PJESME ZA PONIJETI — suvremeno hrvatsko pjesništvo u javnom prostoru
Projekt “Poezija Express” karakterizira pomak u oblikovanju knjige od klasičnog monovolumena sa otisnutim i uvezenim listovima, k instalaciji u javnom prostoru. Odabirom gradskog urbanog mobilijara konzumerističkog karaktera dizajnerica stvara kontaktne punktove hrvatske suvremene poezije s namjerom propitkivanja odnosa instant proizvoda i kulturnog sadržaja. Prva u nizu zbirki nosi naziv “Pjesme za ponijeti” a materijalizirana je putem vending stroja u kojem se uobičajeno nalazi sitni asortiman dječjih igračka ili prehrambenih proizvoda. Stroj objedinjuje 35 pjesama dostupnih u papirnatim poligonalnim volumenima čija vanjština mami razigranom, neobaveznom i pomalo infantilnom YO FRECKLES tipografijom prizivajući instant zabavu, dok nutrina oplemenjuje čitatelja suvremenom, kritičkom, vično artikuliranom poezijom. Urednik zbirke je Marko Pogačar.
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POETRY TO-GO — contemporary Croatian poetry in public space
The project Poetry Express explores possible shifts in book design, from classic paper volumes to public space installations. First in a series of collections is entitled Poetry to-go and is envisaged as a vending machine used for selling smaller toys or foodstuffs. The machine contains 35 poems available in paper polygonal volumes whose external appearance is alluring with its playful, easy and somewhat childish Yo Freckles typeface, implying instant entertainment, while the inside inspires readers with its modern poetry. The editor of the "collection" is Marko Pogačar.
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Autori pjesama: Krešimir Bagić, Tomica Bajsić, Ivana Bodrožić, Ana Brnardić, Vlado Bulić, Boris Dežulović, Branko Čegec, Drago Glamuzina, Tatjana Gromača, Davor Ivankovac, Dorta Jagić, Miroslav Kirin, Slađan Lipovec, Branko Maleš, Miroslav Mićanović, Simo Mraović, Kemal Mujčić Artnam, Antonija Novaković, Branislav Oblučar, Robert Perišić, Krešimir Pintarić, Marko Pogačar, Ivica Prtenjača, Delimir Rešicki, Saška Rojc, Evelina Rudan, Olja Savičević Ivančević, Damir Šodan, Dinko Telećan, Marko Tomaš, Branko Vasiljević, Martina Vidaić, Tvrtko Vuković, Anka Žagar, Bojan Žižović
Nagrade i priznanja:
— nagrada za najboljeg mladog autora do 35 godina 49. salona primjenjene umjetnosti i dizajna 2014.
— posebno priznanje hrvatske sekcije AICA
(The International Association of Art Critics)
— treća nagrada DanD 2014.
Uz podršku: Zaklada Adris i Hrvatsko dizajnersko društvo
Photo by: TiTo
Author, Nik Orosi, Barista Champion, criticizes coffee industry and its branding in his book
no logo / just taste, taking us on a emotional journey of espresso flavors. Referring to the author's content, using typography and layout design, the book confronts two visual languages – traditional and contemporary.
Typography: Aldus, Fedra Mono, Jigsaw
Marking Mijo Kovačić’s seventy-fifth birthday and the sixtieth anniversary of his artistic work, the Foundation which bears his name opened the Mijo Kovačić Art Gallery on 26 February 2011 in the belief that it will thereby permanently preserve a great part of the artist’s output and, thus, make it accessible to the public.
Visual identity of the Gallery is based on the initials of this great Croatian naïve artist.
The primary color-code is inspired by bronze — alloy of copper and tin, thus symbolically uniting self-taught and professionalism of the painter artwork.
mijokovacic.com
Madax d.o.o. is a construction company.
The idea is to show the process of combinatorics — the vision, and the real condition of a building or land by visually quoting a project plane as a basic and everyday work reference of an engineer construction manager.
Three printing techniques were used to produce the business materials: foil (represents border), offset (represents reality) and blind press (represents vision or combinatorics).
Monograph book potentiates details of several meters long paintings done by Mijo Kovačić. The attention of the reader is diverted on a smaller picture frame which is hidden inside a french fold biding system. Inside each monograph book lays a card wich invites the reader to take a closer look at Mijo Kovačić painting reproductions. Tearing the perforations on the edge of each page the reader discovers a picture frame — detail reproduction of a painting between two full frame painting reproductions. Thus, a new paralel monograph book is formed. First is systematically and functionally designed, with a informative character. Second displays Kovačićs rich inner world of imagination.
Transparent foil and typography design approach on the monograph cover potentiates artists painting technique — oil on glass. The book is trilingual: croatian-english-japanese.
Size 237×325 mm; Technique: copper foil, offset, mat vanishing; cover: silkscreen
Watch a video viewing Mijo Kovačić monograph book!
Packaging design proposal of special Christmas blend 2011 for Ožujsko Beer Company.
The concept around packaging design is build on the positive Spirit that echoes in humans around the Christmas holidays. Packaging develops two faces — during daylight conditions a typographically designed label invites to show the good holiday face and spirit in all of us. In conditions of darklight label shows a portrait of Ožujsko Beer Christmas Spirit that radiates positive energy. Illustration is inspired by creatures in tails of Ivana Brlić Mažuranić and is done by OKO.
A design layout preview of Zagreb architectural guide for Upi2mbooks.
Authors: dr. sc. Zlatko Karač & Alen Žunić
Vizulani kod tržišne marke inspiriran je nazivom mješavina kave ovog branda: Melkior, Baltazar i Gašpar. Priča iz kršćanske mitologije — poklonstvo kraljeva suvremeno je reinterpretirana kroz grafički prikaz darova mudraca koje komuniciraju simboliku tržišne marke.
/ Visual identity /
Logotip is derived from visually reduced marker pen trait with a florescent orange color code.
/ Interieur design approach — back to basic /
Basic elements of a caffe interior design are highlighted by stripping them of superfluous meanings trough a usage of raw materials and an inspiration from both humanistic and technical filed of study. Each interior element has been specially designed for caffes interieur so that it would reflect the general concept.
Elements of interieur:
— Floor
The main concept carrier of caffe Marker is, metaphorically and literally, the floor, which wittily translates original student notes from both universities into a classically laid parquet. A PVC label is applied on an epoxy flor. Student notes were borrowed, scanned and than arranged in a pattern that mimics a conventional stacked wooden parquet thus reflecting a humanistic note.
— Coat hanger
Technical approach is reflected trough designing the coat hanger by applying a simple mechanical principle of pulleys for lifting the clothing. The clothes are easy accessible tho the consumer solving the lack of space problem.
— Sitting unit
Pentagonal industrial felt pillows are easy to rearrange because of velcro application on the wall and on the back side of the pillows thus combining both humanistic and technical characteristics. Felt is used because it reflects the feeling of warmth and is used as an insulation material in industrial plants.
— Tables and Chairs
Tables and Chairs are designed to maximize space.
Made of aluminum knits they perfectly reflect the technical approach in interieur.
Interieur Details
Terrace, front view
Plane
/ Functional interior disposition /
NOINarchitects d.o.o.
/ Visual identity and name /
Matea Bronić, Zoran Đukić, Jan Pavlović
/ Interior design /
Matea Bronić, Maša Milovac, Kristina Volf
/ Project manager /
Matea Bronić
Photo by Marko Mišćević.
Visual identity was done by Studio Cuculić
Belgrade design week venue — National Library of Serbia, Belgrade.
Display cubes are covered with paper which is carefully folded over wooden construction. Cubes are treated in this way so they would provide a joint and unified base to all exhibits, highlighting the character of the object designed.
The exhibits are divided into several groups which are determined by height difference. Group to which the certain designed object belongs to reflects the hight use in everyday life situations. For example, a small lamp is exhibited at a height of 65 cm, which reflects the height that matches to the height of an average nightstand.
Watch a video of the design setting done before the opening night.
Co-Authors:
Mia Bogovac
Dora Đurkesac
Maša Milovac
Kristina Volf
Before the Croatian inventor Slavoljub Penkala invented the hot water bottle, people in rural parts of Croatia used bricks or slates, preheated on wood stoves, to keep warm. Terracotta tiles joined with cloth are used to cover and heat chosen parts of the body after being heated in the oven. This product becomes a suitable reinterpretation of the traditional heater for the 21st century.
How to use
Put in a cold oven, on clean surface. Heat to max. 210ºF, up to 20 minutes. Remove from oven and place on desired body part. Depending on the length of heating, Brrr can stay warm up to 60 minutes.
Brrr info
Dimensions — 320 x 180 x 223 mm
Weight — 2,3 kg
Weight with packaging — 2,5 kg
Order — info@putesestvije.net
www.putesestvije.net
Co-Authors:
Mia Bogovac (product design)
Dora Đurkesac (product design)
Maša Milovac (product design)
Kristina Volf (product design)
Oleg Šuran (how to use illustrations)
Jelena Gvozdanović (copy)
Gemišt is a traditional Croatian drink. Ratios in mixing wine and mineral water reflect both regional specifics and personal rituals. Drinking glasses with measures to fill mineral water and white wine help users to discover, remember and share the basics of this formula.
How to use
Tilt the glass and pour white wine to the plotted ellipse. Add sparkling water to the top and enjoy a wine spritzer prepared in your favorite way — "half and half", "škropec" or "two thirds".
w/w glass info
Dimensions — 155 x 130 x 95 mm
Weight — 0,4 kg
Weight with packaging — 0,5 kg
Order — info@putesestvije.net
www.putesestvije.net
Co-Authors:
Mia Bogovac (product design)
Dora Đurkesac (product design)
Maša Milovac (product design)
Kristina Volf (product design)
Oleg Šuran (how to use illustrations)
Jelena Gvozdanović (copy)
The Adriatic is rich with sun and seawater. Joining these elements in a stone and glass container offers a possibility of creating one's own stock of salt while on holiday. The container is simply immersed and left in the sun. A few moments later a layer of salt is formed around the glass wall. The process is repeatable thus keeping alive the ritual of producing salt in coastal Croatia.
How to use
How to use: Submerge in the sea and fill up with seawater. Take out and leave in the sun until the water evaporates leaving only the salt. Use the obtained fresh salt as desired.
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Pinch of salt info
Dimensions — 155 x 130 x 95 mm
Weight — 1 kg
Weight with packaging — 1,1 kg
Order — info@putesestvije.net
www.putesestvije.net
Co-Authors:
Mia Bogovac (product design)
Dora Đurkesac (product design)
Maša Milovac (product design)
Kristina Volf (product design)
Oleg Šuran (how to use illustrations)
Jelena Gvozdanović (copy)
3D Visualization
Co-Authors:
Mia Bogovac (product design)
Dora Đurkesac (product design)
Maša Milovac (product design)
Kristina Volf (product design)
Zdjelica Zrno soli poklonjena je od strane ministrice kulture Andree Zlatar francuskoj ministrici kulture Aurélie Filippetti te predsjednici UNESCO-a Irini Bokovoj. Narudžbe predstavljaju posebnu čast i izravna su potvrda kvalitete studiju Manufakturist za dizajn suvremenih proizvoda, inspiriranim hrvatskim običajima i prirodnim datostima. Ovi uporabni predmeti bude uspomene na prirodu, atmosferu i doživljen zbir okusa i osjeta na putovanju u Hrvatskoj.
Probojem plohe papira asocijativnim su putem prizvani pojmovi: praznina / gubitak / agresija. Upotrebom kolorističkog koda proizašlog iz tradicionalnog etno izričaja, uspostavljena je veza sa lokalnim identitetom. Purpurna nit simbolizira strpljenje i povjerenje, plava nadu i dobro zdravlje, a žuta svijetlo i čistoću. Tropletom simbola nade prikazan je nepokolebljiv duh Sarajlija čime se šalje poruka ljubavi — ♡, jedinstva — ◯ i napredka — △.
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Punching the paper surface calls by association the terms void / loss / aggression. The coloristic code origins in traditional ethno draperies thus establishing a relation to local identity. Purple thread symbolises patience and trust, blue — hope and wellbeing, yellow — light and pureness. Faith Symbol is visualised trough a tree-knit braid which shows the indestructible spirit of the people of Sarajevo, sending a message of love — ♡, unity — ◯ and progress — △.
Suggested as an emerging designer by Izvorka Jurić.
concept & design — Matea Bronić, text — Vanja Blumenšajn, photo — TiTo
Autori pjesama: Krešimir Bagić, Tomica Bajsić, Ivana Bodrožić, Ana Brnardić, Vlado Bulić, Boris Dežulović, Branko Čegec, Drago Glamuzina, Tatjana Gromača, Davor Ivankovac, Dorta Jagić, Miroslav Kirin, Slađan Lipovec, Branko Maleš, Miroslav Mićanović, Simo Mraović, Kemal Mujčić Artnam, Antonija Novaković, Branislav Oblučar, Robert Perišić, Krešimir Pintarić, Marko Pogačar, Ivica Prtenjača, Delimir Rešicki, Saška Rojc, Evelina Rudan, Olja Savičević Ivančević, Damir Šodan, Dinko Telećan, Marko Tomaš, Branko Vasiljević, Martina Vidaić, Tvrtko Vuković, Anka Žagar, Bojan Žižović
Nagrade i priznanja:
— nagrada za najboljeg mladog autora do 35 godina 49. salona primjenjene umjetnosti i dizajna 2014.
— posebno priznanje hrvatske sekcije AICA
(The International Association of Art Critics)
— treća nagrada DanD 2014.
Uz podršku: Zaklada Adris i Hrvatsko dizajnersko društvo
Photo by: TiTo
Prvonagrađeni rad natječaja za vizulani identitet Hrvatske kuće u organizaciji Ministarstva vanjskih poslova RH i Ministarstva kulture RH.
Koncept
Znak predstavlja vizualnu infrastrukturu (okvir) za širok spektar programskih aktivnosti koje će Zaklada Hrvatska Kuća provoditi s ciljem promicanja hrvatskog umjetničkog stvaralaštva i baštine u inozemstvu. Na primarnoj razini, znak komunicira dinamičan odnos prednjeg i stražnjeg plana, tj. aktualne (lokalne) i projicirane (globalne) "teme". Imajući u vidu nužnost vidljivosti i isticanja vrijednosti hrvatske umjetnosti u okruženju nekog novog karaktera, sustav vizualnog identiteta pruža brojne mogućnosti manipulacije i prilagodbe.
Uzori i poticaji
Jedno od važnih polazišta u oblikovanju znaka bilo je u povijesti hrvatske suvremene umjetnosti, u njenom “herojskom” razdoblju pedesetih i šezdesetih godina prošlog stoljeća kada su vizualno umjetnička i dizajnerska scena bile obilježene istraživanjima na polju geometrijske, kinetičke ili luminokinetičke vizualne umjetnosti. Upravo je to razdoblje ostavilo toliko jak pečat na suvremenu umjetnost slijedećih generacija da se umjetnički dosezi tog doba i tog usmjerenja mogu smatrati jednom od najdominantnijih izraza i prepoznatljiv su i gotovo zaštitni “znak” hrvatske vizualne umjetnosti na međunarodnoj sceni.
Važni su nam bili umjetnici grupe EXAT51, i pokreta Novih Tendencija posebno umjetnici Vjenceslav Richter, Ivan Picelj i Aleksandar Srnec u čijim smo djelima i umjetničkim postupcima pronašli poticaj za dinamiziranje znaka, za njegovu transformabilnost i strukturalno umnožavanje i uslojavanje. Važan poticaj pronašli smo u grafičkim djelima umjetnika Jurja Dobrovića koji gotovo cijeli svoj opus temelji na istraživanju vizualnih mogućnosti upravo kvadrata kao plošnog geometijskog elementa.
Izometrijski pomaci osnovnog znaka oblikuju se u odnosu na zemljopisni odnos Hrvatske i države u kojoj je Hrvatska kuća. Matematički međuodnos dvaju kvadrata sugerira prostornu razmještenost, kao i kulturološku sličnost, odnosno različitost dviju država.
Konstrukt „nepredvidivog“ generiranog oblika znak je za situacije suradnje više subjekata kojima je „domaćin“ Hrvatska kuća: u slučaju grupnih događanja i manifestacija, bilateralnih ili multilateralnih projekata.
Koautori — Tin Kadoić, Maša Milovac
Obrazloženje žirija
Natječajni rad predlaže konceptualno snažan, autorski utemeljen i dinamičan identitetski sustav, koji funkcionira kao vrijednost po sebi i potencijal za razvoj u sklopu aktivnosti Zaklade Hrvatska kuća. Rad sadrži elemente već uvedenog nacionalnog koda koji je stavljen u semantički dinamičan sustav su-odnošenja komunikacijskih točaka, tako da je identitet promjenjiv u odnosu na onaj dio svijeta u kojem se komunicira hrvatska kultura. Iznimno inovativna ideja razrađena je u svim razinama primjereno projektnom zadatku, kojeg nadopunjuje i nadilazi dodanom vrijednošću.
Ta se dodana vrijednost artikulira suodnosom formalnih elemenata identitetskog sustava u kojem grafičke strukture i tipografske forme zauzimaju različite ali uvijek kvalitetno zamišljene funkcionalne oblike organizacije informacija. Ideja je razrađena i do trodimenzionalnih materijalnih izvedenica artikulacije u prostoru. Ocjenjivački sud zaključuje da je ovaj natječajni rad najprimjerenija ideja za razvoj aktivnosti na komuniciranju posebnosti hrvatske kulture u međunarodnom okruženju. Uz to, preporuča se svakako izraditi Priručnik grafičkih standarda, odnosno – svojevrsno uputstvo za korištenje, kako bi se čim bolje iskoristio veliki potencijal kojeg nudi ova projektna ideja.
Članovi žirija:
Feđa Vukić, Damir Bralić, Lana Cavar, Maja Kocijan i Sandra Sekulić