Croatian Hrvatski Design Dizajn Now Sad

8/14/2019 Croatian Hrvatski Design Dizajn Now Sad

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CROATIAN

HRVATSKIDESIGNDIZAJN NOW

SAD

Victor Margolin/ Fedja Vuki


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ISBN978-953-95098-8-8

frst international presentation o croatian design |

60 authors & 180 works |

Impressive insight o recent croatian design production |

croatian design on a world map |

captivating book that you must have |

We proudly present the frst internatonal book on the Croatian design. This impressive insight on Croatian design is

printed in hardcover with more than 300 richtly illustrated pages and is billingual ( English Croatian ).It is written as

a critical overview o Fedja Vukic and Victor Margolin who are selectors and authors. More than 180 selected works o

60 dierent authors testifes that design and designers became the center o the market communication in Croatia,

and that this kind o book is essential or understanding the design in this region. Books aim is to position the Croatian

design in the context o the world design. This edition covers all aspects o design production ( destination identity, cor-

poration identity, packaging, advertising, industrial design, web design...) and is divided into 12 categories. Each work

is represented with project details, photographs, and authors comment on the project. All projects are created between

2005 and 2008. Books content proves that this is an impressive insigh o the recent design production in Croatia.

VICTOR MARGOLIN is Proessor Emeritus o Design History at the University o Illinois, Chicago. He is a ounding editor

and now co-editor o the academic design journal Design Issues. Proessor Margolin has published widely on diverse

design topics and lectured at conerences, universities, and art schools in many parts o the world.

FEDJA VUKIC had got his ph.d. in design theory at University o Ljubljana, Slovenia. Trained as art historian at the Uni-

versity o Zadar, Croatia. He is holding a permanent lecturing position at the School o Design, Faculty o Architecture,

University o Zagreb since 1994. Fellow o The Wolsonian Foundation, Miami Beach, 1995. Has lectured at the universi-

ties and schools worldwide and contributed to a number o conerences. Has published a number o papers on design

issues in national and international magazines.

As I reviewed the examples selected or the book I was struck by their reshness and the enthusiasm o the designers

that was evident in the work. I might have anticipated a dutiul homage to older designers rom places where design tra-

ditions are longer and stronger but was instead surprised to discover how delightully original Croatias designers can

be and how well tuned they are to the many aspects o economic, social, and cultural development in Croatia today.

(Victor Margolin, CROATIAN DESIGN: A VIEW FROM ABROAD, extract rom introduction essay )

Thereore, the graphic design dominates in Croatia today, which is obvious in all the past trade exhibitions o yearly

production, because in the social context there is the strong need or mediating the new identities, new individual and

corporate subjects, which take part in the transition, rom the political to private ones. This is the reason why term o

design has today become a standard signifer o the practice o creating the visual meanings and (less oten) o the ob-

ject or the mass production and consumption. Thereore it is possible to trace its questionable aspects ri ght in the gap

between the two opposite contexts - the frst one, where the proession is conceptually and theoretically ounded, and

the second one, where it is accomplished.. (Fedja Vuki, THE IDEA OF DESIGN IN CROATIA, extract rom introduction

essay)


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109

title/naziv | Pula is More/Pula je vie

agency/agencija | Parabureau

authors/autori | Igor Staniljevi i Marko Baus

client/klijent | Tourist Board Pula/Turistika zajednica

grada Pule

year of production/godina realizacije | 2008

The solution derived from the traditional Pulas emblem.

It consists of yellow latin cross laying on the green coat of

arms. Parabureau linked the latin cross with the positive

symbolism of the plus by keeping the yellow and the green

as colors that have already been accepted.

Rjeenje je derivirano iz tradicionalnog pulskog grba koji se

sastoji od utog latinskog kria na zelenom titu. Parabureau

je latinski kri pretvorio u opeprihvaeni znak za pozitivno -plus, zadravi utu i zelenu boju koje su ve prihvaene kao

boje Pule.


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033

title/naziv | Kratisagency/agencija | Bestiasauthors/autori | Boidarka Brnas, Tomislav Kraljeviclient/klijent | Kratis printer/ tiskara Kratisyear o production/godina realizacije | 2006

New visual identity o Kratis printer uses well reco-gnized textures as a tool o communication. Usage oword play in slogan (Do not pamper! Printed materi-al.) and dierent kinds o textures combined, suggesttop quality printing process. Same approach is used inall other corporative materials and has thereore cre-ated a tool o direct marketing or the company. Thisunique concept has assured brand distinctiveness inthe market.

Novi vizualni identitet tiskare Kratis podrazumijeva iupotrebu prepoznatljive teksture pomou koje komu-nicira. Poigravanje sa sloganom (Ne gladi! To je samootisak.) i razliitim vrstama tekstura na vrlo jednosta-van nain sugerira vrhunsku kvalitetu otiska. Takavpristup prisutan je u svim korporativnim materijalimapa ima i unkciju direktnog reklamiranja tvrtke. Ovajpristup osigurao je tiskari jednostavnu prepoznatlji-vost na tritu.


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title/naziv | Visual Identity o Istria as the Tourist Desti-nacion/Vizualni identitet Istre kao turistike destinacijeauthors/autorice | Cavarpayer (Ira Payer, Lana Cavar,Narcisa Vukojevicollaborators/suradnici | Goran Zmai(ilustrator), Andri-

jana uljak (brand konzultant)client/klijent | Istrian Tourist Board/Turistika zajednicaIstreyear o production/godina realizacije | 2005-2006techinical description/tehniki opis | manual, stationery,promotional gits/prirunik, aplikacije identiteta, promo-tivni darovi, razliite naklade

The new Istrias tourist identity came to place as a frst-prize

winner on international design competition. Clients task was to

picture Istrias tourist strategy as well as their new brand posi-

tioning: Green Mediterranean hideaway. Our own task on top

o that was to awoyd generic and uniying visual identity typical

o so many tourist destinations. Instead, we were challenged

to create identity that relies on visuals authentic to Istrian re-

gion. Visual mark, goat, is a contemporary interpretation o a

historical Istrian crest. However, the visual identity does not rely

strictly on mark application but on the usage o colors: green

and blue. Colors are clear communicators o Istras geography

and nature (mainland rich on green - woods and felds; coast

rich on blue sea). Istria=green mediteranean became the pre-

mise or building this visual identity.

Projekt je realiziran kao prvonagraeni rad na meunarodnom

natjeaju za novi vizualni identitet Istre. Osnovni zadatak je bio

stvoriti negeneriki i nekonekcijski vizualni identitet, koji afr-

mira strategiju novog pozicioniranja Istre, saetog u sintagmi

Zeleno utoite Mediterana te koji nedvosmisleno dierencira

Istru od ostalih mediteranskih destinacija koje dijele isto more

i sunce. Sm znak je interpretacija utvrenog povijesno uteme-

ljenog vizualnog identiteta Istre i potuje ve izgraenu komuni-

kaciju. Sustav vizualnog identiteta nije graen na motivu koze,

nego na odnosu zelene i plave boje, koje jasno komuniciraju

specifnost Istre kao destinacije: Istra je izvorni Mediteran, a

njezina je prednost u tome to u neposrednoj blizini obale ima i

bogatu zelenu unutranjost. Istra = zeleni Mediteran, jednad-

ba je na kojoj je temeljen itav vizualni identitet.

037


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091

title/naziv | Brachiaagency/agencija | TRIDVAJEDANauthor/autor | Izvorka Jurico-author/koautor | Jelena Gvozdanoviclient/klijent | Brachia p.z.year o production/godina realizacije | 2006

Logotype Brachia appears on the company Brachia p.z.s

identity and as brand on three types o packaging. Logotype

Brachia appears on the the companys identity and its stan-

dard packaging with an additional graphical element illu-

stration o olive oil branch while the premium package inclu-

des another graphical element an olive lea.

Premium and standard line o Brachia olive oil come in two

lines in the existing glass bottles. Due to the segmentati-

on o the target groups and the specifc market placement,

two dierent labels were designed or these two lines. Thepremium editions got the corner labels on which the brand

Brachia, partially pressed with Braille varnish, appears next

to the illustration o olive leaves and the same goes or the

exclusive ceramic packaging Brachia olive.

For the standard line label, the brand name Brachia is placed

next to the olive branch illustration, just as in Brachia p.z.s

visual identity.

Logotip Brachia pojavljuje se kroz identitet tvrtke Brachia

p.z. te kao brend na tri vrste ambalae. U identitetu tvrtke

i standardnoj ambalai logotip Brachia pojavljuje se uz do-

datni grafki element - ilustraciju maslinove grane - dok se

u premium ambalai pojavljuje uz dodatni grafki element

- list masline.

Premium i standardna linija Brachia maslinovog ulja dolaze

u postojeoj staklenoj ambalai. Zbog segmentiranja ciljnih

skupina te razliitom i specifnom trinom pozicioniranju,

za te dvije linije dizajnirane su dvije razliite vrste etiketa. Za

premium ekstenzije dizajnirane su kutne etikete na kojima

se brand Brachia, parcijalno otisnut reljenim lakom, pojav-

ljuje uz ilustraciju listia masline, kao i na ekskluzivnom ke-

ramikom pakiranju - Brachia Maslini.

Za standardnu liniju brend Brachia pojavljuje se uz ilustraciju

maslinove grane, kao i u vizalnom identitetu Brachia p.z.


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title/naziv | Helvetica Now/Helvetica sadagency/agencija | STUDIO INTERNATIONALauthor/autor | Boris Ljubiiclient/klijent | STUDIO INTERNATIONAL/Linotypeyear o production/godina realizacije |2007technical description/tehniki opis | 118x84 cm/118x84cm

This poster is made or International poster contest organi-

zed or 50th anniversary (1957 2007) o probably the most

used typography in history.

Motto on the poster said all: Helvetica is not typography, itslettering! Which meant that Helvetica outgrown hersel and

become ar more than just typography, just as the Swiss knie

did. As same as Swiss knie, in typography Helvetica can do

anything.

Ovaj plakat je napravljen za meunarodni natjeaj organizi-

ran u ast 50. godinjice (1957. 2007.) vjerojatno najkorite-

nije tipografje u povijesti.

Moto na plakatu govori sve: Helvetica nije samo tipografja,

to je pismo to znai da je Helvetica sebe prerasla i postala

daleko vie od same tipografje, kao to je i vicarski no. Kao

i vicarski no, u tipografji Helvetica moe sve.

159


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title/naziv | Jazz is Back! Gronjanstudio | Studio Doganclient/klijent | Jazzette Recordsyear o production/godina realizacije |2005-2008

Plakat za ljetni jazz estival u istarskom gradiu sugerira

povratak ove glazbene orme u sredinu koja je tradicionalno

usmjerena klasinoj glazbi u svojim ljetnim kolama i radi-

onicama. Pretopljene su artifcijelna i prirodna orma kako

bi se komunicirala ideja o savrenim proporcijama koje su

ujedno i vjene.

169


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title/naziv | The Garden Festivalstudio |Fiktivauthor/autor | Andrej Filetinco-autors/koautori | Goran Raukar, Ana Kovai, elj-ko Pauliclient/klijent | Bata Zadar d.o.o.year o production/godina realizacije |2006-2008

Each summer, The Garden estival takes place on a beauti-

ul little peninsula in a village next to the city o Zadar. This

fne electronic music 3-day event has become very popular

within the younger British population and has been named

the place to be in summer by leading European media. Fiktiv

has been working on the estivals visual representation sin-

ce its very frst edition. Major part o the estivals program

happens outdoor. The organizers wanted to emphasize theact that the estival takes place on a peninsula, surrounded

by the sea. So, Fiktiv turned it all into a social game with a

slogan Game on! and extended the concept to all visual co-

mmunications material, rom ads and posters to The Funny

Money the Festivals ofcial currency.

Svako ljeto The Garden Festival se odrava na prekrasnom

malom poluotoku pokraj Zadra. Ovo atraktivno trodnevno

dogaanje predstavlja svjetsku elektronsku glazbu i postalo

je iznimno popularno meu mlaom britanskom publikom,

a vodei europski mediji proglasili su ga jednim od najzani-

mljivijih ljetnih dogaanja. Fiktiv prati estival usmjeravajui

i dizajnirajui njegove vizualne komunikacije od samog osni-

vanja. Glavnina estivala odvija se na otvorenom. Organizatori

su eljeli naglasiti da se estival odvija na poluotoku okru-

enom morem. Fiktiv je sve pretvorio u drutvenu igru sa

sloganom Game on! i primijenio koncept na sve elemente

vizualne komunikacije, od oglasa i plakata do estivalske va-lute The Funny Money.

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217

title/naziv | Sexus, Nexus, Plexus - Chosen Works oHenry Miller, Series o Covers/Sexus, Nexus, Plexus- odabrana djela Henryja Millera - serija naslovnicastudio | Bestiasauthor/autor | Boidarka Brnas, Tomislav Kraljeviclient/klijent | Meandaryear o production/godina realizacije | 2007

Trilogys visual identity derived primarily rom the associati-

ons arising when hearing Henry Millers name. Henry Miller:

sexist and pornographer.

The carrying visual is a Black corset tied with red velvet bow,

which skilully ties all three books in one unifed concept.

The synthesis o headlines and the visual are skilully knitted

through each book individually as well as all three books to-

gether. When trilogy is put together we see that both covers

and headline create a visual whole emphasized with large

XXX that in a way is a hidden homage to Miller himsel.

Trilogija je vizualno defnirana prvenstveno iz ljudske aso-

cijacije na spomen imena Henry Miller. Henry Miller: sek-

sist i pornogra. Crni korzet povezan crvenom baunastom

vrpcom. Sinteza otografje i naslova trilogije u vizualu skriva

konanu sintezu korzeta s naslovima kako na naslovnici,

tako i na hrbatu. Tako skupljena trilogija u crni korzet opet

i dalje odaje skrivenu poast samome Milleru: crveni baru-


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title/naziv | St Peters Maternity Centre/ Petrova tru-dionicaagency/agencija | Bruketa&Zinic OMauthors/autori | Moe Minkara, Tonka Lujanac (creativedirectors), Tonka Lujanac, Gordana Golik, Ana Beli,Petar Popovi (art directors), Tanja kori, Daniel Vu-kovi, Ivan epelak, Ivan ade (copywriters), IvanaPamikovi (designer)

client/klijent | Healthy Newborn Association/Udru-ga Zdravo novoroeneyear o production/godina realizacije | 2007

This ads were a part o the money rising campaign or re-

construction o the Risk Pregnancy Department o St Peters

Hospital in Zagreb. This department has not been recon-

structed since its ounding in 1920. The state it was in beore

the campaign certainly doesnt correspond to the needs o

the patients who spend up to seven months in it, saeguar-

ding their pregnancies. Horrible shape o the hospital infu-

ences the mothers and through them it eects the unborn

children as well. The slogan was: What the mother eels, the

baby eels as well.

Ovi su oglasi bili dio kampanje za prikupljanje sredstava za

ureenje odjela za rizine trudnoe Petrove bolnice u Zagre-

bu. Taj odjel nije obnovljen jo od svog osnutka 1920. godine.

Stanje u kojem se danas nalazi sasvim sigurno ne odgova-

ra potrebama pacijentica koje na njemu provode i do sedam

mjeseci uvajui trudnoe. Loe stanje bolnice uvelike utjee

na majke koje u njoj borave, a preko njih i na jo neroene


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title/naziv | Next, Oce Chairs Design System/Next,dizajn sistema uredskih stolicastudio | Redesignauthor/autor | Neven Kovaicollaborator/suradnik | Sanja Kovaiclient/klijent | Tapoyear o production/godina realizacije | 2008

Based on the rich tradition o bent plywood chair design whi-

ch oers warm seating experience Next project tend to step

aside rom contemporary high-tech approach which treats

oce chair like a seating machine.

Design o Next chairs is based on innovative bent plywood

shell design which is shaped in a way to t all ergonomic

eatures or maximum comort.

Next chair can be congured with three backrest heights,

with or without backrest and three types o bases according

to the typology: task, meeting or lounge. By combining di-

erent surace nishes and materials the design can t well

into a wide range oce interior projects.

Oslanjajui se na bogatu tradiciju dizajna stolica od savije-

nog drva koji zove na sjedenje svojom toplinom nastojao se

postii odmak od aktualnog high-tech pristupa koji uredsku

stolicu robotiziranog izgleda tretira kao stroj za sjedenje.

Dizajn serije stolica Next temelji se na inovativnom dizajnu

koljke od savijenog drva koja je oblikovana tako da prua

sve potrebne ergonomske unkcije za maksimalnu udobnost.

Seriju ini mogunost odabira tri visine naslona, opcija sa

i bez rukonaslona i tri vrste postolja s obzirom na unkciju:

radna stolica, stolica za sastanke i otelja. Razliite povr-

inske obrade, teksture drva, boje tekstila i postolja pruaju

paletu odabira s obzirom na potrebe projekta ureenja inte-

rijera.


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or by any means, electronic or mechanical, including photocopy, recording or any information

storage and retrieval system, without permission in writing from the publisher.

A catalogue record for this book is available from Croatian National library

ISBN 978-953-95098-9-5Authors: Victor Margolin / Fedja Vukic

Editor: Fedja Vukic

Design: Ivona Malcic

Project Manager: Danijel Malcic

Translation: Sanja Petrovic

Cover: hardbound

Pages: 310

Ilustrations: 500+ color ilustrations

Size: 21 x 25 cm

Language: english / croatian

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Croatian Hrvatski Design Dizajn Now Sad