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V diplomski nalogi se bom ukvarjala s postopkom izdelave konceptne ilustracije. Raziskovala bom njeno zgodovino, kakšno vlogo ima in na katerih področjih je uporabna. V praktičnem delu bom problematizirala, kako vizualno razumljivo in enostavno razlagati kompleksne informacije ter kako jih pripraviti za nadaljnje razvijanje drugih ustvarjalcev. Ukvarjala se bom z razvojem različnih karakterjev, okolja, opreme in ostalih predmetov, ki so bili predstavljeni v originalni izdaji igre Blood (1997). Preučevala bom metode in strukturo iger ter izvedla primerjalno analizo vizualnega razvoja sočasnih iger v podobnem žanru. Pri snovanju nove podobe bom pozorna na igralce nove generacije in tiste z občutkom nostalgije. Igri Blood želim vdihniti novo življenje za sodobno generacijo potrošnikov. Zanimalo me bo koliko je preoblikovana podoba lahko podobna izvirniku, koliko je pri tem treba slediti trendom in tehnologijam ter ali lahko z novo podobo igri vdihnem novo življenje za sodobni čas. Igro bom s pomočjo avtorskih ilustracij preoblikovala v sodobno podobo. Končni izdelek bo predstavljen v ilustrirani publikaciji. In my diploma thesis I will deal with the process of making a conceptual illustration, research its history, what role it has and in what areas it is useful. In the practical part I am going to problematize how to visually understand and easily interpret complex information and how to prepare it for further development of other creators. I will be involved in the development of various characters, environments, equipment and other items that were presented in the original edition of Blood (1997). I will study the methods and structure of games, perform a comparative analysis of the visual development of simultaneous games in a similar genre. When designing a new image, I will pay attention to the players of the new generation and those with a sense of nostalgia. I am interested in giving a new life for the Blood game for the modern generation of consumers. I am going to research how much the transformed image can be similar to the original and how much it is necessary to follow trends and technologies, and whether I can breathe new life into the game with a new image. With the help of the author's illustrations, I am going to transform the game into a modern image. The final product will be presented in an illustrated publication.

Diplomsko delo se ukvarja z literarnim delom Mojster in Margareta ruskega avtorja Mihaila Bulgakova. Analiziran je potek pripovedi z namenom iskanja mentalnih slik, ki jih poraja. Zanima me primerjava med besedo in podobo, kako pripoved teče skozi besedilo in kako skozi serijo fotografij. Analizirala sem tudi izraz magični realizem v literaturi in fotografiji, saj je glavni vir navdiha za ustvarjanje lastne pripovedi s pomočjo fotografije. V praktičnem delu diplomskega dela sem ustvarila serijo režiranih fotografij, ki so bile predstavljene v fotoknjigi. Predstavljen je celoten proces realizacije režirane fotografije in izdelave fotoknjige: iskanje primerne lokacije, scenografija, kostumografija, delo z modeli, uporaba specifične (navadno kombinirane: naravne in studijske) svetlobe, izbira formata in papirja. The thesis is inspired by the literary work The Master and Margarita by Russian author Mihail Bulgakov. The course of the narrative is analysed in order to find the mental images it evokes. I am interested in the comparison between word and image, how the narrative flows through the text and how through a series of photographs. I also analysed the term magical realism in literature and photography as it is the main source of inspiration for the creation of my own narrative throught photography. In the practical part of the thesis I created a series of directed photographs that were presented in a photobook. The whole process of realising a directed photographic project and the creation of a photobook is presented: finding a suitable locations, set design, costume design, working with models, the use of specific (usually combined: natural and studio) lighting, choosing the format and paper.

Diplomsko nalogo temeljim na ilustriranju sedmih čudes (starega) sveta. Likovno me bo zanimalo ustvarjanje ilustracij mešanih tehnik, tematsko pa zgodovinska raziskava čudes. V teoretičnem delu bom raziskoval poljudnoznanstveno ilustracijo, reinterpretacijo stvarne podobe z lastnim likovnim izrazom in iskal primerno obliko publikacije in oblik tovrstnih ilustracij za ciljno skupino mladostnikov. Primerjal bom domišljijsko in znanstveno ilustracijo ter iskal mejo med njima. Sama tematika me zanima s področja geografije in zgodovine, skozi ta vidik bi jo približal tudi mlajšim. Kot končni izdelek želim predstaviti zanimivo publikacijo za mladostnike, namenjeno poučevanju. Dane informacije želim predstaviti na čim bolj zabaven in zanimiv način. This thesis is based on illustrating the Seven Wonders of the (Ancient) World. Artistically, I will be interested in creating mixed media illustrations, and thematically, in historical research of the wonders. In the theoretical part, I will research popular scientific illustration, the reinterpretation of a factual image with my own artistic expression, and I will look for a suitable form of publication and forms of such illustrations for the target group of children. I will compare fictional and scientific illustration and look for the boundary line between them. I am interested in the topic itself from a geographical and historical point of view, and through this aspect, I would like to bring it closer to younger people as well. As a final product, I want to present an interesting publication for the target group, intended for teaching. I want to present the given information in the most entertaining and interesting way possible.

Pričujoča diplomska naloga se ukvarja s tematiko portreta v ilustraciji. Podrobneje raziskujemo izražanje videza in osebnosti portretiranca ter to, kako doseči oboje v stiliziranem upodabljanju. Naloga spada na področje domišljijske ilustracije, njen namen pa je raziskovanje portreta skozi ilustrativne postopke. Cilj je ustvariti serijo ilustracij, ki predstavlja izbrano skupino znanih osebnosti, končni izdelek pa je predstavitvena knjižica. V teoretskem delu smo preučili literaturo o portretu, o njegovem razvoju skozi zgodovino in o tem, kako je bil uporabljen za izražanje pomembnosti upodobljene osebe. Zanimali so nas odnosi med portretirancem, portretom in portretistom ter načini, kako je to upoštevano v ilustraciji. V praktičnem delu smo ustvarili serijo devetih ilustracij, ki prikazujejo prejemnike nagrade Saharova za svobodo misli. Raziskovali smo izražanje podobnosti in njihove osebnosti skozi ilustracijo ter na koncu ustvarili knjižico, ki predstavlja te osebe. The subject of this BA thesis is portrait in illustration. We take a closer look at both the expression of likeness as well as personality of the subject and aim to discover how both can be achieved in a stylized depiction. The thesis concerns itself with fiction illustration and its main purpose is the exploration of portrait through the process of illustration. The goal of the thesis is to produce a series of illustrations depicting nine notable individuals, with the final product being an introductory booklet. In the theoretical part we intend to examine the available literature on the subject of portrait, its development throughout history and its use in expressing the story and meaningfulness of the individual portrayed. We wonder about the relationship between the subject, the portrait and the artist, as well as about ways this can be reflected in illustration. In the practical part of the thesis, we create a series of nine illustrations, depicting recipients of the Sakharov Prize for Freedom of Thought, with emphasis on expressing their likeness and personality through illustration. Finally, these images are reproduced in a booklet, presenting the chosen individuals.

Tri Lukne je blagovna znamka, ki predstavlja keramične izdelke izpod rok Ane Haberman. Pod to znamko so izdelki na trgu dobrih deset let, vendar v tem času ni bila razvita celostna grafična podoba, zgolj logotip. Zaradi povečanega obsega dela, želje po večji prepoznavnosti in prodaji ter zastarelosti dosedanjega logotipa je prišlo do ideje, da bi se prenovilo in razširilo vizualno podobo znamke. V diplomskem delu sem se seznanila z blagovno znamko, z izdelavo in oblikovanjem keramičnih izdelkov, njeno dosedanjo grafično podobo in podobo ter rešitve konkurenčnih blagovnih znamk pri nas in v tujini. Na podlagi ugotovitev sem oblikovala novo vizualno podobo za Tri lukne. Posebno pozornost sem namenila oblikovanju logotipa. Pripravila sem tudi predloge za dopisne tiskovine, spletno stran in promocijske materiale. Tri Lukne is a brand that presents ceramic products from the hands of Ana Haberman. The products under this brand have been on the market for more than ten years, but during this time the overall graphic image was not developed, only the logo. Due to the increased scope of work and the desire for greater recognition and sales, as well as the outdated current logo, the idea came to renew and expand the visual image of the brand. In my graduation work, I got acquainted with the brand, with the production and design of ceramic products, its graphic image and image to date, as well as the solutions of competing brands here and abroad. Based on the findings, I created a new visual image for Tri Lukne. I paid special attention to the design of the logo. I also prepared proposals for correspondence, website and promotional materials.

V diplomski nalogi obravnavamo širše področje oblikovanja prožnih vizualnih sistemov in njihov generativni potencial. Pri tem nas zanima, kako lahko takšne sisteme uporabimo za generiranje vseh možnih rešitev znotraj danih parametrov in kako to vpliva na oblikovalski proces. Naloge se lotimo z analizo relevantnih teoretičnih in praktičnih del ter na podlagi ugotovljenega oblikujemo orodje za avtomatizirano risanje oblik. To orodje nato uporabimo za oblikovanje črkovne vrste. Oblikovanja se lotimo tako, da definiramo osnovne gradnike in mrežo, na podlagi katere z oblikovanim orodjem generiramo možne znake. V zadnji fazi pa med temi možnostmi izberemo tiste, ki so ustrezne za črkovno vrsto. The BA thesis deals with the wider field of designing flexible visual systems and their generative potential. Here we are interested in how to use these systems to generate the whole set of solutions within the given parameters and how this affects the design process. In the first part of the thesis we analyzed relevant theoretical and practical works and designed a tool for automated drawing based on these findings. We subsequently used this tool to design a typeface. This process was started by defining the basic building blocks and developing a grid, which we then used to generate a set of characters. In the final phase we chose the appropriate ones for the typeface.

V diplomski nalogi sem se ukvarjala s tem, kako ohraniti fotografijo na netipičnem nosilcu. To bom počela s pomočjo fotografske emulzije. Ukvarjala se bom s tem, kako fotografijo razviti in jo kasneje tudi fiksirati oz. zamrzniti na jabolku. Raziskovala bom tudi, kako jabolko razpada in se razkraja ter kako to vpliva na motiv. S svojim diplomskim delom želim bolje spoznati fotografsko emulzijo, njeno zgodovino, delovanje in njene meje. Raziskovala bom avtorje, ki se ukvarjajo s podobnimi eksperimenti ali pa mi je vsebina njihovega dela na kakršenkoli način pomagala pri mojem delu. In my thesis, I will deal with how to preserve a photograph on an atypical medium. I will do this with the help of photographic emulsion. I will conquer developing and fixing or freezing a photo on an apple. I will also investigate how the apple decays, disintegrates and affects the motive. With my thesis, I want to comprehend photographic emulsion, its history, operation, and limits. I will research authors who are engaged in similar experiments or who have helped me in my work in any way due to the content of their work.

V diplomski nalogi sem raziskovala in razčlenjevala prostor gradbišča. Ukvarjala sem se z neantropološkim delom prostora, ki znotraj sebe ne opredeljuje človeka in njegovih odnosov (nekraj), hkrati pa sem razčlenjevala prav ta antropološki del prostora (kraj). Spraševala sem se, ali lahko ta dva svetova obstajata neodvisna drug od drugega. Ali lahko prostor živi brez ljudi ter vseeno ohranja svoj primarni atmosferski občutek in ali ljudje in prostor potrebujejo drug drugega, da dosežejo svoj polni potencial, ter ali lahko prostor gradbišča zajema definicije tako pojmov kraja kot nekraja in kako se posameznikova percepcija prostora spreminja z integracijo v skupnost. V praktičnem delu naloge sem formirala vizualizacijo takšnega prostora, eksperimentirala z medijem fotografije in njenim prevodom v prosotor. In my bachelor’s thesis, I researched and analyzed the space of the construction site. I dealt with the non-anthropological part of space, which does not define a person and his relationships within it (non-place), and at the same time I analyzed this very anthropological part of space (place). I wondered if these two worlds could exist independently of each other. Can a space live without people and still retain its primary atmospheric sense or each other to reach its maximum, can the space of a construction site encompass definitions of both place and non-place, and how an individual's perception of space changes through community integration. In the practical part of the assignment, I designed the visual space of such a space, experimented with media photography and its translation into space.

V diplomskem delu raziskujem izdelavo animiranega filma in upodobitev zgodbe brez dialoga. Bistvo dela je prikaz zgodbe in idej v njej s karakterjem, ki ima omejeno gibanje telesa in nima obrazne mimike. Na začetku predstavim medij animacije, kjer se osredotočim na 3D-računalniško animacijo, njeno zgodovino in uporabo v današnjem svetu. Zatem predstavim celoten proces izdelave animiranega filma. Začnem z zgodbo, v kateri opišem njen nastanek ter predstavim ideje in teme, ki so prisotne v tem kratkem filmu. Predstavim tudi glavnega karakterja in njegovo vlogo v filmu. Nadaljujem z opisom izdelave zgodborisa, modelov in okolja, predstavim postopek animiranja, kadriranja in osvetljevanja, končam pa z montažo in uporabo zvoka v filmu. In my Bachelor's thesis I am researching how to create an animated movie and depict a story without any dialogue. The point of this thesis is presenting a story and its ideas with a character who has limited body movement and lacks facial expressions. At the beginning I present the medium of animation, focusing on 3D computer animation. its history and its uses today. After that I present the entire process of my animated movie's creation. I begin with the story, where I describe its formation and present the themes and ideas present in the short movie. I also present the main character and its role in the movie. I continue by describing the creation of storyboard, models and environment, I present the process of animation, framing and lighting. I end with the montage and use of sound in the movie.

Grafički dizajn kao struka evoluirao je od drevnih grafičkih tehnika preko izuma tiskarskog stroja do digitalnih software-a za grafičko oblikovanje. Digitalni prostor koji se širi iziskuje nova dizajnerska rješenja, no zadataka za grafičke dizajnere i u analognoj domeni ima napretek. Urbane sredine danas koriste svaki kutak javnih prostora za neki oblik promidžbe, a dobro dizajnersko rješenje isticat će se u gomili drugih. Neka grafička rješenja toliko su utkana u našu svakodnevicu te su postala sastavni dio okoline u kojoj se krećemo, da nerijetko zaboravljamo da su umjetna tvorevina i da iza istih stoji nečiji angažman. Iza naizgled najjednostavnijih rješenja često stoje sati promišljanja i kombiniranja osnovnih likovnih elemenata poput linije, plohe, volumena, boje, teksture, prostora i svjetlosti. Zadaća grafičkog dizajnera ne završava oblikovanjem lijepih naslovnica, plakata ili privlačne ilustracije na ambalaži nekog proizvoda. Neskladno oblikovanje tipografije, korištenje krivih boja i loša kompozicija rezultirat će neuglednim, ali i nečitkim radom. Poruka treba biti prenesena točno, razgovjetno, jednostavno i nedvosmisleno. Dizajner svojim radom mora osigurati optimalno vizualno komuniciranje, a da bi na tom putu uspio potreban je kompleksan spoj interdisciplinarnosti, likovnog obrazovanja i senzibiliteta, temeljitih istraživanja, suradnje sa drugim strukama i naravno izvrsnog vladanja klasičnim grafičkim vještinama. Primjena grafičkih proizvoda je mnogo, od onih koji naizgled imaju samo estetsku funkciju do propagandnih plakata, znakova upozorenja ili zabrane koji sa sobom nose puno veću odgovornost. Grafički dizajneri svakodnevno rade na projektiranju vizualnih komunikacija i otklanjanju pratećih problema te samim time rade na oblikovanju vizualne kulture koju konzumiramo, jer je cilj dobrog dizajna upravo kvalitetno komuniciranje poruke svakom čovjeku.

Magistrsko delo obravnava problematiko onesnaženja narave ter vlogo človeka v tem degradiranem okolju. V teoretičnem delu sem vzpostavila povezavo med trenutnim družbenogospodarskim sistemom in posledičnim spreminjanjem naravnega okolja. V stoletju tehnološkega napredka, je človek postal orodje gospodarskega sistema, ki zasleduje kolesje nenehne rasti. Včasih povsem razumljiva lokalna odvisnost od naravnih virov je prešla v globalno odvisnost. S tem se je potrošnikom zabrisala povezava med izdelki in ekološkimi posledicami neetične pridelave. Napredek je pravzaprav povzročil degradacijo naravnega okolja. Zdaj, dobro stoletje kasneje, so posledice izrabljanja več kot očitne. Drastične spremembe podnebja in onesnaženost z odpadki, so pričele odvzemati floro in favno, naš prvotni naravni življenjski prostor. Smo v obdobju reševanja okoljskega vprašanja, vendar se naša življenja niso zares nič spremenila. Obsesivno se posvečamo prekomernosti odpadkov, torej simptomom hiperprodukcije, medtem ko se z vzrokom za nastanek situacije pravzaprav ne ukvarjamo. V praktičnem delu naloge sem tako preko digitalne animacije predstavila povezanost med malim človekom in veliko naravo. Razkol v njunem odnosu pa poglabljajo privzgojene potrošniške navade. Koncept postavitve elementov sicer povzdiguje vsemogočno naravo, a obenem nakazuje na nesmiselnost hiperprodukcije plastičnih izdelkov, ki okoli nas vzpostavlja konflikt med vrednostjo življenja in vrednostjo materialnega. The master's thesis deals with the issue of nature pollution and the role of humans in this degraded environment. In the theoretical part, I established a connection between the current economic and social system and the consequences on the natural environment. In a century of technological progress, humans have become a tool of an economic system that pursues the wheels of constant growth. The once perfectly understandable local dependence on natural resources has turned into a global dependence. This has blurred the link between products and the ecological consequences of unethical production. Progress has actually led to the degradation of the natural environment. Now, a good century later, the consequences of exploitation are more than obvious. Drastic climate change and waste pollution has begun to take away flora and fauna, our original natural habitat. We are in a period of resolving environmental issue, but our lives haven't really changed. We are obsessively focused on the excess of waste, i.e. to the symptoms of hyperproduction, while we are not dealing with the cause of the situation. In the practical part of the thesis, I presented the connection between a small person and a large nature through digital animation. The rift in their relationship, however, is deepened by cultivated consumer habits. The concept of the placement of elements elevates the almighty nature, but at the same time points to the futility of hyperproduction of plastic products, which creates a conflict between the value of life and the value of the material.

V analitično-raziskovalnem delu magistrske naloge smo raziskali interaktivne didaktične pripomočke, ki so namenjeni učencem osnovne šole, starim od 12 do 13 let. Poglobili smo se v definicije, razvoj in zmožnosti interaktivne digitalne knjige ter analizirali nekaj že obstoječih primerov. Pri analizi digitalnih knjig smo bili posebej pozorni na interaktivni aspekt medija, in sicer smo ugotavljali, kateri interaktivni elementi se najpogosteje pojavljajo in na kakšen način vplivajo na dojemanje vsebine. Raziskali smo področje stvarne ilustracije in naredili kratek pregled nad entomološko znanstveno ilustracijo po svetu in v Sloveniji. Poglobili smo se tudi v različno programsko opremo, ki omogoča pripravo interaktivnih knjig, in se na podlagi več kriterijev odločili za najprimernejšo. Na koncu smo na podlagi učnega načrta pri predmetu Naravoslovje 7 in na podlagi strokovne literature o nočnih metuljih oblikovali vsebino knjige, primerno za ciljno skupino. Projektni del magistrske naloge obsega oblikovanje in ilustriranje vsebine ter animacijo izbranih elementov, ki smo jih združili v interaktivno digitalno knjigo o nočnih metuljih. Knjiga bo na voljo kot dodatno didaktično gradivo pri predmetu Naravoslovje. The analytical research part of this thesis investigated the interactive didactic tools intended for primary school pupils (12 to 13 years old). The field of illustration was defined and a short timeline of Slovenian entomological scientific illustration presented. The historical timeline was outlined and the possibilities of interactive digital books researched. Several comparable interactive books were analysed and special attention was paid to the interactive aspect of the medium. An investigation into which elements are typically present and how they impact the reading experience was conducted. Further research to determine which computer software offered the possibility to create interactive publications was performed and informed the decision on which software to use for the final project. The text for a book about moths following the primary school biology curriculum was prepared and written. The practical project part included designing and illustrating a book about moths, with interactive elements such as animations. The book is intended to serve as supplementary material for the primary school biology curriculum.

V diplomskem delu sem oblikoval vizualno identiteto Belokranjskega muzeja Metlika. V teoretičnem delu sem raziskal pojem vizualne identitete in zgodovino njenega nastanka, raziskal in predstavil strukturo dinamične vizualne identitete, okoliščine in tehnologije, ki so vplivale na njen nastanek, in njen vpliv na naslovnika sporočila. Analitični del sestavljajo primeri dobrih praks oblikovanja za kulturne institucije, pri čemer sem predstavil vizualne identitete glasbenega centra Casa de Musica, muzeja sodobne umetnosti MoMA in filmskega inštituta Cinémathèque française. Sledi predstavitev Belokranjskega muzeja Metlika, njegove vsebine in poslanstva ter analiza njegove obstoječe vizualne identitete. V praktičnem delu sem oblikoval vizualno identiteto Belokranjskega muzeja Metlika. Predstavil sem osnovne gradnike vizualne identitete, konstrukcijo, pravila za načrtovanje in uporabo dinamičnega logotipa ter digitalne in tiskane aplikacije. For my thesis, I designed a visual identity of the Bela krajina Museum Metlika. In the theoretical part, I researched the concept of a visual identity, history of its creation, I presented the structure of a dynamic visual identity, the circumstances and technology that influenced its creation and its impact on the recipient of the message. In the analytical part of the thesis I researched some of the best practices of designing for cultural institutions. I presented the visual identities of the musical center Casa de Musica, the museum of contemporary art MoMA and the film institute Cinémathèque française. This is followed by a presentation of the Bela krajina Museum Metlika, its contents and mission, as well as an analysis of its existing visual identity. In the practical part, I designed the visual identity of the Bela krajina Museum Metlika. I presented the building blocks of the visual identity, construction, rules for designing and usage of the dynamic logo, as well as some digital and printed applications.

Namen diplomske naloge je bil preučiti zgodovino grafičnega oblikovanja v filmu in izdelati vizualno identiteto filma Preblisk bele mize oziroma White Table Spark. V teoretičnem delu sem raziskal zgodvino oblikovanja v filmu in podrobneje analiziral nekaj izbranih filmov iz različnih časovnih obdobij. Osredotočil sem se na primere, ki sem jih uporabil pri izdelavi zasnove za celostno grafično podobo filma Preblisk bele mize. V praktičnem delu sem analiziral film Preblisk bele mize. Predstavil sem grafike narejene za film in na posamičnih primerih utemeljil uporabo likovnih elementov ter način uporabe posamične grafike znotraj filma kot celote. The purpose of the bachelor thesis is to study the history of graphic design in film and to create the visual identity of the film White Table Spark. In the theoretical part, I explored the history of design in film, and in more detail analyzed some selected films from different time periods. I focused on the examples that I found useful in creating a visual identity of the film White Table Spark. In the practical part, I analyzed the film White Table Spark and explained the procedure of creating the visual identity of the film. I presented graphics made for film and explained the use of visual elements for individual graphics such as the use of individual graphics within the film as a whole.

V sklopu diplomske naloge je bila oblikovana nova vizualna identiteta Zavetišča za živali Maribor. Primarni cilj za razvoj vizualne identitete je upoštevanje finančnih omejitev zavetišča. V postopku razvoja nove vizualne identitete je bil najprej oblikovan razpoznavni znak. Njegova končna verzija je minimalistična in geometrična. Sledila je določitev barve. Končna izbira je kombinacija tople oranžne in hladne rjave. Po določitvi oblike in barve je bilo treba določiti novi črkovni vrsti za vizualno identiteto. Zaradi cenovne dostopnosti sta obe odprto licenčni. Po oblikovanju teh osnovnih elementov je sledilo apliciranje le-teh na tiskovine, ki so potrebne za zavetišče. Ustvarjene so bile tako za tiskane kot spletne vsebine ter so poenotene in kolektivno cenovno varčne. Ves proces razvoja nove vizualne identitete je stremel k čim bolj cenovno in časovno varčnim rešitvam. As part of my Bachelor’s degree, a new visual identity for Zavetišče za živali Maribor was created. The primary goal for the development of it is to take into account the financial limitations of the shelter. In the process of developing a new visual identity, the logo was first designed. Its final version is minimalist and geometric. A color selection followed. The final choice is a combination of warm orange and cool brown. After deciding on the shape and color, it was necessary to determine a new typeface. For the sake of affordability, both typefaces are openly licensed. After designing these basic elements, what followed was applying them to the print media needed for the shelter. They have been created for both print and online content, and are unified and collectively cost-effective. The whole process of developing a new visual identity strived for the most cost-effective and time-saving solutions.

Fotografija se danas smatra jednim od najvažnijih segmenata internet trgovine. Koristi se u svrhe promoviranja proizvoda i prikaza ponuđenih proizvoda na web trgovinama. Fotografije na koje nailazimo obično su statičnog oblika te nisu u mogućnosti prikazati cijeli proizvod, zato je u posljednje vrijeme sve popularnija fotografija proizvoda od 360° koja se sastoji od zbirke povezanih profesionalnih fotografija koje stvaraju rotaciju a kupcima omogućuju interakciju te pregled proizvoda sa svih strana do najsitnijih detalja upotrebom miša ili vrhova prstiju. Njen zadatak je pružiti korisnicima iskustvo pregleda proizvoda u novom obliku s ciljem smanjenja nezadovoljstva koje se stvara kada korisnik naruči i dobije proizvod koji ne odgovara onome sa fotografije. Svrha ovog rada je kroz anketno istraživanje istražiti koliko su ispitanici upoznati s kupovinom putem interneta te jesu li se ikad našli u situaciji da su morali vratiti proizvod trgovini jer nije odgovarao onome sa fotografije. Na temelju primjera nekoliko fotografija proizvoda od 360° cilj je istražiti kakav utjecaj na korisnike ostavlja ta vrsta fotografije te smatraju li da bi ovaj tip fotografije riješio problem nezadovoljstva korisnika kupljenim proizvodom. Today, photography is considered one of the most important segments of internet commerce. It is used for the purpose of promoting products and displaying the offered products on web stores. The photos we come across are usually of a static shape and are not able to show the entire product, that's why 360° product photography, which consist of a collection of linked professional photos that create frictionless rotation and allow customers to interact and view the product down to the smallest detail, are becoming increasingly popular. Its task is to provide users with a product review experience in a new form with the aim of reducing the dissatisfaction that is created when the user receives a product that does not match the one in the photo. The main purpose of this paper is to investigate, through survey research, how familiar respondents are with online shopping and whether they have ever found themselves in a situation where they had to return a product to the store because it did not match the one in the photo. Based on the example of several 360° product photos, the goal is to investigate the impact this type of photography has on users and whether they think this type of photography would solve the problem of dissatisfaction customers with the purchased product.

While most research in public relations and strategic communication concentrates on textual elements, this contribution shifts the focus to the growing importance of visual elements. The theoretical background is based on visual theory and the concept of strategic mediatization. By using a large-scale quantitative survey among 3,387 European communication professionals, this study is the first empirical evidence of communication professionals’ perspectives concerning visual communication. Therefore, the paper empirically demonstrates a visual turn in strategic communication. Although practitioners have been using visual elements since the very beginnings of their trade, only a minority guide these activities through a sound management process. This calls for a deeper consideration of visual communication management in practice and visual public relations research in academia.

Pri ustvarjanju pogosto uporabljam digitalne tehnike, vendar večino navdiha najdem v tradicionalni umetnosti, zato želim v diplomskem delu ustvariti projekt, ki bi povezoval oba načina. Skozi raziskavo želim pregledati zadnje desetletje domišljijske ilustracije (pretežno knjižne ilustracije) do prvih digitalnih vplivov nanjo. Raziskati nameravam razmerje med procesi snovanja ilustracije v tradicionalnem in sodobnem načinu ter to razumevanje umestiti v širše polje umetnosti in kulture. Ker me zanima vprašanje vpliva digitalne umetnosti na kulturo, želim v tej luči raziskati tudi vlogo ilustracije. Cilj raziskovalnega dela je ilustrirana zbirka pesmi Svetlane Makarovič, kjer želim združiti načine tradicionalnih tehnik z digitalnimi možnostmi vizualne interpretacije poezije. Although I often use digital techniques to create, I find most of my inspiration in traditional art. So I wanted to create a project in my thesis project that would connect the two ways. Through research, I want to review the last decades of illustration (mostly book illustrations) to the first digital influences on it. I intend to explore the relationship between the processes of designing illustration in the traditional way and modern digital, and to place this understanding in the broader field of art and culture. As I am interested in the question of the impact of digital art on culture, I also want to explore the role of illustration in this light. The aim of the research work will be an illustrated collection of poems by Svetlana Makarovič, where I want to combine ways of traditional techniques with digital possibilities of visual interpretation of poetry.

V diplomskem delu raziskujem oblikovanje uporabniškega vmesnika in njegovo vlogo v igrah za mobilne naprave. Bistvo naloge je oblikovati dober uporabniški vmesnik za namišljeno mobilno videoigro. Najprej bom pisal o osnovah oblikovanja uporabniškega vmesnika, v kasnejših temah pa podal nekoliko podrobnejše informacije o oblikovanju uporabniškega vmesnika za videoigre in kako mobilne naprave vplivajo na oblikovanje takšnega uporabniškega vmesnika. V vsakem poglavju bom poskušal podati čim več relevantnega slikovnega gradiva za lažje razumevanje vsebine. Na koncu bom vključil tudi kratek opis praktičnega dela. In my thesis I studied how to design a user interface and its function in games for mobile devices. The purpose of this paper was to design a good user interface for an imaginary video game. First, I presented some basics of designing a user interface, and in the next topics, I introduced more detailed information on a designing user interface for video games and the impact of mobile devices on the design of such user interface. In each chapter, I provided as much relevant graphics as possible for ease of comprehension of the content. In the last part of my thesis I presented a short description of practical part of my work.

Diplomska naloga se ukvarja s spomini in procesom pomnjenja kot osnovnim principom delovanja spomina. V praktičnem delu so zbrani nenavadni in nikoli dokumentirani spomini ljudi, ki so nato fotografsko interpretirani. Fotografska serija je razvita v slogu magičnega realizma, preučevanem skozi več umetniških medijev, kot so film, literatura in fotografija. Delo je osredotočeno na inscenirano fotografijo in analizo avtorjev, ki se v svojemu delu ukvarjajo z elementi magičnega realizma. Predstavljena fotografija naj bi dosegla to magično vzdušje, zaradi katerega je določenim spominom v odnosu do drugih pripisan poseben pomen. In my diploma thesis, I am exploring the process of remembering as a basic principle of memory. In the practical part, I collected unusual and never documented memories of people and interpreted them through the medium of photography. I developed the photographic series within the style of magical realism, which I studied through several artistic media such as film, literature, and photography. I focused on staged photography and analyzed authors who deal with elements of magical realism in their work. In my photography, I tried to achieve a magical atmosphere, because of which we attach special significance to certain memories compared to others.

Za svojo diplomsko nalogo sem vizualno interpretirala pravljico Slavec avtorja H. C. Andersena ter jo predstavila na način, ki je primeren za otroke in mladino. Zgodbo sem želela oblikovati tako, da bo primerna predvsem za mladino ter dovolj zanimiva za odrasle, saj je pripovedovanje v tej pravljici dovolj preprosto za razumevanje otroka, ta pa je prav toliko svojevrstna za pozornost odraslih. Izbrano delo sem ilustrirala s serijo ilustracij ter naslovno ilustracijo in jih predstavila v oblikovani knjigi. V teoretičnem delu diplomske naloge sem želela podrobneje raziskati nekaj vprašanj in tez, povezanih s pravljicami in odraščanjem. Zakaj je pomembno, da otroku pripovedujemo zgodbe? Kakšen je vpliv ilustracij na otroško percepcijo? Raziskala bom torej, kako to potem vpliva na odraščanje. For my thesis, I will visually interpret the fairy tale Nightingale by H. C. Andersen and present it in a way that will be suitable for children and young. I would like to design the story in such a way that it is suitable especially for young people and interesting enough for adults, since the narration in this fairy tale is simple enough for a child to understand and just as peculiar for the attention of adults. I will illustrate the selected work with a series of illustrations and a title illustration and present them in a designed book. In the theoretical part of the diploma thesis, I would like to investigate in more detail some questions and theses related to fairy tales and growing up. Why is it important to tell stories to children? What is the impact of illustrations on children's perception? How does this affect on growing up?

V diplomskem delu bom predstavila oblikovanje idejne blagovne znamke. Poleg vizualne identitete bom oblikovala tudi embalažo za linijo čajev. Celoten proces oblikovanja bom opisala po korakih. Cilj diplomskega dela je, da se seznanim s teorijo in razumem proces oblikovanja blagovne znamke. Diplomsko delo je sestavljeno iz dveh delov. V teoretičnem delu bom opredelila in se osredotočila na pojme blagovna znamka in njena identiteta, ciljna skupina, grafična podoba, embalaža in čaj. Razumevanje in upoštevanje te teorije bom nato prenesla ter uporabila v drugem, praktičnem delu. Ukvarjala se bom z oblikovanjem vizualne identitete blagovne znamke, ki bo sestavljena iz logotipa, barvnega in tipografskega sistema ter sistema piktogramov. Vse zastavljene komponente in podobo bom nato uporabila pri izdelavi podobe embalaže za linijo izdelkov. Cilj dela je, da predstavim enotno linijo različnih čajev, ki jih povezuje zunanji videz, hkrati pa sama embalaža omogoča razločevanje posameznih vrst čajev. The BA thesis present the design of an idea brand. In addition to the visual identity, I will also design the packaging for the tea line. I will describe the whole design process step by step. The aim of the diploma work is to get acquainted with and understand the theory and process of designing a brand. The thesis consists of two parts. In the theoretical part, I will define and focus on the concepts of brand and its identity, target group, graphic image, packaging and tea. I will then transfer and apply the understanding and application of this theory in second, practical part. I will work on creating the visual identity of the brand, which will consist of a logo, color and typographic system. I will then use all the set components to create the image of the packaging for the product line. The aim of the task is to present a line of different teas that are connected by appearance, and at the same time the packaging itself indicates what type of tea it is.

V diplomski nalogi sem se ukvarjala z ustvarjanjem serije risb in kolažev in ilustracije po besedilni predlogi. Za izhodišče pri iskanju besedilne predloge sem izbrala poezijo in kratko prozo mlajše generacije slovenskih avtorjev. Raziskala sem besedila in hkrati svoj likovni jezik, ki sem ga razvijala glede na izbrane besedilne predloge. V teoretskem delu diplomske naloge pa sem se ukvarjala z zgodovinskim pregledom ilustracije v povezavi s poezijo in ilustriranih izdaj poezije za odrasle ter z definicijo, zgodovino in vizualnimi karakteristikami vizualne in konkretne poezije. Raziskovala sem tudi format in medij umetniškega zina, njegovo definicijo, pozicijo v likovni umetnosti ter okolju, v katerem nastaja. V praktičnemu delu naloge sem formirala vizualne podobe in vizualno predstavila izbrane pesmi, zbrane v obliki zina. Ukvarjala sem se s povezavo ilustracije in poezije ter njuno likovno močjo in ugotovila, da lahko stojita sami zase, vendar se združeni še bolj dopolnjujeta. In my bachelor’s thesis, I was involved in creating a series of drawings, collages, and illustrations based on a text template. I chose poetry and short prose from the younger generation of Slovenian authors as a starting point in my search for a textual proposal. I researched the texts and, at the same time, my artistic language which I developed according to the selected textual proposals. In the theoretical part of the bachelor’s thesis, I dealt with a historical review of illustration in connection with poetry and illustrated editions of poetry for adults, as well as with the definition, history, and visual characteristics of visual and concrete poetry. I also researched the format and medium of the art zine, its definition, position in fine art, and the environment in which it is created. In the practical part of the assignment, I formed visual images and visually presented selected poems collected in the form of a zine. I dealt with the connection between illustration and poetry and their artistic power and realized that they can stand on their own. Combined, however, they complement each other even more.

V diplomskem delu sem ustvarila pet plakatov za mlade na temo slovenskega literarnega izročila. Vsak plakat vključuje ilustracijo izbrane pravljice ter naslov, ki vključuje nauk. Za to smer sem se odločila v želji, da bi imeli otroci in mladostniki večje poznavanje in zanimanje za slovensko ljudsko literaturo, še posebej pravljice. V teoretičnem delu raziskujem interpretacije narodnih tem v ilustraciji na Slovenskem in se poglobim v specifike ciljne skupine. Analiziram kvalitetne primere in v njih poiščem oblikovne značilnosti, ki jih lahko kasneje uporabim pri praktičnem delu. V okviru praktičnega dela poiščem primerno literaturo – pet pravljic slovenskega ljudskega izvora. Izluščim in analiziram njihovo sporočilo in nauk, ki ga ubesedim v naslovu posameznih plakatov. Na poti do končnega izdelka preizkušam več likovnih tehnik in slogov ter se odločim za najustreznejšega na podlagi sodobnih del za mojo ciljno skupino. Slednje kombiniram še s tradicionalnejšimi analognimi tehnikami in pristopi do oblikovanja prostora in besedila. Tako dobim rezultat, ki predstavi sodobno sporočilo v zgodovinskem kontekstu. As part of my thesis, I created five posters for young people on the topic of Slovenian literary tradition. Each poster includes an illustration of a selected fairy tale and a title that includes the lesson of said fairy tale. I decided on this topic because I wanted children and young people to have greater knowledge and interest in Slovenian folk literature, especially fairy tales. In the theoretical part, I researched interpretations of national themes in illustration in Slovenia and delve deeper into specific target groups. I analyzed high-quality examples and looked for design features that can later be used in practical work. As part of the practical work, I looked for suitable literature - five fairy tales of Slovenian folk origin. I extracted and analyzed their messages and teachings, which I express in the title of individual posters. During the process, I tried several art techniques and styles and decided on the most appropriate one based on contemporary works for my target group. I combines the latter with traditional analog techniques and approaches to the design of space and text. The final result presents a modern message in a historical context.

V magistrski nalogi raziskujem tematiko oživljanja javnih prostorov z uporabo umetniških intervencij. Na ta način želim izpostaviti potencial javne umetnosti in oblikovanja za oživljanje mest in povezovanje družbe. V teoretičem delu najprej definiram kaj je javni prostor in razložim proces oživljanja mest. Nato se osredotočim na vlogo oblikovanja kot orodja za oživljanje javnih prostorov in opišem vlogo javne umetnosti oz. umetniških intervencij. Rdeča nit raziskovanja je hkrati tudi opis teoretične in praktične obravnave tematike v Sloveniji in Veliki Britaniji, saj sem njuno ureditev podrobno spoznala ob bivanju v obeh državah. Praktično obravnavanje tematike podrobneje ponazorim na primerih iz vseh treh mest, ki so hkrati prispevali k oblikovanju praktičnega dela magistrske naloge. Za praktični del sem v Domžalah, na mestni ploščadi pred veleblagovnico Vele, ki je eden izmed glavnih mestnih javnih prostorov, izvedla začasno umetniško intervencijo imenovano »Dnevna soba« z namenom oživljanja praznega in neprijazno oblikovanega prostora. Koncept, proces dela in realizacija intervencije so podrobno opisani v praktičnem delu magistrske naloge. In my master's thesis I research the topic of revitalising public spaces using artistic interventions. In this way, I want to highlight the potential of public art and design for revitalising cities and connecting people. In the theoretical part, I first define what public space is and explain the process of revitalising spaces. Then I focus on the role of design as a tool for revitalising public spaces and describe the role of public art or artistic interventions. The main underlying thread of the research is also a comparison between the theoretical and practical treatment of the topic in Slovenia and the United Kingdom, as I learned about their arrangement in detail while living in both the countries. Specifically, I focus on the comparison of three cities - London, Ljubljana and Domžale - which marked my understanding and experience of public spaces, art and design, and consequently had a significant impact on my professional development as a visual communications designer. I illustrate the practical treatment of the topic in more detail with examples from all the three cities, which at the same time contributed to the formation of the practical part of the master's thesis. For the latter I carried out a temporary artistic intervention called the »Living Room« on the city square in front of the Vele department store in Domžale, which is one of the city's main public spaces, in order to revive an empty and deliberately unfriendly designed space. The concept, work process and realisation of the intervention are described in detail in the practical part of the master's thesis.

V praktičnem delu magistrske naloge se ukvarjam z izdelovanjem animiranega dokumentarnega filma o invazivnih rastlinskih vrstah v Sloveniji. Znotraj dokumentarnega filma se pojavijo elementi znanstvene ilustracije za razlago, kako in kje se ustalijo tujerodne invazivne vrste in kakšne so posledice za okolje in človeka. Predstavljen je tudi vidik strokovnjaka glede prihodnosti odnosa med človekom in naravo ter podobnimi temami. Hipoteza naše magistrske naloge trdi, da animacija lahko privabi večje število mlajših generacij kot katera druga oblika sporočanja in s tem pripomore k večji ozaveščenosti o problematiki tujerodnih invazivnih rastlin. V teoretičnem delu je raziskovan dokumentarni film, žanre dokumentarnega filma, kratki zgodovinski pregled animacije in animiranega dokumentarnega filma ter področje filma v primerjavi z dokumentarnim filmom. Raziskovano je stičišče med znanstveno ilustracijo in dokumentarno animacijo. Analizirani so različni animirani dokumentarni filmi ter izpostavljene skupne značilnosti. Prav tako je raziskovana problematika tujerodnih invazivnih rastlin in izvedeni so bili tudi intervjuji s tremi strokovnjaki na področju naravovarstva. In the master's degree project, an animated documentary about invasive plant species in Slovenia was developed. Elements from scientific illustration have been used to explain where and how invasive plant species settle, how they affect the environment and humans, and which plants actually are foreign species. Aspects of an expert, regarding the future of the relationship between man and nature and other topics delving with this theme are presented. Hypothesis of the master's degree project states that animation can bring attention to the issue of invasive foreign plants to younger generations, more likely than other forms of media in Slovenia, as it raises more awareness. In the theoretical part, research was done on a documentary film, its genre, a brief historical overview of animation and animated documentary film, the field of film compared to documentary film. Next, the juncture between scientific illustration and animated documentary was explored. In this regard, various animated documentaries and most prominent common features were analysed. We also researched the issue of invasive plants and conducted interviews with three experts working in the field of nature conservancy.

V magistrskem delu želim raziskati vpliv inkluzivnega oblikovanja na snovanje različnih produktov in storitev ter kako ti vplivajo na življenja marginaliziranih skupin. Prav tako se bom v delu osredotočala na različne procese oblikovanja in raziskovala načine, kako vanje vključiti raznolike metode inkluzivnega oblikovanja ter kako nadgraditi metode oblikovanja, osredotočenega na uporabnika. Glavni namen dela je demistificirati inkluzivno oblikovanje ter tako spodbuditi oblikovalce, da začnejo posegati po njegovih metodah. V teoretičnem delu se bom najprej osredotočila na raziskavo obstoječih metod inkluzivnega oblikovanja in predstavila tri glavna načela tovrstnega oblikovanja. Prav tako bom analizirala različne metode oblikovanja, osredotočenega na uporabnika, ter jih poskušala med seboj dopolnjevati. Predstavila bom tudi različne primere dobrih praks na področju inkluzivnosti ter raziskala njen ekonomski pomen. V praktičnem delu bom opisala kvalitativne metode, ki so vplivale na fazo načrtovanja ter kasneje konceptualizacije in implementacije končnega projekta magistrske naloge. To je priročnik Figma za inkluzivno oblikovanje, ki uporabnike spozna z osnovami takšnega oblikovanja ter jim s pomočjo različnih vaj pomaga vključevati metode inkluzivnega oblikovanja v njihove obstoječe procese oblikovanja. Poleg tega bom v praktičnem delu opisala tudi postavitev spletne strani, ki predstavlja, poleg programa Figma, vstopno točko do priročnika za inkluzivno oblikovanje. This master thesis aims to explore the influence of inclusive design when designing various products or services and how these influence the lives of underrepresented and marginalized groups of people. I will also be focusing on different design processes and methods of user centered design and how they can be improved with the use of inclusive design principles. The main goal of the thesis is to demystify inclusive design and encourage different designers to start infusing their work with it. The first part of the thesis will consist of analyzing existing methods of inclusive design, mainly focusing on its three main principles. In the theoretical part, I will explore different methods of user-centered design and present different cases of use of inclusive design and how inclusivity influences our society. The empirical part of the thesis aims to present different qualitative methods that influenced the conceptualisation and implementation of the final thesis project – an inclusive design Figma toolkit that mainly acts as an introduction to inclusive design and presents a learning opportunity for designers through various inclusivity exercises. That way, designers can implement inclusive design principles and methods to their existing design process more seamlessly. In the last part of the masters thesis, I will also be presenting the inclusive design website which, additionally to Figma, presents an entry point to the inclusive design toolkit.

Pogledi na grdo so raznovrstni in le nekateri od njih so v strokovni literaturi temeljiteje obravnavani. V diplomskem delu skozi analizo referenčnih avtorjev proučujem pojave in dojemanje grdega v zahodni kulturi z vidika teorije estetike, zgodovine, umetnosti in filozofije. Grdoto v vsakdanjem življenju pogosto srečujemo, nima pa enotne definicije svoje vloge za posameznika in družbo. Sprašujem se, kaj je grdo na osebni in kulturni ravni, kako priti do grdega in ga prepoznati ter zakaj je grdo potrebno in uporabno. Definiram pojme estetika, gledanje, videnje, fotografska in estetska percepcija. Ugotovitve poenotim v tri kategorije grdega in opisujem proces iskanja ustreznih podob grdega okoli sebe. Te na koncu najdem v sebi in zgradim objekt, ki služi kot motiv za serijo fotografij in fotozin. Ugotavljam, da se grdo vedno vzpostavlja v odnosu do gledalca v svojem bistvu je stvar percepcije posameznika. Enotnega odgovora na Kaj je grdo? ni, in to hkrati tudi je odgovor. Views on the ugly are diverse and only a few of them are more thoroughly discussed in the technical literature. In my dissertation, through the analysis of referential authors, I study the phenomena and perceptions of the ugly in Western culture from the perspective of the theory of aesthetics, history, art and philosophy. Ugliness is often encountered in everyday life, but it does not have a unified definition of its role for the individual and society. I wonder what is ugly on a personal and cultural level, how to get to the ugly and recognize it, and why the ugly is necessary and useful. I define the concepts of aesthetics, viewing, seeing, photographic and aesthetic perception. I unify the findings into three categories of ugly and describe the process of finding relevant images of ugly around me. I eventually find these in myself and build an object that serves as a motif for a series of photographs and a photozin. I find that ugly is always in relation to the viewer it is essentially a matter of individual perception. There is no single answer to What is ugly?, and that at the same time is the answer.

Magistrsko delo Razvoj tiskarskih barv za kapljični tisk iz trajnostnih/naravnih virov in njihova uporaba pri raziskovanju botanične fotografije združuje osebno fascinacijo nad naravnimi barvili in botanično fotografijo ter njuno medsebojno povezanost. Opisuje in prikazuje eksperimente v pridobivanju naravnih rastlinskih barvil v cmyk odtenkih, ki so kasneje uporabljena kot tiskarske barve za kapljični tisk. Vzporedno raziskuje polje botanične fotografije preko referenčnih umetnikov in odkrivanje lastnega avtorskega pristopa. Kot rezultat naniza serijo botaničnih fotografij, natisnjenih z rastlinskimi kartušami, ki služijo kot končen rezultat naloge. Master's thesis The development of inkjet printing inks from sustainable/natural sources and their use in the study of botanical photography combines personal fascination with natural dyes and botanical photography and the interconnection between them. Describes and demonstrates experiments in the production of natural plant dyes in cmyk shades, later used as ink cartridge dyes. In parallel, it explores the field of botanical photography through reference artists and discovering my own authorial approach. As a result, it shows a series of botanical photographs printed with natural inks that serve as the end result of the thesis.

Diplomsko delo se ukvarja s proučevanjem modne fotografije v obdobju kriznega zgodovinskega trenutka. V prvem delu je predstavljen zgodovinski pregled modne fotografije. V nadaljevanju sledi analiza modnih publikacij in njihove vloge v distribuciji modne podobe. Sledi premislek o modni fotografiji kot komercialnem ali umetniškem delu, kot tudi o družbenem komentarju v modni fotografiji, kjer sta podani analizi dveh primerov. Kot izhodišče je postavljena potencialna vzporednica kriznega trenutka sedanje pandemije z obdobjem španske gripe med obema vojnama, sledi vpogled v kratko zgodovinsko analizo obdobja nadrealizma, od koder so črpana glavna vizualna izrazna sredstva za nastanek praktičnega dela, postavljenega nazaj v sedanjost pandemije. Predstavljeni so tudi ključni avtorji za razvoj mojega avtorskega dela, kjer opišem in analiziram izhodišča, izvedbo in ovrednotenje nastalega dela v končnem formatu fotoknjige. The key subject of the thesis is researching fashion photography in a historical moment of crisis. The first chapter defines fashion photography through history. It is followed by an analysis of the role of fashion photography and fashion publishing in disseminating the fashion image. The third chapter discusses fashion photography as art or commerce. The following chapter contemplates fashion photography as a critical social message through two case studies. As the conceptual starting point, a potential parallel is drawn between the timeframe of World War One and Spanish influenza against the crisis of the current pandemic. For further analysis, there is a short chapter on surrealism that serves as a potential source for the visual means used in the practical part, set back in the presence of the pandemic. A few key authors, fundamental to the development of my work are mentioned, and lastly, the analysis of the practical part where I describe and analyze the starting points, execution, and evaluation of the final work which will be the format of a photobook.

Cilj magistrskega dela je bil definirati glavne dejavnike današnje hiperproduktivne družbe, ki vplivajo na način, kako umetnik ustvarja svoja umetniška dela. Teoretični del raziskuje izbor zunanjih dejavnikov, s katerimi se morajo umetniki spopasti, če želijo biti sprejeti v sedanjem, globalnem svetu umetnosti. Ti dejavniki so naslovi poglavij teoretičnega dela magistrskega dela in se glasijo takole: Hiperkapitalistične oblike produkcije, institucionalizem (Akademija in umetniški trg) ter Novi mediji in platforme za samo (Re) prezentacijo. Ugotovitev, ki izhaja iz raziskovanja teh dejavnikov, je, da čeprav je umetniški trg navidezno obseden z idejo pristnosti in inovativnosti, je nastavljen tako, da vzgaja ravno nasprotno: hiperprodukcijo idej in konceptov, ki umetnike omejijo na standardizirana, pa tudi močno homogenizirana in omejena izrazna sredstva. V zadnjem poglavju teoretičnega dela, z naslovom Avtentičnost?, je vprašanje umetniške inovacije v 21. stoletju podrobneje razčlenjeno. V praktičnem delu z naslovom Produkcija vrednosti in vrednost reprodukcije je nastala serija grafik z naslovom “Wetprints” (Mokri odtisi), ki je bila interpretirana tako iz komercialnega vidika, kot tudi iz bolj konceptualnega. Serija je ustvarjena s kapljanjem, potapljanjem in izpostavljanjem kapljičnih tiskov morju in dežju, kar ustvarja nekakšen akvarelni učinek. Vsaka slika, ki tako nastane je edinstvena, a kljub temu neizogibno klišejska zaradi svojih motivov – ovenilih šopkov. Zadnje poglavje podrobno obravnava tako komercialne kot konceptualne procese, ki so vodili do končne predstavitve projekta, razstave z naslovom “A to je to?”, ki je potekala oktobra 2020 v Projektnem prostoru Fotopub. The goal of this thesis was to decipher the main factors of today’s hyper-productive society, which effect the way in which an artist produces their art works. The theoretical part explores a selection of external factors, which artists must tackle if they wish to be accepted within the current, global world of art. Those factors are the titles of the chapters of the theoretical part of this thesis and go as follows: Hyper-capitalistic Forms of Production, Institutionalism (Academia and The Art Market), and New Media and Platforms for Self (Re)presentation. The conclusion which is drawn from the exploration of these factors is that although the art market is seemingly obsessed with the idea of authenticity and innovation, it is set up to breed exactly the opposite: the hyper-production of ideas and concepts, which confine artists to a standardised, as well as greatly homogenised and limited means of expression. In the final chapter titled Authenticity?, the subject of artistic innovation in the 21st century is explored more thoroughly. Within the practical part, titled The Production of Value and The Value of Production a series of prints named Wetprints is executed both via their commercial potential, as well as through a more conceptual interpretation. The series is created through the act of dripping, dipping, and exposing Inkjet prints to sea and rain, which creates a sort of water-colour effect, each image unique, and original, yet inescapably cliche because of its subjects- wilted bouquets. The last chapter discusses both commercial and conceptual processes in detail leading up to the final presentation of the project, So This Is It?, an exhibition which took place in October 2020 in the Fotopub Project Space.

V svojem diplomskem delu sem obravnavala razvoj ličenja, trendov in lepotnih standardov Zahodne kulture v 20. stoletju ter raziskovala vpliv medijev na reprezentacijo žensk. V teoretičnem delu sem se ukvarjala z razvojem in prerodom standardov in trendov, ki so se uveljavili na področju ličenja in lepotne industrije. Osredotočala sem se na ličila in uporabo teh, pojave lepotnih idealov in trendov, ki so nekoč že bili aktualni, njihove spremembe in razvoj ter raziskovala, kakšen vpliv imajo nanje zunanja dogajanja v povezavi z mediji. V praktičnem delu sem na osnovi zgodovine in razvoja ličenja, ki sem ju raziskala, opredelila tipične značilnosti posameznih obdobij 20. stoletja ter jih na modelu oblikovala v celoto. Fotografirala sem digitalno, in sicer doprsne portrete na nevtralnem, studijskem ozadju. Stil fotografij sem prilagajala posameznemu obdobju, da je skupaj z njim tvoril koherentne celote. Odločila sem se za avtoportrete, saj me je zanimalo, do kolikšne mere lahko spreminjam en sam obraz in ga vključim v popolnoma različna obdobja tako, da bo deloval prepričljivo in pristno. Hkrati sem raziskovala, kako se lahko sama identificiram z različnimi trendi, in tako prenesla vprašanje osebne identitete tudi na praktični del diplomskega dela. In my diploma thesis I am addressing the topic of the development of make-up, trends and beauty standards of Western culture in the 20th century and exploring the influence of the media on the representation of women. In the theoretical part of the thesis I am dealing with the development and revival of standards and trends that have established themselves in the field of makeup and beauty industry – I am focusing on makeup, the emergence of beauty ideals, trends that were once relevant, how they have changed and developed and what impact external events had on them in combination with media. In the practical part, based on the researched history and the development of makeup, I designed the typical characteristics of individual periods of the 20th century and formed them into a whole. I photographed digitally, in the form of bust portraits on a neutral, studio background and adapted the style of each photography according to the chosen period. I opted for self-portraits and working on myself – I was interested in the extent to which I could change the same face and include it in completely different periods so that it would still work convincingly and authentically and at the same time, I researched how I can identify with different trends and thus transfer the issue of personal identity to the practical part of the thesis.

Magistrsko delo raziskuje vpliv uporabe interaktivnega učnega pripomočka pri pouku geometrije v zadnjem triletju osnovne šole. Zanimalo nas je, ali lahko poglobljeno izdelan oblikovalski koncept za interaktiven učni pripomoček z boljšo uporabniško izkušnjo za otroke pripomore k lažjemu geometrijskemu in prostorskemu sklepanju ter posledično k lažjemu razumevanju in učenju geometrijskih pojmov ter ali lahko pridobljen oblikovalski koncept razširimo na vse stopnje in področja poučevanja geometrije. Analizirali smo, kako se učenci v zadnjem triletju učijo o prostoru in geometriji, katere so dejavnosti, učni pristopi in učni pripomočki v procesu ter kakšen pomen imajo virtualna učna okolja v okviru slednjih. V praktičnem delu naloge smo izdelali prototip interaktivnega učnega pripomočka, sestavljen iz dveh delov, iz interaktivnega teoretičnega dela in interaktivnih vaj za utrjevanje znanja po principu igrifikacije. Na podlagi prototipa smo izvedli raziskavo in ovrednotili pomen interaktivnih učnih pripomočkov pri pouku geometrije v osnovnih šolah. The master's thesis investigates the impact of the use of an interactive teaching tool in geometry lessons in the last three years of primary school. I was interested in whether an in-depth design concept for an interactive learning tool with a better user experience for children could help to facilitate geometric and spatial reasoning and consequently make it easier to understand and learn geometric concepts and whether the acquired design concept can be extended to all levels and areas of teaching geometry. I analyzed how students have learned about space and geometry in the last three years, what activities, learning and teaching approaches and tools are used in the process, and the importance of virtual learning environments within the latter. In the practical part of the thesis, I made a prototype of an interactive learning tool consisting of two parts, an interactive theoretical part and interactive exercises for consolidating knowledge according to the principle of gamification. Based on the prototype, I conducted research and evaluated the importance of interactive teaching aids in geometry lessons in primary schools.

V magistrskem delu sem raziskovala možnosti uporabe podatkov v oblikovanju naše prihodnosti. Osredotočila sem se predvsem na problematiko zasebnosti, etične uporabe podatkov ter ustvarjanja družbe, ki temelji na nadzoru. Opredelila sem trenutno situacijo zbiranja, sledenja in neetične uporabe podatkov. Prav tako sem se dotaknila manipulacije na podlagi profila posameznika, ki se ustvarja s pomočjo zbiranja in sledenja podatkom. Osredotočila sem se na uporabo mobilnih telefonov kot nadzornih naprav, ki jih imamo veš čas pri sebi in tako omogočamo množičen nadzor družbe, pogosto zaradi neozaveščenosti, včasih pa le iz ignorance in mišljenja, da nimamo česa skrivati pred zbiralci naših vedenjskih podatkov. Rešitev tega problema vidim v večji ozaveščenosti posameznikov in regulaciji ter ustvarjanju orodij, ki posamezniku omogočajo varno in informirano uporabo digitalnih produktov, brez da bi bila ogrožena njegova zasebnost. In my MA thesis, I explored the possibilities of using data in shaping our future. I focused primarily on privacy issues and the ethical use of data to create a control-based society. I focused on current situation and current practices in use. I also looked into manipulation that is based on the detailed profile of an individual, created through the collection and tracking of data. I focused on using mobile phones as surveillance devices, that we always carry with us and thus enable constant surveillance, due to our ignorance or sometimes just because we think that we have nothing to hide from collectors of our behavioral data. I see the solution to this problem in increasing the awareness among individuals in regulation and in creating tools that enable the individual to use digital products safely and in an informed way, without compromising their privacy.

V diplomski nalogi se bom ukvarjala s tem, kako s pomočjo fotografije prikazati, za kakšno duševno stanje oziroma duševno motnjo gre. Ukvarjala se bom z upodobitvijo krhkih vizualnih podob, ki jih bom dosegla predvsem z napakami v fotografskem postopku in z uničevanjem filmskih negativov. S svojo fotografsko serijo želim prikazati mentalna stanja in občutke, ki jih posameznik doživlja pri določeni duševni motnji. S svojim diplomskim delom želim bolje spoznati duševne motnje, jih analizirati, in to upodobiti skozi avtorsko serijo fotografij. Raziskovala bom avtorje, ki se ukvarjajo z duševnimi boleznimi, zgodovino upodabljanja duševnih bolezni v umetnosti, duševne motnje in na kakšne načine jih lahko prikažemo s fotografijo. My thesis highlights the depiction of mental illness and state of mind through photography. I will be exploring fragile visual representations and portraying them mostly by errors in the photographic process along with destroying the negatives of the film. The intent of my photographic series is to illustrate various mental and emotional states as experienced by individuals with a specific mental illness. In my thesis I want to learn about various mental illnesses, analyse them and portray them through my original photo series. I will focus on authors who are exploring the complex issues of mental health and emotions through photographic projects and artworks, depiction of mental illness in art history, mental illness in general and how to depict them with photography.

Tema magistrskega dela obravnava znanstveno ilustracijo rastlin in žuželk. Namen dela je, da se ohrani spomin na rastline in pozove k varovanju in širjenju zavedanja o medsebojnem sodelovanju in vplivih, ki jih imamo na okolje. Za ohranjanje spomina je lahko v pomoč tudi umetnost, natančneje znanstvena ilustracija. V preteklosti so si lahko mnogo rastlin predstavljali le iz opisov ali skic, saj jih niso imeli priložnosti videti v živo. Upodobljeni vzorci bi lahko v prihodnje služili kot dokumentarno gradivo današnjih ekoloških razmer in prehranskih navad. Pri izboru rastlin sem se po posvetu s strokovnjaki z botaničnega področja odločila za devet rastlin, ki so po lestvici Organizacije za prehrano in kmetijstvo svetovno najpomembnejše za prehrano: kavovec, oljna palma, soja, bananovec, riž, sladkorni trs, krompir, pšenica in koruza napada pa jih vsaj en škodljivec. Teoretični del magistrskega dela se navezuje na področja znanstvene botanične ilustracije, znanstvene ilustracije žuželk in kaligrafije ter raziskuje metode ohranjanja rastlin skozi zgodovino in pomen upodobitev v okviru znanstvene ilustracije. Praktični del pa zajema podrobnejše raziskovanje rastlin in žuželk s seznama in izdelavo knjižnega ilustrativnega herbarija s priloženimi ilustracijami rastlin in škodljivcev, opremljenimi s kaligrafijo. V primerih, kjer je bilo to možno, so bile poleg ilustracij rastline pripravljene po postopkih za izdelavo herbarija, sicer pa le vzorčne ilustracije rastlin s pripadajočimi ilustracijami škodljivcev. Glede ciljne skupine menim, da bi bil tovrsten herbarij učinkovit učni pripomoček, zanimiv pa tudi tako za ljubitelje znanstvene ilustracije, botanike kot tudi poljudne bralce. The topic of the master’s thesis deals with the scientific illustration of plants and insects. The aim is to preserve the memory of plants and to call for the protection and dissemination of awareness of the cooperation and impact we have on the environment. Art, more precisely, scientific illustration, can also help to preserve their memory. In the past, various plants could only be imagined from descriptions or sketches, as they did not have the opportunity to see them live. The depicted samples could in the future serve as documentary material for today`s ecological conditions and eating habits. In the selection of plants, after consulting with experts in the field of botany, I decided on nine plants that are according to The Food and Agriculture Organization the world`s most important for nutrition: coffee, oil palm, soybeans, banana, rice, sugar cane, potatoes, wheat, and corn and are attacked by at least one pest. The theoretical section of the master`s thesis relates to the fields of scientific botanical illustration, scientific illustration of insects and calligraphy, and explores methods of plant conservation throughout history and the importance of their depiction in the context of scientific illustration. The practical part includes a more detailed research of plants and insects from the list, the production of an illustrative herbarium in the form of a book with attached illustrations of the plants and pests, equipped with calligraphy. In possible cases, in addition to the illustrations, plants are prepared according to the procedures in making a herbarium, otherwise only the sample illustrations are provided alongside the pest illustrations. Regarding the target group, I believe that such a herbarium would be an effective learning tool and would be interesting for fans of scientific illustration and botany, as well, for a wider circle of readers.

Pričujoče magistrsko delo se loteva vznika umetniškega dela s konceptom želje, ki jo obravnava psihoanaliza, natančneje Jacques Lacan. V prvem delu teoretske raziskave sledi osnovnim konceptom Freudove in Lacanove psihoanalize – s strukturo duševnega aparata in psihičnimi procesi, ki jih motivira libido, tvorbo objekta želje in objekta, po katerem se želja povzroči (objekt mali a), in pozicijo umetnika-avtorja vzpostavi avtorja kot primarnega, prvotnega gledalca. Za poglobljeno razlago vznika in delovanja želje je za umetniškega avtorja-gledalca podan primer fotografa/fotografinje, ki je na strani želečega subjekta, katerega stvaritveno gibalo izvira iz želje videti. V praktičnem delu je predstavljen fotografsko-kiparski projekt Neodtujljivo, ki je nastajal prav z razmislekom o tem vzgibu, ki deluje kot analiza večletnega iskanja zadovoljitve v upodabljanju izbranega objekta – objekta želje. This Master’s thesis focuses on the creation of an artwork through the concept of desire, studied by psychoanalysis, specifically Jacques Lacan. In its first part of theoretical research it follows the basic concepts of Freud and Lacan’s psychoanalysis – development of the object of desire and the object from which desire is derived (object small a [objet petit a]) through the structure of psychic apparatus and psychological processes motivated by libido, which positions the artist-author into the role of the primary, primordial viewer. For in-depth explanation of creation and operation of desire for the artistic author-viewer, the presented example is a photographer, who serves as a representative of a subject of desire and whose creative incentive is derived from the desire to see. The practical part presents the photographic and sculptural project Inalienabilis that was in fact created through consideration of the drive, which serves as an analysis of multiyear search of satisfaction through recreation of the chosen object – the object of desire.

V magistrskem delu se ukvarjam s procesom ustvarjanja kratkega animiranega filma. Nastali film je ustvarjen po lastni zgodbi, zato je na začetku teoretičnega dela kratko poglavje o strukturi zgodb. V nadaljevanju so po generalni teoriji animiranega filma in ilustracije opisani vsi nujni koraki za izdelavo kratkega animiranega filma. Ti se začnejo z likovno zasnovo, ki zajema razvoj karakterjev, iskanje likovnega izraznega sloga in risanjem oz. slikanjem ozadij. Teorija, ki spremlja prakso, se dotakne zgodborisa in oživi v t.i. animatiku - zgodborisu, ki mu je dodana časovna komponenta. Sledi predstavitev in analiza izbranih del drugih avtorjev, katerih praksa se mi je zdela primerna iztočnica in zgled za izdelavo moje animacije. Pred zaključnim delom, ki zajema montiranje in dodajanje zvoka, bo tudi poglavje posvečeno samemu “oživljanju” likov oz. njihovemu animiranju. This master's thesis examines the process of creating a short animated film. Since the presented film is based on a story written by the author of this thesis, the theoretical part of the thesis opens with a short chapter on the structure of stories. Next, this thesis describes all the necessary steps for creating a short animated film in accordance with the general theory of animated film and illustration. Artistic design is described first, including character development, search for a style of artistic expression, and drawing or painting of backgrounds. The theory, which accompanies the practical part of the thesis, touches upon the storyboard and comes to life in the so-called animatic – storyboard with an added time component. This thesis then presents and analyses selected works of other authors, who were selected based on their practical work, as it seemed as an appropriate basis and example for creating presented animation. Before the final part of this thesis, which examines montage and adding of sound, one chapter focuses on how to bring characters to life or how to animate them.

V diplomski nalogi sem načrtovala personalizirano vizualizacijo podatkov problematike globalnega segrevanja v Sloveniji, ki bi pri uporabniku vzbudila skrb in pripravljenost za spremembo vedenja ter sprejemanje podnebju prijaznih politik. Posledice podnebnih sprememb bodo vse bolj vplivale na naša življenja in pomembno je, da razumemo, od kod te spremembe izvirajo, kako bodo na nas vplivale in kako lahko posledice blažimo. Projekta sem se lotila z raziskavo področja komunikacije z uporabnikom, psihologije, načrtovanja uporabniške izkušnje, uporabniških vmesnikov, oblikovanja za splet in informacijskega oblikovanja. Ob upoštevanju temeljnih načel teh področij sem oblikovala končno rešitev – spletno mesto, kjer bi bile informacije predstavljene na personaliziran način. Predstavljena rešitev obravnava dve področji vplivov podnebnih sprememb, vendar njena struktura dopušča širjenje nabora. In my thesis I designed a personalized visualization of climate change data in Slovenia, the goal of which is to provoke concern, affect a change in behaviour and adopt climate-positive policies. Climate change will have ever greater consequences on our lives and that is why it is important to understand why these changes are occurring, how they will impact us and how we might mitigate them. First I studied the field of user communication, psychology, user experience design, user interface design, web design and information design. With the use of principles from these fields I designed a website where the information is presented in a personalized way. The project addresses two areas of climate change impacts but its design allows for expansion.

V tem magistrskem delu se bomo osredotočili na problematiko pojavnosti stripa na svetovnem spletu. Najprej se bomo posvetil mediju stripa na splošno, nato pa bomo raziskali, v kakšnih oblikah se strip pojavlja na medmrežju in kakšno kvaliteto pri tem dosega. Na podlagi zbranih podatkov se bomo odločili za obliko, ki najbolje učinkuje na spletu in je hkrati tudi najbolj priročna in nemoteča za bralčevo dojemanje zgodbe in vživljanje v pripoved. Na kratko si bomo ogledali tudi definicijo zgodbe in raziskali pravila njenega snovanja in strukture. Nadalje se bomo iz vidika teorije posvetili temi psihološkega stanja neodločnosti ter tako zasnovali zgodbo, ki jo bomo v nadaljevanju uporabili kot podlago za vizualno pripoved. Razvili bomo like ter vizualno podobo stripa, ter v izbrani obliki ustvarili svoj lasten spletni strip, ki ga bomo na koncu tudi javno objavili na spletu. In this master's thesis, we will focus on the issue of the appearance of comics on the World Wide Web. First, we will focus on the medium of comics in general. Then, we will investigate in what forms comics appear on the Internet and what quality they achieve in the process. Based on the collected data, we will decide on the format that works best online and is also the most convenient and unobtrusive for the reader's perception of the story and immersion with the narrative. We will also briefly look at the definition of a story and research the rules of its design and structure. Furthermore, we will focus on the topic of the psychological state of indecision from a theoretical point of view and, thus, design a story which we will use later as a basis for visual narration. We will develop the characters and visual appearance of the comic and create our own webcomic in the chosen form. At the end we will publish the comic online publicly.

Naš duševni svet, to intelektualno kraljestvo naših misli in predstav, vsebuje tudi svoje zavore, napake in izkrivljenosti ter obilico smešnega in komičnih kontrastov. Smeh je refleks, a edinstven v tem, da nima očitnega biološkega namena. Zdi se, da je njegova edina naloga razbremenitev napetosti. Humor pa lahko deluje kot prilagodljiv obrambni sistem, ki omogoča ljudem zaznavanje komične absurdnosti v zahtevnejših situacijah. Dvojnost, ki jo tragedija vidi kot usodno protislovje v naravi stvari, komedija vidi kot še en primer neskladne resničnosti, s katero mora vsak živeti, kakor se le da. Kierkegaard (1846) pravi, kjer je življenje, tam je protislovje. Kjer pa je protislovje, je prisotno komično. Moje praktično delo je avdiovizualni poskus raziskovanja humornega spoprijemanja s tragičnimi oziroma katastrofalnimi situacijami. Delo je razdeljeno na tri dele, tri različne ustaljeno neprijetne situacije, ki jih vsebinsko in tehnično poskušam reševati na humoren, neobremenjen način, kar v določenih aspektih meji na bizarno. Our mental world, this intellectual realm of our thoughts and ideas, also contains its own brakes, faults and distortions, and an abundance of ridiculous and comic contrasts. Laughter is a reflex, but unique in that it has no obvious biological purpose. His only job seems to be the relief of tension. Humor, however, can act as an adaptable ego defense system that allows people to perceive comic absurdity in more complex situations. The duality that tragedy sees as a fatal contradiction in the nature of things, comedy sees as another example of the inconsistent reality with which everyone must live as well as possible. Kierkegaard (1846) says where there is life, there is contradiction. Where there is a contradiction, however, the comic is present. My practical work is an audio-visual attempt to explore humorous coping with tragic or catastrophic situations. The work is divided into three parts, three different constantly unpleasant situations, which I try to solve in terms of content and technique in a humorous, unencumbered way, which in certain aspects borders on the bizarre.

Diplomska naloga obravnava odnos med človekom in naravo, vplive na človekovo zaznavo in koncept senzorialnega odmika, ki sem ga v praksi izvajal z uporabo metode dérive (angleško drift). Metodo, zasnovano leta 1956, teoretik in filozof Guy Debord opisuje kot "naključno hojo skozi določeno okolje brez posebnega cilja glede na trenutni navdih in zavedajoč se, kako te različni deli danega okolja pritegnejo ali odvrnejo". Diplomska naloga v prvem delu obravnava prevpraševanje meja med antropogenim in naravnim. Ker pa odmik v veliki meri vpliva na zaznavo samo, se v drugem delu posvetim tudi njej in predstavim načine odmika od običajne zaznave, tj. kako lahko nanjo vplivamo ali jo celo spremenimo. Praktični del naloge obsega fotografski cikel in avtorefleksijo fotografij, ki ponazarjajo senzorialni odmik v naravo kot metodo poglabljanja povezanosti človeka z naravo. The thesis deals with the human-nature relationship, the impacts on human perception and the concept of sensory retreat, carried out through practical work using the dérive method or drift. Devised in 1956, theorist and philosopher Guy Debord describes it as "aimless, random drift- ing through a place, guided by whim and an awareness of how different spaces draw you in or repel you". The first part of my thesis focuses on the differentiation between anthropogenic and natural and the perception of natural. However, as a retreat largely affects the perception itself, the second part of the thesis centers on perception, presenting various ways of achieving a drift from the usual perception and the ways in which we can influence or even change it. In its practical part, the thesis encompasses a photographic cycle and autoreflection of the pho- tographs, illustrating a sensory retreat to nature as a method of deepening our connectedness with nature.

V diplomskem delu obravnavam grafični roman in njegove zmožnosti pripovedovanja zgodbe skozi ilustracijo. Po tem ko sem opredelila koncept ilustracije in v njeno področje vključila grafični roman, sem naštela in razložila elemente oblikovanja strani knjig. V primerjalni analizi navajam zanimive in ustrezne grafične romane in animacijo, s pomočjo katerih pridem do različnih spoznanj pri reševanju problema pripovedovanja zgodb. Z opredelitvijo koncepta scenarija, njegovih teorij struktur in elementov zgodb ustvarim podlago za lastno delo. Podam dodaten pregled definicije simbolov, simbolizma in simbola smrti za nadaljnje razumevanje vsebine grafičnega romana. V praktičnem delu naloge razložim psihološko in simbolno ozadje domišljijskih zgodb lastnega dela, vizualno zasnovo in oblikovanje knjige. In my BA thesis, I discuss the graphic novel and its ability to tell a story through illustration. After defining the concept of illustration and including a graphic novel in its field, I listed and explained the elements of book page design. In the comparative analysis, I list interesting and relevant graphic novels and animation, with the help of which I come to various insights in solving the problem of storytelling. By defining the concept of the script, its theories of structures, and elements of stories, I create the basis for my work. I provide an additional overview of the definition of symbols, symbolism, and the symbol of death to further understand the content of the graphic novel. In the practical part of the thesis, I explain the psychological and symbolic background of my stories, their visual design, and the book design.

Za diplomsko delo bom ilustrirala in oblikovala knjižico, ki bo služila kot pripomoček pri logopedski terapiji. Raziskovala bom področje logopedije, potek logopedske terapije in ciljne publike terapije. Nato bom skušala poiskati najprimernejše oblikovalske rešitve za tovrstno oblikovalsko zahtevo preko analize sestavnih delov knjižice, ki bo služila kot omenjeni pripomoček. I will illustrate and design a tool that will be used for speech therapy. I will focus my research to the field of speech pathology, to the process od speech pathology therapy and the target audience of said therapy. I'll try to find the most suitable design solutions for this type of design demand through the analysis of the components of the booklet that will serve as the described tool.

V diplomskem delu obravnavam oblikovanje likovne pripovedi. Še posebej sem se osredotočila na vrste kadriranja in učinek kadriranja na ritem zgodborisa, s posebno pozornostjo na razlike v kadriranju med zahodnimi in japonskimi stripi. Poleg tega sem za oblikovanje prostora in junakov raziskala pomembne zgodovinske podatke, zlasti razliko med biblijsko Salomo in Salomo Oscarja Wilda. Na podlagi raziskave sem ustvarila praktični del diplomske naloge v obliki stripa. V svoji interpretaciji sem uporabila besedilo drame Oscarja Wilda in na podlagi zgodovinskih dogodkov ustvarila novi futuristično distopični svet, v katerem se odvija tragična zgodba. In this BA thesis I discuss the principles of visual narratives in comic form, with a particular emphasis on the types of frameworks and differences in frameworks and storyboarding in different Western and Japanese comics. In order to create an appropriate space and characters I researched relevant historical details, especially the difference between the biblical and Oscar Wilde’s Salomé. On the basis of these findings I created the practical part of my thesis, the story of Salomé in comic form. In my interpretation I used Oscar Wilde’s play and created a dystopian futuristic world where this tragedy takes place.

V svojem diplomskem delu »Ustvarjanje v fotografiji in slikarstvu« sem raziskovala razliko med ustvarjanjem v fotografiji in slikarstvu. Sprašujem se, ali je v fotografiji dovolj svobode, da se enači s slikarstvom na ravni možnosti tematiziranja posamezne likovne ideje. Morda vsaka dopolnjuje svoje pomanjkljivosti drugače, a zdi se, da ima slika širši razpon likovnega jezika. Obravnavala sem določen miselni proces v obeh medijih, in sicer skozi abstrakcijo. Izbrano temo sem obravnavala z raziskovanjem literature o fotografiji in slikarstvu ter raziskovanjem pomembnih avtorjev na tem področju. Praktični del pa sem razdelila na slikanje in fotografijo ter v vsak medij umeščala enake vsebinske komponente. Zanima me razpon možnosti oblik, barv, formata in dimenzij. Končni izdelek sta fotografija in slika v primerjavi. In my thesis »Creating in photography and pinting«, I explored the difference between creating in photography and painting. I wonder if there is enough freedom in photography to equate it with painting at the level of the possibility of thematizing a particular artistic idea? Maybe each complements its flaws in a different way, but the painting seems to have a greater range of visual language. I addressed a particular thought process in both media, namely through abstraction. I addressed the chosen topic by researching the literature on photography and painting and by researching important authors in this field. I divided the practical part into painting and photography and placed the same content components in each media. I am interested in the range of shape, color, format and dimensional options. The final product is a photo and pictures compared.

Namen diplomske naloge je ilustrirati besedilo Kdo je napravil Vidku srajčico avtorja Frana Levstika. Pri tem je raziskan razvoj slikanice na Slovenskem s poudarkom na vprašanjih, ali je tehnika ilustriranja vpeta v čas in prostor ter kako je z ilustracijo mogoče učinkovito podpreti zgodbo in tematiko. Končni izdelek je slikanica z ilustracijami tega Levstikovega besedila. The purpose of the diploma thesis is to illustrate the texst by the author Fran Levstik, Who made Videk's shirt. I will research the development of pictur book in Slovenia. I am interested in whether the technique of illustration in embedded in time and space, and how we can effectivly support a story and theme with illustration. The final product will be picture book with illustrations of this Levstik's text.

V svoji diplomski nalogi sem se ukvarjala s problematiko pomanjkanja slovenske kolesarske infrastrukture. Ob porastu priljubljenosti kolesarstva v Sloveniji je problematika relevantna za vse večje število ljudi. Namembnost rekreativnega kolesarstva sta predvsem športno preživljanje prostega časa in nadgradnja kolesarskega performansa. Če rekreativni kolesar med aktivnostjo več pozornosti nameni usmerjanju kot aktivnosti sami, lahko ugotovimo, da infrastruktura ni dovolj dovršena. Za reševanje problema sem zasnovala aplikacijo, ki kolesarju pomaga pri njegovi aktivnosti – s sledenjem GPS signala ga na njegovi poti usmerja, beleženje svoje poti pa lahko kolesar po principu crowdsourcinga doda v bazo kolesarskih tras po Sloveniji. Prevoženo pot lahko kolesar z drugimi uporabniki aplikacije deli tudi z objavo na svojem uporabniškem profilu. Kot rekreativna kolesarka sem problem kot relevanten zaznala že pred začetkom dela na projektu. Zaradi pomanjkljivih usmerjevalnih oznak na poti, oziroma zaradi popolne odsotnosti usmerjevalnega sistema je bila uspešna navigacija med kolesarjenjem povsem nemogoča. Eno izmed svojih izkušenj sem v raziskovanju kasneje opredelila kot storitveni safari. Na začetku raziskovanja sem se lotila analize slovenske kolesarske infrastrukture, informacijskega oblikovanja ter usmerjanja. Z uporabo kvantitativne metodologije pa sem prvotno raziskovalno vprašanje razširila. S pomočjo intervjujev in izrisa uporabniške poti sem ugotovila, da sem infrastrukturni problem osnovala le na lastnem izkustvu. Izkazalo se je, da pomanjkanje označb predstavlja le del problema. Ob tem spoznanju sem projektu zastavila novo obliko in se lotila izdelave sistema. S pomočjo likovnih in tipografskih sredstev sem zasnovala koncept navigacijske kolesarske aplikacije. Za doseganje sistematične rešitve sem principe usmerjanja aplicirala na digitalni prostor. Tako sem na nivoju posamezne trase dosegla informacijsko zasnovo, ki bi lahko kasneje opremljala tudi fizične oznake. V svoji nalogi sem z metodo informacijskega oblikovanja nadgradila začetno opredelitev problema, s tem bolje definirala smer reševanja in lažje izbrala ustrezen pristop. Le z aktivnim sodelovanjem uporabnikov je namreč mogoče izboljšati njihovo uporabniško izkušnjo. Predstavljeni koncept pa vendar brez strokovne podpore ter ustreznih sredstev ostaja le ena izmed idej o izboljšavi vsakodnevnega življenja. The following thesis deals with the lack of cycling infrastructure in Slovenia. With the recent growth of popularity of cycling in Slovenia, the absence is becoming ever more relevant. Recreational cyclists wish to improve their performance and spend their leisure time in an active manner but often they have to pay more attention to wayfinding than cycling itself, which a clear sign of the insufficiency of Slovenia’s current cycling infrastructure. To tackle the problem, I developed a mobile application to help cyclists along their way - by tracking GPS signal the application helps in wayfinding along the route, and cyclists can also publish their routes on their profiles. Via crowdsourcing, they can also share their routes onto the Slovenian cycling routes database. As a recreational cyclist, I experienced this problem first-handedly and thus saw it as relevant before starting to work on this project already. Due to a lack of directional signs on routes and a complete absence of a comprehensive directional system, satisfactory navigation was not possible. As I began my research, I later defined one of my cycling experiences as a ‘service safari’. I started my research by analyzing Slovenia’s cycling infrastructure, the general information design and wayfinding. I later expanded the original research question using a quantitative method. With the help of interviews and a user journey diagram that I constructed, I found that the defined infrastructure problem was based solely on my own experiences. The lack of directional sings turned out to be just part of the problem. With this in mind, I redesigned the project and began forming an application system. I designed the concept for a navigation cycling application using visual and typographic means. I applied wayfinding principles to the digital space in order to develop a systematic solution. I hence developed an information design based on individual route level that could later also equip directional signs in the actual physical environment.In my assignment I used the information design method to reassess the initial definition of the problem, which enabled me to better define the solution and choose an appropriate approach to achieve it. The user experience can only be improved through the user’s active participation in the process. Without professional support and adequate resources however, the concept I present here represents just one possible idea for improving everyday life of cyclists in Slovenia.

V svojem diplomskem delu sem skozi primer aktualnega družbenega dogajanja v koronakrizi raziskoval tako splošno kot tudi subjektivno občutenje represije. Raziskoval sem tudi celostno umetnino (totalno umetnino ali sintetizacijo umetnosti) kot uprizoritveno formo, ki jo je populariziral Wagner. Gre za umetnino, ki različne elemente umetniških disciplin združuje v eno celoto, da udeleženec umetnine ne samo vidi in sliši, ampak tudi začuti in postane, ter ostane, v umetniškem delu aktiven. V svojem praktičnem delu sem gledalcu poskušal skozi interaktivno umetnino, ki je postavljena na prihajajočih omrežjih, prikazati svojo raziskavo represije, principe, po katerih se vzpostavljajo družbene moči, kako lahko oblast sproža v ljudeh neko upanje, pozitivno ter povezovalno razmišljanje glede na krizne dogodke ali ravno nasprotno, negativno, represivno občutje. In my BA thesis I was researching the general and subjective feel of repression through a lens of actual social events in corona crisis. Meanwhile I was also researching Gesamtkunstwerk or total work of art as a staging form, which was popularised by Wagner. It's an art piece, which combines different elements of art disciplines into one total work of art. Through visual and audio communication, the participant feels and stays engaged in the art work. In my practical segment, I tried to show my research of repression, the principles of forming social power, how a government can evoke positive, hopeful and feelings of connection, or negative, repressive feelings in a crisis, through an interactive art work that is based on uprising technology of decentralised networks.

V diplomskem delu se ukvarjam z vprašanji, kaj je razstava, zakaj se pri obisku razstav lahko počutimo nelagodno ter kakšen odnos ima razstava do fotografije. Na kratko opišem razvoj razstav, nato pa se osredotočim na umetniške razstave. V poglavjih o trgu, institucijah in kuratorjih so orisani vidiki, ki so fenomen razstave najbolj pojasnili, v poglavju o doživljanju razstave pa so predstavljeni dejavniki, ki vplivajo na obiskovalčevo izkušnjo prostora in časa, ter tudi razmerja med telesom in razstavljenimi objekti. Zanimala sta me tudi povezava in odnos med fotografijo in razstavo. Raziščem tako razstavo fotografije kot fotografijo razstave. Predstavljeni so različni načini razstavljanja fotografije in vpliv, ki ga ima fotografija razstave na doživljanje razstave. Na koncu pa so predstavljeni še rezultati vzporedno ustvarjenega vizualnega dela. In my bachelor's thesis I focus on the questions: what is an exhibition, why can exhibitions provoke a feeling of unease, and what specific relation does an exhibition have to photography. I describe the historical development of exhibitions, focusing on art exhibitions in particular. The chapter about market, institutions and curators presents these aspects which explain the most about the exhibition phenomenon. The chapter on the exhibition experience itself presents factors that affect visitor’s perception of time and space in an exhibition, as well as the relationship between the body of the spectator and the exhibited objects. I am also interested in this connection and relationship between photography and exhibition, for which I researched both exhibited photography, as well as the photography of exhibitions. Different ways of exhibiting photography are presented, as well as the influence that photographs of an exhibition have on the experience of the exhibition. Results of the visual work which was produced along with the research are presented at the end.