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Thomas, Judy. "Why make a case for the artist facilitator?" Thesis, Northumbria University, 2014. http://nrl.northumbria.ac.uk/21435/.
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Socially orientated processes present challenges of relationships, authorship, responsibility, multiple points of view and experience. They involve different understandings, personalities and behaviour. In the context of gallery-based learning, this research suggests the most effective approaches for making or engaging with art requires some form of facilitation. Best practice draws on skills and attributes to unlock the potential of participants. The process is active, experiential and one that scaffolds learning. When effective, the situation becomes a two-way process. Using case studies and personal insights to inform understanding, the research explores the practice of artists who engage with contemporary art from the perspective of the artist, rather than participants. The term ‘artist facilitator’ has been used to define an artist when their role requires them to be facilitator, educator or enabler. Whilst the artist facilitator is not a teacher, the roles are closely aligned. Like any good facilitator (or teacher) the artist facilitator acts as mediator, mentor and catalyst. Studying this role has sought to gain critical understanding of the particular qualities presented by the artist and identify models of good practice, in order to determine what skills and attitudes are required for creative practitioners working collaboratively within participatory settings. Through defining the term, a case is made for the unique nature of creative learning that practicing artists can provide to non – artist audiences. To articulate practice the researcher proposes a paradigm that recognises time and space as influential factors and determinants of artistic practice. Sociolinguistic enquiry has led to the recognition that a community can be constructed through social networks. The relationships between individuals within these groupings can influence interaction, perceptions and impact upon pedagogy. The research contributes to a wider body of work, and discourse that has international significance, through the PHF ArtWorks initiative, the Artist Teacher Scheme, and InSEA.
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Gray, Andrew Franklin. "Makers and Creators: Human and Divine Artistry in Calderón." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11141.
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My dissertation examines concepts of creative agency in early modern thought and baroque poetics, with an emphasis on the theater of Pedro Calderón de la Barca (1600-1681). Calderón and his contemporaries inherited from theology the idea that creative authority and power are concentrated in divinity, while humanity cannot, in a strict sense, create at all. While ancient philosophical and scriptural sources often describe a demiurgic God in anthropomorphic terms, the Christian doctrine of ex nihilo creation separates categorically an omnipotent deity from human "makers," who may refashion pre-given materials but not engender anything radically new. In the sixteenth and seventeenth centuries, however, this hierarchy was challenged by literary, political, and psychological insights that endow humanity with an exalted creative potential and an enhanced efficient power over the world. As paradigmatic of this intellectual-historical movement towards the envisioning of a demiurgic humanity, I analyze the "human dignity" tradition and the literary-psychological discourse surrounding the faculty of the ingenio. The intersection of theological ideas with these currents of thought produces a fruitful tension in baroque literature, particularly in the work of Calderón. I argue that Calderón was deeply troubled by the Faustian undercurrent of his century, and that this concern plays out not only in his explorations of the question of poetic "darkness," but also in his treatment of biblical and mythological creator figures like Solomon, Nimrod, Prometheus, and the craftsmen of holy and idolatrous images. Throughout the thesis, I place Calderón's ideas on creative power and efficient knowledge or ciencias in relation to other early modern figures like Huarte de San Juan, Francis Bacon, and Giambattista Vico. This thesis is a contribution to the study of baroque poetics, of early modern Spanish theater, and of the place of aesthetics in the intellectual landscape of the seventeenth century.Romance Languages and Literatures
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DiStefano, Rachel Anne. "Makers and mongers: Exploring social networks of Vermont artisan cheese." ScholarWorks @ UVM, 2014. http://scholarworks.uvm.edu/graddis/497.
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Vermont is widely-regarded as a hub for artisan cheese production, with more cheesemakers per capita than any other US state. Despite significant local and statewide support, out-of-state markets are essential to the long-term success of these small-scale producers. In spatially extended supply chains, retailers occupy a pivotal position. This thesis aims to examine the intermediary role of retailers in building social networks between producers and consumers. Consumers appreciate Vermont artisan cheese, in part, because it is embedded in a complex network of social values and relations related to where and how it is produced. Guided by social theories of consumption, sensory experience, and exchange, a transdisciplinary, mixed-methods study was conducted in order to better understand cheese retailers' role in this network.
First, participant observation and ethnographic interviews at a specialty cheese shop demonstrated how highly specialized cheese retail professionals (known as a cheesemongers) communicate social information about Vermont artisan cheese to consumers in practice. Specialized narratives are transmitted to consumers through in-store signage and social interactions. These stories also involve the cheesemonger as traveler, developing specialized knowledge of Vermont artisan cheese by traveling to the place of production. A second site of participant observation at a national conference for artisan cheese professionals added breadth to the study. While cheesemongers appear to agree that a certain level of intrinsic quality is necessary for consumer acceptance and preference, many also see the importance of, and derive pleasure from, knowing and conveying the social story, and perceive this to be an important part of their professional role and identity.
Second, social network analysis provided a broader examination of relationships between Vermont artisan cheesemakers and retailers in the region. In order to collect data on these relationships, an online survey was distributed to Vermont artisan cheesemakers and follow-up phone calls were conducted. A combination of statistical and network analyses was used to visualize the social structure of the network, identify key actors, and examine qualities of the relationships. The findings suggest that the social network for Vermont artisan cheese is a multiplex system, in which a cheesemaker's relative position in the network is the result of a complex balance--and sometimes compromise--between a cheesemaker's needs, goals, and desires and their various retailers' needs, goals, and desires. Moreover, geographic proximity, time, experience, convenience, cost, history, loyalty, and regard all appear to be important factors in the type of relationship cheesemakers have with retailers, and whether a relationship is established at all.
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Eason, Andrew Clark. "Becoming what the book makes possible : aspects of metaphorisation of identity and practice through artists' books." Thesis, University of the West of England, Bristol, 2010. http://eprints.uwe.ac.uk/18767/.
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Gibson, N. Jade. "Making art to make identity : shifting perceptions of self amongst historically disadvantaged South African artists." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10508.
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Bibliography: p. 159-177.This study examines how historically disadvantaged artists shift self-identities through artmaking beyond previously racialised, hierarchised and essentialist constructs in a transforming New South Africa. Fieldwork research involved direct observation, working with artists on art projects, and interviews with visual artists and other arts practitioners in Cape Town, 1998-2001. Artworks are examined as events incorporating social change, and thus as a focal point between unconscious praxis and the cognitive coming-to-awareness of self within-the-world. Using a non-essentialist approach to identity construction, I argue for an understanding of, and approach to, studying individual identity that incorporates complexity, multiplicity, materiality and change as integral to identity formation. The reworking of memory materially within artworks is demonstrated through examining how artists re-presented autobiographical and historical referents of identity to affirm and re-present new narratives of self in South Africa's present. How artists respond to, and negotiate, tensions and contradiction between concepts of 'freedom' and externally-derived categories of value within socio-economic limitations in a transforming South African art world is also explored. I also show how artworks act as sites of transcultural encounter for artists, within their awareness of different gazes and contexts of interpretation, to position identities simultaneously both within the local and beyond the local, through different images, styles, techniques and technologies in their work. Finally, I demonstrate how different collaborative art projects, through artistic praxis, enable mutual processes of social and artistic collective identification between artists of different socio-cultural backgrounds, in relation to processes of nation-building and reconciliation for South Africa in the future. The study not only provides insight into art-making in South Africa and material processes of cognitive identity construction, but also how individuals act as agents in shifting self-identities within processes of collective socio-political transformation.
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Birgisdottir, Hrefna, and Smitterberg Alba Rosvall. "Identitetsskapande viamarknadsföring : En kvalitativ undersökning om hur frilansareväljer att marknadsföra sig själv samt sin karriärmed hjälp av sociala medier." Thesis, Södertörns högskola, Institutionen för kommunikation, medier och it, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15368.
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There are those who currently use social networks as a marketing tool that creates the standards that exist. There is no given standard, there are no absolute facts that exist through all time. A constant change is happening and therefore forcing everyone involved to adapt and make the changes needed to be current. What is relevant to consider in this study are the different roles a freelancer creates on the various channels of social media. Based on the results of the interviews that have been conducted the informants create different identities at different forums they reside on. Another important point to address is the brand awereness informants consciously
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Björk, Stiernström Gabriel. "Video tutorials for artists in the entertainment industry : A comparative study of what makes a video tutorial effective." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-14091.
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This research explores video tutorials for concept artists in the entertainment industry. Through websites such as Gumroad tutorials are today being sold and the problem is that there is no guarantee of the quality of the tutorials and people simply have to rely on the description of the product. The research question is: What is an effective video tutorial for concept artists in the entertainment and game industry and what elements contribute to what makes it effective? Five video tutorials were created based on a comparative study, and discussed during qualitative interviews with novice and proficient artists. The results say that parallels can be drawn between a person's proficiency, the content and the structure of the tutorial. If you understand these parallels you are able to create effective tutorials for specific audience groups.
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Oxelväg, Karolina. "Skeva Speglar/Crooked Mirrors : An Interactive Master Essay by Karolina Oxelväg." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-328.
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"It's not a mask, it's an appendix". Reflections through text and moving image around the Beauty Community as a representative expression of individuality on the internet. The Essay also contains thoughts around the authors artistical practice.Documentation Photos of the Master Exam Exhibition "The Compliment Machine". The first edition of the essay was used as an appendix, complementary to the artworks. Photographer: Jean Baptiste Béranger
Documentation Photo from the Essay Release organised 12 of april 2018 by fellow master students. The photo illustrates the presentation of the second and final edition of the essay. Photographer: Karolina Oxelväg
The master work includes both a written and a performing part.
Masterarbetet består av en skriftlig och en gestaltande del.
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Casey, Erin E. "The Richmond Maker Museum: The Evolution of Process." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3839.
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The Richmond Maker Museum is a working museum design, offering an inside look at past achievements, juxtaposed with the unlimited future possibilities of an evolving, active maker culture. It is a dynamic place designed to allow makers to showcase skills, take risks, engage the public, and grow their craft in real time. The museum displays finished pieces, introduces makers, demonstrates the processes they employ in their work, and invites the community to meet the artisans who, through skill, ingenuity, and hard work, make the artifacts on display. This type of educational museum experience does not currently exist on this scale in Richmond. While other local museums invite visiting artists and offer lectures, the Richmond Maker Museum takes interaction to a new level, introducing visitors to the routines and procedures of each artisan’s daily practice.
Maker culture is a tightly woven network of craftsmen—woodworkers, metalworkers, glassblowers, etc. It celebrates traditional fabrication techniques, while also introducing modern technologies such as laser cutting and three-dimensional printing. The social and educational aspects of the maker movement have created a revolution, revitalizing public appreciation for the role of the maker and the importance of craftsmanship.
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Ginn, William Thomas. "Philosophers and artisans : the relationship between men of science and instrument makers in London 1820-1860." Thesis, University of Kent, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281045.
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Mac, Namara Aoife. "Spaces buildings make : the work of artistic research on the experience of built space." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.674732.
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Undertaken at a time when sweeping changes to state funding for higher education in general and the incorporation of art schools into larger higher education institutions in particular, has radically changed the role of the art school in the UK, this thesis engages a range of artistic research practices to explore, contextualize and debate the role of the built environment of the art school (and related cultural spaces) as a dynamic site of social interaction out of which artistic research practices have developed as strategies for producing both knowledge of a space and knowledge of how to understand the formation of that space, the seeing of it, listening to it and the processes through which we as students, lecturers, administrators , facilities staff, librarians, artists and researchers contribute to how such built spaces are produced and experienced over time. I make connections between local developments in the cultural politics of artist education in north London and concepts of authorship, experience and history in the context of a built space. By critically reflecting on a series of collectively produced artistic research works produced out of a specific art school site, the thesis reflects on the implications - intellectual, political, social - of placing historical, critical and theoretical studies in the art school and on the contemporaneous design of flexible multi - purposed and adaptive spaces such as the Phase II building in which much of this study is located. The art school is proposed as an active engine, an environment within which many participate in different ways at different times in a shared community of aesthetic, cultural and intellectual debate in and around which they negotiate their developing practices. Through a series of artistic research works, I argue that the experience of these spaces is comprehensible only at the point of encounter between artist, listener and work . The encounters presented here necessitate new and evolving social relations within the artistic research work and propose forms of resistance to dominant forms of subject formation within art school culture.
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West, Veronica Mary. "What children make of things and what we make of them : process, intention & intuition in the visual works of young children & the adult artist." Thesis, Staffordshire University, 2013. http://eprints.staffs.ac.uk/2726/.
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The thesis is in two parts: the first is an empirical and philosophical investigation of children's drawing practices, with particular reference to an interpretation of the work of Georges-Henri Luquet 1876 – 1965. Luquet's work is interrogated first by additional empirical evidence, and second by drawing philosophical resources from both Bergson, and from the phenomenological tradition. The second part of this thesis is a body of work, which explores types of process (some of which are derived from observations of children's processes), through experimentation in my own Fine Art practice; and reflection upon its development and significance is found throughout the written thesis, but especially in Chapter 3. Additional empirical evidence, documentation, and papers on both parts, are found in the Appendix and in an exhibition timed to coincide with the doctoral examination. The first chapter both presents and critically examines the elements Luquet identified of 'intention', 'interpretation', 'the type', 'the internal model' and 'predilection' in relation to attention and intentionality. Luquet's analysis and observations will be used to construct an initial model of process, which is critically re-examined and expanded in Chapter 2 through a historical revision of process in Fine Art and analyses of material made by children spontaneously and without instruction using found materials. Chapter 3 is comprised of a series of reflections on series in my own practice, and experiments derived from the taxonomy of processes constructed from analysis of the material presented in Chapter 2. It raises questions about the nature of certain types of intuition and attention, which are then discussed in Chapter 4 through examining the relation between attention and intentionality, and 'categorical intuition' as defined by Husserl. Luquet's term Circumspection will be compared with Heidegger's use of the term (Umsicht),in Being and Time, and reference will be made to the later development of Heidegger's thought in 'The Origin of the Work of Art', in particular the concepts of Ereignis and Gelassenheit. A fully revised model of process is proposed at the end of Chapter 4. It will be argued that the questions raised can only be answered if at all, through our embodied relation with the world via late Husserl, and Merleau-Ponty's concepts of operative intentionality; the practical cogito; and the pre-cognitive realm. The Conclusion presents the findings of the enquiry, what Phenomenology has brought to it, and directions for future research.
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Mendes, da Silva Vaz Marria Suzana. "The archaic makes the Avant-garde : Experimental practice and primordial image ; reading the Brazilian Post-Neoconcrete and the Japanese Gutai artists through Mircea Eliade and Carl Gustav Jung." Thesis, University of the Arts London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650332.
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Ferreira, Doret Jr (Johanna Dorothea). "The making of the maker : a practice-based exploration into the process of signification as a mutually constitutive process for artist and artwork." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20356.
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Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis is a practice-based investigation into the mutual coming into being of artist and artwork within the process of signification as described by Julia Kristeva. The investigation is done from an unstable subjective position and requires innovative research methodologies and a sustained close connection with the practice in order to accommodate the complexity inherent to the process. The exploration involves a closer look at the process of making of the work, the possible meaning embedded in the artworks and the impact on the maker of the work. The situated knowledge acquired through the praxis provides new insight supported by the theories of Julia Kristeva and others.
AFRIKAANSE OPSOMMING: Hierdie tesis is ’n praktykgebaseerde ondersoek na die wedersydse totstandkoming van kunstenaar en kunswerk binne die proses van signifikasie soos beskryf deur Julia Kristeva. Die ondersoek word gedoen vanuit ’n onstabiele subjektiewe posisie en vereis innoverende navorsingsmetodologieë en ’n volgehoue nóú verbintenis met die praktyk om voorsiening te maak vir die kompleksiteit inherent aan die proses. Die ontleding behels ’n verkenning van die werksproses, die moontlike betekenis verskuil binne die kunswerke en die impak op die maker van die werk. Die gesitueerde kennis wat uit die praxis voortspruit verskaf nuwe insigte, gesteun deur die teorieë van Julia Kristeva en ander.
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Rundall, Shane. "Artistic Action and Contemplation: Recapturing The Elements of Mystery That Make Every Round of Golf A Voyage of Discovery." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32376.
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Artists think differently. They challenge the practical and apply their ideas to the contemporary world creating many journeys and excitement along the way. Without them, the world would have remained flat and as unique as black and white.
This thesis investigation is grounded in phenomenological theories of aesthetics proposed by Maurice Merleau-Ponty and John Dewey, the artistic approach of Jackson Pollock and Yves Klein, and my own perceptions of the process of creating art. The objective is to apply aesthetic concepts and principles derived from these sources to the practice of golf course architecture and expand the way we view and play in our golf course environment.
Golf, unlike any other sport, is carried out over an area of awarded luck and encouraged misfortune that also happens to be a living environment. Without question, no two courses are alike. Nor is any hole on any course ever the same. Nor is any hole, even if played the very next day, going to relinquish the same experience. Daily tee and hole locations make for an infinite number of configurations; as does wind, the temperature, the condition of the grass or the suddenly drooping branches of a once upright tree. However, not all courses reach their potential and capitalize on the environments possibilities and the perception of those experiencing it. Some course designers simply place holes in a pattern to reach desired numbers of par and yardage in order to fulfill a requirement. With the unrelenting expense of land and the continued awareness of negative development impacts, the art of golf course architecture could be viewed a bit differently. By incorporating the attitude of an artist such as Jackson Pollock, or the mentality of a psychologist such as Merleau-Ponty, and revealing the possibilities of the subconscious, the golf course architectâ s design can do more than give shape to space.
Blacksburg Country Club, located in Ellett Valley just outside of the town of Blacksburg, Virginia serves as a case study site for this design investigation. The intent of the thesis is to develop a design that addresses the technicalities of golf course architecture
and the history of the profession while creating a piece of â art in natureâ that touches all the senses â the gateway to the soul. There just happens to be a game inside.Master of Landscape Architecture
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Orlando, Sophie. "What makes Britain so great ? : la britannicité et l'art contemporain de 1979 à 2010 en Grande-Bretagne." Paris 1, 2010. http://www.theses.fr/2010PA010668.
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Entre 1979 et 2010 les gouvernements conservateurs et travaillistes se succèdent dans une Grande-Bretagne en pleine crise identitaire. L'identité nationale collective, «la britannicité » est devenue un enjeu politique et social. Comment ces débats agissent-ils sur les artistes, les institutions, la critique d'art, et le marché de l'art ? Certains confèrent à la britannicité une fonction intégratrice, d'autres y voient les relents de la tradition, de l'héritage, du patrimoine culturel commun ; enfin certains se félicitent de l' existence de cette représentation nationale exportable, une image vendeuse de laquelle il est bon de tirer profit. En trente ans, ces différentes interprétations de l'identité collective accompagnent la naissance et le développement des Blacks artists (dont Eddie Chambers, Keith Piper, Zarina Bhimji, Isaac Julien, Sonia Boyce et Mitra Tabrizian) des documentaristes (dont Daniel Meadows, Martin Parr, Paul Graham, Paul Seawright et Patrick Keiller) et de la génération 1988 (dont Tracey Emin, Yinka Shonibare Marc Wallinger, et Chris Ofili), soutenue par Charles Saatchi. Cette recherche s'est donnée pour objectif d'analyser comment les mondes de l'art expérimentent la redéfinition d'une identité collective à I 'heure de la mondialisation.
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Todd, Jessica Marie. "Little Boxes." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397821760.
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Gaston, Anne-Marie. "Continuity and recreation in the performing arts of India - a study of two artistic traditions : part I, the makers of modern Bharata Natyam; part II, the musicians of Nathdvara." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315832.
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Verano, Andrea, and Reina A. Bicciche. "Hands to heART: Art Therapy and Voices of Cancer." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/912.
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As second-year graduate students from LMU’s Art Therapy program, we are excited to introduce the focus of our Master’s research project, a concept we coined as exhibition as intervention. Our goal is to create a space that brings awareness to the possibilities of exhibition to amplify the voice and increase empathy between artist and viewer. Originally, our vision was to hold the exhibition at Cedars-Sinai to supplement the 2020 Art Therapy Research Symposium. With COVID-19 placing restrictions on public gatherings, the exhibition had to transform from a physical experience to a virtual one. The catalog which began as our secondary focus to the exhibition, shifted to become the primary source of communicating our intentions. Informed by the literature of our research, we felt a catalog best collected and organized the data, which in this case was the artwork submitted. It is our great privilege to present this catalog with the works of artists engaging in the creative process to make meaning of their experiences with cancer.
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Faltot, David. "Cuisine plasticienne : Faire oeuvre à partir de la cuisine dans les pratiques artistiques contemporaines." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H030.
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La cuisine intègre aujourd’hui un nombre croissant de pratiques artistiques. Cette activité quotidienne, domestique ou professionnelle, doit être définie précisément afin de la situer dans notre société contemporaine du travail, actuellement marquée par un retour au « faire ». Cet essai a pour objectif de distinguer les différents niveaux d’activité de la cuisine et, plus particulièrement, de montrer qu’il existe une pratique artistique de la cuisine, une « cuisine plasticienne », laquelle pourrait également concerner certaines pratiques de designers. Si une mise en perspective historique est nécessaire, de nombreuses tendances du XXème siècle ayant intégré des composantes culinaires au sein de leurs pratiques (Cuisine Futuriste, Eat Art, Fluxus, « esthétique relationnelle »), il s’agira surtout de montrer pourquoi et comment certains artistes, travaillant depuis une vingtaine d’années, se saisissent de la cuisine et des différentes problématiques qui y sont liées afin de faire œuvre. À partir de l’analyse des travaux et d’entretiens réalisés avec trois artistes, Laurent Moriceau, Ines Lechleitner et Laurent Duthion, jugés représentatifs de cette tendance, sera proposée une définition de ce qu’est une pratique plasticienne de la cuisine, témoin d’un nouveau paradigme du « faire » au sein de l’art contemporain. Un tome sera également consacré à l’analyse poïétique de ma pratique en tant qu’artiste plasticienNowadays, cooking includes a growing number of artistic practices. This daily, domestic or professional activity must be defined precisely as to place it in our contemporary work society, currently marked by a return to « make ». The goal of this essay is to distinguish the different activity levels of cooking and, more specifically, to demonstrate that there is an artistic practice of cooking, « plastician cooking » which could also involve certain designer practices. If a historic perspective is necessary, many 20th century trends have included cooking in their practices (Futurist Cooking, Eat Art, Fluxus, « relational esthetics »), the purpose is to show why and how some artists, who have been working for two decades, seize « make » and the various problematics tied to it as to « make art ». Based on the analysis of the work and interviews of three artists, Laurent Moriceau, Ines Lechleitner and Laurent Duthion, identified as representative of this trend, a definition of what a plastician practice of cooking is will be introduced, indicator of a new « make » paradigm within contemporary art. One volume will also be dedicated to the poietic analysis of my practice as a plastician artist
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Tsai, Yi-Ting, and 蔡怡婷. "The glass escalator of male makeup artists." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/2jry2c.
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碩士國立臺灣大學
國家發展研究所
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The impact of the existing ideology, social culture and organizational structure makes a clear phenomenon of gender separation in the labor market. Women work for certain kind of occupations, known as (female) gender typical career. When the male work for female-based occupations, we call them non-sex typical occupations. Williams proposed the concept of "glass escalator" for the study of four non-sex typical trades (caregivers, kindergarten teachers, librarians and social workers). He believes that men enter female-based occupations will make them promote smoothly and rapidly. In this paper, I use Williams''s theory glass escalator to view the promotion process of male makeup artist in three parts: the patriarchal dividend, training, promotion and working environment of non-sex typical professional labor and the social perception of non-sex typical occupations and apply the theory of Williams to see how gender inequality works and reproduces in the labor process. First of all, the distribution of the parental dividend in the makeup industry is based on differences in the imagination of the makeup artist''s gender. Furthermore, the gay identity of the male makeup artists also brings special advantages. However, male makeup artists need to show his feminine and masculine characteristics moderately, carefully and properly in order to gain the advantages of male makeup artists. Moreover, comparing to females, male makeup artists bring more promotional opportunities for the reason of less burden and unmarried gay identity in their working environment. If there are more gay supervisors and female bosses, then male makeup artists are easier to get the promotion. They can face and handle female consumers and colleagues in the working environment easily. Finally, the community divides occupations based on its gender and the contempt the female occupations causing male makeup artist need to be successful. The negative perceptions in the male makeup artist increase the threshold of entering to the occupation. It also becomes a selective mechanism. With more complete career planning, the discrimination of age and gender makes them have to improve. All the hard work cannot change the prejudices of those who are branded in non-sex typical professional men; on the contrary, they also have more advantages. The results of the study found that: glass escalator effect does occur in the male makeup artist in the process of promotion. Although the makeup industry is a female-based career, masculine characteristics are continuously being respected, promoted and implemented. Furthermore, the deformation of the masculine type is the key point to benefit male makeup artists. Through the hegemony of masculine bring the opportunity of changes. When feminine referrals are no longer the traits that men have to avoid, then maybe the so-called women''s work can be reborn, and gender equality in labor can move forward.
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Broomhall, Edward M. J. "What makes an artist? : formative influences in the early lives of 34 Tasmanian visual artists." Thesis, 1996. https://eprints.utas.edu.au/19395/1/whole_BroomhallEdwardMJ1997_thesis.pdf.
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The purpose of the study was to investigate the childhood experiences of
contemporary, recognised visual artists in order to document and identify
formative influences which nurtured their interest in visual art through
childhood into mature professional development.
A total of thirty four artists were interviewed in the study. All subjects were
residents of Tasmania. There were seventeen males and seventeen females.
They were drawn from six media areas: painting, print making, ceramics,
textiles, sculpture and book illustrating.
Naturalistic research was deemed to be an appropriate methodology for this
study. The qualitative process of inductive analysis was used to generate
information about significant influences on the development of young artists.
The instrument for the study was an interview schedule. Three areas were
identified as being the basis of the interview schedule: art experiences at home,
art experiences at school and art experiences at different phases through
childhood.
Six major areas related to artistic development were identified: inherent ability,
familial influences, access to imagery, technical knowledge, socialisation and
school influences.
Findings of this study revealed that individuals who display a keen interest in
art making from an early age, whether male or female, are aware of the urge to
make images with available materials and begin to do so with a firm singlemindedness
in early childhood. They seek to acquire technical skills and seek
adult role models. Contact with art work and art resources seem to make an
impact and was important.
The data revealed that the home environment was a significant source of
support for subjects interviewed. Considering education policy and the
promotion of gifted and talented programs for students, the case of artistically
talented children may not align readily with current policy for other areas of
talent and giftedness.
Results of the study indicate that the source of identification of artistic talent
came not from the school but from parents and other family members.
Further, home environmental influences were responsible for nurturing the
inherent talent exhibited by the subjects interviewed for this study. In some
cases teachers provided support and encouragement but generally the school
was not the major source of influence. Identification as an artist does not seem
to rely on an outside institution such as a school: rather, the identification is
from the home environment and a 'significant other.'
In conclusion, the need of artistically talented children, to work in isolation,
has significance for school art programs. It would seem more important for
children, who are identified as artistically talented, to be placed in out-of-school
programs rather than make allowance for those children in a regular school
program.
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McAlpine, Louise. "Hapticivism: haptic + activism: an artistic imperative in keeping the haptic sensibilities of the artist/object maker relevant." Thesis, 2015. http://hdl.handle.net/1959.13/1308097.
Full textAbstract:
Masters Research - Master of Philosophy (MPhil)I am an art object maker and the mediums I create with, are mainly of a textile nature. My visual and haptic senses combine to create my hand crafted oeuvre. But my touch sense is the ‘curator’ in my studio, it negotiates with my other senses and the final word rests with ‘touch’. I am constantly and confidently forcing my touch sense to dictate aesthetically in the decision making process. I acknowledge that with the dominance of the ‘visual’ in the field of art and in the ever increasing digital/virtual world that this becomes a daily challenge. I argue that in today’s digitally dominated environment it is difficult to not spend at least, a few tallied hours in touch with a digital interface. Significantly it is at this point of contact with a digital device that the user is only in touch with one kind of tactile experience. These are smooth flat surfaces which are globally a generic shape, size and form. It is in this space that I choose to initiate my Hapticivism, which is an interruption of haptic action. My art objects are placed in close proximity to the user as to provide a haptic alternative. A prescriptive touch moment to re-posit the user in real time as opposed to the mesmerizing visual digital time, which is one that questions temporality and existence. This thesis explains why and how I consider this as a liminal space between material and creator, a moment when crucial haptic information is processed by the body and becomes a creative haptic knowledge. I argue that this constant of sedated touch by our hands in a ritualistic timeframe at a digital interface creates a deficiency in haptic understanding; the touch sensation received does not correlate with the visual information at the digital device. Of course we are cognitively aware of this, but does this haptic deficient digital time affect the artist object maker? And in response, create objects that are ‘other’ than smooth and generic. This space, where the artist’s haptic skill knowledge is born is a liminal space where creativity is unbounded. It is not a mono-type of engagement, a ‘mono sensory approach’ as existing in the virtual digital environment, where the visual dictates perception. I place emphasis on this liminal space and assert it to be of artistic importance; as it is where the artist object maker navigates intimately through medium and process via their sense of touch. Recognition of this liminal space by the artist is obscure and there is a reliance on the artist object maker to be constantly in attentiveness through haptic reception with actual contact with their mediums and process. Creativity can only be positively affected by a return to the actual physical bodily sensing of all phenomena rather than a constant of two dimensional, flat abstract phenomena.
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FENG, HSIU-HUA, and 馮秀華. "A Study on Heat Resistant Hair Styling Tool Bags Aprons-Case Study-Bridal Makeup Artist." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/88fkcb.
Full textAbstract:
碩士建國科技大學
美容科技研究所
105
This study is aimed at the design of the apron for the work of the make-up hair stylist, because the author is a make-up hair stylist, to understand the work of the work clothes worn by the work, and therefore want to design practical and heat-resistant apron, according to Function and use as the focus of this study. The use of clothing fabrics and non-woven material combined with the new concept of hair for the creation of works, specially designed with a hot and heat insulation effect. Tailor made a long style and short style two version of the type and four kinds of fabrics, completed the design of three-dimensional pocket form of the eight works with "anti-heat-resistant hair kit bag apron", this is a unique design of hair stylist hair styling kit The. The stylist is wearing a heat-resistant design tool kit apron in the field to serve the bride to do hairstyle, the application of the electric bar products can be safe and properly placed with anti-heat insulation area, and get effective help and feel good. It can be seen that "practical" in the make-up hair stylist's overall service has its marketability, according to the needs of the scene and the development of heat-resistant hair styling kit aprons overalls, Will enhance the bride makeup artist service quality and efficiency and professional image.
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Chan, Chen-Wei, and 詹宸瑋. "The study of bride secretary’s marketing strategy: with consumer, bridal makeup artist, and professional tutoring center perspectives." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/kqr7z7.
Full textAbstract:
碩士銘傳大學
管理學院高階經理碩士學程
102
The bride secretary is one of the most popular female venture industry in recent years, however, most people with a knot after receiving training, faced with bleak operations or even abandon, so this study was to investigate the bride secretarial functions gaining, features, to choose and provide services in various views on whether there are similarities and differences, as well as integrated parallel among the three party perspectives including consumer, bride secretary, and the bride secretary of the professional tutoring center. According to qualitative research method, this study conducted through in-depth interview data collection and found that the new bride secretary had to choose the course which fits their own level, then learn into the appropriate education channel. However, consumers also need the bride secretary had a portfolio available for pre-purchase evaluation of extensive experience and innovation, but for new entrepreneurs that is lack most. Finally, the practical suggestions of this study were as following: 1.Bride secretary should choose the right learning and ushered into a subject, 2.To use innovative extreme photo album for internet marketing, 3.To use word-of-mouth of marketing tools, 4.Effectively deal with consumer concerns about perceived risk, 5.To increase potential customer base by cooperation through entrepreneurial team, 6.Mindset adjustment while corresponding entrepreneurial.
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Khoza, Mbali. "What difference does it make who is speaking?" Thesis, 2016. http://hdl.handle.net/10539/21888.
Full textAbstract:
Thesis (M.A. (Fine Art))--University of the Witwatersrand, Faculty of Humanities, School of Art, 2016This thesis examines the concept of authorship in literary and artistic practice by travelling the concept of authorship from literature to artistic practice. To achieve this the thesis will be guided by the questions, ʻwhat is an author?ʼ, ʻwhen is authorship?ʼ and more importantly the title question, what difference does it make who is speaking? To unpack these questions and those that will follow, my research will begin by thinking through the idea of authorship and authorial voice in literature and to identify the ways in which this is performed in artistic practice. Additionally the thesis will explore the authorship and authority, particularly how the author uses the power of language to impose authority over the reader and the West language still holds power the postcolonial subject or authors. In retaliation of this authority, the thesis also looks at how postcolonial writers/artists have developed a language of power. This analysis will be directed by a selection of theorists, writers and artists. Theorists such as Roland Barthes and Michel Foucault whose questions on authorship are the bases of my research and Miek Bal Traveling Concepts in the Humanities, Jacques Derrida Of Grammatology, Ngugi Wa Thiongo Writers in Politics, Walter Benjamin The Task of the Translator and Jean Fisherʼs Embodied Subversion as well as other supporting reading. In addition to that, investigating methods of writing in Dambudzo Marecheraʼs novella House of Hunger and Willimam S. Burroughs The Naked Lunch and how these ideas are reflected by artistic practice .To help envisage the idea of the ʻartist as authorʼ I look very closely at specific works of three postcolonial artist and their relationship with language. I have selected works by artists Kemang Wa Lehulereʼs Some Deleted Scenes Too, Tracey Roseʼs Span I, and Danh Voʼs Last letter of Saint Théophane Vénard to his father before he was decapitated copied by Phung Vo as well as drawing from my own practice.
MT2017
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Cadge, Catie Anne. "Paradigms of collecting from ethnography to documenting the individual artists: Grace Nicholson and the art history of Native Nortwestern California basketry during the Arts and Crafts period, 1880-1930." Thesis, 2000. https://dspace.library.uvic.ca//handle/1828/9419.
Full textAbstract:
During the Arts and Crafts period, from about 1880 to 1930, popular perceptions of Native Americans and their basketry emphasized pristine cultures prior to the effects of contact with Europeans. Pasadena basketry collector and dealer Grace Nicholson used an ethnographic approach, along with mass-marketing, when selling Native Northwestern California baskets in order to cater to Arts and Crafts period collectors' expectations of traditional Indian baskets. In addition, Nicholson expanded her collecting methods to include documenting individual weavers in the field, though she rarely used this documentation as a sales strategy. Before Nicholson began traveling and collecting baskets directly from Native American weavers in Northwestern California, basketry from this region was almost always collected or sold as the work of an anonymous weaver. This approach—what I refer to as the ethnographic paradigm in the dissertation—featured the traditional, pre-contact context of the basketry, but not the documentation of individual innovation. Grace Nicholson started a new paradigm or model for collecting Native Northwestern California basketry through her select documentation of individual artists. Nicholson's documentation of Elizabeth Hickox, master weaver of Northwestern California baskets during the Arts and Crafts period, has been thoroughly addressed in Art Historical scholarship. I argue that Nicholson also recorded information about other Northwestern California weavers from Hickox's generation, such as Yurok weaver Nellie Cooper. In this dissertation, I demonstrate that the Nicholson archival collection, along with other important archival sources, can be used by researchers to help identify lesser-known Northwestern California weavers from the turn of the 20th century today.Graduate
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Cheng, Chieh-Chen, and 鄭介臣. "A Study of Male Make-up Artist be Acceptance Level by Society." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/27253598485665574375.
Full textAbstract:
碩士樹德科技大學
視覺傳達設計系碩士班
105
ABSTRACT The researcher is a male makeup artist, for beginning consumers will wonder whether boys make-up artist techniques and concepts than women to be more professional , make-up artist but also men who have received care and cosmetics rigorous professional training, professional knowledge will not make-up than women to weak division, before high school beauty vocational subjects only girls can attend , but now cosmetology department also recruit male students, not only that, the Ministry of Education are also various tertiary institutions to establish more "cosmetic applications and management related departments" so boys and girls can accept the same rigorous make-up training to become a professional make-up beautician. Researcher and make-up counters executives after the interview, pointed out that some have counter female male makeup artist tendency, this phenomenon represents the feminine male make-up artist, they also have the characteristics of boys and girls, known as "atypical gender groups" (Pei-Jia Lan, 1993) so that they can serve boys also service consumer groups girls , so their customers fairly diversified, both men and women. The researchers invited 30 makeup artist counters were open-ended interviews, also visit Kaohsiung make-up counters 10 management personnel and a physician, also invited six senior male make-up artist store counter depth interviews, conversation be more in-depth understanding of the south Taiwan cosmetics industry work environment and ecology. We hope that through this research to know the workings of the male make-up artist. And encouraged the boys to enter this world of make-up.
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TIAN, ZI-XUAN, and 田子玄. "Integrating Composite Media and Art into Make-up Design and Artistry." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/wy6j69.
Full textAbstract:
碩士萬能科技大學
化妝品應用與管理研究所
107
Progressing with the times, improvement of the cultural level and with the rising consciousness of aesthetics to its accomplishment, all have, so far, become an art of life co-existing with "beauty" and congested with complete life connections. This aesthetic consciousness has become an essential quality of life for the present generation. These aesthetic categories are no longer confined to formalism, architecture, paintings but to a new lifestyle, with a "beautiful" attitude of self-inspection so as to improve their own self-image of aesthetics. This study explores the artistic style as the creative background for a makeup modeling design, using the three elements of style, media and techniques as the structure of the work and then tries to extend the quality of the creative development. "Optical Art" is a kind of visual, optical illusionary art that takes place on a two-dimensional plane using graphics and color tones to achieve the wrong depth of field by the visual sense so as to create a three-dimensional space or static material to generate dynamic visual response. This series of works uses space sense to achieve a creative presentation. "Gothic Art" is best known for its architecture and Notre Dame de Paris is the most well-known representative of such Gothic architecture, of which the stained glass is one of its special characteristics. This series of creative works is inspired by Gothic mystical colors and dark gloomy sensibility and combines the characteristics of the stained glass. Taking advantage of the features of reverse structuralism, the series of works of "Deconstructivism" turns over the previous makeup design, reverses the structural thinking and breaks away from the existing logic, thus making a change to the original design pattern. With the combination of the above-mentioned three styles and the principles of "Composite Media" and the use of "Collage" technique into makeup design together with the new style of annotated colors, it is hoped that the results of this study can be used as a reference for future creative research. This paper researches these three main points: 1. Explore the aesthetic characteristics of Optical Art, Gothic Collage Deconstructionism. 2. Study the characteristics of research media and incorporate composite media into the makeup modeling design. 3. Use integrated arts and media techniques to create a new look for makeup artistry.
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Huang, Jen-Ho, and 黃仁和. "The Application of Atayal Facial Tattoo to Fashion Make-Up Artistry." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/ymsnv2.
Full textAbstract:
碩士臺中技術學院
商業設計系碩士班
98
Originated from the most antique makeup artistry of Taiwan’s Atayal tribe, artists will execute the techniques to shape the Atayal’s distinctive ethnic impression on those who meet the requirements for facial tattoo, as the signs in clear-cut style will lead the Atayal to build their own culture. Notwithstanding, the very unique technique and ethnic folkways are at risk of fading away. The expression of this creation embodies the confidence of the Atayal and the tribe’s endeavor to pursue professional and beautiful facial tattoo world. Transcending time and space from the antique makeup artistry, this creation combines with tradition and modernity in innovative techniques through actual situation, reality and illusion, primitive and modernity, tattoo deconstruction and material collage to innovate the makeup expression, leading people to experience and appreciate the fashion makeup charm of Atayal tribe. This essay takes connotation of Atayal facial tattoo, pursuit of beauty, pattern of facial tattoo, and custom and function of facial tattoo as the conceptual ends to conduct the creation of incorporating the Atayal facial tattoo into fashion make-up. This creation adopts the Atayal women’s distinctive forehead tattoos in collocation with the ender patterns and totems of forehead tattoos. Taking the Atayal women’s facial tattoos for the creation requires good weaving ability, manifesting positive recognition of consummate techniques and signifying the connotation of self confidence and achievement to be transformed into modern women’s professionalism, autonomy, confidence, joy, and delighted spirit. It also takes the materials in fashion for decomposition, creating a novel experimental make-up to lead the public to develop a better comprehension of, appreciate and accept the beauty of Atayal facial tattoos. To fulfill the subsequent goal, the author of this essay has set high expectations that this creation can be applied widely to other realms.
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陳煜南. "A Study of Counter Cosmetics Loyalty: Take the Gender of Make-up Artist as Moderator." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/k2vt73.
Full textAbstract:
碩士逢甲大學
企業管理學系
102
Nowadays, more and more corporations apply experiential marketing as new tool for marketing strategy as Starbucks and IKEA. Counter makeup artist not only to sell products and also provide consultation and demonstration of makeup technique. Counter makeup artist is required some especial salesperson characteristics in order to improve relationship quality between consumer and seller, and also improve customer satisfaction and build up customer loyalty. This study aims at how cosmetic brand to build up customer loyalty based on experiential marketing and salesperson characteristics and also discuss impact of perceived value, relationship quality, customer satisfaction and customer loyalty. This study constructed a model to examine by SPSS18.0. Experiential marketing and salesperson characteristics are referred as independent variables, and perceived value, relationship quality, customer satisfaction and customer loyalty are referred as dependent variables, and taking the gender of make-up artist as moderator. The result shows that experiential marketing and salesperson characteristics have positive influence on perceived value and through relationship quality, and customer satisfaction indirect impact on customer loyalty. Besides, male make-up artist has positive influence on the salesperson characteristics to perceived value. Therefore, the results of this research may provide cosmetics counters formulate experiential marketing strategies and select salesperson characteristics implementation reference.
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洪美伶. "On the Application of Art Nouveau Style to Artistic Make-up Image." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/97337807093309749741.
Full textAbstract:
碩士樹德科技大學
應用設計研究所
91
This research on applying to the Artistic Make-up through Art Nouveau style was very seldom appearing in the relevant domestic paper. The factor not only research worker is very few, but also the research methods is not to know the right way. This research uses the method of kansei engineering to analyze corresponding relationship between the Artistic Make-up''s elements and image words. The final purpose is to research the Artistic Make-up form elements that are affected by consumer image perceptions. This research purpose has three：(1)Establishing the pattern style designs the rule. (2)Understanding the consumer''s the need and feelings of the pattern style that can provide the pattern design in the future applied reference. (3) To find out the corresponding relationship between the Artistic Make-up''s elements and image words. This research rely on the interview, questionnaire, and statistics analysis to obtains the representative''s pattern sample, and pattern style element and sensitive image words, then carry on the pattern design element to analyze to investigate with the experiment of the sensitive faculty idea. By using quantification I, The analytical result turn the consumer''s the sensitive cognition of the pattern, infer 9 couple style image words and pattern style elements of to should relate to, and establish to make-up the style the design the rule, result in explicit way. According to the one who suffer measure aims at each pattern style pay to of sensitive faculty idea, after questionnaire implement evaluation and statistics the sample, and carry on to sample T Test prove to have the certain objective sensitive faculty idea. The result use the clear and definite way to research the relationship between pattern style form elements and kansei image. Shrink the gap of the designer and consumer on the pattern sensitive cognitive, and assist the make-up designer to design the reference of the hour of style.
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CHAO, KUO-I., and 趙國儀. "Study on the Opportunity Costs, Transaction Characteristics and Personal Make-up Artist Marketing Mix Affects the Value of Client Reaction." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/04618650341511645474.
Full textAbstract:
碩士萬能科技大學
化妝品應用與管理研究所
104
Along with the development and advancement of digital technology and the diversification of various cosmetics products and skills, it has the effects on the independent individual make-up artist. The main characters of the study are independent practice of makeup artists. The proposal of the study is how to enhance their refined service trends. Personal make-up artists have to face a vast of market with limited resources. How to deal with the impacts because of the scarcity of resources and the changes in the market to make individual marketing ability change along with the external environment and the constraints in the Opportunity Cost of the Transaction Theory. The method and design of this study are mainly based on statistical data analysis which includes descriptive statistics analysis, scale reliability analysis, factor analysis and regression analysis. The research was found that the customer services of the independent practice personal makeup artists can be divided into, Technique-Oriented, Service-Oriented, Cost-Oriented, etc. It reveals that makeup artists have to exercise applicable profit ways with considerations of opportunity costs, trading characteristics and individual marketing mix to break through restrictions for survive in the market with the lack of resources based on the Theory of Constrains in the Opportunity Cost of Transaction.
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Buchan, Susan. "Music, marimbas and children : exploring the meaning that children make of playing marimbas and wacky instruments with Artist-In-Residence, Jon Madin." Thesis, 2012. https://vuir.vu.edu.au/21441/.
Full textAbstract:
This is a study of the meaning that a group of Year 4 primary school children made of their participation in playing marimbas and "wacky" instruments with Artist-In-Residence, Jon Madin. The approach to music-making of the Artist-In-Residence is one which is participatory, inclusive and accessible, and which places value on children's active engagement in music-making.
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Alves, Rui Pedrosa. "Análise de requisitos de um sistema de planeamento e controlo da produção." Master's thesis, 2019. http://hdl.handle.net/1822/64514.
Full textAbstract:
Dissertação de mestrado em Engenharia e Gestão IndustrialA presente dissertação foi desenvolvida em ambiente industrial no âmbito do projeto de dissertação inserido no Mestrado Integrado em Engenharia e Gestão Industrial. A principal finalidade deste projeto foi a melhoria do sistema de planeamento e controlo da produção da empresa Grupo Expresso. O Grupo Expresso é uma pequena e média empresa que opera no mercado das embalagens litografadas e que produz por encomenda. Com base nesta informação, foi efetuada uma revisão da literatura para compreender quais os conceitos de planeamento e controlo da produção existentes e apropriados. O conceito de Workload Control foi identificado como sendo o mais indicado para a empresa. De seguida, e após compreender como funciona o processo produtivo da empresa, foi efetuada uma análise minuciosa ao sistema de planeamento e controlo da produção. Onde foi possível identificar quais os principais problemas existentes, assim como especificar quais os requisitos necessários. Apesar de identificados os requisitos, não foi possível implementar o conceito de Workload Control devido à grande falta de informação existente. Desta forma, no decorrer do projeto procurou-se dar início à preparação do sistema para posterior implementação do Workload Control. Assim, efetuaram-se melhorias na forma como a empresa realiza a gestão de informação dos artigos. Onde se reestruturou a criação dos artigos através da divisão destes em marcas e modelos. Para além disso introduziram-se os conceitos de lista de materiais e de gamas operatórias, inexistentes até ao momento. O fluxo de informação ao longo do sistema foi outro dos aspetos alvo de melhorias. Principalmente, ao nível da passagem da informação essencial para a produção de forma a que os operadores possam executar as operações que lhes são pedidas. O processo de lançamento de ordens de fabrico foi também simplificado, assim como também se simplificou o fluxo de informação de secção em secção, nomeadamente, no que à disponibilidade dos produtos diz respeito. Contudo, não foi possível implementar o cálculo das necessidades quer de materiais quer de capacidades. Isto porque existe ainda muita informação em falta que o sistema atual não consegue fornecer. Desta forma, a implementação destas ferramentas foi sinalizada como sendo trabalho futuro de especial interesse para a evolução da empresa.
The current work was developed in industrial environment within the scope of the Mestrado Integrado em Engenharia e Gestão Industrial dissertation project. This project final goal was the improvement of Grupo Expresso production planning and control system. Grupo Expresso is a make-to-order, small and medium-sized enterprise which mainly produces lithographed packaging. Based on that information, a literature review was conducted to understand what appropriate production planning and control approaches exists. The workload control approach was the one identified as being more suitable for the company. Afterwards, and after the understanding of the production process, a thorough analysis to the production planning and control system was performed. Where it was possible to find out the current major issues and to specify the necessary requirements. Despite of the identified requirements, due to the existent lack of information it was not possible to start the implementation of the workload control approach. Thus, during this project, the system preparation for its implementation was set in motion. Therefore, the product information management was improved through the product creation restructuring, dividing them into brands and models. The Bill of Materials and Bill of Operations concepts were also introduced. The overall system information flow was also the target of improvements. Mainly at the flow of essential information for production, so that operators can perform the required operations successfully. Simplification at the process of order release into production and at how information flows from one section to another has also been achieved, notably with regard to the product availability. However, it was not possible to implement the materials and capacity requirements planning. This happened because there is still crucial information missing that the current system cannot provide. Thus, this tools implementation was identified as been future work with special interest for the company’s improvement.