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Pristup Cjelovitom Tekstu Rada 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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