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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 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.

V diplomski nalogi sem raziskovala stereotipno študentsko življenje in kako ga upodobiti v kontekstu ustaljenih pomenov tarot kart, natančneje velike arkane. V teoretičnem delu sem s pomočjo intervjuja raziskala sociološki in psihološki vidik študentskega življenja ter stereotipe o tem. Preučevala sem tudi razliko med stereotipi, ki so ključni del moje raziskave o študentih, in arhetipi, ki so osnova tradicionalnih pomenov velike arkane v tarotu. V praktičnem delu sem povezala arhetipe in pomene kart iz velike arkane s stereotipi, pojmi ter pojavi iz študentskega življenja in jih upodobila v seriji ilustracij za komplet dvaindvajsetih kart velike arkane v mešani tehniki akvarela ter barvice. Oblikovala sem vodič in mošnjiček za karte. In my BA thesis, I researched the stereotypical student life and how to depict it in the context of already established interpretations of the major arcana of tarot cards. In the theoretical part, I researched the sociological and psychological aspect of being a student by conducting an interview. I also researched the difference between stereotyped, which were a key part of my research about students, and archetypes, which are the basis of the major arcana in the tarot. I connected the archetypes of major arcana with the stereotypes from the student life and depicted them in a series of illustrations for my deck of the twenty-two major arcana cards in the practical part of my thesis. The series was done in a mixed medium of watercolour and coloring pencils. I also designed the guidebook and a pouch to hold the cards.

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.

Namen diplomske naloge je bil vizualizacija pravljice Rdeča kapica. Cilj je bil ustvariti lastno interpretacijo, ki bi z ilustracijami ponudila drugačno branje besedila. Pri raziskovanju različic pravljice Rdeča kapica odkrivam, kako je Perraultova različica temeljila na »zabavni« percepciji in kako se je ta razvila v »poučno« različico bratov Grimm. Ob tem sem se spoznala tudi z verzijo Rdeče kapice, ki nosi naslov Zgodba o babici (ang. The story of grandmother), zapisal pa jo je avtor Paul Delarue. Odločila sem se za vizualizacijo te verzije, saj še ni »kontaminirana« s tendenco zaščite otroka, pomagala pa mi je tudi pri razumevanju razlik med sodobnimi verzijami in zgodnjimi različicami, ki imajo le malo skupnega s tem, kar otrokom pripovedujemo zdaj. The aim of this thesis is to visualize the story of the Little Red Riding Hood. My goal is to create my own interpretation, which would offer a different reading of the text. In exploring the versions of the fairy tale, I discovered how Perrault's version was based on an ''entertaining'' perception and how this evolved into the ''educational'' version of the Brothers Grimm. In doing so, I also learned about the version of The Little Red Riding Hood called The Story of the Grandmother, written by Paul Delarue. I decided to visualize this version because it is not yet ''contaminated'' by the tendency to protect the child, and it also helps me to understand the differences between modern versions and early versions that have little in common with what we tell the children today.

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 procesu diplomskega dela sem se veliko spraševala o vlogi kiparstva danes. Kiparstvo lahko dojemamo kot besedo, dejanje, proces, izdelek, lahko pa je tudi vse v enem. Kaj je tisto, ko človek s ponosom reče, da študira kiparstvo in da je naredil kiparski izdelek? Na podlagi vprašanja, kaj je zame kiparstvo, sem začela razvijati diplomsko delo. Cilj je bil narediti tridimenzionalni predmet, pri katerem je telesna prisotnost pomembna. Kip živi sam od sebe, posvečen je sebi in svoji lepoti. Kiparsko delo bo vedno govorilo svoj jezik. Zame je kiparstvo sogovornik skozi različne materiale. Diplomsko delo temelji na pogovoru z ustvarjalno silo življenja, ki jo srečujem pri delu z odpadom in železom. In the process of making my bachelor's thesis I have been asking myself about the role of sculpture today. We can think of it as a word, an action, a process, a product, but it can also be all that at the same time. What is it that makes a person proudly declare that he or she studies sculpture and has made a sculptural product? On the basis of what sculpture means to me, I started to develop the thesis. The goal was to create a three-dimensional object, in which the presence of the body is important. The sculpture lives on its own, dedicated to itself and its own beauty. The work of sculpture will always speak its own language. To me, sculpture is a co-speaker through different materials. The thesis is based on the conversation with the creative force of life that I encounter at work with waste and iron.

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.

Diplomska naloga se ukvarja s pomenom vpliva večsenzornega oblikovanja na uporabnika in z ločevanjem prostora po namembnosti njegovih delov. Vpliv produkta na čute uporabnika je pri načrtovanju izdelkov in prostorov pogosto spregledan, vendar pa je za uporabnika in njegovo počutje zelo pomemben. Naloga v raziskovalno-analitični fazi raziskuje človeške čute ter dojemanje prostora, v poglobljeni raziskovalno-analitični fazi pa pregleduje obstoječe primere pregrajevanja prostorov in ločevanja prostora glede na namembnost posameznih delov. V načrtovalski fazi sledi konceptualizacija, skiciranje in testiranje potenciala tehnologije 3D-tiska. Končni rezultat diplomske naloge je modularni produkt, ki se lahko prosto sestavi v številne oblike glede na namembnost ter manipulira s svetlobo in vpliva na različne čute uporabnika. BA thesis studies the impact of the multisensory design on the user and dividing the space according to the purpose of its parts. The impact of the product on the senses of its user is often overlooked, when designing a product or a space, but it is very important for the users well-being. In the research-analytical phase, the thesis researches the human sensory system and perception of space, and in the deepened research-analytical phase looks into existing products for room division and dividing the space for different purpuses. In the design phase follows conceptualisation, sketching and testing the potential of the 3D printing technology. The finished product of the BA thesis is a modular product, that can be assembled according to the needs, manipulates with the light and affects the senses of the user.

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 diplomskem delu sem opravil raziskavo že obstoječih načinov shranjevanja v drugi vrsti štirih električnih avtomobilov. Predstavil sem varnost ter kako jo vključiti kot vrednost v današnji avtomobil. Izpostavljam glavne ergonomske točke, ki so najbolj vitalne za potnike v drugi vrsti avtomobila ter kakovost in kaj jo sestavlja. Pomemben del raziskave predstavlja kvantitativna uporabniška raziskava, ki sem jo opravil s pomočjo anket ter kvalitativna raziskava, ki sem jo opravil s pomočjo intervjujev. Na podlagi vseh poglobljenih raziskav in uporabniških odgovorov sem se posvetil reševanju izvedbe odlagalnih mest v drugi vrsti avtomobila, ki zajemajo štiri potencialno nove implementacije shranjevanja. Te stojijo zgolj na konceptnem temelju. Njihov namen je vzbuditi zanimanje za nove načine načrtovanja in vgradnjo odlagalnih mest v drugi sedežni vrsti avtomobila. In my thesis, I investigated the existing storage in the second row of four electric cars. I presented safety and how to integrate it as a value in today's automobile. I highlight the main ergonomic points that are most vital for the passengers in the second row of the car and also the quality and what it consists of. An important part of the research is quantitative user research, which I carried out by means of surveys, and qualitative research, which I carried out by means of interviews. Based on all the in-depth research and user responses, I have turned my attention to addressing the implementation of second-row car storage, covering four potentially new storage implementations. These are based on a purely conceptual basis. They are intended to generate interest in new ways of designing and installing storage in the second row of the car.

V diplomskem delu z naslovom Embalaža za ponovno polnjenje za trajnostno uporabo so raziskane možnosti zmanjševanja uporabe plastike pri embalaži. V raziskovalni fazi so bile pridobljene potrebne informacije glede problema plastike. S pomočjo študija primerov dobre prakse ponovne uporabe je bilo izbrano oblikovanje polnilne postaje, ki spodbuja uporabnike k ponovni uporabi embalaže sončnih krem. Diplomsko delo se poleg oblikovanja postaje dotakne in razloži tudi storitve v povezavi s postajo. In the thesis entitled ˝Refillable packaging for sustainable usage˝, the possibilities of reducing the use of plastic in packaging are investigated. During the research phase, the necessary information regarding the plastic problem was obtained. With the help of case studies of good re-use practices, the design of the charging station was chosen to encourage users to re-use sunscreen packaging. In addition to the design of the station, the thesis also touches on and explains the services connected with the station.

Diplomsko delo obravnava vpliv pripovedi in njenih elementov na poslusalca ter njegovo zaznavanje okolja. Skozi predstavitev pripovedi izpostavim pomembnost verjetja ter reakcije, ki jih ta prinese. Poudarim tudi problematiko kolektivnega verjetja kot omejevanje interpretacij. Po teorijah Carla Junga razlozim vpliv pripovedi na clovesko psiho in pomembno vlogo domisljije. Raziskujem tudi strah in dozivljanje paranormalnih dogodkov in kaj nam to pove o nas samih. Predstavim pomen sinhronicitete, ki jo navezem z opazanji neobicajnih dejavnikov v prostoru in legend-tripping kot vrsto iskanja novih umetniskih motivov. V zakljucnem delu naloge predstavim dve ideji za umetniski deli. The Bachelor thesis examines how a story and its elements effects the listener and his perception of surrounding. Trough introducing a story I point out the importance of belief and following reaction. I emphasize the problem of collective belief in relation to limiting our interpretations. With the help of Carl Jungs theories I explain stories effect on human psyche and the important role of imagination. I examine fear and experience of paranormal phenomena and what it tells us about ourselves. I present the meaning of synchronicity, which I relate to noticing unnatural elements in a place. I introduce legend-tripping as a way of finging new motifs in art. In the end I present two ideas for an art piece.

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.

Diplomska naloga se poskuša dotakniti razmerja med sliko in ogledalom. Ogledalo je misteriozen predmet, prepojen z iluzijo. Omogoča nam, da stvari vidimo drugače. V diplomskem delu raziskujem, kako se spreminja moč originala slike, ko jo vidimo kot odsevno podobo kaj se zgodi in kako se transformira, ko jo gledalec vidi v odsevu, neposredno. Gledalec se znajde v drugačnem zaznavnem polju. Vstopi v nov svet iluzije, morda celo prevare. Delo se prav tako navezuje na pretekla obdobja, teorije in umetnike, ki so se s tem že ukvarjali. V diplomski nalogi podam tudi osebna doživljanja in ugotovitve, skozi katere me je peljal proces. The thesis tries to touch on the relationship between a painting and the mirror. The mirror is a mysterious object steeped in illusion. It allows us to see things differently. In my work, I investigate how the power of the original painting changes when we see it as a reflected image. What happens and how it transforms when the viewer sees it in the reflection, directly. The viewer finds himself in a different perceptual field. He enters a new world of illusion, maybe even deception. The work is also related to past periods, artists, theories that have already dealt with it. In my diploma, I also give my personal experiences and findings through which the process took me.

Kdaj so nastali glasbeni videospoti? So videospoti forma kratkih filmov ali jim pripada lastna kategorija? So videospoti zgolj reklame za glasbenike ali ponujajo nekaj več kot zgolj oglaševanje? Kakšne so razlike med videospoti, ki so nastali pred nastankom glasbene televizije MTV in tistimi, ki so nastali za časa MTV-ja in kasneje? Kako dekodirati glasbene videospote? Kako izdelati videospot? V diplomskem delu sem poizkusil na ta vprašanja odgovoriti s pomočjo različnih teoretikov, predvsem sem sledil uveljavljenima avtorjema Andrewu Goodwinu in Carol Vernallis, katerih besedila sem izpostavil in podrobneje preučil. Teoretskemu delu sledi opis procesa izdelave glasbenega videospota, ki sem ga ustvaril za skladbo Satelit slovenske skupine Matter. V opis sem vključil nekatera spoznanja iz teoretskega dela in tako poizkusil dokazati, da teorija o glasbenih spotih pripomore h kvalitetnejši konceptualizaciji glasbenega videospota. When did music videos emerge? Are music videos merely a form of short films, or do they fall into their own category? Are music videos just commercials for musicians or do they go beyond advertising? What are the differences between music videos made before music television MTV and those made during the time of MTV and later? How to decode music videos? How to make a music video? In following thesis I tried to answer these questions by relying on the acclaimed theorists Andrew Goodwin and Carol Vernallis, whose work I studied and analysed in detail. The theoretical part is followed by a description of the process of making a music video, which I created for the song Satelit by the Slovenian band Matter. This part of the thesis is corroborated by findings I reached while researching on and analysing the music video theory. In this way, I strive to prove that the theory on music videos contributes to the quality of music video conceptualization.

V diplomski nalogi se ukvarjam s proučevanjem žanra grozljivk in s tem, kako se v tem žanru množično ponavljajo klišeji. V prvem delu sta na kratko predstavljena psihologija groze in pogled na žanr z družbenega vidika, kjer se vprašam, zakaj je ljudem všeč občutek strahu. Kot izhodišče so postavljena potencialna teorija, ki jo postavi Sigmund Freud o psihologiji groze in uncanny valley, ter razmišljanja Stephena Kinga in Noëla Carrolla na to temo. Nato sta predstavljena zgodovinski pregled grozljivke in ključna razlika med grozljivkami, srhljivkami in subkulturo žanra parodije. V nadaljevanju se osredotočim na zgodovinsko analizo parodije in serijo film, da te kap, od koder so črpana glavna vizualna izrazna sredstva za nastanek praktičnega dela, predstavljenega kot parodija na absurdnost ponavljajočih se klišejev v žanru. Za konec analitičnega dela, še predstavim knjigo, ki mi je najbolj pomagala pri raziskavi teme, Steven King – Danse Macabre. Sledi kratek fokus na zgodbo mojega kratkega filma in kaj hočem s tem filmom povedati in prikazati. Nato na kratko opišem proces, skozi katerega sem analizirala, kaj je bilo potrebno za izpeljavo končnega dela. V nadaljevanju sledi analiza prej omenjenih množično ponavljajočih se klišejev in njihove vloge v modernem prikazu v filmski industriji in na koncu tudi primerjava z mojim filmom in kako so ti klišeji izraženi in pretirani v mojem delu, proti delu mojstrom. The thesis studies the horror genre and how clichés are repeated in this genre. The first part briefly presents a reflection on the psychology of horror and a look at the genre from a social perspective, wondering why people like feeling afraid. The starting point is a potential theory put forward by Sigmund Freud on the psychology of horror and the uncanny valley, as well as the reflections of Stephen King and Noël Carroll on this topic. This is followed by a historical overview of horror movies and the key difference between horror movies, thriller movies, and the subculture of the parody genre. Afterwards, the thesis focuses on a historical analysis of parody and on the scary movie franchise from where the main visual means of expression are drawn for the practical work. The latter is presented as a parody of the absurdity of repeated clichés in the genre. To finish the analytical part of my thesis, a comparison is drawn with my film and how these clichés are expressed and exaggerated in my work. In the end, I present the book that helped me the most in researching this topic, namely Stephen King's - Danse Macabre. Here, we break from theory and briefly focus on the story of my short film and what it aims to prove. Then, I briefly describe the process through which I analyzed what was necessary to produce the final work. This is followed by an analysis of the massively recurring clichés and their role in the contemporary film industry.

V diplomskem delu se ukvarjam s temo nadzora. Analiziram zgodovinske študije nadzora, od zgodovinskega panoptikona do ideje sodobnega nadzorstvenega kapitalizma, in s tem ugotavljam pomen nadzora v družbi in njegov vpliv na spremembe družbenih dinamik. Nadzor je vseprisoten in ključno vpliva na naš obstoj, zgodovino, razvoj družbe, navsezadnje pa tudi postavlja in oblikuje nove ekonomske in politične sisteme. Preko teorije zgradim osnovo za instalacijo, ki potem odpira polja za razmislek o vlogi nadzora v umetniškem kontekstu. Pojavlja se ugotovitev, da morda v sodobnem času prav umetniški prostor odpira možnost za preskok iz vloge gledanega v vlogo gledajočega. In my thesis, I deal with the topic of surveillance. I touch on surveillance studies, from the historical Panopticon to the idea of modern surveillance capitalism. I identify changes in social dynamics and analyze the importance surveillance has in that. Surveillance is omnipresent and has a key influence on our existence, history, and development of society. It ultimately establishes and shapes new economic and political systems. Through theory, I build a basis for an installation which then opens up a field for reflection on the role of surveillance in the context of art. There is a conclusion that, perhaps, it is the artistic space in modern times that opens up the possibility of a leap from the role of the viewed to the role of the viewer.

V diplomski nalogi problematiziram asociativen del senzorične zaznave pred kognitivnim. Za oznako tovrstne percepcije uvedem pojem mimetična perpleksija, ki ga najprej obravnavam skozi tri branja modalnosti lastnega dela. Izpostavim, da ima podoba v odnosu do subjekta sposobnost korelacijskega reformiranja, ob čemur opozorim na uporabo naključne poteze na primeru Rorschach testa. Uveden pojem utemeljim na primeru dveh Blechnerjevih fenomenov znotraj oniričnega prostora – kognitivna disonanca in interobjekt, ter na primeru zvočne produkcije skupine Death Grips, kjer izpostavim znakovno dekontekstualizacijo kot aparat za preigravanje percepcije. Na koncu se opredelim še do upodabljanja neznanega, kot enigme, ki je skozi prelahko estetizacijo pogosto marginalizirana. The diploma thesis problematizes the associative aspect of sensory perception over the cognitive one. The concept of mimetic perplexity is introduced to denote such perception this concept is initially discussed through three readings of the modality of my own work. I highlight that in its relation to the subject the image possesses the ability of correlative reformation, pointing out the use of a random stroke on the example of the Rorschach test. The introduced concept is substantiated on the example of two of Blechner's phenomena within the oneiric space – disjunctive cognition and the interobject, and on the example of the sound production of the Death Grips group, where I highlight the decontextualization of symbols as a device for tricking perception. In the end, I state my position on portraying the unknown as an enigma that is often marginalized through oversimplified aestheticization.

V svoji diplomski nalogi se ukvarjam z vlogo humorja v sodobni umetnosti. V prvem delu predstavim štiri različne teorije humorja, nato pa podrobneje obravnavam nekaj praks umetnikov, ki uporabljajo strategije humorja. Proti koncu preidem k praktičnemu delu, v katerem analiziram elemente humorja v svoji svetlobni instalaciji Opazovalec. Namen dela je raziskati vpliv humorja na doživljanje in razumevanje umetniških del. In my thesis I focus on the role of humour in contemporary art. In the first part, I present four different theories of humour. I then elaborate on some of the practices of artists who use strategies of humour. Finally, I move on to the practical part, in which I analyse the elements of humour in my own light installation titled The Observer. The purpose of the work is to explore the impact of humour on the experience and understanding of artworks.

Diplomska naloga obravnava ilustracijo kot primer intersemiotičnega prevoda, v katerem skuša podoba besedilo poustvariti v vizualnem jeziku. Naloga utemelji nemožnost ekvivalence v prevodu in s tem prevajanje predstavi kot transformativno dejanje, ki razkriva razlike med jeziki in nestabilnost jezika kot takega. Kot ključno vodilo prevajanja izpostavi neločljivost oblike in pomena. S tem med drugim odgovarja na vprašanje, kako naj ilustracija resnično poustvarja (učinke, atmosfero…) in se z izvirnikom stika tudi v tistem, kar presega informacijo. Kot prevod je ilustracija z izvirnikom sopostavljena. Vzpostavljen dialog med besedo in podobo je mesto ponovne preobrazbe, poraja pa tudi vprašanje funkcije ilustracije-prevoda. Taiste jezikovne razlike, ki ovirajo prevajanje, se lahko v sopostavitvi izkažejo kot prednost. Hkrati pa tovrstna pozicija omogoča mnogo načinov sodelovanja besednega in vizualnega, v katerih lahko podoba zavzame bolj aktivno vlogo. This paper examines illustration as an example of intersemiotic translation, in which an image seeks to re-create the text in visual language. The paper argues for the impossibility of equivalence in translation. Rather, translation is represented as a transformational act that exposes differences between languages and instability of language as such. It points out the inseparability of form and meaning as a key principle of translation. Among other things, this answers a question about how can an illustration re-create an information excess (atmosphere, effects) and establish a connection in what language produces with the way of writing. Illustration as a translation is juxtaposed with its original. Established word-image dialogue is a place of yet another transformation, but also, poses a question about the function of illustration as a translation. Same differences which, in translation, come across as obstacles, fix and emphasize verbal text in juxtaposition. On the other hand, this kind of position allows for many ways of word-image collaborations, in which images can strive for more of an active role.

Obraz je sredstvo komunikacije, izražanja in upodabljanja. Od nekdaj ga uporabljamo za lastno reprezentacijo, saj verjamemo, da osebo najboljše opiše. Vendar to ni res. Reprezentacija ni vseobsegajoča in ima slepe točke, zato ne more predstavljati in upodobiti celotne osebe. Danes so se spremenili načini reprezentacije in razlogi za upodabljanje. (Avto)portretne upodobitve, ki so jih nekoč uporabljali za konzervacijo osebe v fizičnem objektu, so danes nadomestili selfiji, ki jih primarno uporabljamo kot dokaz življenja in sredstvo komunikacije. Vloga obrazne upodobitve je bila nekoč vezana na obraz, danes pa se je upodobitev osvobodila odvisnosti od obraza, kar pa ne pomeni, da je svobodna. Ujeta je v nenehni cikel lastnega izumljanja, ki sledi mikro-trendom obrazne reprezentacije, samo, da ostane relevantna in vredna pogleda drugega. The face is a means of communication, expression and depiction. It has always been used for our own representation, as we believe that it can describe a person best. However, this is not true. Representation is not all-encompassing and it has blind spots, so it cannot represent and depict a person wholly. Today, methods of representation and reasons for (self)depiction have changed. (Self)portraits, once used to conserve a person in a physical object, are now replaced with selfies, primarily used as evidence of life and a means of communication. The role of facial depiction was once dependent upon the face, while facial depiction today is free from this dependency, which does not, however, mean it is free from all (such dependencies). It is caught in a continuous cycle of self-inventing, following micro-trends of facial representation, just so it stays relevant and worthy of the gaze of the Other.

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.

K temi 'Intima' pristopam z vidika ovir oziroma barier, ki si jih postavljamo ali so nam postavljene, ki našo intimno podobo zastirajo in oblikujejo. V prvem, teoretičnem delu diplomskega dela te ovirajoče dejavnike razčlenim na zunanje in psihične, ki predstavljajo tako imenovane 'Bariere' ter razmišljam, kako se med seboj prepletajo oziroma povezujejo. Obravnavam tudi nekatere referenčne umetnike, katerih dela so mi pomagala pri razvijanju ideje ter se nato posvetila procesu odkrivanja otipljive podobe skulpture. V praktičnem delu skozi hitre skice načnem večplastnost čustev, razmišljam o artikulaciji občutkov ujetosti in zatrtosti v materialu ter o različnih variacijah forme. Naslonim se na zakonike človeškega kanona in zlatega reza, vendar se skladno s problematiko tudi prepuščam spontanosti. Želim, da skulptura v telesu opazovalca izzove podoben čustveni odziv kot pri procesu samoodkrivanja, s katerim se bolj ali manj zavedno srečujemo vsak dan. Pri načrtovanju fizičnega izdelka se soočam z izzivi, ki jih prinese nujno uravnovešanje teoretičnega in estetskega vidika izdelovanja skulpture, predvsem pa prevajanje občutka v snovni svet. The diploma thesis approaches the topic of 'intimacy' from the point of view of the obstacles or barriers that we set or that are set for us, obscuring and shaping our intimate image. In the first, theoretical part, these inhibiting factors are divided into external and mental, which represent the so-called barriers, contemplating on how they intertwine or connect with each other. Some of the artists whose works have helped to develop the idea are discussed, after which the thesis focuses on the process of discovering a tangible sculptural image. In the practical part, through the painting, I dedicate myself to exploring the multifaceted nature of our emotions, thinking about the articulation of the feeling of being trapped and repressed in the material, and about different variations of form. I rely on the codes of the human canon and the golden ratio, but in accordance with the problem, I also indulge in spontaneity. I want the sculpture to evoke a similar emotional response in the body of the observer as in the process of self-discovery that we more or less consciously encounter every day. When designing a physical product, I face the challenges posed by the inevitable balancing of the theoretical and aesthetic aspects of sculpting and, above all, by the translation of feeling into the material world.

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.

V diplomski nalogi raziskujem, na kakšen način se japonska manga uvršča v umetnost. Zanima me njen pojav v kulturi in svet, ki ga manga predstavlja. Raziščem psihološke vzgibe/ozadja za zgodbe, in sicer kot zgodovino nastanka mange. Zanima me, ali je na vključitev/ne vključitev v umetnost vplivala razlika v odprtosti/zaprtosti japonske družbe. Skozi poglavja o Mangi, Figuri v barvnem prostoru, Barvi, Svetlobi in inkarnatu, Kadriranju/sekvencah pa sem reflektirala povezavo mange in slike na podlagi lastnega dela. In my thesis, I investigate how Japanese manga is classified as art. I am interested in its appearance in culture and world that manga represents. I explore both the psychological motivations/backgrounds for the stories, namely as the history of the creation of the manga. I am interested in whether the inclusion/non-inclusion in the arts was influenced by the difference in openness/closedness of Japanese society. Through the chapters on Manga, Figures in Colour Space, Colour, Light and Incarnate, Framing/Sequences, I reflected on the connection between manga and painting based on my own work.

Tema diplomskega dela je plastika v umetnosti. Raziskujem, preučujem plastiko kot material njeno materialnost, teksturo, izraz, v tem kontekstu tudi njeno sporočilnost, ikonološko in ideološko vrednost umetnega odpadnega materiala, odpadkov. Plastika me zanima kot materialni odtis, preostanek človeka. Gre za abstraktni in abstrahirani, poenostavljeni pristop do uporabe nekonvencionalnih materialov, predvsem plastike in najlona, njune perforacije, zvijanja, lepljenja, modeliranja, rezanja in taljenja. To ustvarja večplastno konstrukcijo slikarskega prostora na slikarski površini. S takšnim pristopom v delu izpostavim material, materialnost, teksturo in reliefnost slike, odnos svetlo – temno, odnos dvodimenzionalnega in tridimenzionalnega, transparenco in reliefen, tridimenzionalen, taktilni karakter. Uporaba plastike kot odpadnega materiala prinaša s seboj preučevanje vpliva plastike na okolje, naravo in človeka samega. Delo je tudi reprezentacija ekologije, ekoloških vprašanj, vprašanja odpadne plastike ter notranje ekologije, antropoloških in eksistencialnih vprašanj. Iščem odgovor, reakcijo na sodobno, trenutno situacijo sveta. Plastika kot material v mojih umetniških delih dobi novo vrednost in obstaja, živi v neskončnosti, neskončnem kontinuumu, v absolutnem in neskončnem zdaj. The topic of the thesis is plastic in art. I am researching and studying plastic, as a material, its materiality, texture and expression, in this context also its message, iconological and ideological value, as artificial waste material, as waste. I’m interested in plastic as a material imprint, remnant, as human remains. It’s a case of an abstract and abstracted, simplified approach to the use of unconventional materials, especially plastic and nylon, their perforation, bending, gluing, molding, cutting, and melting. This creates a multilayered construction of the painting space on the painting’s surface. With such an approach, in my works I emphasize the material, materiality, texture, and relief of the painting, the relationship between light and dark, the relationship between two-dimensional and three-dimensional, transparency and embossed, three-dimensional, tactile character. The use of plastic as a waste material, brings with it the questioning of the impact of plastic on the environment, nature and human themselves. The work is also a representation of ecology, ecological issues, issues of waste plastic and internal ecology, and anthropological and existential questions. I’m looking for an answer, a reaction to the contemporary, current situation of the world. Plastic, as a material and in my works of art acquires a new value and exists, lives in infinity, the infinite continuum, in the absolute and infinite now.

Osrednji problem diplomskega dela je pridobivanje poklicnih kompetenc študentov industrijskega obllikovanja skozi delovno prakso. Ta v študijski program industrijskega oblikovanja Akademije za likovno umetnost in oblikovanje (ALUO) do sedaj ni bila vključena razmere in pričakovanja na trgu dela pa so se spremenile in že ob prvem nastopu na delo zahtevajo samostojnega in suverenega strokovnjaka. V diplomskem delu sem izdelala idealizirano uporabniško izkušnjo delovne prakse za študente industrijskega oblikovanja. Oblikovalskega procesa sem se lotila po modelu dvojnega diamanta. V raziskovalni fazi sem raziskovala teoretična ozadja pridobivanja kompetenc, zahteve sodobnega sveta glede znanja in kompetenc mladih strokovnjakov, do sedaj opravljene raziskave kompetentnosti študentov in s pomočjo ankete opravila raziskavo med študenti 3. letnika ALUO IO. Seznanila sem se z izkušnjo študijske delovne prakse na podobnih programih. V raziskovalni fazi sem ugotovila, da se študenti ob zaključku študija ne čutimo dovolj kompetentni za opravljanje poklica in da tako študenti kot profesorji prepoznavajo nujnost uvajanja študijske prakse. V projektivni fazi sem na podlagi vsega opisanega izdelala idealizirano uporabniško izkušnjo študijske prakse in po identifikaciji kritičnih točk uporabnikov podrobneje opredelila dve začetni kritični točki. This thesis explores the problem of competencies development in industrial design students of Academy of fine arts and design Ljubljana through student work practice. At this time student work practice is not jet included in the curriculum of faculty, but the modern work market demands skilled and competent professional from the onset of the career. The thesis presents idealised user journey of student work practice for students of industrial design ALUO. In the design process the double diamond method is used. In the research phase the theoretical background of competencies and modern world demands of them was explored. Also the data of previous research into competencies of industrial students is used. The competencies of students are further explored with questionary. Similar program student’s user experience was further explored with interview. In the research phase the need and demand for introducing the student work practice was firmly confirmed. Based on all the data collected the idealised user journey was built and put to the test. Users identified two critical points that were than further defined.

Diplomsko delo obsega predstavitev in analizo dela Gospodar in njegov gospodar. Ideja slikarskega projekta izvira iz odnosa, ki se vzpostavlja med avtorico diplomskega dela in lutko iz cunj. Ta vizualno in praktično sledi logiki otroške igrače, ki funkcionira kot pasiven podaljšek svojega lastnika - gospodarja. Njegov videz, ki ga lutka očitno oponaša, a grobo abstrahira človeško podobo v naravni velikosti, poskrbi tako za gledalčev občutek nelagodja kot za povečano zavest o pripadnosti med lutko in avtorico. Lutka je istih dimenzij kot avtorica, oblečena je kot avtorica, zato se z njo lahko poistoveti, njena pasivna vloga pa odpira možnosti vsakovrstnih projekcij. Projekt se osredotoča na dinamike moči, ki vzniknejo med osebo in njenim podaljškom, ki se razvijajo skozi serijo slik. Teza je, da tu pride do nenavadnega obrata premoči, kjer pasivno nebitje prevzame moč iz rok svojega stvaritelja. My thesis contains a presentation and analysis of a project titled The Master and his Master. The core idea of my project comes from the relationship between the author and a ragdoll. It visually and practically follows the logic of a child's toy, which functions as a passive extension of its owner - the master. Its look, which obviously mimics, yet roughly abstracts the human form in life size, provides a feeling of discomfort for the viewer's as well as a heightened feeling of belonging between the two of us. The doll's body is the same dimensions as the author's, it is wearing their clothes, so they can identify with it, while its passivity opens up the way for projections of any kind. The focus of the project are the power dynamics that arise between the person and their extension, which are explored and developed further through a series of paintings. The thesis is that a strange shift of predominance takes place there, where a passive non-being takes the power out of the hands of its own maker.

S problemom neurejenega sistema ločevanja odpadkov sem se srečal v gostinstvu. Tam sem opazil velik potencial za reciklažo kavnega odpada. Skozi diplomsko delo sem se lotil raziskovanja trenutnega upravljanja s kavnim odpadom. Zastavil sem si različne možnosti ponovne uporabe kavnega odpada in se poglobil v uporabo kavnega odpada kot osnove za gojenje hranilnih in zdravilnih gob. Skozi diplomsko delo želim prikazati novo alternativno pot kavnega odpada v obliki produktne zgodbe, ki deluje kot vodilo kot ponudba drugega življenjskega cikla kavnemu odpadu. V praktičnem delu diplomske naloge skozi eksperimente spremljam in merim uspešnost gojenja različnih vrst gob na kavnem odpadu ter tako pripravljam idealne supstrate za moje produkte. I encountered the problem of an unregulated waste separation system in catering. There, I noticed great potential for recycling coffee waste. Through my project, I started researching the current management of coffee waste. I set myself various options for reusing coffee waste, and delved into the use of coffee waste as a basis for growing nutritious and medicinal mushrooms. Through my project I want to show a new alternative path of coffee waste in the form of a product journey, which acts as a guide for providing a second life cycle to coffee waste. In the practical part of the bachelor’s thesis, I monitor and measure the success of growing different types of mushrooms on coffee waste through experiments, and thus prepare ideal substrates for my products.

Diplomsko nalogo sem strukturirala v dva dela, v teoretični oziroma analitično-raziskovalni del in praktični del. Teoretični del sestavlja predstavitev značilnosti svetlobe, lastnosti materiala in različne vrste porcelana. V tem delu predstavim tudi oblikovalce svetil. V praktičnem oz. empiričnem delu predstavim tehnike, ki sem jih preizkušala v procesu testiranja materiala, in končni izdelek, stropno in namizno ambientalno svetilko. V diplomski nalogi se posvečam raziskovanju svetlobe in značilnostim obnašanja svetlobe v keramiki. Raziskovala sem oblikovanje svetil iz keramike, različne pristope oblikovanja svetil in tehnične zakonitosti oziroma podrobnosti delovanja svetil. Najprej sem raziskala svetlobno tehnologijo, vpliv svetlobe na človeka in na njegovo počutje. Ker mi keramika kot material omogoča eksperiment, svetloba v keramiki pa odpira popolnoma novo razsežnost, sem se odločila, da uporabim porcelan, saj omogoča prosojnost in material povezuje s svetlobo. Želela sem ugotoviti, kako se obnaša in kako obstojen je v kombinaciji z različnimi materiali. V ospredju mojega zanimanja je bilo predvsem vprašanje, pri katerem materialu bo dosežen največji učinek prosojnosti ⠒ cilj mojega eksperimentiranja z materiali. My diploma thesis consists of two parts theoretical and practical. First I go over diffrent qualities and properties of light and characteristics of various porcelain types. I also present a few lamp designers. Practical part shows the process of testing the techniqes and processes of working the material into finished product a pendant light and ambiental table lamp. In my assignment I discussed lights behaviour and its interaction with ceramics. I researched the design of ceramic lamps, different approaches to their design and the technical funcionality of lamps. I reserched the mechanical part of lighting as well as lights effect on a persons psyche. Since ceramics as a material allows for some experimentation I decided to use porcelaine's translucent property and its interaction with the light. I wanted to find out how it behaves and how durable it is in combination with different materials. At the forefront of my interest was the question of which material will achieve the greatest effect of transparency - the goal of my experimentation with materials.

Pri prikazovanju podobe skozi medij je ne glede na neprepoznavnost izvirnika pomembna živa vsebina, ki jo lahko pretvorimo v portret. Glavni produkt portreta je pogled. V njem zaznamo življenje in prezenco, ki jima pomen pripisujemo sami. Z goloto se kontekst portreta spremeni. Prikazano dobi novo svojstvo. Podoba ženske je pretočna. Lahko jo dojemamo kot vir navdiha, ki nas spodbudi k raziskovanju novih potencialov, lahko je izvor fetiša ali pa živa spreminjajoča se vsebina v naši zavesti. Predmet raziskave so možni izidi teh predstav in variacij. Kaj nam podoba sporoča s pogledom? Kako gledamo nanjo? Kako nas zaznamuje? In najbolj pomembno, kako prikazati ta vprašanja v procesu kreacije? Zakaj FEM-IN-FLUX? Ker je podoba ženske nenehno v toku, tako v naši zavesti kot v družbi. Cilj je raziskati utrinke, ki jih lahko ujamemo pri pretakanju ženske podobe. When an image is represented by a medium, the content is marked as a portrait, even if the final work bears no resemblance to the original subject. The main product of a portrait is the gaze of the sitter, in which we see life and their presence, and onto which we project our own meaning. The context of a portrait changes with nudity, which gives the work a new quality. The female image is fluid. We can experience it as a source of inspiration that leads us on new paths of exploration it can be the core of a fetish, or living, changing matter in our consciousness. The subject of these paths of exploration are the possible outcomes of these ideas and variations. What does a figure want to tell us with its gaze? How do we observe it? How does it mark us? And most importantly, how do we answer these questions in the process of creating? Why FEM-IN-FLUX? Because the image of woman is constantly changing, both in our consciousness and in society. The goal is to explore the glimpses that we can capture in the flux of the female image.

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?

Diplomsko delo je raziskovanje povezave narave in človeka, ki je predstavljena skozi umetniško oblikovanje nakita. Povezava temelji na navdihu, ki ga črpamo iz naravnega okolja, in na načinu, kako lahko tega impliciramo v umetniško delo. Teorija je podprta z referenčnimi umetniki, ki me niso navdihnili le s svojim delom, ampak tudi s samim konceptom celotnega oblikovanja in ideje, ki se skriva za njim. Nakit, ki je bistvo celotnega diplomskega dela, je predstavljen kot objekt s sentimentalno vrednostjo, ki s svojimi učinki vpliva tako na nosilca nakita kot tudi na našo predstavo družbi, ki smo ji izpostavljeni. Tako sem v drugem delu diplomskega dela oblikovala telesni nakit, ki predstavlja moje raziskovanje oblik, tekstur in barv narave, ta pa je nadgrajen z idejo o sožitju, ki se kaže v formi dela. Svoje raziskovanje sem izrazila skozi medij keramike, natančneje porcelana, ki s svojimi lastnostmi predstavlja krhkost in lahkotnost – obe značilnosti sem zaznala tudi v naravnem okolju. Nakit je sestavljen iz več delov, ki pokrivajo zgornji del telesa, ta pa je postavljen sistematično tako, da lahko samostojno stoji na telesu in predstavlja rast nečesa živega. The thesis explores the connection between nature and humans represented through the artistic creation of jewelry. The connection is based on the inspiration we find in the natural environment and how we can apply it to a work of art. I support the theory by referencing artists that inspired me not only with their work but also with their design concepts and the ideas that hide behind them. Jewelry, the focus point of this thesis, is presented as an object with sentimental value and affects the wearer as well as how society views us.In the second part of my thesis, I designed body jewelry that represents my examination of nature's shapes, textures, and colors. I then upgraded this with the idea of coexistence indicated by the form of the work. My exploration is expressed with ceramics, more specifically porcelain, whose characteristics represent brittleness and lightness, aspects I also perceived in nature. The jewelry is made from several pieces that cover the torso and is systematically placed so that it sits on the body independently and represents the growth of something living.

Problematika, s katero se ukvarjam v diplomskem delu izhaja iz lastnih izkušenj treniranja v baletnih špic copatih in iskanja najprimernejših. Z intervjuji in anketami sem dokazala, da je problematika prisotna tudi pri ostalih balerinah, vse od začetnic do profesionalk. Raziskala sem vse značilnosti špic copat, ki so potrebne, da si balerina izbere najprimernejše. Osredotočila sem se na parametrične dimenzije špic copat in jih opredelila za posamezno znamko. Raziskala sem vpliv določene dimenzije stopala na parametrične dimenzije špic copata. Oblikovanje pripomočka temelji na 3D skenerju, ki sem ga oblikovala za potrebe raziskane problematike, ki so enostavna uporaba, zložljivost, prenosljivost in omogočanje specifične pozicije stopala med skeniranjem. Na koncu sem oblikovala še storitev za oblikovan koncept produkta. The problem I deal with in my thesis comes from my own experience of training in pointe shoes and finding the most suitable ones. Through interviews and surveys, I have shown that all ballerinas face this problem, from beginners to professionals. I have researched all the features of pointe shoes that are necessary for a ballerina to choose the most suitable ones. I focused on the parametric dimensions of the pointe shoes and defined them for each brand. I researched the influence of a certain foot dimension on the parametric dimensions of the pointe shoe. The design of the device is based on a 3D scanner that I designed to meet the needs of the research problem, which are ease of use, possibility of assembly, portability and allowing specific foot positioning during scanning. Finally, I designed a service for the product concept.

Diplomska naloga temelji na predelavi transportnega vozila v potujoči bivalnik, pri čemer sem se osredotočila na čim boljši izkoristek transportnega prostora brez trajnega poseganja v njegovo notranjost. Usmerila sem se v razvoj demontažnega pohištva, ki omogoča tako krajše kampiranje kot tudi nemoteno uporabo vozila za njegov osnovni namen, transport, saj je enostavno odstranljivo. Za predelavo sem izbrala kombi Ford Tourneo Custom, registrirano kot tovorno vozilo, kar mi omogoča demontažno opremljanje transportnega prostora brez homologacije. Gre za način kampiranja, ki je med kampisti v zadnjih letih vse bolj priljubljen, zato sem pred snovanjem opreme v prvi vrsti raziskala potrebe uporabnikov, že obstoječe rešitve problema in standardne parametre ter predpise, ki jih moram pri tem še upoštevati. Ker kampiranje zahteva veliko prilagajanja in optimizacije, je na tem temeljil tudi razvoj opreme za predelavo kombija. Ker je bil moj cilj kar najbolje izkoristiti prostor, ki mi je bil na voljo, oprema ni univerzalna za vsa vozila, vendar se prilagaja meram izbranega avtomobila. Del diplomske naloge sem namenila tudi možnostim razstavljanja opreme in razporeditvi pribora, posodja in kozarcev za zmanjšanje hrupa med vožnjo. The diploma thesis is based on the conversion of transport vehicles in a mobile home, focusing on the best possible use of transport space without permanent interference with it. I focused on the development of disassembly furniture, which allows both shorter camping and uninterrupted use of vehicles for its basic purpose of transport, as it is easily removable. For the conversion, I chose a Ford Tourneo Custom van, registered as a truck, which allows me to dismantle the transport space without homologation. This is a method of camping that has become increasingly popular among campsites in recent years, so before designing the equipment, I primarily researched the needs of users, existing solutions to the problem in standard parameters and regulations that I must follow. Since camping requires a lot of customization and optimization, the development of van conversion equipment is also based on this. Since my goal was to make the most of the space available to me, the equipment is not universal for all vehicles, but they adapt to the chosen car. I also devoted part of my diploma thesis to the possibility of disassembling equipment and arranging utensils, dishes and glasses to reduce the number while driving.

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 diplomskem delu opisujem razvoj novega pohištvenega sistema. Gre za modularno pohištvo, ki ga lahko sami hitro in enostavno razstavite ali sestavite, morda tudi spremenite v »novo« pohištvo. Koncept modularnega pohištva je v diplomskem delu predstavljen od začetne ideje, ki se je skozi čas razvila v dejansko uporabno pohištvo. Poudarek pri mojem konceptu je predvsem na razstavljivosti, sestavljanju, minimalizmu, kompatibilnosti različnih gradnikov ter konceptu modularne gradnje. V diplomskem delu sem opisal tudi možne postopke izdelave posameznih gradnikov modularnega pohištva in predstavil končne konceptne produkte, ki so bili dejansko izdelani, nekateri izmed njih pa tudi testirani. Diplomska naloga je pripeljana do faze določitve končnih gradnikov in produktov, izdelave prototipov in izdelave končnih produktov, vključuje pa tudi preglednico z vsemi variacijami končnih produktov, številom gradnikov in težo le-teh. In my dissertation I will describe the development of a new furniture system. It is modular furniture, which you can quickly and easily disassemble or assemble yourself, maybe even change into "new" furniture. The concept of modular furniture is presented in the diploma thesis from the very initial idea, which over time has developed into actually usable furniture. The emphasis in my concept is mainly on disassembly, assembly, minimalism, compatibility of various building blocks and the concept of modular construction. In the diploma work, I also described the possible procedures for the production of individual components of modular furniture and presented the final conceptual products that were actually made and some of them also tested. The diploma thesis is brought to the stage of determining the final building blocks and products, prototyping and production of final products and a table with all the variations of the final products, the number of building blocks and their weight.

Diplomska naloga preučuje problem samostojnega ličenja oseb z multiplo sklerozo. Multipla skleroza je avtoimunska bolezen, ki se največkrat pojavi pri mladih ženskah, njeni najpogostejši telesni simptomi pa so težave z motoriko, mravljinčenje, odrevenelost udov in tresavica, kar močno vpliva na proces ličenja obolelih. Naloga v raziskovalno-analitični fazi raziskuje bolezen, njen potek ter simptome, v poglobljeni raziskovalno-analitični fazi pa prek uporabniških raziskav (vprašalnikov in pogovorov z obolelimi) preiskuje relevantnost problema ličenja pri obolelih, težave, ki se pri tem pojavijo, in morebitne rešitve. Najpomembnejši zaključki poglobljene raziskovalno-analitične faze kažejo, da na trgu ni ličil, ki bi bila prilagojena prav osebam z multiplo sklerozo. Uporabniške raziskave razkrijejo ključne težave, s katerimi se soočajo oboleli z multiplo sklerozo, in sicer: oprijemanje izdelka zaradi odrevenelosti prstov in dlani, natančnost nanosa zaradi tresavice ter odpiranje izdelkov zaradi obeh omenjenih simptomov. V načrtovalski fazi sledi konceptualizacija in skiciranje idej, prototipiranje ter preverjanje rešitev. Končni rezultat diplomske naloge je modularni set za ličenje, ki vsebuje ohišje, v katerega se vstavijo ličila po želji, ter čopiče za ličenje, ki se nataknejo na prst in s tem preprečujejo, da bi izdelek padal iz rok. BA thesis studies the problems of independent application of makeup for people with multiple sclerosis. Multiple sclerosis is an autoimmune disease, which most commonly affects young women, the most common physical symptoms of the disease are problems with motor skills, tingling sensation, numbness of the limbs and tremor, which highly affect the process of putting on makeup. In the research-analytical phase, the thesis researches the disease, its course and symptoms, and in the deepened research-analytical phase it looks into the relevance of the problem of putting on makeup for the ill, problems that occur and potential solutions to these problems with the help of user research such as questionnaires and talks with the ill. Key conclusions of the deepened research-analytical phase show, that on the market there is no product for applying makeup specifically for people with multiple sclerosis. This phase also showed key problems that people with multiple sclerosis face, such as problems with holding the product beacuse of the numbness of the fingers, perciseness of the application because of the tremor and troubles with opening the packaging because of both of the mentioned symptoms. The design phase starts with conceptualization and sketching of ideas, which are then tested in the prototyping phase. The end result of the BA thesis is a modular makeup set which consists of the housing that holds the wanted makeup and makeup brushes, that attach on the finger and in thsi way prevent the product falling from the hand.

V diplomskem delu se ukvarjam predvsem s procesom, torej fizičnim delom, ki vodi do željene forme s principom odvzemanja, ki temelji na blokovnem formatu. Izhajam iz materialne kombinacije lesa in dodajanja steklenih elementov, s čimer vzpostavim medsebojno komunikacijo in simbiotsko povezanost različnih materialnosti. Ukvarjam se z vprašanjem, kako dva popolnoma nasprotujoča si materiala povežem v celoto (les in steklo), hkrati me zanimajo simbolika, miti in legende izbranega lesa. Pri nekaterih skulpturah se ukvarjam s problematiko statike, prezentacije samega dela, torej s problematiko skulpture v odnosu do prostora. Raziskujem kiparstvo v 20. stoletju, kjer so se umetniki ukvarjali z negativnim prostorom v skulpturi, prav tako je v tistem času prišlo do velike spremembe definicije kiparstva oziroma širšega polja umetnosti. In my thesis I am mainly concerned with the process, the physical work that leads to the desired form, the principle of subtraction based on the block format. My work proceeds from the material combination of wood and the addition of glass elements, thus establishing the intercommunication and symbiotic interconnection of different materialities. I am dealing with the question of how to integrate two completely contradictory materials into a whole (wood and glass), while at the same time I am interested in the symbolism, myths and legends of the chosen wood. In some of my sculptures I am dealing with the problem of statics, the presentation of the work itself, i.e. the problem of the sculpture in relation to space. I am researching sculpture in the 20th century, where artists were dealing with negative space in sculpture, and there was also a big change in the definition of sculpture, or the broader field of art, at that time.

Namen diplomskega dela je raziskati in analizirati mnoštvo pomenov, ki jih v sebi skriva element balkona. Tematike balkona sem definirala v odnosu do zasebne in javne sfere ter pogledala spremembe, ki so se v njih pojavile v času pandemije covida-19 in zaprtja javnega življenja. Ker dejanje prestopa na balkon nikoli ni nevtralno, sem se osredotočila na pomen zunanjega pogleda in posledično samoregulacijo osebe na balkonu. Za boljše razumevanje sem uporabila Panoptikon, arhitekturno idejo Jeremyja Benthama, in ga nadgradila s teorijo biopolitike in biooblasti Michela Foucaulta. Poskušala sem najti vzporednice med sodobnimi oblikami oblasti, kot jih definira Maurizio Lazzarato, ter relacijami, ki jih vzpostavi balkon. Ne samo da je balkon zaradi svoje pozicije moči v vertikalni hierarhiji simbolno povezan s podobo vladarja, ampak je prav tako skozi zgodovino priljubljen prostor za podobo pasivnega ženskega lika kot objekt želje moškega pogleda. Pogovori s tremi mladimi ženskami niso le raziskali pozicije ženske na balkonu, temveč so tudi poudarili dualnost občutka izključenosti in hkratnega močnega povezovalnega potenciala balkona. This work aims to explore and analyse the many meanings of the balcony element. I have defined the theme of the balcony in relation to the private and public spheres and examined the changes that have taken place in these spheres during the pandemic of Covid-19 and the closure of public life. Since the act of entering a balcony is never neutral, I have focused on the importance of the external gaze and the consequent self-regulation of the person on the balcony. For a better understanding, I used the panopticon, an architectural idea by Jeremy Bentham, and built on it with Michel Foucault's theory of biopolitics and biopower. I tried to find parallels between the contemporary forms of power defined by Maurizio Lazzarato and the relations established by the balcony. The balcony is not only symbolically linked to the image of the ruler due to its position of power in the vertical hierarchy, but throughout history, it has also been a popular space for the image of the passive female figure as an object of desire for the male gaze. The interviews with the three young women not only explore women's positions on the balcony but also highlight the duality of the balcony's sense of exclusion and its simultaneously powerful connective potential.

V diplomski nalogi se ukvarjam s temo neuspeha. Morda to počnem uspešno ali neuspešno, saj se obeh pojmov drži paradoks. Raziščem njegovo negativno konotacijo in kako se je odnos do njega spreminjal v preteklosti, tako v umetnosti kot vsakdanjem življenju. Opazim, da ima dojemanje neuspeha v umetnosti drugačno vrednost in prikažem, kako nam njegova uporaba lahko dobro služi. Razložim tudi razliko med napako in neuspehom, saj sta tesno povezana pojma. Podrobneje opišem Sizifovo delo, ki je osnova za praktično delo – video performans z naslovom 'Nikamor hitro'. Tako se naslonim na umetnike, ki se s to so se ukvarjali s to temo od leta 1960 naprej in se medtem sprašujem o produktivnosti tako posameznika kot družbe. In the bachelor's thesis, I discuss the topic of failure. Perhaps I do it successfully or I fail to do it because both concepts hold paradoxes. I explore its negative connotation and how attitudes towards it have changed in the past, both in art and in everyday life. I note that the perception of failure in art has a different value and I show how its use can be useful. Later, I explain the difference between mistake and failure since they are connected terms. I describe the Sisyphean task in more detail. It is the basis for my practical work – a video performance titled ‘Nowhere Fast’. Thus, I refer to artists who have dealt with the subject from the 1960s onwards. In the meantime, I wonder about the productivity of both, the individual and society nowadays.

Pri uresničevanju določenih stvaritev se v ozadju končnega izdelka vedno skrivajo tehnološki procesi, ki to stvaritev omogočijo. Ker so ti procesi pogosto skriti očem drugih, velikokrat niso deležni posebne pozornosti. Kljub temu so ti postopki nujni in ključni za realizacijo določenega izdelka ter še posebej pomembni za avtorja, ki mu dobro tehnološko znanje predstavlja trdno ogrodje, ob katerem se lahko razvija in mu določeni izzivi ne predstavljajo temeljnih ovir. V diplomskem delu bom ponudil vpogled v ozadje nastajanja kiparskega izdelka. Preko izdelka/naročila bom tehnološko opisoval vsak korak, ki je potreben pri nastajanju klasičnega kipa, namenjenega za umestitev v javni prostor. Posvetil se bom sami pripravi, ki je potrebna za takšen projekt, konstrukciji, modeliranju, odlivanju v bron ter analiziranju in reševanju določenih problemov, ki se ob tem pojavijo. Klasična skulptura mi glede na dosedanje izkušnje predstavlja največjo izrazno možnost. Stvaritev bom realiziral tako z znanjem, pridobljenim v dosedanjem delu študija kot z znanjem, ki ga bom pridobil z raziskovanjem omenjenega področja, ki ga bom obdelal v teku nastajanja diplomskega dela. In the process of making certain creations, there are always technological processes which make that creation possible behind the final product. Since these processes are often hidden from others, they may not receive any special attention. Nevertheless, these processes are necessary and crucial for the realization of a product and are especially important for the author, for whom good technological knowledge represents a solid framework. This framework enables the author to develop so that certain challenges do not represent an obstacle for them. In my diploma thesis, I will offer an insight into the background of the creation of a sculpture. Through the product/order, I will technologically describe each step that is necessary in the creation of a classical statue intended for placement in a public space. I will explore the preparation necessary for such a project, construction, modeling, casting in bronze and analyzing as well as solving issues that arise. According to my experience so far, classical sculpture offers the most possibilities for expression. I will make the creation with the knowledge gained during my studies and the knowledge I will gain from researching the field to be process during the creation of this thesis.

Diplomska naloga obravnava uporabo mikrobledenjemera za oceno svetlobne stabilnosti predmetov kulturne dediščine, z namenom, da bi izdelali oceno svetlobne stabilnosti izbranega gradiva. To je bila tapeta datirana med 1750 in 1850, izdelana v tehniki lesoreza na papirju. Naloga je sestavljena iz treh večjih poglavij: uporaba mikrobledenjemera v konservatorstvu-restavratorstvu, meritve na izbranem gradivu in ocena svetlobne stabilnosti izbranega gradiva. V prvem delu opišem mikrobledenjemer, njegovo uporabo, kako se interpretira podatke, ki jih dobimo z meritvami, in kakšna je uporaba teh meritev za namen izdelave priporočila osvetljenosti ob razstavljanju. V drugem delu naloge predstavim meritve, ki sem jih opravila na izbranem gradivu in kako so meritve potekale, zakaj sem jih delala ter kakšne so bile ugotovitve. Poleg tapete so tu tudi meritve na papirnih vzorcih, vzorcu usnja, dveh različnih slik na platnu v akrilni in oljni tehniki ter meritve na barvni fotografiji. V zadnjem delu sem izdelala oceno svetlobne stabilnosti in priporočila za razstavljanje tapete ter primerjala lastna priporočila s priporočili, ki so nastala pred meritvami. The bachelor’s thesis addresses the use of micro fadometer for lightfastness assessment of objects of cultural heritage with the aim of assessing the light stability of selected materials – a wallpaper dated between 1750 and 1850, made in the technique of linocut on paper. The thesis consists of three main parts: the use of microfadometer in conservation-restoration, measurments on selected material and assessment of light stability of selected material. In the first part, I describe the microfadometer, its use, how to interpret the data obtained from measurements, and the application of these measurements in creation of lighting policy. In the second part of the thesis, I present the measurements on selected material, the methodology and what the findings were. In addition to the wallpaper, there are also measurments on paper, leather, two different paintings on canvas made with acrylic and oil paints, and measurements on a color photograph. In the last part of the thesis, I formulated a light fastness assessment and display policy and compared the new policy with the policy formulated before the use of microfadometer.

V diplomski nalogi z naslovom Varovanje parkiranih preprostih osebnih vozil na javnih površinah sem raziskala možnosti parkiranja in zaklepanja ne le koles, temveč tudi skirojev in rolk. Raziskala sem javne prostore, ki so namenjeni parkiranju teh vozil in varnostne sisteme, ki jih najdemo na trgu in njihovo uporabo. Zadala sem si cilj oblikovati parkirno mesto, ki je prilagojeno vsem trem preprostim osebnim vozilom. Ker je zaradi vključevanja parkirnega mesta v okolico zelo pomemben tudi videz v povezavi z različnimi okolji, sem kot končno rešitev oblikovala družino stojal, namenjenih različnemu vključevanju v okolico. In my diploma thesis "Protection of parked simple personal vehicles in public areas", I explored the possibilities of parking and locking bicycles, scooters and skateboards. I researched the public spaces dedicated to parking these vehicles and the security systems on the market. I set out to design a parking space that is adapted to all three simple personal vehicles. However, because of the inclusion of a parking space in the surroundings, the appearance in connection with different environments is also very important, so as a final solution I designed a family of stands intended for different integration into the surroundings.

Diplomska naloga obravnava področja igral, modularnega in nadgradljivega pohištva. Postavljena je bila hipoteza, da se otroško pohištvo hitro zavrže. Ta je bila potrjena s pomočjo uporabniške raziskave. V raziskovalni fazi so bile pridobljene informacije o uporabnikovih potrebah, materialih, postopkih izdelave ter o področju pedagoških smernic za oblikovanje kvalitetnih igrač in igral. Načrtovalski del vsebuje snovanje modularnih elementov, dodatkov, predvidevanje njihovih načinov uporabe ter hitre prototipe. Rezultat tega procesa je modularno igralo, ki ponuja nadgradljive elemente. Predstavljene so tudi možne rešitve za alternativno uporabo igrala, kot na primer shranjevalno pohištvo. S tem starše spodbuja, da sestava ne zavrže, ampak mu dodelijo novo funkcijo in ga otrok še naprej uporablja. The thesis focuses on toys / playground equipment, modular and upgradeable furniture. The hypothesis that children's furniture is quickly junked was put forward and confirmed by user analysis. The research phase gathered information on user needs, materials, manufacturing processes and pedagogical guidelines for the designing quality toys and games. The design part involves designing modular elements, accessories, anticipating their uses and quick prototyping. The result is a modular playground that offers upgradeable elements and possible solutions for alternative uses of the playground, such as storage furniture. This encourages parents not to throw away the composition, but give it a new function and let the child continue to use it.