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July 7, 2026

Applied Sketching Techniques

This course explored and applied foundational sketching techniques as an integral part of a visual communication and the design processes. By combining traditional analog methods with modern digital tools and workflows, the course developed my sketching skills both as a practical hands-on skills and as a design thinking tool for ideation. Through experimentation and reflection, the course demonstrated how rapid ideation, visualization, and iterative refinement can support creativity, design decision-making, and effective communication across my design work.

Sketching is far more than a technique for producing drawings. It is a fundamental design method for exploring, analyzing, and communicating ideas. Throughout my design process, sketches can act as a bridge between any abstract thinking and tangible solutions, allowing concepts to evolve through observation, experimentation, and iteration. Whether created gets created with pencil and paper or digital tools, sketching enables the exploration and testing of form, proportion, structure, perspective, and interaction long before a final design solution has been defined and reviewed.

In this class, I developed skills to:

Apply sketching techniques to explore problems and generate a range of ideas.
Understand the applications and purposes of different sketching methods.
Use sketching techniques to formulate and present ideas.

Applying Sketching Techniques to an Everyday Activity

In the course assignment, I explored the everyday activity of traveling by car and how this familiar experience could be redefined as a broader modern mobility system as service. The concept is based on a service-oriented platform business model, shifting the focus from vehicle ownership toward mobility as an integrated customer experience.

My starting point was a previous course study of future strategies within the automotive industry. The study indicated that the industry has yet to demonstrate sufficient momentum in developing new customer-centered ecosystem solutions. Vehicle ownership remains the dominant model, despite the rapid development of service-based platforms and ecosystems in many other industries.

At the same time, analysts at Bank of America identify a significant opportunity for disruption.

“US$7 trillion sector ripe for disruption as rising costs of car ownership is unsustainable and demands a fundamental rethink of mobility.”

The initial exploration therefore began with a series of what if questions. What if we reconsider the requirements and design of the car itself? What if mobility is organized around a service platform and its ecosystem rather than an individual vehicle? What if such a platform integrates existing transport systems and uses emerging AI technologies to improve efficiency and coordination?

Building on the platform business model principles described by Eisenmann, Parker, and Van Alstyne, the assignment explores how these ideas could be combined into a customer-centered mobility ecosystem. The central design question became: What might such a future mobility system look like?

My working process is largely sequential and iterative across several levels. It follows the three main stages of the assignment through exploratory, communicative, and presentation sketches. Each stage develops into an iterative process of rapid elaboration using divergent sketching methods, such as Crazy 8’s. Ideas are then evaluated and reduced to more stable concepts. This iterative approach is also reflected in the IBM Design Thinking Framework and the stages of The Loop: Observe – Reflect – Make.

Idea Sets and Design Directions

In the initial exploratory phase, I formulated the theme as a design brief, expressed through descriptive text and sketches. I conducted a basic market analysis and complemented it with an exploration of related areas using a mind map. I also examined the visual language, materials, and technologies associated with the relevant industries, bringing these references together in a mood board.

To avoid becoming fixed on an initial system concept, I generated sets of ideas across several parallel design directions. This provided multiple perspectives and alternative solutions for reimagining the everyday car journey. Four main directions were identified: geographical structure, modular vehicles, connection points, and a digital service platform.

The four directions were developed as parallel but interconnected design tracks. Broad variations were initially explored before the details were progressively refined. In the final phase, the separate tracks were brought together into a coherent concept.

Geographical Structure

The transport system was structured into three interconnected traffic areas: zone traffic, local traffic, and regional traffic.

The structure of the transport system.

Vehicle Modules

The future transport system is modular, adaptive, and autonomous. The exploratory sketches identified the following functions:

Capacity – Module types adapted to zone, local, and regional requirements for size, capacity, speed, and travel range.
Operations – Modules have two operational modes: in service or charging.
Flexible configuration – Adaptable to seated and standing passengers and their luggage.
Scalability – Modules connect to scale capacity up or down according to current demand.
Operational reliability – Modules support each other during operational or capacity problems by connecting as replacement modules.
Privacy – Private, shared, or communal travel configurations.
Workspaces – Functions supporting work, calls, and meetings.

Concept sketches of vehicle modules, interiors, and use.

Connection Points

A connection point brings travelers together and enables the optimized use of transport modules. The exploratory sketches identified the following functions:

Scalable design – From small local connection points to large regional hubs.
Bringing travelers together – A nearby place for boarding and exiting.
Optimized – Fast and efficient travel at all times.
Safe – A secure, visible, illuminated, and monitored location.
Informative – Provides current information and guidance.
Accessible – Designed for people with mobility, visual, and hearing impairments.
Transactions – Simple booking and payment.
Integrated – Services are integrated and accessible to everyone.
Sustainable – Ecologically designed using natural materials and renewable energy.

Concept sketches of connection points for zone, local, and regional traffic.

The Service Platform

The service platform should be accessible to all travelers, with or without mobile devices and connectivity. The scenarios and exploratory sketches identified the following functions:

Planning and purchasing – Travelers can describe a journey based on person, location, time, and destination.
Identification – Travelers verify their identity.
Assistance – Travelers can request assistance to complete an activity during their journey.
Traffic information – Travelers receive relevant and current information before, during, and after their journey.
Rebooking – Travelers can change their travel plans.
Safety and alerts – Travelers can raise a safety alert and request help.

Concept sketches of fixed and mobile interfaces for the service platform.

Communication and Feedback

During the communicative phase of the assignment, I created a scenario using a sequence of sketches to visualize a point-to-point journey. In my professional work at IBM, I use this storyboarding technique almost exclusively when working with complex concepts, use cases, and processes that need to be broken down into visual sequences—often involving more than 100 linked sketches in Figma.

Feedback from my two discussion sessions showed that the scenario and sketches worked well as communication tools. Questions, comments, and new ideas contributed to the further development of the solution. Interestingly, the sketches themselves passed largely without comment, while the discussions focused entirely on the proposed solution.

The feedback helped me reassess the different design directions. The zonal and local aspects were perceived as priorities, while the regional dimension raised questions and was ultimately rejected. The design and spatial efficiency of the vehicle modules were challenged, leading to new sketches exploring modules with only a single door. Improvements to accessibility were also requested.

As a result, the design shifted toward greater customer value and simplicity, explored through a new series of sketches.

End-to-end scenario flow for a multi-zone journey.

Presentations

Before entering the presentation phase, I began by asking three questions: Who is the audience, what is the purpose, and what is the intended outcome? Understanding the purpose of a design is just as important as understanding the expectations of its audience. “Design is the intent of an outcome.”

The presentations aim to communicate the selected design direction and gain feedback and approval from decision-makers and stakeholders. For the assignment, I envisioned the material as being produced collaboratively by a marketing team, an advertising agency, and a design agency in preparation for the launch of the ZOLO mobility service.

The marketing plan includes a poster, an information display, an exhibition, and a comic strip. The content targets the general public, with the purpose of introducing the service and encouraging its adoption.

The visual communication was based on principles of clarity, structure, and balance between sketches, imagery, and text. Visual elements should dominate and support the textual message. I explored layout, color, and form through sketches based on fundamental principles of visual hierarchy and composition. I also developed a simple visual identity for ZOLO.

Visual identity and logo designed for ZOLO.

ZOLO Poster

In my imagined storyline for the presentation assignment, ZOLO’s contracted design studio has developed a proposal for an advertising poster. ZOLO’s marketing team, the advertising agency, and representatives from the municipality participate in the presentation. The purpose of the meeting is to gain approval to proceed with the final design and prepare production-ready artwork for printing.

I began this part of the assignment with a semiotic analysis of what the viewer should see and feel through their associations—in other words, denotation and connotation.

The denotation, or direct lexical association, should communicate:

The visual identity: the ZOLO name and vehicle module.
Names and logos with global and local recognition.
An urban setting.
The offer: a seven-day trial period.

The connotation, or indirect association, should communicate:

ZOLO – Solo – individual.
Color palettes inspired by trams and the buildings of the industrial landscape.

Several rough initial sketches explored different layouts and typography for the poster, including the headline, body copy, and images. One idea was to use the headline as a text knockout from an image of the vehicle module. I explored the concept through both analog and digital sketching.

A professional advertising poster requires high-resolution graphics. This raised the question: “How do I create a high-resolution image from my sketches?” I explored whether Google Gemini Pro’s generative AI could do the job. The following prompt, together with an attached analog sketch of the vehicle module, generated a high-resolution image that accurately reproduced the vehicle and could be integrated into the graphic layout: “Create a high-resolution image of a vehicle based on this sketch. Give the vehicle the color #F2B705.”

Sketches for a ZOLO advertising poster.

Final high-fidelity ZOLO poster.

The poster presented at one of ZOLO’s connection points.

ZOLO Media Screen

A second advertising concept was developed for an interactive information screen supporting motion graphics and animation. This type of animated poster or video is increasingly common in shopping malls, restaurants, and storefronts. The format is vertical 4K video displayed on a UHD screen, using the same graphic concept as the ZOLO poster.

The animation uses a simple visual sequence: many people waiting in line – load – go. Motion attracts attention, but the animation should not be so long that the viewer loses interest. The offer is then presented as text before the video repeats in the next playback cycle.

I used Apple’s Final Cut Pro for editing. The background, people, vehicles, and text were imported and placed on separate video tracks. Movement was created using keyframes that define the start and end positions of an object on the timeline. A video transition introduces the offer. The video reuses sketches and elements from the visual identity.

For a presentation prototype, demonstrating movement and timing is sufficient. There is no need to organize extras and film real people.

Sketch and final design of the poster for the information screen. Prototype advertising video for the information screen.

ZOLO Comic Strip

In my storyline for the presentation assignment, ZOLO wants to publish a sponsored comic strip in a youth magazine. The comic Bettan and Bianca is a recurring feature in the magazine.

Working with the comic’s creator, the advertising agency has developed a proposal aimed at younger readers. The advertisement could be considered acceptable for the magazine because the offer has a clear sustainability perspective. The purpose of the meeting is to gain approval from the editor of Kamratposten.

I sketched a composition for the comic strip: one panel for the introduction and a 3 × 4 grid for the existing twelve scenario images. I used the narrative phases of introduction, progression, resolution, and ending. The typography uses fonts from the Komika family: Komika Hand, Komika Slick, and Komika Slim.

Bettan and Bianca comic strip published in Kamratposten.

ZOLO Customer Exhibition

In my storyline for the presentation assignment, ZOLO wants a proposal for an exhibition designed to create interest and guide new customers in using its mobility service. The exhibition is presented during lunch hours, evenings, and weekends at locations with high visitor traffic.

The material focuses on a real vehicle module, an overview of the service offering, instructions for using the ZOLO app, and, most importantly, how to use the vehicle.

The advertising agency presents the proposal to ZOLO’s marketing team, the municipality, and the regional authority. Marketing managers from the locations that the exhibition will visit also participate. The purpose is to gain approval to proceed and ensure that the required exhibition space can be made available at each location.

Sketch of the exhibition layout at Linden Shopping Center in Norrköping.

Illustration of the exhibition created with generative AI directly from the sketch above.

Conclusions

In this assignment, I reimagined the everyday activity of traveling by car as a service-based mobility solution. I am pleased and grateful to have had the opportunity to apply sketching techniques to this idea and design journey, which began in my strategy course more than a year ago.

During this course, my sketching skills have developed to a level where I can use them productively in a professional context. The course has demonstrated how sketching can be used to explore complex design strategies and design challenges. New ways of working have been added to my toolbox of processes, techniques, and tools.

Paper, pens, digital drawing tablets, graphic objects, and perspective no longer feel intimidating. They have become natural tools that I simply reach for when ideas need to be captured, communicated, or presented.

Through the assignment, I have demonstrated how the sketching process not only generates ideas but also functions as a decision-making tool throughout the iterative cycles of the design process.

Beyond the course assignment, I have also experimented with connecting sketch-based workflows with generative AI. This strengthens the value of early-stage ideation through sketching and increases the efficiency of the subsequent iterative design process.

hkr.se
Applied Sketching Techniques.

ZOLO Poster (Swedish).

ZOLO Infoscreen (Swedish).

ZOLO exhibition (Swedish).

ZOLO Comic Strip (Swedish).

July 4, 2026

Asset Management Automation with Agentic Networks

mats AM-Articles

What is an AI Agent?

An artificial intelligence (AI) agent is a system that performs tasks on behalf of a user or another system by deciding on its actions using available tools. IBM’s definition of AI agents describes them as systems designed to simulate intelligent human behavior by making decisions autonomously.

Also, an AI agent is a software entity that uses generative AI techniques to autonomously perform tasks or make decisions based on input from its environment. These agents are designed to achieve specific goals or objectives, often by interacting with their surroundings or other agents. Key characteristics of AI agents include autonomy, adaptability, collaboration, and the ability to learn from experience.

Elements of an Agent

Agent have abilities

Agents are systems equipped with several key abilities. They can perceive and interpret their environment using sensors, data inputs, or similar tools to create an understanding of their surroundings. Based on this perception and their predefined goals, agents can process information and make decisions by selecting appropriate actions. These actions can influence their environment, such as providing recommendations, controlling systems, or engaging with users. Additionally, agents often have the capability to learn and enhance their performance over time by leveraging historical data, past experiences, outcomes of previous actions, or user feedback.

Agents have skills

Agents possess a range of skills that enable them to operate effectively. They can role-play by adopting specific behaviors and objectives tied to a particular role, maintaining focus on tasks without getting distracted by irrelevant or time-consuming detours. Agents utilize tools to access additional information, enhancing their capabilities while minimizing distractions through effective tool use for better concentration. As part of their role-play, they can collaborate with other agents, sharing tasks and information to achieve shared objectives. Operating within predefined guardrails, agents stay grounded, avoiding hallucinations and maintaining focus. Additionally, their use of short- and long-term memory supports better collaboration and enhances learning over time.

Type of agents

AI agents span a spectrum from simple rule-based systems, such as scripted chatbots, and advanced adaptive systems like self-driving cars and drones. They can be categorized as reactive, responding to real-time changes; deliberative, planning actions based on goals; or hybrid, combining both approaches.

The foundational types of AI agents include:

Simple Reflex Agents: React to the environment without using memory.
Model-Based Reflex Agents: Use internal models to navigate partially observable environments.
Goal-Based Agents: Make decisions aimed at achieving specific goals.
Utility-Based Agents: Choose actions that maximize utility while achieving goals.
Learning Agents: Continuously adapt and improve by learning from past experiences.

Agents in Maximo Asset Management

Using new Agent AI technologies, IBM Maximo can further achieve greater speed and ease of usage with autonomous automation.

Generative AI reduces reliance on specialized skills not generally available in operational teams and is designed to serve the end user without requiring data science expertise.
Generative AI can interact with watsonx using natural language for insights, actions and automation.
AI agents can work together in networks to perform tasks, combine workflows, and automate operational practices.
AI agents can access the real-time state of equipment using Maximo Monitor, can access historical data in Maximo Manage or stream visual data using Maximo Visual Inspection.
AI agents can use tools based on multi-modal foundation models for language, vision and time-series.
AI agents can use the Maximo APIs to interact with Asset Management workflows and create new business objects, like Work Orders.

Generative AI

Generative AI can Search, Analyze, Summarize and Generate content from large quantities of operational data.

Search for similarities, abnormalities, and relations
Make computations for data aggregations or statistical properties
Make summarizations on search results and format results in tables, graphs or text
Generate reports and apply document styling and formatting using desired natural language

Generative AI can perform, like in Work Order Intelligence, leveraging AI capabilities recommend problem codes for work orders using natural language processing (NLP) and machine learning to analyze historical work orders and identify patterns. Based on this analysis, it recommends a set of problem codes when new work orders are created, enhancing accuracy and data consistency in reporting workflows. By automatically suggesting relevant problem codes, it reduces the time and effort needed by technicians or operators to manually classify issues.

Work Order Intelligence with problem code recommendations.

Conversational AI

Conversational AI provides intuitive, natural language interactions that offer users personalized guidance and support. Conversational AI combines the power of GenAI with an intuitive interface that allows users to achieve their goals more effectively and efficiently by providing AI-Assisted Workflows. Gartner say that “GenAI and LLM are revolutionizing Conversational AI, evolving from traditional chatbots to AI-powered interfaces capable of handling more complex queries and tasks while generating human-like responses”.

Conversational AI can use Retrieval-Augmented Generation (RAG) like SiWarex to unleash hidden intelligence within Maximo to improve work productivity and business outcomes while maintaining, if not improving, trust in generative AI. The AI chain of thought process uses SiWarex to optimize the output of a LLM and references a knowledge base outside of its training data sources to generate a response or take action.

Conversational AI in Maximo supporting an Asset Manager to identify and diagnose an asset at risk and creating a work order with a job plan that mitigates the asset risk.

Agentic AI

Agentic AI can perform assistance in multiple key Asset Maintenance use-cases. Agentic AI refers to artificial intelligence systems that exhibit ‘agency,’ meaning they can act autonomously to achieve specific goals. These systems make decisions, and perform tasks based on their environment and objectives.

Maintenance Operations and Diagnosis. Diagnose a problem, create service requests and work orders, create job plans, and automate the reviews of work orders.
Scheduling, Inventory, and Planning. Schedule inspections and work based on maintenance schedules, technician skills and availability, optimize and rebalance schedules, confirm availability of required parts and tools, and recommend purchase orders for missing parts in plan.
CBM, Reliability, and Predictions. Facilitate tasks related to maintenance strategies and their execution. Monitor conditions, create alerts, compute asset performance scores, and identify failure codes.
Safety and Compliance. Ensure safety and compliance in my procedures. Identify incidents, check for regulations and compliance, and enhancing sustainability through emission tracking.
Reporting. Agents can collect data to compute KPIs

Benefits of Agentic AI Workflows

Agentic AI workflows offer significant advantages by increasing efficiency through automation, enabling tasks to run continuously and at scale while reducing time and resource demands. They are highly scalable, adjusting dynamically to growing workloads without requiring additional human input. With AI agents analyzing data in real-time, decision-making becomes more informed, leading to improved outcomes. These workflows are also adaptable and resilient, maintaining efficiency and effectiveness even in changing or disruptive conditions. Agentic AI depends on clear task statements of Agent outcomes and goals. Concept designs has been exploring the agents supporting Asset Management workflows in Maximo.

Agentic AI Networks for Asset Management

When creating agentic networks for Maximo Asset Management, the use of agent roles is crucial to designing a system where AI agents collaborate effectively in Maintenance Workflows, perform the tasks autonomously, and make decisions that collectively contribute to achieving the workflow task and objectives. Maintenance workflows are generally complex with many considerations in how to best solve complex problems and where multiple AI agents operate in coordination.

Aggregator

Collects real-time data from sensors and meters.
Aggregates and preprocesses data.
Ensures the reliability and accuracy of the data collected.
Resolves missing data gaps.
Notifies of data corruption and connectivity incidents.

Failure Predictor

Analyzes asset state and matches conditions with the failure modes of the asset class.
Detects when equipment is nearing failure by operating outside optimal conditions.
Analyzes and prioritizes maintenance tasks based on equipment criticality, issue severity, maintenance history, and current planned work orders.
Creates Work Orders (PMs) with selected job plans.

Work Planner

Establishes a schedule for a Work Order, considering issue severity and the asset’s criticality to equipment, processes, and systems.
Assigns resources, materials, and tools to the Work Order.
Ensures the availability of key skills and spare parts.

Work Reviewer

Ensures high-quality Work Orders with complete and correct metadata.
Approves the Work Order.
Invokes manual actions if data is missing or suspected to be incorrect.

Inventory Planner

Predicts material needs based on planned Work Orders and historical maintenance data.
Optimizes the just-in-time availability process.
Creates internal transfer requests and external purchase orders.

Notifier

Collects, analyzes, and summarizes log information from the agentic network.
Formats notifications for toast, mobile push, dashboards, and log notifications for users and system administrators.

Coordinator

Coordinates activities among multiple agents, ensuring smooth communication and task execution.
Ensures agents run or get restarted as needed.
Facilitates the flow of information across system components.
Monitors workflows and invokes dynamic adjustments.
Collects and stores workflow data.
Tracks agent and model performance metrics.
Invokes retraining of deep learning models.

Conclusions

Operational organizations strive to continuously improve their maintenance strategies and process maturity leading to increased productivity, efficiency, reliability, and profitability.

Improving the organizational maturity shifts maintenance from being a cost to being an investment.

Development of maintenance strategies.
Industry standards and benchmarking.
Continuous measurement and feedback of KPIs.
Products and services for process implementation.
Process improvement as part of the process.

New generative AI technologies with agent networks provide organizations with new tools to automate process changes while reducing the costs of implementing new maintenance strategies.

Work Order Intelligence in Maximo
Learn more about Work Order Intelligence.

Conversational AI in Maximo
Learn more about Conversational AI.

July 4, 2026

Graphical Design History

mats Design Education

Understanding contemporary design requires understanding where it comes from. This course explored the history of graphic design through the evolution of typography, printing, visual styles, and cultural movements. By combining historical studies with practical design exercises, it provided me with a broader perspective on how visual communication has developed over time and how historical ideas continue to influence modern design practices.

Exploring a typeface

The assignment explored the taxonomy and evolution of a single typographic character or sign through visual design. Rather than surveying a complete typefaces, the project focused on a single letter A. The objective was to investigate how the complexity of a character can be expanded or reduced in structure, proportion, contrast, and ornament, influencing both readability and visual expression.

My design concept, A Spring Metamorphosis, presents typography as a continuous transformation inspired by the biological process of metamorphosis. Beginning with the stripped-back geometry of modern sans-serif forms, the composition gradually evolves through italic and serif styles before culminating in richly ornamented script lettering. The progression illustrates how cultural, technological, and aesthetic developments have shaped typographic expression over time. Historical typefaces were carefully selected, adapted, and recomposed into a single visual narrative. The finished poster demonstrates that even subtle changes to fundamental typographic elements can dramatically alter expression while maintaining recognisable form.

A Spring Metamorphosis poster.

Contemporary paraphrase

The assignment reinterpreted a historical work of graphic art by creating a contemporary paraphrase that preserved the visual language of the original while communicating a new message. I selected The Scream (1895 lithograph) by Edvard Munch and explored how its themes of anxiety and isolation remain relevant in the age of social media.

The Scream lithograph by Edvard Munch and the final paraphrase.

The illustration used in a magazine article layout.

Historical graphical design timeline presentation

The final assignment explored the evolution of graphic design through a historical timeline that connected major design movements into a coherent narrative. Rather than presenting design history as a sequence of isolated styles, the study examined how each movement emerged as a response to changing technological, social, and cultural conditions in Europe during the first half of the 2000-century.

The timeline was structured around a central argument: graphic design has continually shifted between industrial rationalism and cultural complexity. Beginning with the handcrafted ideals of Arts and Crafts, it traces the rise of Bauhaus, Constructivism and Swiss Style, where design became increasingly systematic, functional and optimized for industrial production. The narrative concludes with Postmodernism, which challenged modernist objectivity by reintroducing identity, expression and cultural diversity into visual communication. Historical works, influential designers and original visual analyses has been combined into a consistent editorial layout to communicate both historical context and design principles of the time.

The completed presentation demonstrates that graphic design history is not simply a chronology of visual styles, but an evolving dialogue between technology, society and human expression.

Historical graphical design timeline from early industrialism to postmodernism.

Historical graphical design timeline poster

The final assignment aimed to combine the historical design movements in the timeline into a single contemporary graphic expression. I approached the task as the design of a coherent communication system guided by a clear design brief. The concept centered on a fictional exhibition at Norrköping Art Museum titled From Industrial Rationalism to Cultural Complexity, providing a meaningful context in which historical ideas could be reinterpreted.

Instead of blending styles for their visual appeal, the design identified and combined their underlying graphical principles. Bauhaus contributed functional reduction and geometric typography, Swiss Style established the grid, hierarchy, and structural clarity, while Postmodernism introduced complexity, layered imagery, and cultural expression. Rather than replacing previous ideas, new design movements reinterpret and build upon them, creating new forms of visual communication that remain grounded in design history.

Historical graphical design timeline poster.

The poster exemplified by presented at the Norrköping Art Museum.

hkr.se
Graphical Design History.

Exploring a typeface. A Spring Metamorphosis.

Contemporary paraphrase of Munch Skriket.

Design history timeline presentation (Swedish).

Design history timeline poster (Swedish).

January 14, 2026

Digital Image Editing

mats Design Education

The course balanced the practice- and analysis-driven practices in Digital Image Editing by focusing on how digital images are created, edited, and optimized for contemporary digital media. The course included technical image-editing workflows in Photoshop and Lightroom from raw image to publication-ready visual content.

The coursework included pixel-based image editing, color correction, retouching, non-destructive layer-based workflows, and image optimization for web and digital interfaces. Particular emphasis was placed on understanding color spaces, resolution, file formats, and how technical image properties influence visual quality, accessibility, and user perception across different platforms.

Through hands-on assignments and book-led exercises, the course strengthened a structured and reflective workflow for image editing, often as a technical process. The course developed skills in visual analysis ensuring that images effectively support purpose, context, and target audiences

Flying geese in the morning sky

This image is a recomposition of an advanced layer exercise. The new composition takes an alternate approach to the cloud coloring as I noted that the original composition of high and low clouds did not make physical sense with incoming sun from the left. There should be sun reflections also in high clouds. Then, added a scene with flying geese in V-shape caught in the moment when an SAS Airbus was passing by for landing. The airplane, as the goose, is illuminated by the rising sun. Many layers used that could have been flattened, but kept for clarity on approach.

Home preparedness

Design for a promotion image used os a billboard, poster, print, or screen from Naturkompaniet as part of a fictitious marketing campaign to push home products to consumers taking actions on guidance from Eng:’In case of crises or war’, Sv:’Om krisen eller kriget kommer’. The intent of the design is to attract viewer attention by using short, familiar phrases like “Home preparedness”, “Hemberedskap”, “Beredskapslager”. But also add a little twist to the message by introducing color and symbols of forest, nature, and expeditions. This leads the viewer to a dual conclusion and question: is this home preparation for a crisis, or for my vacation? The design is intentionally simple and clean. All to attract with a sticky, simple, actionable message: “Buy now to be prepared for any event”.

The composition uses logos and products related to the topic. It also uses a ‘forest’ pattern as a PNG file that was imported and used as a background pattern. There is a ‘background green to transparent’ gradient that only shows the forest pattern on the top of the image.

Into The Wild

The design of the poster is a progression from my previous LNU class in design and typography. The task was to create an ad on the theme of limitations using only objects as characters, and to secondly, in a following step, explore contrast to create an alternate design, with a radically different outcome. The ad is promoting the launch of a fictitious second book by John Krakauer in an ‘Into The Wild’ series, to be presented by the author at the Gothenburg book fair in 2026. The objective was to deliver a better design by applying my new image editing skills in composing a more vivid ad.

The composition for this assignment contains three basic parts: the header and copy text, a man in a kayak in rough winter weather conditions, and a surrounding border. The composition is applying limitations and contrast? through type, a monochrome color scale, and greyscale images. The typefaces used are Script, Brush, and Sans fonts. The kayak picture part of the composition is using an arrangement of multiple edited images; a photo of ocean sea waves, a photo of a man in a kayak, and several overlay images with clouds and drops.

To make the kayak and sea appearance visually convincing, the sea waves photo has been masked into foreground and background layers. The kayak and its surrounding waves are placed in the layers stack between the foreground and background. A masked photo of Häradskär lighthouse has been added at the horizon. The sea and sky layers have been converted with a B&W adjustment to a harmonious greyscale. The kayak, the man, and equipment have been isolated into new layers by using selection tools and the ‘New Layer by Copy’ command. The colors of the kayak layers have been uniquely tuned by Contrast and HSL adjustment layers. This creates the recoloring to red, resulting in high contrast. The sky is central to the composition. It graphically creates a readable contrast, with grey ground to red text, and visually creates the connotation of survival under rough winter adventure conditions. Overall, the composition is using a vertical central line. The balance is achieved by the asymmetry of the waves and kayak to the left, balancing the copy text to the right. Similarity with the monochrome red color objects, in contrast with the grayscale background. Texts in proximity.

Workflow-wise, much of the Photoshop editing of individual objects has been made in separate development-style PSD files. Then promoted by copy-paste when ready into the final integration-type PSD file. A common software development workflow. Hence, working in stable stages with minimal risk of crash-and-redo. Rulers, guides, and layer groups are used in the layout to ensure linear adjustments. Especially layer groups are extremely valuable both to organize layers by containment, but also to apply common adjustments to a group of layers by providing a single handle for performing pixel-perfect layer group adjustments.

Halloween Twins

My photo montage for a final Photoshop assignment is a composition named “Evil Halloween Twins” with my grandchild Ellie appearing as a pair of creepy twins in a Halloween scene. The intent is to create an unpleasant connotation with a contrast between an unnaturally happy twin in the foreground and a creepy twin lurking behind, being ready to strike. I tested the final image with friends, and they confirm that they get an uncomfortable feeling, not knowing who of the two twins they would rather like to meet.

The composition is made up using our family photos. A background photo from Halloween at Kolmården in 2024. And two recent photos from 2025 with Ellie getting ready for a Halloween party at school. The montage also uses a fog stock image. Backgrounds in the Ellie-photos have been removed in Photoshop using the Object Selection tool and selection fine-tuning using the Quick Selection tool. The selections are used to create a mask that removes the photo background. Resulting twin characters have been added to the scene background so that Creepy-Twin is behind Happy-Twin in the foreground. Their individual scale has been adjusted to visually match their relative position and the perspective to the background. Their head positions have been guided by the Rule of Thirds, creating a dynamic symmetry to the final image.

The original images, both background and characters, do not have a lot of shadows and highlights. All photos are rather flat. Also, any original lighting may not work well in the composition. Hence, a better situational approach was used by creating transparent gradients simulating shadows. Masks in the gradients are used to create highlights. To create depth in the montage, a lens flare is added and a gradient is used from the lower left across the background. The fog photo is used as a mask layer to produce a faint fog on the background. Colors have been corrected to a uniform, slightly warm red shade. This darkness hints to the viewer where evil hides. Shades are added on the characters, creating light to come in between the two twins. The faces are lighter and sharpened, and bodies are blurred and darkened by the shadings. The use of directional shading gradients was essential here. Masks are used to make the eye creepy bright with eye light reflections adding contrast and dynamics.

The Photoshop workflow in this assignment is identical to the previous poster. I do editing of objects in separate PSD-files and then integrate the ready result into the final integration PSD-file. Layer groups are used for layer organization.

lnu.se
Digital Image Editing.

Into The Wild (full size).

Halloween Twins (full size)

January 13, 2026

Image and Graphic Design for the Web

mats Design Education

This course provided knowledge about practical and theoretical skills in designing visually compelling, functional, and communicative websites, combining the principles of graphical design and visual communication with hands-on web design and implementation practices.

The course focused on how composition, typography, imagery, and content structure work together to support clear messages to a defined target audience in a digital context. A strong emphasis was placed on purpose-driven design, ensuring that visual form consistently supports content, usability, and user intent.
Core areas included in the course were image analysis and semiotics, vector and pixel-based graphics, functional graphic design for the web, information architecture, intuitive website navigation, and use of the WordPress Elementor framework.

A key outcome of the course was my improved abilities to connect the abstract strategic concepts, such as message, audience, and intent, into a concrete, publishable website design. By the end of the course, I was able to design and produce web pages that meet functional quality standards, adapt visual language to different contexts, and create optimized image assets for web use. Generative AI was used intensively to create both text, images, and videos.

Design project

The course was organized around a hands-on web design project tasked with improving the visibility on the web for Stillsamhetens Spa, a fictional Swedish spa resort. The project was to be delivered in two stages. An initial stage covering a graphical profile and graphical assets for social media and the spa resort website. The second stage involved the delivery of the website on WordPress.
Each project stage combined reading assignments, conceptual study material, and practical design tasks. Through these assignments, I explored typography, layout systems, color theory, image processing, and responsive web composition, while critically evaluating both my own work and the work of others.

Brief

A design brief was given as an outline of a business strategy and requirement specification for the design. I found the details in the handout brief to be insufficient in answering the strategy questions WHY and WHAT, required for a new communication and design plan. I performed a deeper market study and analysis on Swedish spa resorts, and additions were made to the project design brief to provide clarity in the intent, business priorities, and scope of work for a successful market launch. The following conclusions can be made regarding the spa and resort market, to further strengthen the project’s business and communication plan, contribute to the design of the graphic profile, and to the selection of content for the company’s website:

The current spa offerings meet the basic expectations of private and corporate customers.
Ecological and sustainable offerings can differentiate the message.
New types of activities can extend customer stays and may increase revenue and staff efficiency.
Growth within the segment today occurs primarily among private customers, with a predominance of female visitors.
Increased digitalization, decreasing business travel, and fewer conferences mean that growth in the corporate customer segment cannot currently be expected.
Marketing, market channels, and offerings must be based on the customer’s travel distance: day and evening treatments in the local area; treatments and themed activities in the nearby area; weekend spas and themed activities in regional areas.
The primary market channels are social media, tourism, and industry platforms.
The customer experience regarding bookings and payment must be improved.
Meeting customer expectations is the most important factor in creating customer loyalty.

The deeper market analysis identifies that the company’s challenges can mainly be addressed through changes in three key areas: service offerings, marketing communication, and supplier agreements. The outcome this project focuses on is revised marketing communication. For marketing communication, it is important to clearly define how we want the customer to perceive the company and its offering. The message is based on the core values: Tranquility and Recovery. Local and Close to Nature. Sustainable and Organic. Personal, Professional, and Service-Oriented. The message can then be summarized as follows:

Location & Atmosphere: The spa facility is located in a forest and lakeside environment. Buildings and interiors made from natural materials.
Accommodation: Possibility of overnight stays in connection with treatments or conferences. Modern rooms with scenic views and proximity to nature.
Food: Organic vegetarian cuisine with locally sourced ingredients.
Spa: Massage & Skincare. Professional treatments with organic products, including classic massage, aromatherapy, facials, and body scrubs.
Tranquility & Mindfulness: Quiet zones, relaxation rooms, saunas, and nature walks for mental recovery. Social interaction. Retreat.
Ecological Profile: Sustainability focus with organic vegetarian food, eco-friendly products. Sustainable zero-emission energy systems. ‘Carbon neutral’.

Graphic Profile

In conclusion, the developed graphic profile must reflect the core values, expectations, and customer behaviors identified in the market analysis, particularly emphasizing the importance of customer understanding and target group adaptation. Spa customers in Sweden are primarily private individuals or small groups, often middle-aged and older women, seeking relaxation and a holistic experience in nature-oriented environments. The graphic profile should therefore convey calm, serenity, and rejuvenation. The analysis highlights the importance of sustainability, local anchoring, and an ecological profile. The profile should thus be based on colors, styles, images, and illustrations that evoke nature, sustainability, responsibility, and environmentally friendly choices. Core values, such as “nature-oriented,” “local,” “sustainable,” “professional,” and “affordable”, should be clearly used in the design language. The imagery should highlight the unique location: forest and lake, buildings made of natural materials, and ecological food. At the same time, simplicity and accessibility in the experience design are required to facilitate online booking, as the target group includes the older middle-aged demographic. In summary, the graphic profile should convey tranquility, exclusivity, and sustainability while fostering customer loyalty through recognizability and credibility. Marketing channels require a unified and recognizable profile that works in both digital and print media.

Colors

The colors in the graphic profile were designed to align with a spa, creating a calm, harmonious, and professional experience. The selected colors are based on core values from the lake and forest location of the spa, as well as its natural materials in buildings, interiors, and fabrics. The color scheme, along with the chosen names of the shades, is intended to visualize and verbalize a unique experience where nature meets the spa guests. “Find stillness between forest and lake”, in Swedish “Lugnet mellan skog och sjö”. A mood board was created to identify and evaluate suitable natural tones.

Identify the moods when finding stillness between forest and lake.

Two primary colors were selected. A medium forest color green (#407249) and a darker blue lake color (#4A6B7C). Additional complementary colors in green, blue, brown, orange, and red were selected for backgrounds, text boxes, and buttons. The green color is suitable for headings on a light background or as larger planes in the website design. The blue, brown, beige, and grey shades are suitable for separate planes and cards with light backgrounds. The signal colors are to be used for warnings, errors, or to draw attention to orders and offers.

Primary and complementary colors.

Logotypes

The logotype and complementary image were designed to fit the visual identity of the spa, creating something unique, associated with the company’s identity and core values. A list of keywords and associations was identified early as the starting point for the design:

Calm – Still – Flowing
Forest – Trees – Leaves
Lake – Waves – Life
House – Castle – Stone

The design of the logo is a calm, sweeping, script based on the Agatta typeface. The type was vectorized, and the individual character shapes were slightly edited. Kerning and modifying ligatures were easy to achieve a harmonious, connected form. The letter ‘i’ has been modified and tied to the company’s identity by replacing the dot with a filled leaf. The logo can be used on its own or together with complementary profile texts. The logo can be used in various contexts on a white or colored background, with the profile’s primary color.

Alternative logotype ideas tested during the design process with different shapes and color schemes.

Final complementary image and composition with logo, profile text, and complementary image.

A larger logo illustration was created as a composition of the logo, profile text, and a complementary image. The illustration is based on the same keywords and core values but uses a form with more size and detail in its composition.

Alternative illustrative composition with logo, profile text, and complementary image.

Web design

User roles and scenarios

An analysis, design, and marketing strategy, grounded in customer understanding through customer surveys. My updated design brief highlights the importance of business development for Stillsamhetens Spa. As a result of the strategic work, the website’s navigation is based on three archetypes and three typical users.

Booking a spa treatment. Private individuals who frequently book spa treatments want to quickly reach the booking page, select a day, and book an available treatment time. The website’s navigation should be optimized so that the booking can be completed in under 1 minute with the fewest possible clicks and choices.
New visitors as individuals, couples, or groups want to follow an advertisement from social media and explore more about Stillsamhetens Spa. They then want to design their stay with packages, treatments, and activities and receive a clearly comparable price. The navigation should offer a seamless experience with menus and buttons where the visitor’s interests and questions continuously guide them toward a booking. A customer should receive about 10–15 minutes of reading content.
Companies and organizations want to see what Stillsamhetens Spa can offer and then request a price proposal for a conference stay that meets the company’s unique needs and requirements. The navigation should give the purchaser sufficient material to formulate a conference inquiry that can later be answered by the reception without additional questions. A purchaser should receive about 5–10 minutes of reading content.

The design must provide the following customer purchase phases:

Discover. The customer discovers the company and its message on social media. The customer clicks a link to our website.
Inform. The customer visits our website to be informed about our offers.
Evaluate. Customers evaluate the spa offerings.
Plan. Customers choose products, packages, discounts, prices, and availability.
Book. Customers book, confirm, and pay.
Rebook and Cancel. The customer can view and change the booking via the booking confirmation.
Remind. Customers receive reminders about the booking and tips on preparations.
Facilitate. Customers can get practical information during their stay.
Recommend. Customers can share their experiences with others on social media.

Page design

The website’s initial design work was carried out as a series of analogue sketches that explored different alternative layouts with columns and grid frameworks as lo-fi sketches. During the second design phase, a more hi-fi design was created for typical pages such as Home, Spa, and Booking. Detailed designs were also produced for the header, footer, pop-ups, and buttons. The design defines the layout of the pages with sections, color blocks, images, and text. Typography is particularly emphasized with margins to create a balanced and consistent layout. The placement of text in direct proximity to images within a context creates a multimodal visual language, where meaning is formed by connecting words and images.

Page hi-fi design with header, sections, and cards. Paddings using a 2x design of 15-30-60px increments for blocks.

The page design uses sections, colors, panels, and cards that follow principles of visual hierarchy and readable information design to guide the user’s eye. The initial graphic profile and colors were refined based on the website’s content and its classifications. Pages are regularly given a beige background with a title in the green primary color. Intro and body text in black.

Spa treatments and treatment staff are given a beige background with black text.
Relaxation areas are given a blue background with white text.
Hotels and accommodations are given a brown background with white text.
Bookings, activities, and news are given a gray background with white text.

All text panels with a color, according to the graphic profile above, are also given a colored image overlay with 85% transparency, which brings the colored surface to life. The overlays are either custom images or patterns rendered in grayscale.

Pages in beige use a pattern of a plastered wall from Astrid Lindgren’s World.
Pages in blue use a downloaded pattern with bubbles.
Pages in brown use an original photo of a wooden table.
Pages in gray use an original photo of a brick wall from Astrid Lindgren’s World.
Buttons are assigned colors based on the surrounding background color.
All buttons related to an order are given an orange color.

Graphic line illustrations have been created to provide context, style, and vibrancy to the main headings of the pages. The illustrations use simple graphic symbols and patterns to convey mood and thematic elements. They are made using lines, circular segments, and pictograms from the Carbon Design System with a 0.7px line thickness.

Navigation

The three user scenarios are supported by the website’s navigation design. We can categorize the navigation into three classes: Top-down: Menus for structured choices. Sideways: Buttons to follow a reading pattern between pages. And finally, Steps: a sequence of steps leading toward a booking.

The website uses a menu that is common across all screen formats. For desktop, a horizontal menu bar is used. For tablets and mobile, a hamburger menu with a vertical menu bar is applied. The menu is hierarchical, with a main level for Spa, Activities, Conference, Accommodation, About Us, and Booking. A second hierarchical level exists for Spa, Conference, and About Us, with content divided across several pages to create easier overviews, navigation, and cohesive material. The website’s three typical cases and three typical users are directly defined by the menu. A simple booking can be initiated directly by selecting the Booking button, clearly identifiable on the menu bar in orange. The other two exploratory scenarios are driven by the remaining menu options, such as About Us, Spa, and Conference. The design supports the visitor in the question “Where am I?” by marking the current menu selection in orange.

A design that relies solely on menus results in an experience where users constantly return to the menu bar to proceed. This causes users to lose context and a sense of continuous forward movement. It is therefore important to present content within a section in context and then provide the user with guidance toward related or more detailed information. Buttons with options like “Read more” and “Book” are repeated in the design. The visitor is supported in the question “Where can I go?” by having navigation options clearly presented in each section. Navigations that lead to a booking are highlighted in orange on hover.

Text content

For marketing communication, it is important to clearly define how we want the customer to perceive the company and the offering. The website’s text and imagery are based on the core values: Tranquility and recovery. Local and nature-oriented. Sustainable and ecological. Personal, Professional, and Service-minded.

The texts for the website have been generated with AI to provide a clear, descriptive, attention-grabbing, and engaging advertising message. The images are descriptive in line with the page content and aim to provide a visually inspiring and sales-oriented view of the facilities, staff, treatments, and types of activities. An example of an AI prompt for accommodation is given below.

“I need a text for Tranquility Spa that describes the accommodation. There are both double and single rooms in premium and standard classes. The accommodation is arranged with premium rooms in the spa’s main building; the stone house. Standard rooms are located in the north and south wings. All buildings have a character of masonry stone with elements of wood and other natural materials. Some premium rooms have balconies facing the lake. All rooms have views of either forest or lake. Create sections with: An introduction to the accommodation. A section describing the stone house rooms and the wings. And a concluding section describing the premium and standard rooms.”

Image content

The visual material for the website has been developed and designed to create recognition, trust, and emotional presence. The images have been generated with the AI model Nano Banana. On the website’s ‘About Us’ page, two historical images of the Stone Houses from the 1890s and 1960s are displayed with the following two AI prompts. In both AI inferences, the image of the Stone Houses was attached to the AI prompt.

“An old black and white photo taken on photographic plate in the style of the 1890s. The house in the image with a gravel courtyard in front. Workers in 19th-century clothing. Several horses and a wagon loaded with boxes in front of the house. Piles of timber beams and boxes at the side of the house. A scene from an industrial plant. Landscape 4K format.”

Generated image of the Stone Houses from the 1890s

“A slightly faded photo of the house from the 1960s. Keep the house as in the image. A few people in typical 1960s clothing. A VW Beetle parked in front of the house. A roadway leads to a parking lot in front of the house. Landscape 4K format.”

Generated image of the Stone Houses from the 1960s.

Video content

A video for the website’s homepage was designed and developed. The composition aims to, through storytelling, show a day at Stillsamhetens Spa, from arrival at the spa, to check-in, accommodation, conference, spa activities, nature walks, a romantic couple at the evening spa, and concludes with a zoom-out of the Stone Houses in evening light. The video’s narrative structure follows the principles of visual storytelling where image sequences create meaning through rhythm, direction, recognition, and dramaturgy. The shorter video clips were generated with the Veo 3 model, each cut to about 3 seconds, and composed into a single 30-second hero video for the home page. Low quality, 540p, and high compression gave a small file size allowed for upload to WordPress.

A clear workflow for text, image, and ideas has been established. One begins by providing AI with all the text material. For texts, a simple AI prompt is given about the desired content. The AI response is checked, edited, and then included in a document with the body text section. Work is done in sections, page by page. For images, one freely starts with an image idea in an AI prompt to Nano Banana. One generates one or several images, selects one, and continues iteratively by adding objects, people, or changing the size of the image with new AI inferences. Generated images are often combined, e.g., by generating models and then placing them in a generated image as a scene. Finally, the image is given to Veo 3 with an AI prompt to “Create a video with motion in the image. Landscape 4K format.”

Example below of a generated image and the animated video clip.

The shorter video clips were generated with the Veo 3 model, each cut to about 3 seconds, and composed into a single 50-second hero video for the home page. Low quality, 540p, and high compression gave a small file size allowed for upload to WordPress.

WordPress and Elementor

The website was implemented in a standard installation of WordPress, configured with Elementor v3.30.2 and Elementor Pro v3.30.0. The website uses components, structures, and global definitions from the Elementor framework. The Elementor editor has been used for editing. Global definitions are used for site settings, fonts, and colors. The Elementor framework is used to create the header, footer, loops, and popups. Elementor’s page and component hierarchies are used to build the site’s pages and content. Elementor components such as containers, headings, texts, images, buttons, spacers, grids, tabs, and accordions have been utilized.

The website’s information architecture was defined early in the design process by identifying pages, categories, and posts.

Pages implement the static structure accessible from the website’s menu. The number of pages is fixed based on the site’s navigation and functions.
Posts implement the content that dynamically fills the pages. By categorizing posts, queries can be created to select which posts will appear on a page. Examples of posts include spa, accommodation, and conference packages, treatments, conference and guest rooms, activities, and news.
Categories were structured as hierarchies to allow for precise content selection. For example, the category ‘Activity’ selects all activities, and ‘Activity’ + ‘Guest Speaker’ selects the activities planned as topic-specific events. Similarly, ‘Accommodation’ + ‘Rooms’ + ‘Available’ selects the rooms that are available for booking. By using the Elementor loop grid component, a query can be defined. The query selects categorized posts which are displayed in a grid, e.g., on a booking page with rooms or activities available for reservation.

Stillhetens Spa

The final website consists of the following pages.

lnu.se
Bild och grafisk design för webben.

January 4, 2026

Graphic Design and Typography

mats Design Education

In this Graphic Design and Typography course, I developed my abilities to apply composition, graphic design, and typography as a visual and communicative expression. The class included basic rules and theories in typography, composition, color, and design. I deepened and practiced my abilities to reflect on the relationship between graphic elements and typography in different contexts, the importance of visual communication for the recipient, to critically examine my own and the work of others’ in the class. The class did not only explore practical tasks in graphic design but also written reports and reflections.

Key takeaways

Understanding principles and rules in compositions and layout.
Understanding rules in typography and classification of typefaces.
Understanding rules in gestalt and color theory.
Performing critique and reflections on graphical designs and typography.
Production use of Adobe InDesign, Affinity Designer, Affinity Publisher, and Affinity Photo.

Denotation and Connotation

An image selection task practiced finding and composing pictures on a theme ‘I have a dream’.

US Football: “I have a dream of a play and victory.”
Ukraine: “I have a dream of peace and freedom.”
C-level executives: “I have a dream of shareholder value.”
Generations: “I have a dream of motherhood. Past, present, and future.”
Refugees: “I have a dream of a meal today”.

I have a dream composed of royalty-free images.

Brainstorming

A brainstorming task practiced finding solutions to a “Social when apart” online event for distance students to get to know new people at the university. The task practiced the discovery stages of ideation, sketching, refinement, and reviews.

Mindmap with information object relations.

Sketches of event poster and experiences.

Page layout

A task in layout practiced the design process to produce a magazine print layout from an article by Sarah Laskow, including the steps of sketching, choosing imagery, creating the design, and analyzing the work.

The layout used a Portrait A4 layout with a 3-column and 4-row grid. The opening spread used a brown dwarf star with an intense galaxy background illustration that catches the eye and creates an interest with the reader. The text is much elaborate on the physical items sent into space, and I want to bring this to the reader as photos. I found photos of the Pioneer 10 and 11 plaques, the Sound of the Earth disc, and the Moon Art chip on Wikipedia. The author also discusses the event of a return message from space. I wanted to create a fun illustration on the topic and took a modern chat-rail design to make that into a conversation between the radio telescope sending out “Hello” in all human languages and a rather weird reply from the alien. I used AI to generate a list of “Hello?” into 100 unique language translations, that then was used in the graphic illustration. The alien language is using mathematical symbols as a text string.

The ‘Is there anybody out there.’ article layout.

Limitations

The Limitations task was exploring the communication of the message “Into the Wild”. The design was limited to only using a kit of found objects, assembling these objects into letters, and creating a composition that conveyed the message. Objects may also be used as illustrations, backgrounds, and patterns to enhance the message.

An initial concept composition of objects into the message using keywords associated with Sensation-Seeking: Adventure, Survival, Boredom, Sensations, Existential, Idealism, Identity, Hero, Nature, Freedom, Reliance.

Concept composition and layout.

The graphic layout is putting a focus on key design concepts. The objects form a hierarchy using different colors to associate green with letter objects and red with the kayak and route objects. The layout is using lines and planes as base graphics elements, such as the form of squares, borders, line thickness, and color. The elements are also using symmetry and asymmetry with the grid, rotation, and non-centered text alignments. The elements and background are using color contrasts to enhance the object design. Also, the type is using a graphical hierarchy of title, author, and abstract.

Final realized composition as a poster for an author session at the Gothenburg Book Fair.

Constrasts

A sequential task explored the design of an entirely different composition, using the contrast keywords: Concrete pictorial. Natural analogous colors and scales. Sans, sans, serif, and script typefaces.

A moodboard was a highly productive tool in identifying themes, colors, and moods. I used similar techniques in UX designs but did not make the connection back to this field of graphic design.

Moodboard for ideating on shapes, analogous colors, themes, mood, and expression.

The final graphic layout was further deepening the key design concepts. Using analogous colors with Yellow, Orange, Red as a base color combination. Also limiting color use to 3 shades of Blue and Grey for background. Staying strictly to the recommended typographic design rule of Sans for title, Serif for copy text, and Script for call-outs. Using vivid strong color images to guide the viewer on mood. Calm, Restful, Silent, Open. Using simple shapes for vector illustrations. Planes, Circles. Contrasting the static and abstract illustration designs with natural organic forms.

Second composition in contrast to the first poster, advertising the session at the Gothenburg book fair.

Ocean Plastics

The final graphical design and layout task used all new skills in one design project; research, ideation, sketching, and creating a visual tone, composition, typography, and page layout, using images and color. The task was to create a design on the topic of ocean plastics. ‘Plastics polluting our waters – what can you as a graphic designer do?’.

For this design, I needed to deepen my understanding of ocean plastics, complementing my current insights into the sustainability subject area from university classes and my professional experiences in sustainable enterprise SW design. I focused my research on the following questions required by the design task. Who are the users of the design? What is the problem to be addressed? What is the intended outcome? How can design contribute to this outcome? What are the requirements on the design delivery?

From these questions, a series of more detailed research topics stood out. Understanding of the Ocean Plastic crisis. Understanding the chemistry and industrial use of plastics. Understanding drivers of learning for students. Finding validated statistics and leading quotes that will engage a senior student and influencer. Understanding United Nations social and environmental sustainability programs for plastic resources and the ocean environment. Understanding any graphical and typographical design languages and standards applicable to the task.

During ideation, a set of storyline statements for the project was created. These statements of outcome and intent form the core of the project pitch:

“This fictitious design project has been initiated by UN DESA, post the UN Ocean summit 2025 (UNOC3), to produce senior student material targeting the ocean plastic crisis. The delivery is to be owned and published by UNESCO. The material design is commissioned to a design studio to be delivered by August 10th.”

“The United Nations wants to build senior student cognition of a global ocean plastic crisis, give clear opportunities to reduce the one-time use of plastic products, and through deeper studies build motivation for a personal and community-centric sustainable behavioral change.”

“Senior students can, in less than a day, learn about the ocean plastic crisis, become self-motivated to deepen their environmental awareness, and start changing their plastic consumption patterns while influencing others to join.”

The research provided input to the multi-page structure of the student workbook: The ocean plastic crisis, The great Pacific garbage patch, The chemistry of plastics, The lifecycle of plastics, The UN SDGs, especially goal 12 and 14, Behaviors and actions, Study topics and science projects.

For this student workbook, I needed front- and back-page layouts, a consistent spread layout, guiding designs for image layouts on spreads and pages. Guiding quote, callout, figure text, page numbers, and image gallery layouts. The final decision was to choose:

A4 portrait format.
Spread / page layout is using 20mm top / bottom / outside margins, and a 10mm inside margin.
3-column symmetric layout.
Blue monochrome color swatches. Yellow accent color swatches.
A hierarchy analysis leading to a specification of fonts and scales used in the layout cases.

The final design was performed using Adobe InDesign. Illustrations were created as vector art in Affinity Designer. Photos were edited in Affinity Photo.

ocean-plastics

The delivery owned and published by UNESCO will be delivered in multiple languages. To test the layout, a localization to Thai was produced.

lnu.se
Graphic Design and Typography.

Into The Wild poster

Into The Wild contrasts poster

Ocean Plastics student workbook.

January 20, 2025

Agentic AI in Asset Management

mats AM-Articles

What is an AI Agent?

Elements of an Agent

Agent have abilities

Agents have skills

Type of agents

The foundational types of AI agents include:

Simple Reflex Agents: React to the environment without using memory.
Model-Based Reflex Agents: Use internal models to navigate partially observable environments.
Goal-Based Agents: Make decisions aimed at achieving specific goals.
Utility-Based Agents: Choose actions that maximize utility while achieving goals.
Learning Agents: Continuously adapt and improve by learning from past experiences.

Agents in Maximo Asset Management

Using new Agent AI technologies, IBM Maximo can further achieve greater speed and ease of usage with autonomous automation.

Generative AI reduces reliance on specialized skills not generally available in operational teams and is designed to serve the end user without requiring data science expertise.
Generative AI can interact with watsonx using natural language for insights, actions and automation.
AI agents can work together in networks to perform tasks, combine workflows, and automate operational practices.
AI agents can access the real-time state of equipment using Maximo Monitor, can access historical data in Maximo Manage or stream visual data using Maximo Visual Inspection.
AI agents can use tools based on multi-modal foundation models for language, vision and time-series.
AI agents can use the Maximo APIs to interact with Asset Management workflows and create new business objects, like Work Orders.

Generative AI

Generative AI can Search, Analyze, Summarize and Generate content from large quantities of operational data.

Search for similarities, abnormalities, and relations
Make computations for data aggregations or statistical properties
Make summarizations on search results and format results in tables, graphs or text
Generate reports and apply document styling and formatting using desired natural language

Work Order Intelligence with problem code recommendations.

Conversational AI

Conversational AI in Maximo supporting an Asset Manager to identify and diagnose an asset at risk and creating a work order with a job plan that mitigates the asset risk.

Agentic AI Networks for Asset Management

Maintenance Operations and Diagnosis. Diagnose a problem, create service requests and work orders, create job plans, and automate the reviews of work orders.
Scheduling, Inventory, and Planning. Schedule inspections and work based on maintenance schedules, technician skills and availability, optimize and rebalance schedules, confirm availability of required parts and tools, and recommend purchase orders for missing parts in plan.
CBM, Reliability, and Predictions. Facilitate tasks related to maintenance strategies and their execution. Monitor conditions, create alerts, compute asset performance scores, and identify failure codes.
Safety and Compliance. Ensure safety and compliance in my procedures. Identify incidents, check for regulations and compliance, and enhancing sustainability through emission tracking.
Reporting. Agents can collect data to compute KPIs

Benefits of Agentic AI Workflows

Conclusions

Operational organizations strive to continuously improve their maintenance strategies and process maturity leading to increased productivity, efficiency, reliability, and profitability.

Improving the organizational maturity shifts maintenance from being a cost to being an investment.

Development of maintenance strategies.
Industry standards and benchmarking.
Continuous measurement and feedback of KPIs.
Products and services for process implementation.
Process improvement as part of the process.

New generative AI technologies with agent networks provide organizations with new tools to automate process changes while reducing the costs of implementing new maintenance strategies.

Work Order Intelligence in Maximo
Learn more about Work Order Intelligence.

Conversational AI in Maximo
Learn more about Conversational AI.

January 20, 2025

IBM Maximo Named Leader in New Green Quadrant Report

mats AM-Articles

IBM was in October 2024 recognized as a market leader in Enterprise Asset Management (EAM) by the independent research and advisory firm Verdantix, with IBM Maximo Application Suite (IBM Maximo) receiving top marks in the new report “Green Quadrant: Enterprise Asset Management Software 2024.”

The report by Hugo Fuller at Verdantix notes IBM Maximo’s “industry-leading functional capabilities” and “seamless integration with performance-related modules.” The report also acknowledges IBM Maximo’s use of GenAI, noting “IBM’s market-leading EAM suite interweaves maintenance procurement and performance with trailblazing AI.”

“AI-driven roadmap with strong ties to watsonx and IBM Research. With the release of Maximo Application Suite 9.0 in 2024, IBM rolled out generative AI (GenAI) functionality. Notable features are an AI assistant that verifies, corrects or suggests asset failure codes within work orders, and an onboarding assistant trained on Maximo product documentation to expedite the implementation process. IBM plans to develop enhancements for Maximo through IBM Research, with R&D in both transformer models focused on natural language processing and time series models via its open-source Granite models.”

Earlier this year, Verdantix also named IBM Maximo a leader in Asset Performance Management (APM) in the report “Green Quadrant: Asset Performance Management Solutions 2024.” IBM is the only vendor to be named a leader in both the APM and EAM reports.

Verdantix
Read the Verdandix Green Quadrant: Enterprise Asset Management
Software 2024 report.

January 1, 2025

Work Order Intelligence

mats AM-Articles, Design Portfolio

Introduction

The new generative AI capabilities Maximo Application Suite (MAS) 9.0 are the next steps in the Maximo AI roadmap.

The 2024 release of MAS 9.0 is putting the focus on optimizing work order efficiency using generative AI powered by IBM watsonx™. The AI design is delivering on an AI strategy to compel business users to start consuming AI in small steps that deliver business value and progressively leads to increased usage at scale.

We are focusing on the business user and the business value.
We are providing value out-of-the-box
We are providing AI infused into adopted workflows and data
We are providing lifecycle support for models with watsonx

Work Order data quality and process automation AI helps automate the work management workflows and better support for decision making in Manage.

Objective

We will deliver improved efficiency, at the scale of thousands of hours, in everyday work order management by providing more accurate failure code recommendations as compared to current achieved by the organization.

User Research

Research objectives

Multiple qualitative user research projects were conducted as part of the asset management AI strategy and product usage studies, involving sponsor user groups and stakeholder interviews to identify business needs and validate proposed designs.

We sought to understand which personas would benefit most from AI-infused data and how generative AI could enhance their efficiency. Additionally, we explored how users perceive and trust AI recommendations, and we defined how trust in AI systems impacts adoption and usage.

Research targeted both internal and external stakeholders, including Maintenance Managers, Asset Managers, Operation Managers, Reliability Engineers, Technicians, and Business Partners.

Conclusions

“Even small gains in accuracy can have an enormous impact to an organization when it can be applied at scale.”

Organizations today are early in their adoption of Gen AI. Their organization lacks the AI governance and structures needed. Operations are focused on achieving short-term benefits and lack of high quality data is a challenge.

Organizations expect significant value outcomes from generative AI:

10% increase in productivity: Access to recommended problem codes and related job plans will enhance fix rates, leading to cost savings and improved work productivity.
10% increase in compliance: AI recommendations should utilize internal guidelines, regulations, rulings, and data.
20% decrease in asset failures: As reliability engineers leave the workforce, generative AI models are needed to bridge skill gaps by leveraging learnings from historical data.

IBM AI Design

The Work Order Intelligence design is based on ‘Carbon for AI’ in the IBM Carbon design system.

Carbon for AI is an extension of the IBM Carbon design system, designed to give AI instances in IBM products a visually and behaviorally distinct identity. Generative AI introduces a range of new responsibilities when designing experiences, particularly regarding trust, transparency and explainability. Carbon for AI is the common design framework for identifying AI-generated content and delivering explainability in IBM products.

Carbon for AI is mandatory when introducing AI capabilities in IBM products. As IBM Software design leaders we are meeting weekly to share scenarios, review UI and unify usage of Carbon for AI.

AI label and styling

The AI label is a component used as an indicator of AI in the user experience. It is intended to be used in any scenario to identify context generated by AI. It enforces transparency, explainability and feedback. It also becomes the focal point for actions on AI-generated data..

The AI label components.

Explainability

The AI label contains the AI Explainability Popover, which provides a layer of explainability to the user. It provides a consistent summary of relevant model information and offers the option to dig into more details if needed. This may include an explanation of how the AI capability works, the model confidence, the model used, and its version.

The AI Explainability Popover.

Scenario

The end-to-end Work Order Intelligence scenario crosses over multiple maintenance roles and workflows. The main personas are Maintenance Managers, Maintenance Supervisors, Reliability Engineers, Domain Engineers, and Technicians.

First, new work orders are created by technicians from inspections and maintenance tasks. The technician describes the impacted asset, its location, a short and optionally long description of the problem. If known by the technician, the class of failure is provided, and a specific problem code is recorded.

After the work order has been saved, Gen AI makes an inference and predicts the problem codes that best match the work order description. Additional information is also used in the prediction. The predicted problem codes with the highest confidence are captured.

Maintenance Managers and Maintenance Supervisors use the operational dashboard and work queues to drive the work order review workflows at scale. With Work Order Intelligence, the work orders requiring attention may be identified using the ‘WOs with problem code recommendations’ work queue. The number of WOs in the queue is directly visible on the operational dashboard.

When the Maintenance Manager or Maintenance Supervisor reviews the work order, the problem codes recommended by Gen AI are presented in the work order editor using the AI label. The Maintenance Manager views and chooses the best recommendation. Also, before closing a work order, the Maintenance Manager ensures the problem code is updated and matches any additional information or conditions discovered during the maintenance tasks. This ensures that the quality of historical asset data is continuously improved.

A Reliability Engineer may later review problem code recommendations and provide feedback to the model by identifying and tagging good examples of work orders. Retraining the model with such selected work orders improves its accuracy..

Design

Operational dashboard

The operational dashboard is the one-stop destination for the most critical KPIs and access points to maintenance workflows. Work Order Intelligence design identified the need to create a workflow using a work queue that selects all work orders requiring attention. A work queue, ‘WOs with problem code recommendations,’ should be added to the dashboard for that purpose.

Operational dashboard with Work Order Intelligence work queue.

Work Queue selecting all Work Order with problem code recommendation.

Work Order application

The work order application in Maximo Manage is the user experience for most work order related workflows. The application consists of two experiences; a list view page and a details page. The list page displays all, or a filtered set of, work orders. Work Order Intelligence design suggests a predefined view that filters all work orders with recommendations. The work order editor, or details page, is extends the standard editor by infusing AI generated data. New problem code recommendations are highlighted.

WO application and and editor w/ problem code recommendation.

Problem codes and AI recommendations

Problem code recommendations can be inspected with details on the AI model confidence score. The best-fitting code can be selected for the work order. A user can also override any recommendations as decided.

The Gen AI capability generates new recommendations if the work order information is refined or updated. The recommended code may remain unchanged, or new information may generate an updated code with higher confidence.

Problem code recommendations for a work order.

Model management

Work Order Intelligence uses two separate AI models in its implementation.

Problem code predictions are performed by a classification model trained on high-quality work orders spanning all problem codes. The model uses the work order descriptions to classify the problem codes.
To achieve a large training and testing dataset of work orders, a second large language model uses a selected set of work orders to synthetically generate a larger dataset of work order variants. Improved model accuracy is achieved using the generated synthetic dataset.

Selecting work orders for model training is performed in the Work Order application, typically by a Reliability Engineer. The model configuration, models, and model training actions are managed by the system administrator in the AI configuration application.

Add work order to model training set to improve classification model accuracy.

Business Outcome

On June 25, 2024, IBM announced the availability of the 9.0 release of the Maximo Application Suite. Maximo Manage 9.0 introduces AI intelligence to the Maximo work management process with the new problem code classification capability. Maximo Manage 9.0 builds on a long history of AI capabilities in Maximo Monitor and Maximo Visual Inspection.

Work Order Intelligence AI in Maximo was presented at Maximo World 2024.

IBM.com
Maximo Work Order Intelligence: Where AI meets maintenance excellence.

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Learn more about Carbon for AI.

January 1, 2025

Optimization and Redesign of an Electron Spectrometer for High Resolution Gas Phase UV Photoelectron, Auger Electron and Ion Fragment Spectroscopy

mats Thesis

Abstract

The O₂²⁺ ion has been studied by means of electron-impact-induced and photon-induced Auger electron spectroscopy and oxygen ion fragment spectroscopy of O₂. The oxygen ion kinetic energy spectrum was recorded by inverting the relevant potentials of an electron spectrometer for the detection of positive particles. The ⁴?^– and ²?^– Ols initial core hole states have been studied using monochromatized X-ray photoelectron spectroscopy. Potential energy curves for a number of electronic states of the O₂²⁺ dication have been calculated with the complete active space SCF (CASSCF) and multi-reference contracted CI (MRCCD methods with a l-particle basis set of medium size ([8s, 6p,2d]). An analysis of the O₂ Auger electron spectrum based on the computed potential curves of O₂²⁺ it presented. The autoionisation satellites are analyzed and it is found that these lines correspond to molecular singly ionized final states. One line at 510.7 eV, however, is associated with an atomic-like transition. Two shake-up Auger satellites are identified by a comparison with a recent O1s shake-up spectrum from O₂.

mats_gothe_paper_II

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