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Slovenska posest Školarice se ukvarja s predelavo in prodajo ekstra deviškega oljčnega olja. Namen diplomskega dela je bila tako izdelava celostne grafične podobe in različnih grafičnih izdelkov za njihovo posest. V sklopu diplomskega dela se je tako oblikoval logotip, vizitka, letak, spletna stran, promocijski video in etikete za steklenice oljčnega olja. Prav tako se je izdelala embalaža za shranjevanje posameznih artiklov ekstra deviškega oljčnega olja slovenske Istre, posestva Školarice. Pri oblikovanju izdelkov je bilo pomembno vodilo, da bi nova grafična podoba izstopala od drugih konkurenčnih izdelkov in bi predstavljala tradicijo ter proizvode omenjenega posestva. V diplomskem teoretičnem delu je predstavljen pregled konkurenčnih izdelkov in različnih grafičnih materialov, ki smo jih kasneje v nalogi tudi uporabili. Cilj dela je bila tudi izdelava spletne strani in promocijskega videa, ki smo jih v praktičnem delu tudi realizirali. S pomočjo programov za oblikovanje (Adobe Illustrator, Adobe Photoshop) smo tako izdelali logotip, vizitke, letak in sekundarno embalažo za oljčno olje. Izvedena je bila tudi analiza očesnih premikov (na napravi, namenjeni analizi sledenju očesnih premikov Tobii). Analizo smo izvedli na oblikovanih etiketah in opazovanju zaščitene označbe porekla proizvoda ter podatka o izvoru olja. Analiza je pokazala primernost oblikovanja in postavitve omenjenih elementov na etiketah. Rezultati diplomskega dela so tako uspešno izdelani grafični izdelki, ki smo si jih zadali na začetku kot glavne cilje naloge. Prav tako smo uspešno pripravili podobo spletne strani in izdelali promocijski video. Diplomsko delo bo posestvu z novo grafično podobo, izdelki in s promocijskim materialom tako omogočilo še višjo dodano vrednost, kar bo najverjetneje vplivalo na prodajo in prepoznavnost posestva. The Slovenian Školarice estate processes and sells extra virgin olive oil. The aim of the thesis was to create an overall graphic image and various graphic products for the estate. The thesis included the design of a logo, a business card, a flyer, a website, a promotional video and labels for the olive oil bottles. Packaging for the storage of individual items of extra virgin olive oil from the Slovenian Istria estate of Školarice was also produced. An important guiding principle in the design of the products was that the new graphic image should stand out from other competing products and, at the same time, represent the tradition and products of the estate. The theoretical part of the thesis presents an overview of the competing products and an overview of the different graphic materials that were used later in the thesis. The aim of the thesis was also to create a website and a promotional video, which were also realised in the practical part of the thesis. Using design software (Adobe Illustrator, Adobe Photoshop), we created a logo, business cards, a flyer and secondary packaging for olive oil. An eye movement analysis was also carried out (on the Tobii eye movement tracking device), using the designed labels and the observation of the PDO and the origin of the oil. The analysis showed the appropriateness of the design and positioning of these elements on the labels. The results of the thesis are thus successfully produced graphic products, which we set ourselves at the beginning of the thesis as the main objectives of the thesis. We have also successfully designed the website and produced a promotional video. The new graphic design, products and promotional material will thus give the estate even more added value, which is likely to have an impact on the sales and visibility of the estate.

Ulična mreža je ožilje vsakega mesta in ulica je osnovna enota mestnega prostora, skozi katero ljudje dojemajo mesto. Oblikovanje ulic lahko vpliva na kvaliteto bivanja v mestih, hkrati pa privablja njegove obiskovalce. Z uporabo barve v urbanističnih zasnovah lahko identiteto mesta nadgradimo, popestrimo ali primerno dopolnimo. Z barvo se v urbanizmu srečujemo v vsaki zasnovi, le redko pa je izpostavljena kot element urejanja prostora. Najpogosteje je uporabljena v začasnih urbanističnih rešitvah, s katerimi lahko ob minimalnih posegih v prostor odgovorimo na potrebe družbe in okolja, ustvarimo pa realne in trajne rešitve. Ob uporabi barve v urbanističnih zasnovah moramo upoštevati njen vpliv na človeka in primarno sporočilnost, saj lahko le s primerno izbiro barve zagotovimo željen učinek v mestu. Naloga z uporabo barve ureja območje Barjanske ceste v Ljubljani, ki predstavlja del hrbtenice mesta. Povezuje staro mestno jedro z potezo mestne vpadnice in združuje vzhodno ter zahodno območje ob Barjanski cesti. S tipičnimi profili barvne poteze ustvarja hierarhijo barv, ki uporabniku odpira različne ambiente in s tem kreira unikatno izkušnjo. The street network is the lifeblood of every city and the street is the basic unit of urban space through which people perceive the city. The design of streets can affect the quality of living in cities, and at the same time attract visitors. The city’s identity can be upgraded, brightened, or suitably supplemented by using color in urban design. We encounter color in urban planning in every design, but it is rarely highlighted as an element of spatial planning. It is most often used in temporary urban planning solutions, with which we can respond to the needs of society and the environment with minimal interventions in the space, and create realistic and permanent solutions. When using color in urban planning, we must take into account its impact on people and its primary communication, because only with the appropriate choice of color can we ensure the desired effect in the city. The task with the use of color regulates the area of Barjanska cesta in Ljubljana, which represents part of the backbone of the city. It connects the old town center with one of the main city roads and unites the eastern and western areas along Barjanska cesta. It creates a hierarchy of colors with typical profiles of color strokes, which opens up different environments for the user and thus creates a unique experience.

Namen diplomskega dela je bil raziskati in razumeti vpliv barv, oblik in animacije na človekovo počutje, na podlagi česar je bil cilj preko oblikovanja vzorcev in 3D animacije ustvariti sproščujoč razpoloženjski video. Ker imajo barve velik pomen v vsakdanjem življenju, je bil cilj uporabiti barve, ki človeka pomirjajo tako psihološko kot fiziološko. Na podlagi raziskav je bila izbrana modra barva, poleg nje pa za dodatno dinamiko in živahnost še vijolična. Različne kombinacije več odtenkov teh dveh barv so ustvarile vzorce skupaj z oblikami, ki spominjajo na raznovrstna bitja iz oceana. V oponašanju morskih alg, polžkov in školjk, so nastali vzorci tako v preprostejših barvnih oblikah, kot v natančnejših linijskih izrisih. Program Adobe Illustrator za ustvarjanje globine in razgibanosti nudi oblikovanje v plasteh in v različnem ponavljanju, kar je pripomoglo k nastanku večih in bolj razgibanih vzorcev, ki se med seboj vseeno povezujejo v barvnih kombinacijah ali oblikah. Preko raziskovanja pozitivnih učinkov animacije, je bil v nadaljevanju namen postaviti vzorce v virtualni 3D prostor, kjer bi vzorci preko gibajočih objektov ponovno zaživeli in ustvarili sproščujoč učinek, ki bi opazovalca potopil v meditativno sproščeno stanje. Ker ima poleg določenih barv na človeka pozitivne in zdravilne učinke tudi voda, je bilo raziskovanje različnega valovanja vodilo pri ustvarjanju gibanja v valovanju vode in tekstila. Program Blender je omogočil modeliranje posameznih scen, v katerih so se na različne načine projicirali vzorci. S preprostim modeliranjem in animiranjem objektov s preoblikovalci za ustvarjanje oceana in valovanja tekstila ter vode, so bile ustvarjene scene. Na objekte so bili dodani prosojni, odsevni ali difuzni materiali, ki so v gibanju na površini ustvarjali kalejdoskop vzorcev, v katerem so ob gibanju in različnih svetlobah nastajali novi vzorci. Vključena je bila pomirjujoča glasba, ki video iz krajših animacij poveže v celoto in hkrati poveča učinek barv, valovanja in animacije na človekovo razpoloženje. The purpose of this diploma thesis was to examine and understand the influence of colours, shapes and the animation on observer's well-being. The aim was to create a relaxing video by designing different patterns together with 3D animation. Since colours effect mood and emotions, the objective was to utilize colours in order to bring individual’s mind to ease. Blue and purple colour were selected to create relaxing, yet dynamic patterns. Different shade combinations altogether with shapes resembling ocean creatures were used to create numerous patterns, including simpler coloured shapes as well as complex line drawings. The software application Adobe Illustrator offers designing in layers and rapport, which has been useful while creating diversity and the perception of depth. This has aided the creation of various diverse patterns, matching one another in either shapes or combinations of colours. Through the research of positive effects animation has on an individual, the patterns were placed into the 3D virtual space, where moving objects would bring them to life, consequently creating a relaxed atmosphere which would immerse the observer into a meditative state of mind. In addition to certain colours, observing water has been proven to have positive and healing effects on humans, analysis of different types of undulation was the main guidance with the object movement design. The software toolset Blender enabled the modelling of individual scenes, onto which patterns were projected in a variety of ways. Scenes were constructed with simple modelling and animating undulation of fabrics and surface of the water. Transparent, reflective and diffusive materials were added to the objects, creating a kaleidoscope of patterns, which form new patterns through movement and variable lighting effects. Relaxing music was included, connecting shorter animations together and simultaneously amplifying the effect of colours, undulation and animation on the individual’s frame of mind.

Da podjetje postane širše prepoznavno, je treba vložiti veliko truda in energije. Podjetje svoje storitve oziroma izdelke prikazuje skozi svoje blagovne znamke. Blagovne znamke so obraz vsakega uspešnega podjetja, prek njih gradimo prepoznavnost. Veliko pozornosti je treba nameniti izdelavi vizualne identitete blagovne znamke in podjetja, saj je vizualna identiteta tisto, kar potencialne stranke najprej opazijo. Opaženo je bilo, da se nekateri ljudje premalo zavedajo, kako pomembna sta videz blagovne znamke in izbira pravilne barve, saj ima vsaka barva drugačne lastnosti in v potrošniku vzbudi različna čustva. Zato je zelo pomembno, kako se lahko vpliva na kupčeva čustva z uporabo barv, saj se lahko tako prodaja poveča. Vizualna identiteta je tudi odlično trženjsko orodje. Diplomsko delo temelji na raziskovanju tega, kakšen vpliv pravzaprav imajo barve pri vizualni identiteti blagovnih znamk. V teoretičnem delu so definirane in predstavljene blagovne znamke tako na slovenskem kot tujem trgu, pojasnjeno je, kakšen psihološki pomen in vpliv imajo barve na posameznika. Opisano je tudi, kako zelo je pomembna izbira barve, ki bo odražala blagovno znamko. V eksperimentalnem delu je zaradi obsega tematike blagovnih znamk poudarek predvsem na blagovnih znamkah kav. Opisana in predstavljena so podjetja, katerih blagovne znamke so analizirane. Predstavljeno je tudi, kako so se uspešna podjetja lotila izziva vizualizacije svojih blagovnih znamk. Osredotočenost je predvsem na barve. Na koncu je narejena analiza vseh izbranih blagovnih znamk in izdelana barvna paleta za vsako blagovno znamko posebej. Barvne palete so bile izdelane v programu za urejanje fotografij Adobe Photoshop. Pri nastajanju diplomskega dela se je spoznalo, kako zelo so uspešna slovenska podjetja pri vizualni identifikaciji svojih blagovnih znamk. It takes a lot of effort and energy to make a company known to the general public. A company advertises its products and services through trademarks - the face of every successful company, which acts as a tool to increase recognition. When developing the visual identity of a trademark or company, we have to be very careful, as visual identity is the element that potential customers notice first. We observed that some people do not realise the importance of a trademark's design and the appropriate use of colours every colour has its characteristics and provokes different emotions in customers. Thus, it is essential to know how to affect customers' emotions through colours, as this way we can increase sales. Furthermore, visual identity is an effective marketing tool. In this research, the effect of colours on the visual identity of trademarks was investigated. We defined and presented trademarks in Slovenian and foreign markets in the theoretical part, explaining the psychological importance and effect of colours on individuals. We also described the importance of selecting the appropriate colour to reflect the trademark. In the empirical part, we focused on trademarks related to coffee due to the abundance of trademarks. We described and presented the companies whose trademarks were analysed. We portrayed how successful companies tackled the challenge of visualising their trademarks, primarily focusing on colours. In the end, we analyzed all selected trademarks and prepared a colour palette for each of them in an image-editing program, Adobe Photoshop. While writing this paper, we realised what a successful approach Slovenian companies adopted to visual identification of their trademarks.

Pisava je ena najbolj intuitivnih in učinkovitih elementov komunikacije, saj prenaša informacije in vzbuja čustveno zaznavo. Biti mora enostavna za razumevanje ter skladna z oblikovalsko temo. Poleg barv, slike in kompozicije predstavljajo pisave enega ključnih elementov grafičnega oblikovanja in prispevajo k neposredni komunikaciji med delom in bralcem. Glavni cilj diplomske naloge je bilo izdelati deset pisav, ki odražajo arhitekturne značilnosti desetih svetovnih mest ter jih skupaj z digitalno ilustracijo upodobiti na posterjih. Mesta, ki smo jih vključili v proces izdelovanja, so Amsterdam, Atene, Havana, Istanbul, Kairo, Kjoto, Moskva, New York, Pisa in Sydney. V teoretičnem delu smo se poglobili v teorijo o lastnostih barve in barvnih kontrastih, spoznavali delitev tipografije glede na njen namen ter zgodovinska obdobja pisav. Preučili smo tudi dele črk ter teorijo o posterju in njegovemu upodabljanju. Eksperimentalni del je zajemal risanje ilustracij v črtni in barvni obliki, izdelavo spletne ankete, analizo njenih rezultatov ter oblikovanje pisav. Pisava za posamezno mesto je bila nato združena z ustrezno ilustracijo, ki smo jo pobarvali v skladu z rezultati ankete. Glavni izdelek eksperimentalnega dela predstavlja deset posterjev svetovnih mest, ki združujejo sliko mesta, njegovo pisavo in barve izbrane v anketi. V razpravi smo nadalje analizirali rezultate ankete, opisali lastnosti izdelanih pisav ter ocenili njihovo povezanost s svetovnimi mesti. Pojasnili smo simbolni pomen barv, ki jih anketiranci najbolj povezujejo z mesti in njihovo upodobitvijo v ilustracijah. Nastale posterje smo na koncu likovno analizirali s pomočjo teorije, ki smo jo preučili v teoretičnem delu. Typefaces are one of the most intuitive and effective elements of communication as they deliver information and entice an emotional perception. They must be simple to understand and harmonious with the design theme. Apart from the colours, the picture and the composition, the typefaces represent one of the key elements of graphic design and add to the direct communication between work and the reader. The main goal of the diploma thesis was to create 10 typefaces which reflected the architectural characteristics of 10 renown world cities and depicted them on the posters alongside the digital illustration. The cities, which we've included in the process were Amsterdam, Athens, Cairo, Havana, Kyoto, Istanbul, Moscow, New York, Pisa and Sydney. In the theoretical part of the diploma thesis, we dwelt into the theory of the properties of colour and colour contrasts, uncovered the division of typography based on its purpose and of the historical periods of typefaces. We've also studied the parts of letter forms as well as the theory of the poster and its depiction. The experimental part included drawing the illustrations in both line work as well as a coloured version, the making of the online survey, the analysis of its results and the designing of the typefaces themselves. The typeface for a particular city was then combined with the corresponding illustration, which we coloured based on the results of the survey. The main product of the experimental part is the 10 posters of the world cities, which combine the city's depiction, its typeface and the colours chosen in the survey. In the discussion, we further analyzed the survey results, described the characteristics of the created typefaces and gauged their corelation to the world cities. We explained the symbolic meaning of the colours, which the respondents associate most with the cities and their depiction in the illustrations. In the end the created posters were artistically analyzed with the help of the theories which we examined in the theoretical part.

Barvno upravljanje je sistematično vodenje barvnih pretvorb med barvnimi prostori naprav, uporabljenih v procesu barvne reprodukcije. Če poenostavimo, je to sistem, ki barve med seboj pretvarja v različne barvne prostore in s tem omogoči vhodnim oz. izhodnim napravam prikazovanje enakih barv. Na spletu in v spletnih brskalnikih je barvno upravljanje pomembno, saj se veliko storitev in dejavnosti v današnjem času seli na splet. Preko spleta pa se opravlja tudi veliko spletnih nakupov, zato je pomembno, da so izdelki na spletu prikazani v barvi, kakršna je v realnosti. Večina ljudi barvnega upravljanja sploh ne pozna in se jim zdi samoumevno, da so barve na spletu prikazane realno, vendar pa temu ni tako, saj barve ponekod še vedno niso prikazane takšne, kot so v resničnosti. V diplomskem delu bomo ravno s tem namenom raziskali barvno upravljanje, kako so prikazane barve v različnih spletnih brskalnikih, če med barvami lahko izračunamo barvne razlike itd. Naš cilj je ugotoviti, ali so spletni brskalniki, ki se dandanes najbolj uporabljajo barvno upravljani in ali prikažejo realne barve. Z anketnim vprašalnikom bomo poskušali izvedeti, ali se uporabniki spletnih brskalnikov zavedajo, da barve na spletu niso vedno prikazane pravilno. Rezultati so pokazali, da večina anketirancev uporablja spletne brskalnike Google Chrome, Safari in Firefox. Med brskalniki, ki jih uporabljajo, anketiranci opazijo razlike, vendar se te ne nanašajo na barve, saj več kot polovica anketirancev ni vedela, da so barve lahko v različnih brskalnikih prikazane različno. Več kot polovici anketirancev se je tudi že zgodilo, da so izdelek, naročen na spletu, dobili drugačne barve, kot je bil prikazan. Večina anketirancev je podala tudi odgovor, da bi izdelek napačne barve obdržali, saj jim to ni tako pomembno. Colour management is the systematic management of colour conversions between the colour spaces of the devices used in the colour reproduction process. In simpler terms, it is a system that converts colours into different colour spaces, thus allowing input or output devices to display the same colours. Colour management on the web and in web browsers is important because many services and activities are moving online these days. A lot of shopping is also done online, so it is important that products are displayed in the same colour as they are in real life. Most people are not familiar with colour management and take it for granted that colours are displayed realistically on the web, but this is not so, because colours are still not displayed correctly in some places. In this thesis we will investigate colour management, how colours are displayed in different web browsers, if we can calculate colour differences between colours, etc. Our aim is to find out whether the most used web browsers nowadays are colour managed and whether they display realistic colours. The questionnaire will try to find out whether web browser users are aware that colours are not always displayed correctly on the web. The results showed that the majority of respondents use Google Chrome, Safari and Firefox web browsers. Respondents notice differences between the browsers they use, but these are not related to colours, as more than half of the respondents did not know that colours can be displayed differently in different browsers. More than half of the respondents have also had the experience of receiving a product ordered online in a different colour than the one shown. The majority of respondents also answered that they would keep the wrong colour product as it was not that important to them.

Ugotavljali smo, kakšno je zaznavanje aditivov za živila (AZŽ) med slovenskimi potrošniki. Za namen naloge smo uporabili anketni vprašalnik, ki je bil razdeljen na več vsebinsko povezanih sklopov, kot so nakupovalne navade, zaznavanje AZŽ, znanje s področja AZŽ. Rezultate smo statistično analizirali in ugotavljali, ali so med rezultati na odgovore vidne statistično značilne razlike v odvisnosti od spola, starosti, izobrazbe in regije domovanja. Ugotovili smo, da je 65,1 % vprašanih zaskrbljenih ali zelo zaskrbljenih zaradi uporabe AZŽ v živilih. Z raziskavo smo ugotovili, da skoraj 90 % vprašanih meni, da AZŽ predstavljajo tveganje za zdravje. Zaznavanje različnih kategorij AZŽ je bilo različno. Najnižjo stopnjo zaskrbljenosti so zasedli antioksidanti s povprečno vrednostjo 3,27 na 5-stopenjski lestvici, najvišjo stopnjo zaskrbljenosti pa ojačevalci arome s povprečno vrednostjo 4,08. Zaznavanje različnih kategorij AZŽ je odvisno od starosti vprašanih, kjer so mlajši manj zaskrbljeni oz. bolje sprejemajo aditive od starejših. Z našo raziskavo lahko potrdimo, da je zaznavanje AZŽ odvisno od starosti in delno od stopnje izobrazbe, saj so bolj izobraženi manj zaskrbljeni od tistih z nižjo stopnjo izobrazbe. Naša raziskava ni potrdila, da je zaznavanje AZŽ odvisno od spola, regije domovanja ali prisotnosti otrok v gospodinjstvu. We analysed the perception of food additives among Slovenian consumers.. For the purpose of the task, we used a questionnaire, which was divided into several content-related sets, such as shopping habits, perception of additives, knowledge in the field of additives. The results were statistically analyzed and it was determined whether there were statistically significant differences in the answers depending on gender, age, education and region of residence. We found that 65,1 % of respondents were concerned or very concerned about the use of additives in food. The survey found that almost 90 % of respondents believe that additives pose a health risk. Perceptions of different categories of additives were different. The lowest level of concern was occupied by antioxidants with an average value of 3,27 on a 5-point scale, and the highest level of concern was occupied by aroma enhancers with an average value of 4,08. The perception of different categories of additives depends on the age of the respondents, where the younger ones are less worried or they accept additives better than the elderly. With our research, we can confirm that the perception of additives depends on age and partly on the level of education, as the more educated are less concerned than those with a lower level of education. Our research did not confirm that the perception of additives depends on gender, region of home, or the presence of children in the household.

Magistrsko delo obravnava francosko in poljsko frazeološko gradivo, v katerem poimenovanja za barve nastopajo kot frazeološke sestavine. Barve so kot ena najbolj prepoznavnih lastnosti realij v govorčevi okolici vseprisotne, tako v jeziku kot v fizičnem pojmovanju okolice. Delo obseg obravnavane leksikalne skupine na podlagi več teorij o poimenovanjih za barve zameji na osnovne barve in predstavi morebitne posebnosti na tem področju v obeh jezikih. Uvodoma je predstavljena vloga kulture v jeziku, ki poimenovanjem za barve omogoča razvoj bogatih simbolnih pomenov. Poimenovanja za barve predstavljajo leksikalno skupino, za katero je značilna izredna nasičenost s kulturno konotacijo, hkrati pa govorimo o pogostih sestavinah v frazeološkem gradivu obeh jezikov, zaradi česar so predmet številnih frazeoloških obravnav. Dostopne raziskave kažejo, da lahko poimenovanje barve v frazemih nastopa na različne načine, ki se jih v tipoloških prikazih običajno opredeljuje glede na razliko med konotativnim in denotativnim delom pomena poimenovanja za barve, nekatere tipologije pa so razvile natančnejša merila, npr. na osnovi delitve dobesednega, metaforičnega, metonimičnega in simbolnega pomena. Ta delitev predstavlja osrednje merilo razvrstitve barv kot frazeoloških sestavin in je uporabljena za analizo zbranih frazeoloških enot. V obravnavanem frazeološkem gradivu so pomembna tudi čustva, ki so neposredno povezana s poimenovanji barv v frazemih. Barve in čustva se v francoski in poljski kulturi pogosto povezujejo tako na metaforični kot na simbolni ravni. V zadnjem delu je problematika barv, čustev in frazeologije postavljena v okvir kognitivnega jezikoslovja. Magistrsko delo teorijo prototipa uporablja za določitev prototipskih referenc določenih osnovnih barv, teorijo konceptualne metafore pa za določanje morebitnih konceptualnih metafor, katerih ubeseditve bi bili frazemi, in poskus določitve, ali se konceptualne metafore nadalje vpisujejo v širše konceptualnometaforične sisteme. The master’s thesis analyses French and Polish phraseology material with colour denominations as phraseological components. As one of the most recognisable features of real objects in the speaker's environment, colours are omnipresent, both in language and in the perception of one's surroundings. Based on several theories on colour denominations, the master's thesis limits the scope of the considered lexical group to basic colours and presents possible specific characteristics in this field in both languages. In the introduction, the role of culture in a language is presented on the basis of which colour names and their corresponding phrasemes developed rich symbolic meanings. Available studies suggest that colour denominations in phrasemes can occur in different ways that are usually defined in typological representations according to the difference between the connotative and denotative part of the meaning implied in colour denomination although some typologies have developed more precise criteria, e.g. based on the division of meaning into literal, metaphorical, metonymic and symbolic meaning. Such division is also used in the analysis of gathered phraseology material as the basic criterion for classifying colours as phraseological components. Emotions directly related to colour names within phrasemes are also important in the given phraseology material. In French and Polish culture, colours and emotions are often associated on both metaphorical and symbolic level. In the final part of the thesis, the issue of colours, emotions and phraseology is placed within the framework of cognitive linguistics. The master's thesis uses the prototype theory to determine prototype references of the selected basic colours, while the conceptual metaphor theory is used to ascertain if it is possible to determine conceptual metaphors on the basis of phrasemes as the realisation of the metaphor itself, and to establish if these conceptual metaphors are inscribed in broader conceptual metaphorical systems.

Čustva so pomemben del človekovega življenja. So procesi, ki izražajo človekov vrednostni odnos do zunanjega sveta ali do samega sebe. V diplomski nalogi je raziskan vpliv čustev na vedenje in druge duševne procese v povezavi z umetnostjo. Fokus je na povezavi čustev in duševnih motenj ter odpravljanju stigme, ki jo nosijo te teme. Pri tem je pozornost posvečena analizi barv in samih potez. Pozornost barvam pri umetniškem ustvarjanju je pomembna in hkrati tudi potrebna, saj imajo izjemno moč in vpliv na konstituiranje slikovnega polja, glede katerega si gledalec prizadeva dekodirati sporočilo in idejo samega likovnega dela. Barve, ki jih slikar uporablja, niso nič manj realne kot figure. Barve razumemo kot nekaj subjektivnega, intuitivnega in/ali ekspresivnega. To pa lahko prevedemo kot zelo značilno za estetske občutke in čustva. Praktični del naloge bo imel dvojno vlogo: sam proces ustvarjanja kot vrsto terapije, končni izdelki pa kot predstavitev same teme. Emotions are an important part of human life. They are processes that express a person's value to the outside world or to themselves. The thesis explores the influence of emotions on behaviour and other mental processes related to art. The focus is on connecting emotions and mental disorders and therefore removing the stigma, borne by these topics. In doing so, the focus is on the analysis of colours and strokes. Attention to colours in artistic creativity is important and at the same time necessary, as they have an extraordinary power and influence on the constitution of the pictorial field about which the viewer strives to decode the message and the idea of the work of art itself. The colours used by the painter are no less realistic than the figures. We understand colours as something subjective, intuitive and/or expressive. This can be translated as very typical of aesthetic feelings and emotions. The practical part of the thesis will have a dual role, the process of creating these paintings as sort of therapy and the final products as a presentation of the topic itself.

Cilj diplomskega dela je oblikovanje komercialne kolekcije oblačil na osnovi obstoječe eksperimentalne kolekcije Imprinted. V teoretičnem delu naloge sem predstavila pojem »komercialno« in raziskala, kaj naredi modno kolekcijo komercialno. Raziskala sem trende naslednjega leta in pregledala komentarje priznanih modnih spletnih strani o predstavitvah smernic na mednarodnih tednih mode. Osredotočila sem se na slovenski trg in opravila intervjuja s trgovinama Emporium in Omara. Na ta način sem izvedela, kateri kosi so najbolj prodajni, ali so večbarvni ali enobarvni ter kakšna je cena najbolj prodajnih kosov. Izvedla sem anketo potrošnikov o njihovih navadah kupovanja oblačil. V procesu sem se vedno vračala k izhodiščni kreativni inspiraciji Memphis stila in ga zato še bolj raziskala. V eksperimentalnem delu sem glede na pridobljene podatke razvila kolekcijo ženskih oblačil Imprinted + na osnovi eksperimentalne kolekcije Imprinted. Kose prejšnje kolekcije sem preoblikovala v bolj uporabne glede na kroj in materiale. Na podlagi ugotovitev teoretičnega dela o tem, kaj naredi kolekcijo komercialno, sem dodala detajle, kot so kapuce, zadrge, žepi, patenti in elastike. Ohranila sem splošne karakteristike primarne kolekcije z ohranjanjem podobne barvne palete in vzdušja, spremenila pa njeno namembnost. Pojasnila sem inspiracijo in vzdušje kolekcij, predstavila razvoj kolekcije, njeno ciljno skupino, uporabljene tehnike, barvno paleto in vzorce, materiale ter skice posameznih oblačil obeh kolekcij. Rezultat diplomskega dela je komercialna kolekcija ženskih oblačil, poimenovana Imprinted +, ki zajema pet končnih videzov in skupaj šteje devet oblačilnih kosov. The goal of the dissertation is designing a commercial line od clothing based on the experimental collection Imprinted. In the theoretical part of the assigment I have focused on the term »commercial« and directed my research towards finding out what makes a fashion collection commercial. I looked into trends for the following year and scoured through renowed fashion websites to find comments on presentations of new ideas directed by international fashion weeks. I decided to put the Slovenian market in the center of my interrogative strategy and conducted interviews with shops Emporium and Omara. With this i found out which types of clothing sell best, wheather they are colorful or monochromatic and what is their place on the price scale. I have also put together a questionnaire for consumers about their buying habits. Along the process i kept using Memphis style as the source of my inpiration and therefore thoroughly examined it. The experimental part served as an opportunity to transform all of the gathered information into a new line of womenswear Imprinted +, using the previous collection Imprinted as a base. I increased the functionality of pieces from the previous collection by reconsidering their cutting patterns and materials. Details such as hoodies, zippers, pockets, elastic bands and ribbing were added based on the research I have conducted in the theoretical part. I kept the general characteristic of the primary collection (Imprinted) by maintaining the same color scheme and style, changing only its functionality. I explained my inspiration, listed significant qualities of the collection, offered an insight into their development, target groups, methodology, color palette and pattern, materials and sketches of individual pieces. The result of the dissertation is a commercial line of womenswear titled Imprinted +, which includes five looks and consist of nine pieces.

Barve spremljajo človeka skozi vso zgodovino in skozi vsa življenjska obdobja. V različnih obdobjih so bile tudi statusni simboli socialnih slojev ali mitoloških prepričanj. Barvne kombinacije, ki jih srečamo, nas čustveno nagovorijo, kajti dojemanje barve je vedno in izključno samo čutno doživetje. Različne barvne kombinacije lahko na nas delujejo prijetno, lahko pa nas pustijo hladne ali se nas celo neprijetno dotaknejo. To je bilo izhodišče za pisanje magistrskega dela. Z izbranimi dvanajstimi barvnimi odtenki in pripravljenim anketnim vprašalnikom sem opravila raziskavo o zaznavanju in dojemanju barv. V raziskavi je zajet vzorec populacije, ki zajema tako ženske kot moške različnih generacij. Iz raziskave je mogoče ugotoviti priljubljenost posameznih barv tako v materialnem, oblikovalskem, kot tudi duhovnem smislu. Rezultati raziskave so ovrednoteni in primerjani glede na starostna obdobja in spol udeležencev, saj se ti med seboj razlikujejo, narejena je tudi primerjava z raziskavami iz preteklosti. Humans have been accompanied by colours throughout history and all life periods. At different eras, colours were also associated with status symbols either of social class or mythological beliefs. We are often emotionally addressed by colour combinations that are met as a perception of colour is primarily a sensory experience. Different colour combinations can have a pleasant effect or can leave us cold or in a state of shock. This presents a starting point for this masters. By choosing 12 shades of colours and by preparing a questionnaire, a research on how colours are detected and perceived. Research sample is made of male and female subjects of different age ranges. The research enables to draw a conclusion on how popular a certain colour is both in material, design and spiritual sense. The results of the research are validated and compared with respect to age and gender of participants as this values are changeable. The results of this survey are also compared to the results of the past research.

Osrednja tema magistrskega dela je črna barva v grafiki, ki je že od začetkov tiska temelj grafičnega izraza. Za boljše razumevanje črne barve smo na začetku preučili, kako barva deluje na človeka ter kako ta barvo zaznava. Barva namreč na vsakega posameznika deluje drugače, saj gre za občutek, ki ga zazna oko. V nadaljevanju smo posebej poudarili in obravnavali črno barvo in proučevali njene simbolične pomene in funkcije. V delu nas je zanimala predvsem črna barva v grafiki, ki se je v tej vrsti likovne umetnosti začela uporabljati že pred odkritjem papirja, z odkritjem tiska pa je postala sinonim za grafični postopek. S pojavom modernizma je črna barva dobila nov pomen, postala je izrazno sredstvo. S pojavom avantgard in s prehajanjem iz predmetnega v abstraktno je črna barva prišla v ospredje. Za primer smo predstavili dela in ustvarjanje umetnika Edvarda Muncha, ki je v ospredje postavil črno figuro, Kazimira Malevicha, ki je s svojim črnim kvadratom naredil prelom v umetnosti, ter Pieta Mondriana, ki se je obrnil k čisti abstrakciji in je z geometričnimi oblikami izražal videnje sveta. V magistrskem delu smo obravnavali tudi slovenske umetnike, ki se ukvarjajo s črno barvo, ki je v slovensko umetnost vstopila leta 1980. Na koncu smo izpostavili dva pomembna slovenska umetnika, ki ustvarjata v črni barvi na različnih likovnih področjih. Delo smo zaključili z njuno primerjavo, v kateri smo izpostavili podobnosti in razlike med njima glede ustvarjanja v črni barvi. The main theme of the Master’s thesis is the colour black in printmaking, which has been the foundation of expression in printmaking since the beginning of printing. So as to better understand the colour black, we first studied its effects on people and how we perceive it. Colours effect people differently, as they are a sense perceived by the eye. We further emphasised and discussed the colour black and studied its symbolic meanings and functions. The thesis predominantly focused on the colour black in printmaking, which was used in this art genre even before the invention of paper. When printing was discovered, it became synonymous with printmaking. With the emergence of modernism, the colour black gained a new meaning and became a means of expression. With the emergence of avant-garde movements and the shift from the figural to the abstract, the colour black moved to the forefront. The presented examples include the work and creativity of Edvard Munch, who foregrounded the black figure, Kazimir Malevich, whose Black Square represents a turning point in art, and Piet Mondrian, who turned to pure abstraction and expressed his vision of the world using geometric shapes. The Master’s thesis also focused on Slovene artists who deal with the colour black that entered the Slovene art arena in 1980. Finally, we emphasised the work of two important Slovene artists who create using the colour black in various art fields. The thesis concludes with a comparison of these two artists and a focus on the differences and similarities in their use of the colour black.

Diplomsko delo se nanaša na serijo slikanic o Elmerju Davida McKeeja. V teoretičnem delu spoznamo definicijo slikanice, interakcijo med besedilom in ilustracijo, elemente slikanice. Cilj diplomskega dela je spoznati zbirko slikanic pod naslovom Elmer Davida McKeeja z istim literarnim likom, slonom Elmerjem, jih analizirati in praktično uporabiti v vrtcu. V praktičnem delu analiziramo slikanice in predstavimo aktivnosti, ki smo jih izvajali v vrtcu. Namen izvajanja dejavnosti v vrtcu je, da otroci spoznajo slona Elmerja, ki je drugačen od vseh ostalih slonov in z njim podoživijo dogajanje v slikanici. Otroci na ta način sprejmejo nekoga, ki je drugačen in se naučijo, da smo kljub drugačnosti vsi enaki. The diploma thesis researches picture book series about Elmer by David McKee. The theoretic part researches definition of a picture book, interaction between the text and illustration, and elements of the picture book. The goal of the diploma thesis has been to research the picture book series entitled Elmer by David McKee with the same literature character, the elephant Elmer, analyse the books, and practically use them in a kindergarten. We have analysed the picture books in the empirical part and present the activities, which have been done in the kindergarten. The purpose of the activities in the kindergarten has been that children meet the elephant Elmer, who is different from other elephants, and they relive the events in the picture book together with him. Through the stories about Elmer, children learn to accept someone who is different and learn that we are the same no matter how different we actually are.

V teoretičnem diplomskem delu z naslovom Waldorfske lutke so na podlagi strokovne literature opisana načela waldorfske pedagogike ter življenje in delo njenega utemeljitelja Rudolfa Steinerja. Prav tako je na kratko predstavljena njegova duhovna znanost, imenovana antropozofija. Opisan je pomen ritma v waldorfski pedagogiki ter predstavljeni štirje temperamenti in njihova povezanost z barvami. Podrobneje so s področja umetnosti predstavljene lutke, ki so pomemben del življenja v waldorfskem vrtcu, in njihov vpliv na otrokov razvoj. Ker so waldorfske lutke zaradi svojih značilnih kreacij zelo posebne in ker so ljudem še dokaj neznane, je namen tega diplomskega dela predstaviti njihovo pojavnost in s tem opravičiti njihovo edinstvenost. Opisane so stoječe, ploske, prstne in senčne lutke, lutke za posebne priložnosti, marionete in waldorfska punčka. V zadnjem delu obravnavane teme so predstavljeni materiali in tehnike izdelovanja waldorfskih lutk. Podrobneje je predstavljena volna, njena predelava in uporabnost. Na koncu je predstavljena še waldorfska lutkovna pravljica, različne vrste scen in rekviziti, ki se uporabljajo v waldorfski lutkovni pravljici. Ugotovljeno je bilo, da waldorfske lutke pozitivno vplivajo na otrokov razvoj, zaradi naravnih materialov in preprostosti negujejo otrokove čute in otroke spodbujajo k uporabi domišljije. V waldorfskih vrtcih se najpogosteje uporabljajo stoječe lutke iz različnih tehnik, katerih liki so večinoma človeška bitja, elementarna bitja - palčki ter živali in waldorfska punčka. S to vrsto lutk se otroci tudi najpogosteje igrajo. Waldorfsko lutko bi lahko zaradi njene estetike, sestave in pozitivnega vpliva na otrokov razvoj imenovali tudi dobra igrača. The thesis Waldorf Dolls describes in the theoretical part the principles of Waldorf pedagogy and the life and work of its founder Rudolf Steiner based on the professional literature. Moreover, there is a short description of the founder’s spiritual science called anthroposophy. The emphasis is also put on the importance of the rhythm in Waldorf pedagogy. The thesis describes four temperaments and their connection to colours. Dolls and their influence on children’s development is described in more details from the perspective of arts, because that is an important part of life in Waldorf kindergarten. Waldorf dolls are very special because of their specific creations. Consequently, they are quite unknown, which caused the main goal of this thesis, to present the dolls’ appearances and justify their uniqueness. The thesis describes standing dolls, flat finger dolls, shadow dolls, dolls for special occasions, marionettes and Waldorf dolls. The last part of the described topic describes materials and techniques used to make Waldorf dolls. The use and processing of the wool is described in more details. In the end the thesis includes a Waldorf doll fairy tale and different kind of scenes and requisites, which can be used in this type of tale. It was concluded that Waldorf dolls influence children’s development in a positive way. With their simplicity and the use of natural materials, they nurture their senses and encourage the use of their imagination. Waldorf kindergartens most commonly use the standing dolls made with different techniques and represented by human beings, elemental creatures – dwarfs, animals or Waldorf dolls. Children most frequently play with this type of dolls. From the aesthetic aspect, formation and positive influence on children’s development, could a Waldorf doll be called a good toy.

POVZETEK Ideja za izdelavo diplomskega dela z naslovom Pojav abstraktnega ekspresionizma v ZDA je v meni zorela že kar precej časa. Zato sem začela segati po delih, ki so odražala abstraktni ekspresionizem. V diplomskem delu sem tako opisala abstraktno umetnost, ki ni realistična, pri njej je pomembno bistvo, duh, ki se je otresel zunanje podobe predmeta, ki je zajeta z barvo, obliko in kompozicijo. Opisovala sem začetke in izoblikovanje abstraktne umetnosti v ZDA. Vplivni kritik Harold Rosenberg je predlagal izraz akcijsko slikarstvo, ki naj bi imelo specifičen pomen. Začetniki abstraktnega ekspresionizma v ZDA so bili individuumi, a med seboj kljub vsemu tesno povezani. Skupina, v katero so se uvrščali Jackson Pollock, Franz Kline, Robert Motherwell, Willem De Kooning, Ashile Gorky in še mnogi drugi, je predstavljala akcijsko slikarstvo, ni pa jih zanimala evropska abstraktna umetnost. Potem se je zgodilo – Jackson Pollock začne na platno polivati, zlivati barvo. Vse to počne z izredno slikarsko tankočutnostjo in tehniško umetnostjo tako, da postane vsak kvadratni centimeter slike zanimiv. To so bila velika platna, slikana na tleh, in sicer taka, da je hodil okoli njih in po njih. Po kapljah in curkih je zlival barvo iz pločevink. Tako so nastajala njegova dela. Hrepenenje, tesnobnost in ustvarjalna paradoksnost, ki se jim je predajal v zadnjih letih, so ga privedle do popolnega propada. Drugi del diplomskega dela sem posvetila svojim lastnim delom, ki pa so nastala pod močnim vplivom ameriškega abstraktnega ekspresionista Jacksona Pollocka. Opisala in prikazala sem celoten postopek akcijskega slikarstva s tehniko dripping painting. ABSTRACT The idea for writing the diploma thesis entitled The Emergence of Abstract Expressionism in the USA has been ripening for a while, which is why I started looking at works that reflect abstract expressionism. The present diploma thesis describes abstract art, which is not realistic what matters is its essence, the spirit that frees itself from the external form of an object, expressed through paint, form and composition. The beginnings and development of abstract art in the USA are described. Harold Rosenberg, a renowned art critic, suggested the expression action painting, which should have a specific meaning, to be used. Abstract expressionism was started by individuals, who were, nevertheless, closely linked with each other. The group, members of which included Jackson Pollock, Franz Kline, Robert Motherwell, Willem De Kooning, Arshile Gorky and others, represented action painting and was not interested in European abstract art. And then it happened – Jackson Pollock started pouring and dripping paint on a canvas with the precision and technical expertise of a delicate painter so that every square centimetre of the painting became interesting. His works were large-scale canvases – so large he could walk all over them and around them. The paint was dripped and poured from paint cans to create his paintings. His longing, anxiety and creative paradox eventually led to his ruin. The second part of the thesis is dedicated to my own works, created under the influence of Jackson Pollock, the American abstract expressionist. The entire action painting process using the dripping painting technique was described.

V diplomski nalogi smo s pomočjo literature opisali simboliko osnovnih barv, vpliv, ki ga imajo na ljudi, ter njihov pomen v oglasnih sporočilih. Omejili smo se na tiskane oglase (plakate, časopise, revije, neposredno pošto in embalažo) in opisali njihove prednosti in slabosti. Z anketnim vprašalnikom smo ugotavljali, na katere barve smo najbolj pozorni in katerim lastnostim se posamezne barve bolj približajo. Osredotočili smo se na sedem barv zeleno, rumeno, oranžno, rdečo, vijolično, modro in črno barvo. We have described the symbolism of basic colours, their impact on people's perception and their role in advertisement. We limited thesis by printed ads – posters, newspapers, magazines, direct mail and packaging. Further on, we described their advantages and disadvantages. Survey was used to determine which colour alerts us the most and to which properties each colour gets the closest. We focused on the following seven colours: green, yellow, orange, red, purple, blue and black.

Oblikovanje kolekcije P/P 2004 za nosečnice v kombinaciji retro stila Charlestone in moda 70.-tih let : diplomsko delo univerzitetnega študijskega programa

V teoretičnem delu diplomskega dela predstavljamo pojem barve, ki zajema delitev barv, lastnosti barv in odnose med barvami. Ob tem smo izpostavili dejavnike, ki vplivajo na izbiro barve. Ti dejavniki so metode dela, likovna področja in tehnike, oblike dela, teme in motivi in predhodna motivacija. V teoretičnem delu so opisani vsi dejavniki, tudi tisti, ki jih v projektnem delu nismo uporabili. Prav tako vsebuje teoretični del tudi opis projektnega dela, njegove tipe, značilnosti, lastnosti in etape. V praktičnem delu predstavljamo sam projekt. Projekt je trajal tri določene dni, razporejene v treh tednih in dveh različnih vrtcih. Ta del zajema šest priprav z dvema različnima metodama dela in različnima vrtcema. V projekt je bilo vključenih iz vsakega vrtca po dvanajst otrok. Namen projekta je bil ugotoviti ali različne metode dela vplivajo na izbiro barve. Rezultati pa so pokazali, da glede na dve različni metodi dela, ni bilo razlike v izbiri barve. In the theoretical part of my diploma, we are introducing the conception of a colour, which captures the division of colours, their characteristics and the relations between colours. We have also exposed the factors that influence the choice of a colour. These factors are the work methods, the art fields and technics, the work forms, themes, motives and preceding motivation. In the theoretical part all factors are described, including the ones that were not used in practical part. The theoretical part also includes the description of the project work, their types, characteristics and stages. In the practical part we present the project itself. The project lasted for three fixed days, arranged in three weeks in two different nursery schools. This part includes six preparing* with two different work methods and two different nursery schools. 12 children of every nursery school were included in the project. The purpose of the project was to find out, if different work methods influence the selection of a colour. The results showed that there was no difference in selection of a colour regarding two different work methods.

Pomen barv in simbolov v mandalah Namen naloge je bil raziskati pomen barv in simbolov v mandalah. Temeljni simbol mandale je krog, ki pomeni celoto. Mandala navdušuje človeštvo že tisočletja s svojo sporočilnostjo in s svojo preprosto obliko – krog. Cilj naloge je bil prikazati mandalo v prvobitni pojavnosti, njene spremembe v različnih kulturah in kakšno moč ima v Zahodnem svetu. Pri delu so bile uporabljene metode analize pisnih virov. Ugotovili smo, da se za prvobitno mandalo skrivajo nauki budizma. Ostale kulture so glede na namen in sporočilnost prikazovale simboliko barv in oblik na drugačen način. V Zahodnem svetu pa se psihološki globlji pomen izgubi, saj mandala nima budističnega ozadja in ne potekajo molitve k Budi, kakor je praksa v vzhodnjaški kulturi. V Zahodnem svetu mandala ponuja večinoma le etstetske užitke. The meaning of colours and symbols in mandalas The purpose of my diploma work was to research the meaning of colours and symbols in mandalas. The circle, fundamental symbol of mandala, represents wholeness. Mandala is known by the humans for thousands of years and inspires us with its simple form – the circle. The goal of my diploma work was to show how mandala appears in its primal form, its changes in different cultures and its power in the Western world. At my work I used the method of analysing written documents. I discovered that behind the primal mandala the lessons of Buddhism are hidden. All the other cultures adopted mandala and showed the colours and forms in different ways according to the purpose and the expressed content. The deep psychological meaning of the Eastern mandala is lost in the Western world as it lost the Buddhist background of prayers to Buddha, the purpose of mandala in Eastern cultures, and it offers only aesthetic pleasures in the Western world.

Tekoči kristali so tema, ki je tesno povezana z izkušnjami dijakov in trenutno zelo aktualna tema v raziskovalnih krogih, zato je dober primer sodobne fizikalne teme, ki jo skušamo vnesti v pouk. Na podlagi naših izkušenj in znanj o tekočih kristalih in na podlagi predstav študentov prvega letnika univerzitetnega študija o tekočih kristalih smo oblikovali učno gradivo o tekočih kristalih. Učno gradivo, ki je podrobno predstavljeno v tej disertaciji, skuša študente voditi do usvojitve konceptov, ki so pomembni za razumevanje delovanja tekočekristalnega prikazalnika. Gradivo je sestavljeno iz treh delov, in sicer iz predavanja in laboratorijskih vaj pri kemiji in fiziki. Eksperimenti, ki so predstavljeni v okviru fizikalnega dela vaj, se nanašajo na fazni prehod, značilen za tekoče kristale, polarizacijo svetlobe, dvojni lom in barve. Učno gradivo je bilo testirano pri študentih 1. letnika na študijskem programu Razredni pouk na Pedagoški fakulteti Univerze v Ljubljani. Rezultati kažejo, da je gradivo dejansko možno uporabiti v praksi in tudi napredek v znanju v povezavi s tekočimi kristali je znaten, od uspeha 24 % na predtestu, do 68 % na testu takoj po končanem učnem posegu z učnim gradivom in 64 % na testu, ki se je izvajal ob izpitu mesec dni kasneje. Predhodna raziskava je pokazala, da je znanje o tekočih kristalih, ki so ga študenti prvih letnikov različnih študijskih smeri pridobili pred študijem, zanemarljivo. Ker študente razrednega pouka naravoslovje povečini ne zanima, lahko sklepamo, da bodo študenti naravoslovnih študijskih smeri z učnim gradivom usvojili vsaj toliko znanja kot študenti razrednega pouka. Zato smo testirali fizikalni del učnega gradiva tudi pri študentih 1. letnika študijskega programa fizika z vezavami na Pedagoški fakulteti Univerze v Ljubljani. Rezultati kažejo, da so študenti dvopredmetne fizike na večino testiranih vprašanj odgovorili bolje kot študenti razrednega pouka. Za študente fizike smo učno gradivo dopolnili z zahtevnejšim eksperimentom, s katerim izmerimo kotno odvisnost izrednega lomnega količnika. Z eksperimentom neposredno in nazorno pokažemo dvojni lom v tekočih kristalih. V ta namen sta bili izdelani homeotropna in planarna klinasta tekočekristalna celica, ki omogočata kvalitativne in kvantitativne meritve izrednega lomnega količnika v odvisnosti od smeri. V disertaciji predstavimo fizikalne osnove razširjanja svetlobe skozi anizotropno snov, postavitev eksperimenta, meritve in rezultate. Fizikalni del učnega gradiva smo preoblikovali za namene poučevanja v srednji šoli, saj želimo, da so dijaki po zaključenem srednješolskem izobraževanju naravoslovno pismeni. Gradivo je bilo testirano v dveh srednjih šolah v dveh oddelkih 3. letnika gimnazijskega programa. Rezultati testiranja in mnenja učiteljev kažejo, da gradivo lahko uporabimo za predstavitev teme tekoči kristali v srednješolskem izobraževanju, saj so dijaki usvojili ključne koncepte, ki so potrebni za razumevanje delovanja tekočekristalnih prikazalnikov. V disertaciji predstavimo podrobno evalvacija gradiva in smernice za nadaljnje delo. Liquid crystals are linked to everyday students’ experiences and are also a topic of a current scientific research, so they are a good candidate of a modern topic to be introduced into education. Taking into account our experience with liquid crystals and students' preconceptions we designed a teaching module about liquid crystals, which is presented in the dissertation. The teaching module consists of a lecture and experimental work in a chemistry and physics lab. In the chemistry lab students synthesise liquid crystal MBBA and in the physics lab they study its physical properties. Within the experimental work they study phase transitions, polarization of light, double refraction and colours. The evaluation of the module was performed among the first year pre-service primary school teachers who have no special preferences for natural sciences. The evaluation shows that the module is very efficient in transferring knowledge and feasible in practice since the students achieved 24 % on the pre-test, 68 % on the test performed after the physics lab and 64 % on the test that was performed one month later as a part of an exam. A prior study showed that the informally obtained pre-knowledge on liquid crystals of the first year students on several different study fields is negligible. Since the social science students are the ones that are the least interested in natural sciences it can be expected that students in any study programme will on average achieve at least as good conceptual understanding of phenomena related to liquid crystals as the group involved in the pilot study. The physics part of the module was evaluated among the first year pre-service physics teachers from the Faculty of Education at University of Ljubljana. At most of the tested questions the achievements of the pre-service physics teachers were better than the achievements of the pre-service primary school teachers. The teaching module for future physics teachers was upgraded with a more elaborate experiment that directly and illustratively demonstrates double refraction. For this purpose, two, homeotropic and planar, liquid crystalline wedge cells were designed, which enable qualitative and quantitative measurements of the extraordinary refractive index direction dependency in a uniaxial nematic liquid crystal. The basic physics of the propagation of light in anisotropic materials, the experimental setup, measurements and results are described in detail in the dissertation. Because we want the high school students to be scientifically literate at the end of the high school studies, the physics part of the module was adapted, in line with the nature of work in high schools. The teaching module was evaluated in two high schools in two third-year classes in each school (on average students were 17.8 years old). The results of the evaluation and teachers’ opinions show that the module is efficient in transferring knowledge also in the high school and feasible in practice. Students assimilated crucial physical concepts that are necessary for the understanding of how liquid crystal displays work. The thesis presents a detailed evaluation of the high school module and gives guidelines for future work.

Svet se nam prikazuje le po svetlobi in barvi. Barve obdajajo naša življenja povsod. Posamezne barve imajo pomen in na nas vplivajo različno. Vpliv barv je lahko pozitiven ali negativen. S pomočjo barv z okolja prejemamo različne signale in informacije. Zaznavanje kot proces omogoča, da informacije sprejemamo, zbiramo, obdelamo in razlagamo, si ustvarimo podobo sveta, ki nas obdaja. Posamezniki enake dražljaje zaznavamo različno. Embalaža je zaščita izdelka, ob tem pa predstavlja proizvajalca, vsebino, blagovno znamko in informira odjemalca. Videz embalaže naredi vtis, element embalaže je tudi barva z estetskim učinkom in sporočilnostjo. Namen diplomskega seminarja je v teoretičnem delu spoznati pomen posameznih barv in ugotoviti vpliv barv na zaznavanje izdelka. V raziskavi, ki je sestavljena iz ankete in eksperimenta, pa ugotoviti najprimernejšo embalažo (barva steklenice in etikete) za posamezne vrste vin in vpliv embalaže na zaznavanje izdelka. Ugotovila sem, da videz embalaže vpliva na zaznavanje izdelka. Sodelujoči so enako vino v različnih embalažah zaznavali različno. Vino, ki je imelo višje ocene za videz embalaže, je imelo v večini višje ocene tudi za barvo, vonj in okus vina. We see the world only in light and colour. Colours surround our lives on every step. Each colour has the meaning and influences differently on people. The influence of a colour can be either positive or negative. Colours also help us recognise different signs and information from the environment. Perception is a process that helps us to obtain, collect, process and explain the information, and on the basis of that an individual creates the image of the world that surrounds him/her. Individuals perceive the same stimulus differently. The purpose of the packaging is to protect the product, but at the same time it presents the producer, the brand and it provides the customer with the necessary information. It is the appearance of the packaging that creates the first impression. One of the elements of the packaging is also the colour with its aesthetic impression and communicative value. The aim of the theoretical part of the thesis was to establish the meaning of certain colours and the influence of colours to the perception of the product. The meaning of the research, composed from the poll and the experiment, was to establish the most suitable packaging (colour of the bottle and the label) for different sorts of wines and the influence the packaging provides to the perception of the product. I have found out that the perception of the packaging influences the perception of the product. The same wine was perceived differently according to its packaging. The wine that was scored higher in the category of packaging was usually rated higher also in the categories of colour, smell and taste.

Diplomsko delo z naslovom BARVA KOT VEČPLASTNI FENOMEN (KATARZIS PREKO BESED IN SLIK) je nastalo z namenom spregovoriti o psihofiziološkem vplivu in pomenu barv na človeka ter z namenom zaobjeti dobršen del širine barve kot likovnega elementa v slikarstvu, elementa notranje opreme namenskih prostorov in kot terapevtskega medija. Med samim raziskovanjem fenomena barve, sta me najbolj fascinirali “pomoč”, ki jo lahko nudimo prav preko barvnega medija v smislu terapije z barvo in samo t. i. očiščenje z barvo. Nadaljnje sem se osredotočila na barvno izražanje duševno bolnih slikarjev in diplomsko delo zaključila z intervjujem z g. Gorjupom ter katarzisom v besedi in sliki - v obliki lastnega razmišljanja o notranji osvoboditvi preko barv ter s predstavitvijo lastnih likovnih del ter njim vselej prisotnih poezij. Diploma work titled COLOUR AS A MULTILAYERED PHENOMENON (CATHARSIS THROUGH WORDS AND PAINTINGS) was created to talk about psychophysiological influence and meaning of colours on human being and with intention to embrace considerable part of colour width as an artistic element in painting, element of interior equipment of designed rooms and as a therapeutic media. During the research of the colour phenomenon I was mostly fascinated by the “help” we can offer through colour media in a sense of colour therapy and so-called colour purification. Furthermore, I have focused on colour expression of mentally ill painters and finished my diploma work with an interview with Mr. Gorjup and catharsis in words and paintings – in a form of my own reflection about inner liberation through colours and with presentation of my own artistic works and them always present poetry.

V diplomskem delu raziskujemo barvno vtzrajnost za digitalne slike. V uvodu predstavimo problem osvetlitve pri analizi barvnih slik. Barvno vztrajnost povezujemo s prilagajanjem osvetlitvi, ki ga zmore človeški in živalski vid. Naš cilj je preučiti obstoječe algoritme za barvno vztrajnost in nato razviti lasten algoritem, ki bi ga lahko uporabili pri nadaljnjem raziskovanju na področju računalniškega vida. Najprej smo se seznanili s programskimi orodji, ki že vključujejo pogosto uporabljane algoritme za obdelavo slik in video posnetkov. Podrobneje opisujemo tudi rutine in koncepte, ki smo jih srečali pri poglobljenem študiju algoritmov za barvno vztrajnost. Nekatere od njih smo izbrali kot izhodišče pri razvoju lastne metode za barvno korekcijo slik. Dodatno poglavje namenjamo barvnemu kalibratorju. Uporabljamo ga za ocenjevanje algoritmov in tudi kot referenco pri nadzorovanem strojnem učenju. Osrednji del diplome je posvečen razvoju in opisu lastne metode. Razvili smo jo kot obteženo vsoto obstoječih algoritmov, ki imajo komplementarne lastnosti, tako da njihova združitev odpravlja slabosti posameznih pristopov. Uteži za linearne kombinacije petih izbranih algoritmov smo določali s štirimi metodami, in sicer od preproste z enakimi utežmi do najzahtevnejše s strojnim učenjem. V eksperimentih smo za vrednotenje rezultatov in delovanja metod uporabili barvni kalibrator. Ugotavljamo, da postopek za barvno vztrajnost, ki smo ga razvili, dosega boljše rezultate kot posamezni algoritmi, iz katerih je sestavljen. We study colour constancy for digital images in this diploma thesis. The illumination problem when analyzing colour images is presented in introduction section. Colour constancy is associated with the illumination adaptation that is capable human and animal sight. Our aim is to study existing colour constancy algorithms and develop our own algorithm that we could use for further research on the computer vision field. First, we familiarize ourselves with programming tools that implement frequently used image and video processing algorithms. We describe in detail methods and concepts that we have encountered by in-depth study of colour constancy algorithms. Some of these algorithms are chosen as starting point for developing our own method for colour correction of images. A special chapter is dedicated to the colour checker card. This card is used for algorithm evaluation and as the ground truth for supervised machine learning. The central part of our thesis is dedicated to a development and description of our own method. We develop this method as a weighted sum of existing algorithms that have complementary properties, so that their combination eliminates their individual weaknesses. Weights for the linear combinations of five selected algorithms are assigned by using four methods, namely from a simple with uniform weights to the most complicated by using machine learning. A colour checker card is used for evaluating the results in our experiments. We ascertain that the colour constancy method, we have developed, achieves better results than individual algorithms, from which it is composed.

Želja vsakega oblikovalca je ustvariti prepoznaven plakat. Da bi mu to uspelo, mora obvladati razumevanje osebnosti, ter kako le ta osebnost zaznava. V diplomski nalogi smo teoretično obdelali interakcijski model osebnosti, Jungovo analitično psihologijo osebnosti in informacijsko ekološko razlago zaznav. Z barvami oblikovalec v plakatu ustvarja figuro, ozadje, ravnotežje, kompozicijo. Kot del kompozicije smo raziskali tudi uporabo zlatega reza. Izmerili smo uporabo osnovnih barv RGB modela v filmskih plakatih v različnih kulturah, ter dodatno analizirali izbrane plakate. Na celoten plakat ima velik vpliv tudi simbolika. Tako barv, kot tudi likov, teles, ki jih oblikovalec namenoma ali ne namenoma (podzavestno, intuitivno) vgradi v plakat. Vse to oblikovalec uporabi, da doseže učinek. Doseže pozornost množice in jo pripravi do akcije - ogleda filma, nakupa vstopnice za ogled, nakupa filmskega DVD-ja... Tako lahko skupina ljudi zbranih v marketinški oz. oblikovalski agenciji formira mit, ki služi namenu kontrole nad množico oz. ciljno skupino. The desire of every designer is to create a recognisable poster. To achieve this, he has to master the understanding of the personality and its perception. This diploma paper has dealt in theory with the interaction model of personality, Jung's analytical personality psychology and the information – ecology explanation of perception. The designer creates the figure, background, balance and composition with the use of colours. As a part of the composition the paper has also dealt with the use of the golden cut. The use of the basic colours of the RGB model have been measured in movie posters in different cultures, the chosen posters have been further analysed. Symbolism has also a great impact on the poster as a whole. This includes colour as well as figures and bodies which have been built into the composition intentionally or unintentionally (subconsciously, intuitively). All this is used by the designer to achieve an effect. The attention of the public is achieved, it is made to act – to see a movie, buy a ticket for the movie, buy the DVD, etc. This is how a group of people in marketing or design agencies can form a myth which serves to control the masses, i.e. the target audience.

POVZETEK Današnji otroci se ne glede na to, kje živijo, ves čas srečujejo s spremembami na socialnem in političnem področju, spremembami okolja, spremembami v znanosti in tehnologiji ter industriji in njihovimi vplivi na trg zaposlovanja. Hitre spremembe zahtevajo, da pri otrocih gojimo in vzdržujemo željo po učenju vse življenje. Moja želja in namen sta bila, da bi bilo to diplomsko delo kot nek priročnik, za podobo oziroma o podobi današnjega vrtca: kako opremiti igralnico, da bo otroku prijazna in prijetna. V njem so predstavljene likovne dejavnosti predšolskega otroka, metode in oblike dela, načela likovne vzgoje predšolskih otrok, na kratko je predstavljen kurikulum za vrtce in ob njem področje umetnosti z globalnimi cilji, cilji ter primeri likovnih in oblikovalnih dejavnosti, predstavljeno je projektno delo v vrtcu, zunanji izgled vrtca oziroma šole, v kateri je vrtec, notranji izgled vrtca, na koncu pa je predstavljen projekt IZBERIMO BARVE ZA NAŠO IGRALNICO, ki je potrdil moja predvidevanja in ugotovitve psihologa Antona Trstenjaka. Z opazovalnimi listi, v katere sem natančno zapisovala odgovore oziroma izbiro otrok ter na koncu svoje ugotovitve, sem ugotovila, katere barve želijo otroci v igralnici. Njihove želje sem tudi izpolnila, tako da se sedaj otroci prijetno počutijo v svoji igralnici, kajti barve sten so prepleskane v barvah, ki so jih sami izbrali. ABSTRACT No matter where they live, nowadays children have to face social and political, environmental, scientific, technological, and industrial challenges throughout their lives, and have to deal with the impact that the above mentioned changes have on the employment market. These rather quick changes demand that we foster and nourish children’s desire for lifelong learning. The purpose and goal of this thesis was to write some kind of a guide, which would encompass what should a kindergarten nowadays look like and would also help create a children-friendly playroom. The thesis also comprises fine arts activities for the pre-school children, the methods and forms of work, the principles of the Art Education for the pre-school children, a short presentation of the kindergarten curriculum, the global goals of the Art Education and examples and goals of the fine arts and design activities, project work in the kindergarten, outside appearance of the kindergarten or the school the kindergarten is located in, the inner appearance of the kindergarten, as well as the presentation of the project, entitled LET’S CHOOSE COULOURS FOR OUR PLAYROOM, which confirmed my expectations, as well as findings of well known psychologist Anton Trstenjak. The analysis was made on the basis of monitoring sheets that included children’s answers or choices, as well as my findings, which helped me find out what would children want their playroom to look like and enabled me to make their wishes come true and consequently make them feel good in their playroom.