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  • 51.
    Rendel, Emma
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Narrative processes in the interspace: Investigating the practice of graphic storytelling2019In: Konstfack Research Week: 28 Jan. - 1 Feb. 2019, Stockholm: Konstfack , 2019, p. 15-Conference paper (Other academic)
    Abstract [en]

    This practice-based research project looks at graphic storytelling from a maker’s perspective. When drawn images and text, frame and frame meet in the head of the reader, new information occurs that does not exist on the paper. Time, space, movements, sound, inner lives, relations and more appears here. How does the graphic storyteller relate to this occurrence? How do they work with it?

    To gain insight into the tacit knowledge that graphic storytellers hold, Emma Rendel conducted interviews about individual working methods and attempted to use those methods in the making of her own stories. Because the “extra” information that she was interested in exists in the head of the readers, she looked into theories of how our cognitive abilities interact with a narrative and used these to analyse the resulting comics.

  • 52.
    Rotsman, Emmy
    University College of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Eva och jag 1983-19862017Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
  • 53.
    Ruejas Jonson, Nathalie
    University College of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Jag har tänkt på allt2016Independent thesis Basic level (degree of Bachelor), 15 credits / 22,5 HE creditsStudent thesis
    Abstract [en]

    By owning our language and being confident in how we communicate we create our identity. But are all forms of communication equal? My degree project examines and exposes the feeling of being limited by your verbal ability.

    By using visual storytelling I want to share my experiences on what it can be like to be perceived as quiet and how obstructive it can be. Society expects introverted people to practice being more assertive, but my work just creates a place for them to be. Not wanting to talk does not mean that one has nothing to say.

  • 54.
    Ruejas Jonson, Nathalie
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Syns det nu ?: – Autistisk praktik och identitet2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    “So, this is me trying to use words to describe my work which is about me not liking words. I realised early on that my best way of communicating, the language that I felt most comfor- table using, was images. But I also learned words early. I was so young that I almost don’t remember it, but I do remember lying on the floor of my room. I had green paper in front of me and then, all of a sudden, I started putting down words on it. “TL MAMA”. The reason why I was able to just put down words on my green paper, right then and there, was that I had been collecting all of them in my head before. Every day, my whole life, I captured the words and put them in my head as pictures. I traced the outlines of them with my finger against my leg.

    To me words are images. You can’t speak images, but you can draw them. That is why I draw. I draw all the time. “

    Every time I draw, I am wholly autistic. Every time I do anything, or don’t, I am wholly autistic.

    We get functioning labels. Diagnostic criteria. A diagnosis on the autistic spectrum is only defined by medical terms and also only describes how the autistic person differs from the rest of society from a neurotypical point of view. It ignores the reality of the autistic’s experience. Experiences of autistic adults. Autistic women. Being an autistic person of colour.

    Identifying as autistic is politically meaningful to me. But I lack autistic culture. I need the communal act of forming safe, separatist spaces for ourselves. This work aims to artistically portray autistic adulthood from an autistic point of view. 

  • 55.
    Sandin, Gustav Gigi
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Femme Almighty: Fuck Bromance2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
  • 56.
    seittu, elin
    University College of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Interlude2017Independent thesis Basic level (degree of Bachelor), 180 HE creditsStudent thesis
  • 57.
    Sofia, Lind
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Patterns: Ett utforskande projekt om hur läsning och utformning sker av ytmönster2018Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
  • 58.
    Stage Laursen, Agga Anne Mette
    University College of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    The White and Bright Aesthetics of Selling Clean: Body Soap in a Hyper-Commercial Context2017Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    This paper explores how body soap is sold on a massive scale on the basis of 180 body soap packages collected on the hyper commericail marked in Scandinavia. 

    Advertisement and branding influence our way of relating to products. We are constantly exposed to notions that shape our mindset and attitude towards products and how to feel when consuming them.

    Today most body soap advertisement and design operate on the principle of hedonism rather than practicality. It is no longer a necessity but an indulgence. This hedonism is the most dominant trope, but not the only one, when selling body soap hyper commercially today.

  • 59.
    Svetoft, Erik
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    ÄLGEN2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    Work process for the production of the short film ÄLGEN (2019);

    Technical aspects and thematics.

    Film synopsis:

    Two animals trying to entertain at a forest zoo get humiliated and decide to run away in search of freedom. At the same time a mysterious shadow haunts the countryside and a national symbol becomes an idol of worship.

    A short film about national identity, freedom, climate and dancing animals. Graduation project, MFA degree , Konstfack, Stockholm. 2019

  • 60.
    Tallinger, Stella
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration. Illustration.
    Projektrapport: Smeden och djävulen2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 15 credits / 22,5 HE creditsStudent thesis
  • 61.
    Thomas, Camille
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    In the name of ♥︎2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    In a book, I have gathered 2 years of research on the heart symbol in the context of social media and the responsibility of Facebook Inc. in the propagation of hate speech. In parallel, new far-right parties such as Alternativ för Sverige use the heart symbol as a logo. I question the benefits of a rising discourse of love in nationalist propaganda, often hiding racist and sexist ideologies.This research is accompanied by a music video: six women are reading a spoken-word piece on the sexualisation of the female body and the idealisation of a nation-state. This work is entrenched in my own experiences and those of my friends. I composed the music and recorded our voices, all of us, speaking with different accents, witness of our current history of migrations.

  • 62.
    Thorell, Julia
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    UTOPIA2019Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Mitt examensarbete består av en skriftlig del och en gestaltande del. Den skriftliga delen är en DROP, med beskrivande text och bild kring arbetsprocessen av mitt examensarbete. Den gestaltande delen består av mitt examensarbete, den grafiska novellen UTOPIA.

  • 63.
    Vaicenaviciene, Monika
    University College of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    What Is a River?: A report about a picture book on rivers2017Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    The thesis consist of two parts - a creative part and a written report.The creative part is a picture book about rivers and the plentiful connections they have with

    The creative part is a picture book about rivers and the plentiful connections they have with us humans. It follows a child and her grandma as they look for answers to a question – what is a river? In their imaginary expedition, they discover rivers flowing in the sky and in living organisms; meet pilgrims and conquistadores, magical shape-shifting river dolphins and older-than-dinosaurs species of sturgeons; fish and bathe; gathering all the stories they participate in into their own story about the river.

    The book combines factual infor­mation, various stories from riverine environments as well as more loose associations and metaphors. The themes I touch upon include folklore, myths, daily needs of people rivers cater to, cultural metaphors, environmental problems, peculiarities of plants and animals, history, language etc.

    Every spread of the book is like a different chapter about different meanings rivers might have in different contexts. The book tells about a river as a journey, home, a refreshment, a name, a meeting place, a riddle, memory, depth, energy, a reflection, a path, the ocean; and as a thread that connects stories of different times and places.

    To make my book, I used a variety of materials, including pencils, watercolours, gouache, digital drawing; and a collection of geographical, historical, mythological references I have gathered as well as my own memories of growing up close to a river. I have tried to balance both factually accurate and poetic storytelling to create a story of interconnectedness and wonder.

    The key questions I worked with were: how to tell a story about natural environment in an engaging way; how to find a narrative structure that would communicate my story effectively and would have its inner logic; how to deal with issues of historical consciousness, ecological awareness, management of natural resources in a context of children’s books; how to encourage readers to think about relations of their physical and emotional environemnts.

    The title of the book is What Is a River? . It is supposed to be for children, but also for adults who would find the subject interesting.

    The report analyses the background, processes, and results of making the book.

  • 64.
    Wahlbäck, Emmy
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Far from Euthymia2019Independent thesis Basic level (degree of Bachelor of Fine Arts), 330 HE creditsStudent thesis
    Abstract [sv]

    Genom att personifiera symptomen av min bipolära sjukdom i form av karaktärer från den Grekiska mytologin så berättar jag om mina känslor och erfarenheter av psykiatri, slutenvård, mani och depression i narrativ poesi och illustration. Min text går igenom processen, både i tanke, metod och resultat. 

  • 65.
    Wallander, Disa
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Becoming Horses: Sharing a fantasy of self2018Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    In this report I explore themes of aesthetics and communication, while describing my process of making a meta-comic about my experiences with art and education. What is beauty, and how can I tell you how it makes me feel?

  • 66.
    Wetterström, Vendela
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Take Care2018Independent thesis Basic level (degree of Bachelor of Fine Arts), 180 HE creditsStudent thesis
  • 67.
    Anyango Grünewald, Catherine (Artist, Creator)
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Live, Moments Ago: the Death of Mike Brown2018Artistic output (Unrefereed)
    Abstract [en]

    Work shown in the exhibition "Makt/Egenmakt", Malmö Form/Design Center, 23/11 2018 - 6/1 2019

  • 68. Truscott-Elves, Rebecca (Artist, Creator)
    Grünewald, Catherine (Artist, Creator)
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Plus One2019Artistic output (Refereed)
  • 69.
    Heberling, Rikard (Type designer, Creator)
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Typographic Novelties (Iaspis door numbers)2018Artistic output (Refereed)
    Abstract [en]

    Typographic Novelties is a series of door numbers for the Iaspis studios at Maria Skolgata 83, Stockholm. The numbers are modeled after typefaces produced by the Berlingska typefoundry in Lund from the mid-1800s until the company’s closing in 1980. The project is a reflection on how this production was dependent on international networks and in which ways the Berlingska typefaces were circulated, through trade and not least piracy, between various companies and national markets.

  • 70.
    Kraft, Adam (Contributor, Creator)
    University of Arts, Crafts and Design, Department of Design, Interior Architecture and Visual Communication (DIV), Graphic Design & Illustration.
    Under the Mirroring Surface2018Artistic output (Refereed)
    Abstract [en]

    In my work I experiment with ‘de-imagineering’ and intervening into the ‘urban commons,’ through practices of altering and re-purposing existing structures. The work is both informal and transgressive in its methodology, with the core intention to investigate and participate in the shaping and making of the city. Art and research can provide keys to accessing such a city in the making; a space where we can challenge the preconceptions of what is possible, and to imagine alternative strategies for the creation of realities. As the concept of ‘imagineering’ suggests; it is imagination-engineering possibilities to hypothetically look behind reality and shape it. Furthermore, I wish to specify ‘imagination,’ as the thought material that potential realities are made from. As the term ‘imagineering’ is heavily connected to its use in the creative economy, I suggest the wordplay of ‘de-imagineering’ (the deconstruction of imagination). I argue that the production of imagination is fundamental for the change of current conditions and should as such be re-appropriated. In this sense it’s an anarchist posture; it denounces everything that cuts us off from and diminishes our own power to act.

    Not only imagination is held in the deposit and account holdings of corporate and commercial actors, but so are many of the tactics that are designed to contest this hegemony. Counter culture is continuously being transformed to fit as capitalism’s sanitizing tool in “redeveloping” cities, co-opted and instrumentalized in processes of gentrification. In my work this manifests the ethical issue of having a practice that risks to end up fueling the dominant system in opposition. A phenomenon that the Situationists referred to as Récuperation; “the activity of society as it attempts to obtain possession of what negates it,” or one could say: how strategies of resistance towards ‘the spectacle’ ends up being a vital part of it.

    Based on this knowledge I’m researching which transgressive strategies, evasive yet present, could be practiced under the Lefebvrian concept of the ‘Right to the City.’ How could they be constructed, performed and shared?

12 51 - 70 of 70
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