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Namen izdelanega diplomskega dela je bil oblikovati poenoten in prenovljen označevalni sistem, ki bi potnike vodil po vseh možnih različicah javnega prevoza v Ljubljani. Namen končnega izdelka je zagotoviti lažjo orientacijo ob uporabi javnih prevoznih sredstev, objektih ter okolici, do koder sega javni prevoz. V teoretičnem delu diplomskega dela so s pomočjo strokovnih virov definirane in opisane glavne lastnosti in elementi, ki so pomembni, da skupaj tvorijo celoten, učinkovit in funkcionalen označevalni sistem. Opisana je vloga piktogramov, vloga barv ter tipografije v označevalnih sistemih. Poleg tega je opisan tudi krajši pregled zgodovine Ljubljanskega potniškega prometa ter Slovenskih železnic in krajša analiza referenčnih primerov označevalnih sistemov. V eksperimentalnem delu sta analizirana že obstoječa označevalna sistema Ljubljanskega potniškega prometa in Slovenskih železnic ter njuna primernost. V tem delu so analizirani ključni elementi, kot so izbira črkovne vrste, konsistenčnost in doslednost pri oblikovanju piktogramov ter izbira barvne palete. Namen diplomskega dela je bil na podlagi analiziranih elementov izboljšati in izbrati ustreznejše elemente, kot so tipografija, barve in novo oblikovani simboli, ki bi skupaj tvorili poenoteno celoto. Za izvedbo eksperimentalega dela smo uporabili programe Adobe Photoshop, Illustrator in InDesign. V njih smo upodobili, izmerili in izbrali vse zgoraj naštete elemente. Eksperimentali del zajema opis izdelave in oblikovanja novih piktogramov od postavitve mreže, določanja mer v mreži ter parametrov pri oblikovanju novih simbolov, izbire barv, do primerjave dveh črkovnih vrst in ugotavljanja njune primernosti za označevalni sistem. Na podlagi teh elementov smo izboljšali in nadgradili označevalni sistem. Sledi še zadnji del diplomskega dela, v katerem je predstavljen sklop novo oblikovanih piktogramov, ki so poenoteni, imajo konsistenten izgled in kompleksnost. Upodobljeni so z novo izbrano barvno paleto. Predstavljene so novo oblikovane kartice, ki so poenostavljene in modernizirane. Nazadnje so predstavljeni novo oblikovani smerokazi, ki potnike vodijo do avtobusnih postajališč po Ljubljani in železniške postaje v Ljubljani. The purpose of the diploma thesis was to design a unified and renewed marking system that would guide passengers through all possible versions of public transport in Ljubljana. The purpose of the final product is to provide easier orientation when using public transport, facilities and surroundings to where public transport reaches. In the theoretical part of the diploma thesis, with the help of professional sources, the main elements are defined and described, which are important to create a complete, efficient and functional marking system. The role of pictograms, the role of colors and typography in marking systems is described. In addition, a brief overview of the history of Ljubljana passenger traffic and Slovenian Railways is also described, as well as a brief analysis of reference examples of marking systems. In the experimental part, the already existing marking systems of Ljubljana passenger traffic and Slovenian Railways are analyzed and so is their suitability. In this part, key elements such as the choice of typeface, consistency, consistency in the design of pictograms and the choice of color palette are analyzed. The goal of the thesis was to improve and select more appropriate elements, such as typography, colors and newly designed symbols, based on the analyzed elements, which together would form a unified whole. To carry out the experimental work, we used Adobe Photoshop, Illustrator and InDesign. In them, we depicted, measured and selected all the elements listed above. The experimental part includes a description of the production and design of new pictograms. From setting up the grid, determining dimensions in the grid and parameters for creating new symbols, choosing colors, to comparing two types faces and determining their suitability for the marking system. Based on these elements, we improved and upgraded the marking system. The last part of the diploma thesis presents a set of newly designed pictograms, which are unified, have a consistent appearance and complexity. They are rendered with a newly selected color palette. Newly designed cards are introduced, which are simplified and modernized. Finally, the newly designed wayfinding is presented, which guides passengers to bus stops around Ljubljana and the railway station in Ljubljana.

Pisave so pomembno orodje za vizualno komunikacijo in vplivajo na način, kako ljudje dojemajo informacije. Izdelava pisav se je skozi čas spreminjala in se še vedno razvija. V sklopu diplomskega dela je bila oblikovana linearna družina pisav morfoza. Namen diplomskega dela je bil oblikovanje linearne pisave, izdelava njenih različic in ustvarjanje alternativnih znakov, ki bi dopolnjevali pisavo. V teoretičnem delu diplomskega dela sta predstavljena pomen tipografije in njen vpliv na razumevanje besedila. Opisani so deli črk in metrika, ki so ključni elementi pri oblikovanju pisav. Nato smo se osredotočili na zgodovino linearnih pisav ter predstavili različne vrste teh pisav in njihovo razdelitev glede na značilnosti oblik. Opisane so smernice za oblikovanje linearnih pisav. Na koncu so predstavljene tudi dekorativne pisave, ki so značilne po svojih neobičajnih oblikah črk. V sklopu eksperimentalnega dela je podrobno opisana izdelava pisave. Opisana sta natančno oblikovanje potez in črk ter dopolnitev pisave z alternativnimi znaki. Prav tako je opisana izdelava svetle in ultra krepke različice pisave. Prikazana je določitev praznih prostorov ob črkah in prirezovalnih parov. Na koncu so opisani najpomembnejši popravki in izboljšave pri oblikovanju. V rezultatih so prikazani primeri uporabe pisave. Predstavljen je končni nabor znakov družine in opisane so tudi njene značilnosti. Čeprav je nastala pisava že ponudila širok izbor različic in znakov, smo se zavedali, da jo lahko še dodatno izboljšamo z dodajanjem novih znakov in izboljšanjem metrike. Kljub tem omejitvam smo zadovoljni z dosežki diplomskega dela. Typefaces are an important tool for visual communication and they influence the way we perceive information. Type design has changed over time and is still evolving. A linear type family morfoza was made in the scope of this thesis. The purpose of the thesis was to design a linear typeface, develop its variations, and create alternative characters that would complement the typeface. The theoretical part of the thesis discusses the importance of typography and its impact on text comprehension. The parts of letters and metrics, which are key elements in font design, are described. In addition, the history of linear typefaces is presented along with the different types and their classification based on the characteristics of the form. Moreover, guidelines for designing linear typeface are described. Finally, decorative typefaces are introduced, which are known for their unusual letter shapes. As part of the experimental work, the production of the typeface is described in detail. The precise design of strokes and letters is described, as well as the completion of the typeface with alternative characters. It also describes the creation of a thin and black version. The determination of letter spacing and kerning pairs is shown. Finally, the most important design fixes and improvements are described. The results section showcases examples of the typeface in use. The final set of characters of the family is shown, and its characteristics are also described. Although it already offers a wide range of variations and characters, we realized that we could further improve it by adding new characters and improving metrics. Despite these limitations, the goals of this thesis were successfully met.

V sedanjih časih se pojavlja vedno več digitalnega sporočanja, prav tako pa se veča uporaba elektronskih naprav. V diplomskem delu je predstavljen postopek izdelave spremenljive pisave, ki je namenjena uporabi in prikazovanju na zaslonih. Z uporabo spremenljivih pisav lahko ustvarimo unikatne kombinacije različic črk glede na potrebe, ter na ta način ustvarimo boljše okolje za branje. Spremenljive pisave se lahko uporabljajo na spletu s pomočjo računalniških jezikov, kjer ni potrebe po več datotekah ter pisavah, ki bi podaljšale čas nalaganja spletne strani. V teoretičnem delu diplomskega dela je predstavljena pisava in njen razvoj od zgodovinskih jamskih poslikav do prvih računalniških pisav. Navedeni so različni računalniški zapisi pisav, ki so se uporabljali, ali pa so še vedno v uporabi. Prav tako je opisana spremenljiva pisava, njene prednosti in slabosti. Eksperimentalni del diplomskega dela predstavlja opis izdelave spremenljive pisave pretend z vsemi postopki od skic in zasnove, priprave delovne datoteke z nastavitvami, določanja presledkov ob črkah in prirezovanjem do izvoza pisave. Na koncu smo izvedli metodo glajenja krivulj, ki je pomembna pri digitalnih pisavah, upodobljenih na zaslonih. Izvedli smo tudi spletno anketo o všečnosti pisave in pripadajočih različic. S pridobljenimi rezultati ankete smo ugotovili ustreznost posameznih različic pri upodobitvi besedila na zaslonih ter všečnost pokončnih in kurzivnih različic spremenljive pisave pretend. Both the use of electronic devices and digital communication are on the rise in modern times. The aim of this thesis is to present the process of creating a variable typeface that is intended for display and use on screens. Variable typefaces can create unique combinations that can meet our needs and, in doing so, create a better reading environment. Variable typefaces can also be used online with different computer languages, where there is no need for multiple files and fonts that could potentially increase the loading time of a web page. The theoretical part of the thesis presents the development of a typeface, from historical cave paintings to the first computer fonts. It defines examples of different types of computer fonts, including ones that have been used and are still in use. Various advantages and disadvantages of variable typefaces are also described. The experimental part of the thesis goes over the production of the variable typeface Pretend. With all the procedures from sketches and first designs, preparation of the appropriate computer files with their settings, spacing and kerning to exporting the typeface. Additionally, this thesis highlights the process of font hinting, which is crucial for digital fonts rendered on screens. Finally, an online survey was conducted about the likeability of the typeface Pretend and its related fonts. With the obtained results from the online survey, the adequacy of individual roman and italic fonts were determined in rendering of text on screens, and the likeability of the variable typeface Pretend.

Glavni namen diplomske naloge je bil oblikovati knjigo in razumeti, kako lahko le-to vpliva na prodajo. Cilj je razumeti tudi, kakšen psihološki vpliv ima dizajn knjige na ljudi oz. kupce in kako lahko to vpliva na prodajo knjige, hkrati pa ugotoviti, kako optimalno oblikovanje, pri katerem sledimo določenim smernicam, neposredno vpliva na prodajo. Na začetku zastavljene hipoteze so se med oblikovanjem potrdile ali ovrgle. Teoretični del razlaga naslednje teme: psihološki vpliv barve na posameznika, barvna harmonija, barva v publikacijah, raba in vpliv tipografije na človeka, optimalno branje knjige, nepravilnosti pri knjižnem prelomu, oblikovanje publikacij, razporeditev elementov, knjižna struktura, struktura umetniškega dela, geštalt psihologija ter knjiga in prodaja. Medtem ko eksperimentalni del diplomske naloge zajema postopek izdelave knjižnega preloma in knjižne naslovnice za knjigo Petrova imperatorica avtorice Kristine Sabaliauskaite, izdane pri založbi Goga. Delo se je nadaljevalo s pomočjo anonimne ankete in testiranja ciljnih skupin na napravi za sledenje očesnih premikov. Za omenjeno testiranje so se pripravile različne zasnove knjižnih naslovnic, na osnovi česar se je ugotavljalo, katere vzbudijo največjo reakcijo pri opazovancu. Na podlagi pridobljenih rezultatov je analiza pokazala, da so potrošnikom bolj všeč minimalistične naslovnice, ki pa lahko vsebujejo tudi en izstopajoč element, ki pritegne pozornost. Potrjeno je tudi, da bralcem bolj ustreza pisava s serifi, ki ohranja pravilno razmerje med velikostjo znakov in praznimi vrsticami. Prav tako je potrjeno, da je bralcem bolj všeč večji prazen prostor okoli branega besedila, kot manjši. Na podlagi rezultatov je razvidno, da je dobro oblikovanje knjižnega preloma in naslovnice nujno za optimalno bralno izkušnjo ter uspešno prodajo. The main purpose of the diploma thesis was to be acquainted with designing a book as a whole, i.e. to separately design a book text break and a book cover and also to understand how the latter affects print media sales. The goal was also to understand how design has a psychological effect on people and what impact this has on selling a book itself. Therefore, the purpose was to design a book and to find out how optimal design (in which we follow certain guidelines) directly affects sales. The hypothesis set at the beginning were confirmed or refuted during the designing process. The theoretical part explains the following topics: psychological influence of colours on the individual, colour harmonies, colour in publications, use and impact of typography on people, optimal reading of the book, irregularities in book design, publication design, arrangement of elements, book structure, art work structure, gestalt psychology and book and sales. While the experimental part of the diploma thesis presents the process of making a book text break and a book cover for the book called Peter's Empress, by Kristina Sabaliuaskaite, published by Goga. Work continued with the help of an anonymous survey and testing of chosen targeted groups on a device for tracking eye movements (eye tracker). For the mentioned testing, various designs of book covers were prepared, on the basis of which it was determined, which ones arouse the greatest reaction in the observer. Based on the obtained results, the analysis showed that consumers prefer minimalist covers, which can also contain one outstanding element that attracts attention. It has also been confirmed that readers prefer a serif font that maintains the correct ratio between character size and blank lines. It is also confirmed that readers prefer a larger blank space around the text being read than a smaller one. Based on the results, it is clear that a good design of the book cover and cover is essential for an optimal reading experience and successful sales.

LuMetal, d. o. o. je majhno podjetje s sedežem v Novem mestu. Ukvarjajo se s kovinskopredelovalno industrijo, izdelujejo tudi unikatne kovinske produkte po načrtih arhitektov in projektantov. V diplomskem delu je predstavljena prenova celostne grafične podobe in opredelitev elementov, ki skupaj grafično predstavljajo podobo podjetja. Ta je sestavljena iz logotipa, poslovnih tiskovin (vizitka, dopisni list, račun, ponudba, pisemska ovojnica, koledar) ter promocijske majice. Za izvedbo eksperimentalnega dela smo se pobližje spoznali z delom podjetja LuMetal, d. o. o. Sestali smo se z direktorjem podjetja, ki nam je pomagal pri razumevanju elementov njihove celostne grafične podobe (CGP). Le-to smo primerjali še z dvema konkurenčnima slovenskima podjetjema ter raziskali njihove prednosti in slabosti. Po temeljiti raziskavi smo se lotili prenove CGP-ja podjetja LuMetal, d. o. o. Začeli smo z definiranjem osnovnih elementov – barva in tipografija – ki sta nas vodila pri izdelavi ostalih elementov najprej simbola in logotipa, nato pa še vseh tiskovin. Za konec smo izdelali še nekaj primerov promocijskih majic, ki bodo pomagale pri prepoznavnosti podjetja. LuMetal d. o. o. is a small company, with its seat in Novo mesto. Their main priority is the metal processing industry, they also like to participate in the development and implementation of unique metal products, planned by architects and specialised designers. In this thesis we firstly introduce the company’s old corporate visual identity and its key elements. The corporate identity is made of logo, business printing materials, business cards, mailing letter, bills, offer document, envelopes, calendars and receipt and promotional t-shirts. Following the experimental part of the thesis, we begin by getting to know the company itself, moving on to describing its old corporate visual identity and the process of renovation of CVI. We also compared the old CVI with two rival companies where we focused on the elements that work and the ones which doesn’t and then used the good elements in our renovation. After we made a new logo, following the printing materials we also made three designs for promotional t-shirts, which role is to additionally advertise the newly renovated company and its corporate identity.

Celostna grafična podoba predstavlja pomemben vidik identitete podjetja in omogoča razlikovanje na trgu. Zajema vse vizualne elemente, s katerimi se podjetje oglašuje in komunicira s strankami. V diplomskem delu smo ustvarili celostno grafično podobo kozmetičnega salona BeauTina, ki se ukvarja s storitvami kot so manikura, pedikura in ličenje. V teoretičnem delu smo definirali pomen celostne grafične podobe in opisali postopek izdelave celostne grafične podobe. Predstavili smo faze analize trga in preučili literaturo o barvni teoriji ter smernice v tipografiji. Na koncu smo se posvetili ključnim značilnostim logotipov in priročnika celostne grafične podobe. V eksperimentalnem delu smo predstavili programsko opremo, ki smo jo uporabljali pri oblikovanju elementov celostne grafične podobe. Pri oblikovanju celostne grafične podobe smo sprva definirali barvno paleto in uporabljene pisave, nato pa oblikovali logotip, vizitko, dopisni list, cenik in darilni bon. Opisali smo tudi anketni vprašalnik, s katerim smo ciljno skupino salona spraševali o všečnosti celostne grafične podobe in o njihovem mnenju o videzu in pomembnosti posameznih izdelkov. V rezultatih diplomskega dela smo najprej prikazali rezultate analize trga, kjer smo primerjali različne kozmetične salone. Osredotočili smo se na pregled njihovih celostnih grafičnih podob, prisotnosti na spletu, načinov komuniciranja in storitev, ki jih nudijo. V rezultatih smo nato predstavili vse oblikovane elemente celostne grafične podobe. Prikazali smo rezultate izvedene ankete in komentirali uspešnost oblikovanja. Corporate graphic design plays an important role in company's identity and is also used for distinguishing a certain company among others. It covers all the visual elements with which the company advertises and communicates with customers. In the diploma work, we created a corporate graphic design for beauty salon BeauTina, which provides services such as manicures, pedicures and make-up. In the theoretical part, we defined the meaning of a corporate graphic design and described the process of creating a corporate graphic design. We presented the stages of market analysis and examined the literature on color theory and guidelines in typography. This section is concluded with focusing on the key features of logos and corporate design manual. In the experimental part, we presented the software we used to design the elements of the corporate graphic design. When designing the corporate graphic design, we first defined the color palette and fonts used, and then designed the logo, business card, letterhead, price list and gift card. We also described a survey questionnaire, which asked the target group of the salon about the liking of the corporate graphic design and about their opinion on the appearance and importance of individual products. In the results of the diploma work, we first presented the results of market analysis, where we compared different beauty salons. We focused on reviewing their corporate graphic design, online presence, ways of communicating and the services they offer. In the results, we then presented all the designed elements of the corporate graphic design. We presented the results of the survey and commented on the success of the design.

Cilj diplomskega dela je bil izdelati knjigo o zgodovini in razvoju tipografije ter jo opremiti z avtorskimi ilustracijami. Diplomska naloga je razdeljena na teoretični in eksperimentalni del. V teoretičnem delu so predstavljeni tipografija, njen zgodovinski razvoj in delitev pisav v skupine, glede na skupne značilnosti. V nadaljevanju je predstavljena ilustracija, podrobneje knjižna ilustracija. Opisan je njen zgodovinski razvoj, zatem pa je opisana tudi digitalna ilustracija, ki je predstavljala osnovo za izdelavo ilustracij za eksperimentalni del tega diplomskega dela. V eksperimentalnem delu je predstavljen potek oblikovanja knjige. Najprej sta predstavljena izbira ciljne skupine ter pisanje besedila. Nato je predstavljena izdelava ilustracij v programu Procreate, pri čemer je opisan postopek od izdelave tradicionalne skice do končne ilustracije, pripravljene za nadaljno obdelavo. Predstavljene so izbrane barve, čopiči, stil ... Eksperimentalni del se osredotoča tudi na postavitev dokumenta v programu Adobe InDesign v tem delu je predstavljen postopek od postavitve preloma, dodajanja besedila in ilustracij do izbire pisave, dodajanja vektorskih elementov ter priprave končne datoteke za tisk. The aim of the diploma thesis was to design a book about the history and development of typography and to create own illustrations for the book. Diploma thesis is divided into two parts, theoretical and experimental part. Theoretical part describes typography, its historical development and typeface classification, according to common characteristics. The following part describes illustration, more in detail book illustration. It describes its development through history. The theoretical part later describes digital illustration, which was the foundation for illustrations for the experimental part of the diploma thesis. In the experimental part the book design process is presented. It firstly describes the chosen focus group and the process of writing the text. It later presents the process of creating the illustrations in Procreate application from the traditional sketch to final illustration, prepared for the following handling. The experimental part depicts chosen colours, brushes, style ... This part also focuses on document setup in Adobe InDesign, as it describes page layout, inserting text and illustrations, typeface selection, adding vector elements and print file preparation.

Grafično oblikovanje in tipografija nas spremljata na vsakem koraku, čeprav se tega na vsakodnevni ravni morda niti ne zavedamo. Vsaka knjiga, ki jo preberemo, vsak reklamni letak, ki ga prelistamo, in vsak izdelek, ki je pakiran v lično embalažo, je produkt spretnega prepleta slike in besede. Vse to se nam, kot uporabnikom, zdi povsem samoumevno, premalokrat pa se zavedamo, da za oblikovanjem stojijo številne študije, ki se trudijo vsak dan znova odkriti, kako narediti izdelek poučen, berljiv, sporočilno jasen in, najpomembnejše, vizualno bolj privlačen. Dandanes je še posebej za manjša podjetja izjemnega pomena, da na prenasičenem trgu ponudnikov izstopajo. Velikokrat k temu pripomore tudi privlačna in zapomnljiva grafična podoba, jasno oblikovan promocijski material, ki je med seboj skladen in se dopolnjuje, ter poznavanje ciljne skupine. »Karantenski časi«, v katerih živimo, so marsikoga prisilili k iskanju novih hobijev. Med aktivnosti, ki jim je v zadnjem letu močno zrasla priljubljenost, spadata tudi vrtnarjenje in urejanje okolice. Zaradi tega se z rastlinami srečujejo tudi ljudje, ki za gojenje rastlin nimajo ustreznega znanja. Z oblikovanjem poučne zgibanke in plakata si želimo vzgojo rastlin približati vsem tistim, ki rastlin ne poznajo, pa tudi tistim, ki se z njimi ukvarjajo že dolgo časa, ampak se vseeno želijo naučiti nekaj novega. Namen diplomske naloge je oblikovanje pisave ter uporaba le-te pri izdelavi grafične podobe za poučno promocijsko zgibanko za družinsko vrtnarijo Tement. Grafična podoba, izdelana za zgibanko, se bo aplicirala tudi na serijo informativnih plakatov. V teoretičnem delu smo opisali pomen tipografije v grafiki in kako jo uporabljamo na primeru promocijskih materialov. Pojasnili smo pomen osnovnih grafičnih elementov, kot sta barva in kompozicija, ter opisali značilnosti posameznih promocijskih izdelkov. Cilj diplomske naloge je načrtovanje preproste, dobro čitljive in berljive pisave, ki bo primerna za daljša besedila, ter oblikovanje promocijskega materiala, ki bo hkrati deloval tudi kot priročnik. V drugem, eksperimentalnem delu, smo podrobneje opisali vse faze oblikovanja. Opisana so uporabljena programska orodja ter predstavljen končni izdelek. Pri izdelavi izdelka smo se osredotočili predvsem na to, kako ohraniti konsistentno grafično podobo pri dveh popolnoma različnih komunikacijskih sredstvih. S pomočjo programa Glyphs smo načrtovali in oblikovali lastno pisavo ter jo aplicirali na promocijske materiale. Pri oblikovanju ilustracij in ostalih grafičnih elementov, postavitvi le- teh ter pri izbiri ustrezne barvne palete smo uporabljali programe iz Adobe Cloud Suite. Oblikovali smo zgibanko ter serijo plakatov, ki hkrati delujejo kot navodila, promocijski material in dekorativni izdelek. S pomočjo spletne ankete smo preverili ustreznost oblikovanja ter izvedeli, ali sploh in v katerih primerih širša množica dojema grafične izdelke kot izraz umetnosti. Končni rezultat je kratka zgibanka, s pomočjo katere predstavimo nabor jedilnih rastlin, ki jih najdemo na vrtnariji, ter serija plakatov, ki vsebujejo napotke, kako skrbeti za izbrane rastline. Although we are not aware of this on a daily basis, we can find typography and graphic design everywhere around us. Every book we read, every flyer we flip, and every product packaged in neat packaging is the product of a skillful interweaving of image and word. As an external observer we often do not realize how many studies are made to rediscover the best way to make a product instructive, readable and most importantly attractive. Nowadays, it is especially important for smaller brands to stand out in the oversaturated market of providers. An attractive and memorable graphic image and clearly designed promotional material that is consistent are both very important when it comes to building a new image for a brand. It is also very important that brands thoroughly examine their target group. The "quarantine times" in which we live, have forced many to look for new hobbies. Activities that have grown in popularity in the last year include gardening. As a result, a lot of people do not have appropriate knowledge to grow plants. By designing an educational brochure and poster, we want to present plants to those who just picked up gardening as a hobby, as well as to those who have been enjoying it for a long time, but still want to learn something new. The purpose of the diploma thesis is to design a font and use it in the making of an educational promotional leaflet for the Tement gardening company. The graphic image created for the leaflet will also be applied to a series of informative posters. In the theoretical part we described the importance of typography in graphics and how we use it in the case of promotional materials. We explained the importance of basic graphic elements, such as color and composition, and described the characteristics of individual promotional products. The aim of the diploma thesis is to plan a simple, readable font that will be suitable for longer texts and to design promotional materials that will be visually appealing and will also work as a manual. In the second, experimental part, we described all the design phases. The used software tools are described, and the final product is presented. We mainly focused on how to maintain a consistent graphic image through different promotional materials. With the help of Glyphs software, we planned and designed our own font and applied it to promotional materials. We used programs from Adobe Cloud Suite to design illustrations and other graphic elements and select the appropriate color palette. We designed a leaflet and a series of posters that simultaneously act as instructions, promotional material and a decorative product. With the help of an online survey, we checked the adequacy of the design and found out in which cases a wider audience perceives graphic products as an expression of art. The result is a short brochure that presents a set of edible plants found in the gardening company and a series of posters that contain instructions for selected plants.

V diplomskem delu je prikazan potek izdelave celostne grafične podobe za podjetje SIN-MED, s. p., ki svoje vizualne identitete do sedaj še ni imelo. V teoretičnem delu je predstavljeno, kaj je celostna grafična podoba in kateri so ključni gradniki, ki jo opredeljujejo (barva, tipografija, logo). Opisani so tudi ostali izdelki celostne grafične podobe (vizitka, dopisni list, spletna stran ipd.) ter prednosti, ki jih podjejte pridobi z ustrezno izdelano celostno grafično podobo. V eksperimentalnem delu smo izdelali celostno grafično podobo in s spletno anketo preverili, kako uspešni smo bili pri njeni izdelavi. Opisani so vsi postopki, ki smo jih uporabili pri izdelavi naše celostne grafične podobe, in katere programe smo pri tem uporabljali. Naši rezultati so tudi slikovno prikazani. The diploma thesis showed the entire process of creating a corporate identity design of the SIN-MED company, which has not yet had its visual identity. The theoretical part describes the meaning of corporate identity design and what are the key components that characterize it (color, typography, logo). Other elements of the corporate graphic image (business card, letterhead, website, etc.) are also described, as well as the advantages that the company acquires with a properly made corporate graphic image. In the experimental part, we create a corporate identity design and checked how successful we were in making it with an online survey. All the procedures and programs we used to create our corporate identity design are described. Our results are also shown pictorially.

Visoki tisk je ena od tehnik konvencionalnega tiska, kjer tiskarsko barvo nanesemo na tiskovno formo z dvignjenim reliefom. Glavni panogi visokega tiska sta knjigotisk in fleksotisk. Za tehniko knjigotiska, ki smo jo uporabili tudi v diplomskem delu, so tiskovne forme stavljene iz premičnih svinčenih ali lesenih črk. Zaradi pritiska, ki ga ustvarimo s tiskarsko prešo, se obarvane površine odtisnejo na tiskovni material. Ob koncu 20. stoletja je visoki tisk zaradi modernizacije in drugih tiskarskih tehnik doživel velik zaton. Zaradi dodatne estetske vrednosti in uporabljenega dolgotrajnega, tradicionalnega postopka se ta tehnika tiska vrača na trg in nudi kakovostne rezultate. Le-ti dodajo piko na i pri ustvarjanju umetniških in komercialnih tiskovin. Namen diplomske naloge je bil dopolniti nabor lesenih črk, ki ga v studiu tipoRenesansa uporabljajo za visoki tisk. Analiza značilnosti obstoječih črk nam je omogočila oblikovanje in izdelavo manjkajočih črk, te pa smo nato uporabili pri izdelavi tiskovin. Vzporedno s tem je potekala tudi digitalizacija pisave antonija. Diplomsko delo je nastajalo s pomočjo programske opreme Glyphs, FontLab Studio 5, Adobe InDesign, Adobe Illustrator in Microsoft Office Word. V praktičnem delu smo za rezkanje črk uporabili program za računalniško podprto načrtovanje, računalniško voden obdelovalni stroj CNC in tiskarsko prešo. Nabor smo dopolnili s sedmimi na novo izrezanimi črkami, kateremu bo zaradi predhodne digitalizacije abecede mogoče dodati nove. V tehniki visokega tiska smo izdelali tudi serijo treh tiskovin, kjer smo za grafične elemente uporabili svinčene in lesene črke. Letterpress (relief) printing is one of the conventional printing techniques, a process by which the printing ink is added directly on the printing form with raised printing surfaces. The main industries of letterpress are traditional letterpress and flexography. The printing form used in this diploma thesis consists of a combination of wooden or lead letters. Due to the pressure caused by the printing press, the raised surfaces transfer the ink onto the printing material. Modernisation and other printing processes that emerged at the end of the twentieth century resulted in decreased use of letterpress however, in recent years, it has returned. Because of the extra aesthetic value and the usage of this long lasting, traditional process, this printing technique adds and offers the final touch, when creating artistic or commercial prints. The purpose of this diploma thesis was to add and develop a set of wooden letters, used for letterpress printing in the studio tipoRenesansa. The analysis of characteristics of the existing letters enabled design and production of the missing letters, which were then used for printing. Simultaneously, digitalisation of the font antonija was in progress. The thesis was created using Glyphs, FontLab Studio 5, Adobe InDesign, Adobe Illustrator and Microsoft Office Word. The practical side of the project involved milling the letters, for which we used a computer–assisted design program, a computer-controlled CNC machine and a printing press machine. We completed the set with the seven newly end-cut letters, to which we will be able to add new ones because of the prior digitalisation of the alphabet. We also produced a series of three prints printed in the same letterpress technique.

V diplomskem delu smo predstavili podroc&#780 je tipografije. V prvem delu smo definirali osnovne teoretic&#780 ne vidike tipografije in opredelili značilnosti različnih pisav. Namen diplomskega dela je bil ugotoviti, katere pisave so na zaslonu bolj čitljive in hitreje berljive. Za upodabljanje na zaslonu ni primerna vsaka pisava, saj zaradi različnih oblikovnih značilnosti ne pripomore k hitremu zaznavanju in razumevanju napisanega. V raziskovalnem delu smo oblikovali lastno pisavo, ki smo jo digitalizirali na podlagi skic. Poimenovali smo jo citkat. V raziskavi smo pripravili tri besedila, ki so bila zapisana s tremi različnimi pisavami. Primerjali smo hitrost branja in število fiksacij. Rezultate raziskave smo pridobili s pomočjo naprave za sledenje očesnim premikom. S pomočjo raziskave smo prišli do zaključka, da se je rokopis za branje na zaslonu izkazal za primernejšega, kot smo pričakovali. Potrdili smo tudi začetno hipotezo, da se bo najbolje obnesla pisava s serifi, saj le-ti v besedilu delujejo kot pomožno orodje, ki bralca usmerja med črkami in besedami. In diploma thesis we presented the field of typographic design. In the first part, we determined the basic theoretical aspects of the typography in the defined characteristics of the fonts. The purpose of the diploma thesis was to determine which typefaces are better choice for using on the screen and are more legible and readable. Not all typefaces are suitable to be presented on the screen, as various design features do not contribute to faster processing and understanding. In our research work we digitalized our handwritten typeface, based on sketches we made at the beginning. The new typeface is named CitKat. Later on we prepared three different short texts, which were written with three different typefaces. We compared the reading speed and number of fixations in each text, using a device that tracks eye movements. In conclusion, our script turned out to be more appropriate, contrary to what we initially expected. We confirmed the initial hypothesis, that serif typeface would be the best choice to use on the screen, as serifs help to guide the reader's eye across the page.

Cilj diplomske naloge je oblikovati kaligrafsko pisavo za knjigo in izdelati samo knjigo. Za razvoj otroka bralca je pomembno, da se s knjigo spozna že v zgodnjem otroštvu. Z istoimenskim junakom otroku knjigo dodatno približamo, saj se otrok lahko z njim poistoveti. Diplomska naloga je sestavljena iz teoretičnega in eksperimentalnega dela. Teoretični del povzema glavne značilnosti kaligrafije. V tem delu smo predstavili štiri glavne sloge kaligrafije: unciala, osnovna pisava, gotica in kurziva. V nadaljevanju so opisani parametri, ki so priporočljivi pri oblikovanju tipografije in slikanic. V eksperimentalnem delu smo na podlagi teoretičnih izhodišč in primerov dobre prakse izdelali kaligrafsko pisavo, ki je skladna z zgodbo in ilustracijami v slikanici. V zaključnem delu naloge smo predstavili končni izdelek – slikanico ter njen potek in izdelavo vsakega posameznega dela knjige – vsebinskega, tipografskega in ilustracijskega. Za knjigo smo napisali zgodbo, v kateri je protagonistka deklica Zara. Slikanica z naslovom „Zari za lahko noč“ je namenjena tako otrokom, ki se začnejo spoznavati s knjigami (od rojstva do 6. leta starosti), kot tudi odraslim bralcem. Za konec smo opravili tudi anketo in raziskavo, v kateri so sodelovali otroci ter starši. Skupaj smo prišli do ugotovitve, da so elementi slikanice izdelani ustrezno. This diploma thesis sought to design a calligraphic typeface for a children’s book and create the book itself. If we want our child to be fond of reading, we need to introduce them to books at a very young age. Children will prefer books even more if the main character bears the same name as they do. The diploma thesis is composed of theoretical and experimental part. The theoretical part covers the main characteristics of calligraphy. In this section, we will describe four main calligraphy styles: uncial, foundational hand, gothic and italic. Furthermore, we will present the parameters that are recommended for the design of typography and picture books. Based on theoretical background and an example of good practice, we will design and produce a calligraphic typeface that will correspond to the story and illustrations in the picture book. In the final part of the thesis, we will present the end product – the picture book and its story together with the process of creating each individual element of the book – content, typeface and illustrations. The English title of the book is “Goodnight Zara” and the main character is a toddler girl called Zara. The book is intended for children that are starting to discover books (the age group from birth to six years) as well as for older readers. We researched how parents and children accepted our book and came to the result that the elements of the children book had been designed appropriately.

V zadnjih desetletjih doživljamo plakate kot samoumeven del mestnega prostora, kamor se ozremo v trenutkih, ko imamo na voljo nekaj sekund odvečnega časa. Plakati so oblikovani glede na namen in cilj, za katerega so narejeni. V množici plakatov smo želeli ustvariti takšen filmski plakat, ki bi bil opazen in bi učinkovito podal sporočilo. Namen diplomskega dela je bil preučiti plakat, njegove likovne elemente, ustvariti filmske različice plakata in z analizo ugotoviti, kateri plakat je najprimernejši. V teoretičnem delu smo govorili o razvoju plakata na Slovenskem, primerjali dosežke posameznih držav na področju oblikovanja plakata, namembnost plakatov in filmske plakate. V nadaljevanju pa je govora o velikostih plakata, likovnih kompozicijah, barvah in tipografiji. Na koncu smo povzeli še vsebino filma in opisali delovanje naprave za sledenje očesnim premikom. V eksperimentalnem delu smo izdelali šest različic plakatov in naslovno pisavo v programih Adobe. Plakati se razlikujejo v kompoziciji, tipografskem izboru in uporabljenih barvah. S spletno anketo in napravo za sledenje očesnim premikom smo ocenili všečnost in učinkovitost posameznih različic plakata. Ugotovili smo, da so udeleženci najraje izbirali žive barvne odtenke, nato nepestre in na koncu temne odtenke barv. Rezultati, ki smo jih dobili s pomočjo naprave za sledenje očesnim premikom, kažejo, da z na videz boljšo kompozicijo in tipografijo lahko opazovalcu predstavimo informacije in sporočilo napačno. In past decades we are experiencing posters as a self-evident part of the urban space, where we look at moments when we have few extra seconds of time available. Posters are designed according to the purpose and goal for which they are made. In a plethora of posters, we wanted to create one that would be noticeable and that would effectively deliver the message. The purpose of the diploma thesis was to examine the posters, create variations of the movie poster and with the analysis, determine which poster is the most appropriate. In the theoretical part we discussed about the development of posters in Slovenia, compared the achievements of individual countries in the field of poster design, the purpose of posters and film posters. In the following, we talked about the dimensions of posters, fine arts, colors and typography. At the end we summarized the content of the film and described the operation of the eye tracking device. In the experimental work, we created six versions of posters in Adobe programs and the heading typeface. Posters varied in composition, typography and used colors. With the online survey and eye tracking device, we evaluated the agreeability and effectiveness of individual version of poster. We have found that people prefer to choose vivid shades, then pale colors at the end dark shades of color. The results obtained with the aid of the eye movement tracking device showed that with a seemingly better composition and typography we can present the information and the message incorrectly to the observer.

Košček v mozaiku vodilnih proizvajalcev kristalnih izdelkov v svetu predstavlja tudi slovensko podjetje Steklarna Rogaška, ki že devetdeset let proizvaja visokokakovostne izdelke iz svinčenega brušenega stekla in kristalina. V svojem devetdesetletnem obstoju delovanja in ustvarjanja je podjetje doživelo vzpone in padce, s katerimi je utrdilo svojo trdno voljo poslovanja in postalo še uspešnejše. Porodila se je želja o oblikovanju brošure, ki bo vsebovala pregled ob 90. obletnici Steklarne Rogaška. V teoretičnem delu je predstavljeno podjetje Steklarna Rogaška in analiza logotipa. Opisana je definicija brošure, analizirane so dosedanje tiskovine podjetja ter primerjane s konkurenčnimi tiskovinami steklarskih podjetij Hrastnik in Vetropack. S pomočjo analiz smo si pomagali pri oblikovanju in postavitvi brošure, se osredotočili na boljšo preglednost in berljivost ter izločili možne nezaželene faktorje, ki so zamaševali kakovost brošure. V eksperimentalnem delu je bilo s pomočjo anketirancev ugotovljeno, ali je bila brošura ustrezna oblikovana. V rezultatih in razpravi so dobljeni rezultati prikazani in utemeljeni. Steklarna Rogaška represents a piece in the mosaic of the leading producers of crystal products in the world. Rogaška, who has been producing top-quality brushed glass and crystal products for some ninety years, has often experienced hikes and falls in her ninety years of existence and creativity, with which she has repeatedly strengthened her firm will and became even more successful. This gave rise to the desire to create a brochure, which will include an overview of the 90th anniversary of Steklarna Rogaška. In the theoretical part, we will give a few more words to the company Steklarna Rogaška and analyze their logo. We will describe the definition of a brochure, and analyze their past printed matter with competitive glassware companies Hrastnik and Vetropack. Analyzes will help us in the design and layout of the brochure. This will make it easier for us to focus on better transparency and readability, and eliminate possible undesirable factors, which in turn hamper the quality of the brochure. In the experimental work, we will find out with the help of the respondents that we have adequately designed the brochure and presented and justified the results obtained in the results and discussion.

Dandanes se ljudje vedno bolj zavedajo pomena naravnih bogastev, ki bogatijo in oblikujejo naš življenjski prostor. Kozjanski regijski park se ponaša z bogato kulturno in naravno dediščino, ki si jo je vredno ogledati v živo. Na stopnjo obiskanosti in ozaveščenosti o teh naravnih bogastvih pomembno vpliva grafična podoba parka, saj preko nje odraža svojo identiteto, strategije in vizijo ter tako privablja in komunicira s svojimi potencialnimi obiskovalci zunaj svojih meja. Namen diplomskega dela je bilo preučiti oz. oceniti obstoječo celostno grafično podobo (CGP) parka, barvne kombinacije in tipografijo obstoječega logotipa ter prenoviti obstoječo tiskovino zloženke za Grusko jamo, učnih delovnih listov za naravoslovne dni ter informativno gradivo za naravoslovne tabore (plakat). V teoretičnem delu diplomske naloge smo definirali pojem celostne grafične podobe in njen glavni element (logotip). Podrobneje smo raziskali področje tipografije in v povezavi z njo čitljivost ter berljivost. Opredelili smo tudi pomen barv pri oblikovanju. V eksperimentalnem delu smo izvedli prenovo obstoječih tiskovin parka v Adobovih programih ter nato z metodo sledenje očesnim premikom preverili uspešnost te prenove. Obstoječo celostno grafično podobo (CGP) parka, barvne kombinacije logotipov in pripadajočo tipografijo (z logotipom ali brez) smo prav tako testirali z metodo sledenja očesnim premikom. Z anketnim vprašalnikom smo pridobili podatke o splošni razgledanosti ljudi o regijskih parkih in poleg tega še subjektivne rezultate o barvnih kombinacijah logotipov in pripadajoče tipografije. S pomočjo ankete smo prišli do zaključkov, da so regijski parki obiskani parki – najbolj Regijski park Škocjanske jame. Toda najbolj prepoznaven logotip parkov je logotip Kozjanskega regijskega parka. Rezultati o barvnih kombinacijah logotipov in pripadajoče tipografije so bili neuporabni, zato smo to v nadaljevanju preverjali z objektivno metodo, sledenjem očesnim premikom. Rezultati metode sledenje očesnim premikom so pokazali pozitivne rezultate prenovljenih tiskovin. Pri testiranju pisav brez logotipa so testiranci izbrali pisavo na podlagi črk j in z. Rezultati testiranja določene barvne kombinacije logotipa z različno pripadajočo tipografijo so pokazali, da barva logotipa ne vpliva na izbor tipografije. Pri testiranju različnih barvnih serij logotipov so bili med odgovori največkrat izbrani tisti, ki so pritegnili največjo interesno pozornost testirančevih oči. Nowadays, people are increasingly more aware of natural resources which enrich and form our living space. Kozjansko Regional Park boasts with rich cultural and natural heritage which is worth to see live. Graphic identity of the park importantly influences the level of visits and awareness of these natural riches. Through it, the park reflects its identity, strategies, and vision and thus attracts and communicates with its potential visitors outside of its boundaries. The purpose of the bachelor’s thesis was to study and evaluate the existing integral graphic identity (IGI) of the park, color combinations, and the typography of the existing logotype, as well as to renovate the existing printed matter for the Gruska Cave, the learning worksheets for natural science days, and the information materials for natural science camps (the poster). In the theoretical part of the bachelor’s thesis, we defined the concept of the integral graphic identity and its main element (the logotype). In more detail, we researched the field of typography, and legibility and readability respectively. We also defined the significance of colors in designing. In the experimental part, we performed a renovation of the existing printed matters of the park in the Adobe’s programs. Then, we verified the successfulness of the renovation by the eye tracking method. We also tested the existing integral graphic identity (IGI) of the park, color combinations of logotypes, and the corresponding typography (with or without the logotype) by the eye tracking method. By survey questionnaire, we acquired data on general knowledge of people on regional parks, and, in addition, on the subjective results on color combinations of logotypes and the corresponding typographies. We came to conclusions by means of the survey that regional parks are well-visited parks – Škocjan Caves Regional Park is the most visited. However, the most recognizable logotype of the parks is the logotype of Kozjansko Regional Park. The results on color combinations of logotypes and the corresponding typographies were useless. Therefore, in continuation, we made the checks by an objective method, the eye tracking method. The results of the eye tracking method showed some positive results of the renovated printed matters. When testing the scripts without the logotype, the testees chose the script on the basis of the letters j and z. The results of the testing of a certain color combination of the logotype with the various corresponding typography showed that the color of the logotype does not influence the selection of the typography. When testing various color series of the logotypes the selected answers were on most occasions those which attracted the greatest attention of the testee’s eyes.