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josip vrančić vrrrrrrlo kratka povijest tržišnih vizualnih komunikacija dvadesetog stoljeća e-publikacija / copyleft * (* odnosi se na osobnu uporabu; svako neovlašteno preuzimanje dijela ili cjeline, korišt enje u profesionalne svrhe, kao i unos u popis literat ure obrazovnog programa bez pismene dozvole autora, bit će smatrano povredom autorskog prava) all names, logos, trademarks and/or copyrighted images are the property of their respective owners and their appearance in this e-book is merely intended to illustrate certain of the content available for educational purposes. travanj 2018. isbn 978-953-56542-5-4 koncept: josip vrančić [ :dizajncentarhrvatska ] autor preporučuje da iznos prvotno namjenjen za nabavu publikacije, usmjerite prema domovima za brigu o djeci bez odgovarajuće roditeljske skrbi. hvala! i najkraći smisleni prikaz vizualnih komunikacija dvadesetoga stoljeća, a i ne samo ovog vida ljudske baštine već i brojnih drugih djelatnosti protekle epohe, jasnim će odrediti stanje višeslojnosti produkcije, razlikovnosti u pristupima i izgledima, nemjerljivih mutacija i manirizama, kao i neformalnih ili manifestnih negacija i protusmijernica. ne postoji mogućnost kalemljenja kunsthistoričaske prakse redanja stila za stilom precizno, a pomična mijerka ili geodetski instrumentarij kojima bi se po običaju općih knjižnih pregleda odredila smrt jedne stilske epohe i, u milimetar iza tog, rađanje druge i nove, u predmetnom vijeku ne vrijede. stilovi ne žive svugdje istih karakteristika u istom vremenskom periodu, a također jedan stil na jednom prostoru nije ekskluzivan i izričit prema ostalima. da stvar bude kompleksnija, čak je neodrediva i sama vremenska nulta točka: ne samo u smislu znanstveničkih mudrovanja da li je to redna vrijednost 1900 ili 1901, već vezano uz kontekstualne i formalne odrednice novog. da li datacija starta mora biti pomaknuta unazad ili unaprijed od brojčano-matematičke točke, lijevo ili desno od kalendarskog, a nakon toga i koliko daleko u jednom ili drugom smijeru? da li je već belle époque načinio dovoljno da bi se u (naročito) njegovoj zreloj fazi kroz tehnološki, svjetonazorski i likovni napredak moglo nazrijeti sljedeće stoljeće? da li je stil(ovi) 1900 dovoljno nouveau da bismo mogli iščitati jasan prekid sa starim? ili bolje reći, da li svi stilovi na tom numeričkom prijelazu stoljeća predstavljaju old-stuff ili new-line, ili bi ipak bilo da kontekstualno i/ili oblikovno se stvar razlikuje u stilovima pod tim istonazivnim kišobranom, kroz karakteristike na nacionalnim pa čak i regionalnim posebnostima? ili su to samo stilski mostovi prijelaza iz [ jean béraud / pariška ulična scena / slika / ulje na platnu / oko 1885 / the metropolitan museum of art / donacija: robert lehman collection, 1975 / www.metmuseum.org ] [ edward penfield / harper's / plakat / 1893 / the metropolitan museum of art / donacija: bessie potter vonnoh, 1941 / www.metmuseum.org ] [ wilbur macey stone / hartford building and loan association: hamlet / plakat / litografija / 1897 / the metropolitan museum of art / donacija: leonard a. lauder, 2015 / www.metmuseum.org ] [ alexandre-louis-marie charpentier / muller stoneware manufactory / oglas / keramika / 1897 / the metropolitan museum of art / donacija: robert l. isaacson, 1988 / www.metmuseum.org ] [ harrison fisher / i summon you to comradeship in the red cross / plakat / 1918 / the metropolitan museum of art / donacija: william c. moore, 1972 / www.metmuseum.org ] [ z. p. nikolaki / hello! this is liberty speaking... / plakat / 1918 / the metropolitan museum of art / donacija: william c. moore, 1972 / www.metmuseum.org ] devetnaestog u dvadeseto stoljeće? mostovi potemkinovog grada rušenog teškim topništvom pera adolfa loosa, jednako prema ciljevima historicizma i secesije... za označavanje prekida s dotrajalim, mogla bi poslužiti mjera termina moderno, ali u tom slučaju (vjerojatno nepravedno) oduzimamo dvadesetom stoljeću pravo da svjesno započne nemoderno. opet, modernističke težnje ne samo da su čitljive i u samim začecima arts&craftsa, nego bi ih mogli pronaći i u gotici (naročito vidljiv utjecaj u nekim radovima grafičkog oblikovanja u doba secesije), a na taj način pomaknuta brana ne bi nas spriječila da rodonačelnike npr. simplificiranih tipografskih stilova i piktograma druge polovine dvadesetog stoljeća prepoznamo u modernitetu hijeroglifa i klinastog pisma, ili upravo u liku modernog dekoratera podzemne nekretnine u altamiri. na drugoj strani, na razmatranje je ponuđena i npr. misao josipa vanište kroz neknjižni dnevni tisak, o stvarnom začetku dvadesetog stoljeća tek krajem prvog svjetskog rata. u prilog mu idu i brojni dosezi grafičkog dizajna, naročito ukoliko stilsku epohu počnemo mjeriti širim unosom materijala i programa, a ne datacijom ekscesnog djela / projekta / djelovanja pojedinog usamljenog borca za vizualnu novost. također, za dvadeseto stoljeće kao nikad prije, prioritet ispred termina stil trebalo bi dati pojmu trend, naročito kad je riječ o tržištu usmjerenim vizualnim komunikacijama, kako zbog velikog broja manjih ili većih oblikovnih posebnosti, tako i zbog snažnije medijske globalizacije. zanimljivo je da su tako i postavke nekad avangardnih stilova, barem samo preko oblika iz svog likovnog arhiva, ulazile nakon nekog vremena u tržišni segment. termin grafički dizajn prvi put 1922. godine koristi william addison mada se u stručnoj literaturi nakon toga najčešće koristi krivo. samim pojmom graph obuhvaćen je samo dio djelatnosti i objekata, i to kako formalno, tako i tehnološki. dok je termin uporabljiv za polje tiskanih materijala raznih vrsta, ispravnijim pojmom vizualne komunikacije, uz navedene, obuhvaćeni su i svi ostali oblici tržišnog komuniciranja van tiskarskog miljea (screen-animacije, svjetlo, metal, ...). politički realizam / heroic, social, ... ( ::: > www.pinterest.com ) brojne su (u najmanju ruku...) dvojnosti tijekom stoljeća u tržišnim vizualnim komunikacijama: modernističkih parola protiv zločina ornamenta, vizualne racionalnosti i discipliniranosti i poštapalice less-is-more te postmodernističke kovanice less-is-bore i više-manje kontrolirani kaos vizualija, propagande i protupropagande u političkim akcijama, nacionalnih nekritički prenaglašenih teorija produkcijskih polova u tržišnoj i dogovornoj ekonomiji, paralelne karijere/pozivi na umjetničkom i tržišno-dizajnerskom polju, ne(samo)kritična i neupitna moralnost i društvena angažiranost u radovima za kulturu i socijalu suprostavljena do zakrvljenosti s tvz. suradnjom s pravim ekonomskim čimbenicima, ... vizualna stremljenja akademsko-slikarskih kadrova u dizajnerskim vodama, često su umirivali oni koji nisu imali kroz školovanje artizam nego disciplinu; inžinjeri, arhitekti, sociolozi i ostali često su kroz praksu (kao autodidakti), teoriju, inicijativu i kontrolu vodili neke od ključnih projekata (npr. karta londonskog undergrounda, isotype, dvogodišnji projekt realizacije vizualnog identiteta radiotelevizije zagreb pod nadzorom matka meštrovića - savjetnika predsjednika rtz-a za pitanja vizualnog identiteta *, ...). neizostavni pogon u razvoju dizajna je industrija marketinga, kojoj se bez obzira na ponekad opravdane sumnje/optužbe/presude za predumišljaj, moraju priznati i zasluge u stvaranju nužnih edukacijskih, financijskih, tehnoloških i ostalih uvjeta. od posljednje četvrtine devetnaestog stoljeća agencije se od izričitih usluga zakupa i (pre)prodaje medijskog oglasnog prostora okreću prema pojedinim specijalizantima čiji se zadatak kvalitetno osmisliti/oblikovati pojedinu vrstu promidžbenog materijala, te u završnici ka organiziranju potpunih kreativnih odjela u sklopu agencije. nešto kasnije, veće tvrtke kreativce upošljavaju unutar vlastitih odjela za marketing, razvoj, ... u herojsko doba same agencije se, između ostalog, zbog promicanja granskih interesa i stvaranja tržišnih uvjeta te kreiranju potreba za novim uslugama potencijalne klijentele, često su vlastita sjedišta otvarale na zajedničkim mikrolokacijama, kao što je madison avenue (new york). za kreativce je karakteristično da su već u tom ranom periodu često prelazili iz jedne agencije u drugu, ili svoju olivetti... [ teodoro wolf ferrari / olivetti / plakat / 1912 ] [ xanti schawinsky / olivetti / plakat / 1935 ] [ giovanni pintori / olivetti / plakat / 1956 ] [ olivetti - edotor / novinski oglas / 1970 ] [ walter ballmer / olivetti / logotip / 1970 ] [ walter ballmer + franco fortini / olivetti - libri rosso / priručnik korporativnih standarda / 1971 ] [ olivetti - m20 / novinski oglas / 1982 ] ( ::: ilustracije > www.storiaolivetti.it - associazione archivio storico olivetti, ivrea - italy ) neprilagođenost, karakterizaciju proklamiranu od strane managera/komercijalista, usmjeravali ka otvaranju vlastitih samostalnih dizajnerskih studija. dobar dio navedenih je, zbog potrebe prodaje dizajnerskih usluga, iznova izrastao u mrski agencijski oblik. sasvim je sigurno da tržišne vizualne komunikacije nisu samoodrživ sustav, kao ni opći dizajn, pa ni da bi razvoj bio moguć bez managera ne samo u agencijama već i u korporacijama, koji su prepoznavali važnost posvećenja i ulaganja u dizajn te smionost prihvaćanju novih oblikovnih smjerova, a nekad čak i kao sukreatori višegodišnjih uspješnica. svakako valja istaknuti emila rathenaua (aeg; uposlenje petera behrensa), jacka beddingtona (shell, britansko ministarstvo informiranja za vrijeme drugog svjetskog rata), francka picka (londonski sustav javnog prijevoza, ...), williama teatsdalea i charlesa dandridgea (obojica iz lnera), alberta
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    The Music of the National Liberation Struggle and Social Engagement

    Partisan Resistance Today? The Music of the National Liberation Struggle and Social Engagement Ana Hofman and Martin Pogačar They kept trying to smother the songs of resistance, but they did not smother them, ever, nor the spark of resistance, which was constantly smouldering here and there and burst into a flame of rebellion. (Hercigonja and Karakljajić 1962) Any interpretation of the past can only be a dissonant and dynamic, always political and without doubt a performative process. This spurs the emergence of and competition between alternative interpretations of the past that may also be understood as acts of opposition and even resistance to dominant and/or competing narratives. This is particu- larly clear when references to particular historical periods or events are problematised in daily political struggles and media discourses: recourse to alternate histories or the search for alternative visions of the past can thus be regarded as an attempt to devise a potential con- ceptual framework within which an articulation of alternative politics 21 (visions of the future) is possible. This carries with it certain (political) connotations that in the post-Yugoslav context are powered by the his- torical experience and perpetual reinterpretations of the national lib- eration struggle and antifascist resistance, as well as the entire period of socialist Yugoslavia – these periods have notably defined Yugoslav and contemporary social, (pop) cultural and political milieux, and the responses to it. In this essay, we discuss the shifting meanings and ascribed in- terpretations of the historical experience of the Yugoslav antifascist resistance as expressed through music. In an attempt to encourage this reflection on the musical expressions of the partisan resistance from a historical perspective, we primarily analyse scholarly works and media discourses and combine historical, musicological and cultural studies approaches.
  • Roadcasting the BUSINESSWEEKLY of TELEVISION and RADIO

    Roadcasting the BUSINESSWEEKLY of TELEVISION and RADIO

    SEPTEMBER 14, 1964 50 CENTS 330 YEAR Ñ { roadcasting THE BUSINESSWEEKLY OF TELEVISION AND RADIO Ptiá9 -time producers see tape as daytime vehicle. p31 rrar rter spot TV grows 18.2% to $263.7 million. p34 Z 's Wright finds pay TV a magnetic enterprise. p44 FCC's Ford to propose plan for tall -tower farms. p78 COMPLETE INDEX PAGE 7 FOR GUARANTEED RATE PROTECTION FOR COMMUNITY RESPONSIBILITY E :OR FIXED POSITION SPOTS OTO DELIVER THE LARGEST AUDIENCES FOR CIRCULATION FOR MARKET INFORMATION OFOR RELIABLE MERCHANDISING SUPPORT f0 BE THE DIFFERENCE BETWEEN GOOD AND GREAT IN TWIN CITY TELEVISION! contact your nearest Peters, Griffin, Woodward, Inc. "Colonel" for the complete story Minneapolis -St. Paul PHOTOGRAPH BY STANLEY SiLVER What! You still haven't heard of BRITISH CALENDAR? How frightful! It's marvelous. A series mustn't deprive your viewers! Now, News Division of cracking good quarter-hour films... you can show British Calendar every British Information Services specially for American TV. Brim full week or every two weeks on a continu- 845 Third Avenue of things British. Terribly current...all ous basis. Or if you wish, weekly using New York, N.Y. 10022 about Royalty, Sport, Politics, Fash- thirteen or twenty -six issues. And of Or ring us up at: 212 PL 2 -8400 ion, Science, Education, Space... and course, the whole thing is free. All you BRITISH CALENDAR all that. Dash it all man, you absolutely pay is the shipping. Drop us a line at: 16mm., B/W, S.O.F., Approximately 13 minutes PAT FONTAINE ...a leading lady on the American television scene ..
  • Inside Emigre 1984 - 2005

    Inside Emigre 1984 - 2005

    Deeply involved Inside Emigre 1984 - 2005 They came to the profession of graphic design not simply to assimilate but to question and also to transform it. I believe Content in me Million ideas participants Exploration 12 16 20 Rules to Enthusiasm question Good 8 luck 26 22 30 Editorial Impressum 7 34 6 7 Editorial When I started my research for Emigre Magazin I wasn’t sure what to expect. Needless to say, I was impressed by Rudy VanderLans unconventional layouts and the enormous amount of different fonts created by Zuzana Licko. But apart from this I found more. While I went through the issues of Emigre in our library I stumbled over some ama- zing articles from different authors concerning various subjects of life per se as well as discussi- ons about graphic design. Finally, I came to issue #69, a summary of the whole Emigre story. I found myself confronted with testifies from Rudy VanderLans concerning the attitude, a graphic designer should have, and what it needs to be a designer, such as enthusi- asm and entrepreneurialism but also a little bit of luck. It became clear why Emigre was successfull almost two decades. As a student I thought these statements are really worth sharing and therefo- re I centered my attention in this folder on Rudy VanderLans quotations. 8 Ex plo ra tion Be tired of the monotony of traditional typography E Elments of the Emigre cover issue # 14, 1985 11 10Exploration „ The first issue was put Early explorers of new technology together in 1984 in an We wanted to explore a more 11.5″ by 17″ format by VanderLans and two other Dutch immigrants, expressive, individualized Marc and Menno.
  • William Golden / Will Burtin

    William Golden / Will Burtin

    Rochester Institute of Technology RIT Scholar Works Theses 11-1-1997 An Educational exhibit of two graphic designers: William Golden / Will Burtin Linda Blake Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Blake, Linda, "An Educational exhibit of two graphic designers: William Golden / Will Burtin" (1997). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Rochester Institute of Technology a Thesis Submitted to the Faculty of the College of Imaging Arts and Science in Candidacy for the Degree of Master of Fine Arts AN EDUCATIONAL EXHIBIT OF TWO GRAPHIC DESIGNERS WILLIAM GOLDEN I WILL BURTIN by Linda Kay Blake November 1997 APPROVALS Advisor mil '%rv. ~ ~~"'::; PROFESSOR HEINZ KLiNKON Associate Advisor ..AJrN\ (I (9CZI PROFESSOR MARY ANN BEGLAND Associate Advisor PROFESSOR NANCY CIOLEK Department Chairperson I. Linda Kay Blake, hereby grant permission to the Wallace Memorial Library of Rochester Institute of Technology to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or prof! t. To Beatrice and Herbert PREFACE My thesis project, a Retrospective Exhibit of two pioneers in graphic design, was displayed in February of 1986. At the time, the professional work of William Golden and Will Burtin was on loan to Rochester Institute of Technology. Because of unforeseen personal circumstances, the thesis report was not written until 1997. In addition to my notes, photographs and promotional pieces from 1986, recreating the events and sequence of the thesis project was possible because William Golden's and Will Burtin's professional graphic design work is part of a permanent collection at Rochester Institute of Technology archives at the Wallace Memorial Library The thesis project was a bridge to the acquisition of their work for the College.