingly polarizes and rejects what is not considered Swedish enough, I dive into my own mixed background, embracing the unwanted. Trough a visual mixture inspired by Guaman Poma's lettershapes, the Chicha posters' gradients, and the weave as a grid, I explore visual references as heritage and resistance. Grafisk design typsnittsdesign kulturellt arv motstånd Design Design
3	En typsnittsdesigners arbetsprocess / A type designer’s work process Nilsson, Beatrice January 2018 (has links) Denna studie undersöker, med hjälp av mailintervjuer, hur professionella typsnittsdesigners arbetsprocess ser ut. Detta skedde genom att svaren från respondenterna granskades, baserat på detta kunde likheter och gemensamma teman sökas. I slutändan så framträder en grov modell över hur deras arbetsprocess ser ut. Den blev generell då typsnittsdesignerna arbetar på aningen olika sätt även om det går att hitta en del likheter. När de kommer till yrket i sig så ser deltagarna ljust på framtiden, både med den tekniska utvecklingen och att det inte ser något slut för att fler typsnitt kommer skapas, då som i alla andra yrken där skapande står i fokus så finns det behov för både kontemporära tolkningar men också uppdaterande av de gamla typsnitten. / This study was constructed by using email interviews, it investigates the profession of the type designers. This was done by analyzing the answers from the interviews and searching for similarities and common themes. In the end a rough model of their work process was constructed, it became a bit general, since all type designs work a bit different, although there are some similarities. When it comes to the profession itself the participants sees a bright future, for both the technical development and that they see no end for more fonts to be created, as in all other professions where creation is in focus, there is a need for both contemporary interpretations but also updating the old fonts. work process graphic design typeface design arbetsprocess grafisk design typsnittsdesign Visual Arts Bildkonst
4	Typsnittsfamiljen Kiruna Nilsson, Agnes January 2022 (has links) När du tänker på en plats du känner till, antingen mer eller mindre väl, så är det ofta så att din bild av denne färgas av förutfattade meningar eller fördomar. Kanske beror detta på något du fått berättat för dig, eller kanske beror det på hur platsen visas upp medialt. Det är dock sällan en bild som innefattar hela sanningen, eller ens en bråkdel av den. Det är det jag upplevt vad gäller Kiruna. Kiruna är en plats som för många uppfattas som kall, karg och ensam. Både baserat på dess geografiska placering vilket gör att de mörka vintrarna är långa, men också baserat på att platsens största arbetsgivare är en av världens största underjordsgruvor. I detta projektet har jag ämnat undersöka för att sedermera visa upp Kiruna som stad med typsnittsdesign som medel. Att visa en bild av staden som rör sig bortom människors fördomar och som ger betraktaren en insikt som präglas av förståelse med en större bredd. / When you think about a city that you might know more or less ab- out, it is common that your idea of that place might be coloured by preconceptions or prejudice. Perhaps that is due to the fact that you have been told things about the place, or perhaps how it is portrayed by the media. These ideas are, though, rarely ones that includes the whole truth about a place, though. Or even a fraction of the truth. I have experienced this being the case when it comes to Kiruna. Kiruna is a city that many believe to be cold, barren and lonely. This idea is probably based on both its geographical location and the fact that the city’s biggest employer is one of the worlds largest underground mines. In this project I have examined Kiruna through type design, in order to give people a wider and more comprehensice image of what the city is. The goal has been to show the viewer that I have created an image of a place that moves beyond prejudice and gives them insight and understanding of Kiruna in more than that one way. Graphic design type design typefaces fonts Kiruna prejudice Grafisk design typsnittsdesign typsnitt fonter Kiruna fördomar Design Design
5	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
6	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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