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CROATIAN

HRVATSKI DESIGN
DIZAJN NOW
SAD

Victor Margolin / Fedja Vukić
ISBN We proudly present the first internatonal book on the Croatian design. This impressive insight on Croatian design is
978-953-95098-8-8
printed in hardcover with more than 300 richtly illustrated pages and is billingual ( English – Croatian ).It is written as
a critical overview of Fedja Vukic and Victor Margolin who are selectors and authors. More than 180 selected works of
60 different authors testifies that design and designers became the center of the market communication in Croatia,
and that this kind of book is essential for understanding the design in this region. Books aim is to position the Croatian
design in the context of the world design. This edition covers all aspects of 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 of the recent design production in Croatia.

VICTOR MARGOLIN is Professor Emeritus of Design History at the University of Illinois, Chicago. He is a founding editor
and now co-editor of the academic design journal Design Issues. Professor Margolin has published widely on diverse
design topics and lectured at conferences, universities, and art schools in many parts of the world.
FEDJA VUKIC had got his ph.d. in design theory at University of Ljubljana, Slovenia. Trained as art historian at the Uni-
versity of Zadar, Croatia. He is holding a permanent lecturing position at the School of Design, Faculty of Architecture,
University of Zagreb since 1994. Fellow of The Wolfsonian Foundation, Miami Beach, 1995. Has lectured at the universi-
ties and schools worldwide and contributed to a number of conferences. Has published a number of papers on design
issues in national and international magazines.

As I reviewed the examples selected for the book I was struck by their freshness and the enthusiasm of the designers
that was evident in the work. I might have anticipated a dutiful homage to older designers from places where design tra-
ditions are longer and stronger but was instead surprised to discover how delightfully original Croatia’s designers can
be and how well tuned they are to the many aspects of economic, social, and cultural development in Croatia today…….

first international presentation of croatian design | (Victor Margolin, CROATIAN DESIGN: A VIEW FROM ABROAD, extract from introduction essay )

60 authors & 180 works | Therefore, the graphic design dominates in Croatia today, which is obvious in all the past trade exhibitions of yearly
production, because in the social context there is the strong need for mediating the new identities, new individual and
corporate subjects, which take part in the transition, from the political to private ones. This is the reason why term of
Impressive insight of recent croatian design production |
design has today become a standard signifier of the practice of creating the visual meanings and (less often) of the ob-
ject for the mass production and consumption. Therefore it is possible to trace its questionable aspects right in the gap
croatian design on a world map |
between the two opposite contexts - the first one, where the profession is conceptually and theoretically founded, and
the second one, where it is accomplished.……. (Fedja Vukić, THE IDEA OF DESIGN IN CROATIA, extract from introduction
captivating book that you must have |
essay)
108 109

title/naziv | Pula is More/Pula je više
agency/agencija | Parabureau
authors/autori | Igor Stanišljević i Marko Baus
client/klijent | Tourist Board Pula/Turistička zajednica
grada Pule
year of production/godina realizacije | 2008

The solution derived from the traditional Pula’s 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.

Rješenje je derivirano iz tradicionalnog pulskog grba koji se
sastoji od žutog latinskog križa na zelenom štitu. Parabureau
je latinski križ pretvorio u općeprihvaćeni znak za pozitivno -
plus, zadržavši žutu i zelenu boju koje su već prihvaćene kao
boje Pule.
New visual identity of Kratis printer uses well reco- Novi vizualni identitet tiskare Kratis podrazumijeva i
gnized textures as a tool of communication. Usage of upotrebu prepoznatljive teksture pomoću koje komu-
word play in slogan (“Do not pamper! Printed materi- nicira. Poigravanje sa sloganom (Ne gladi! To je samo
al.”) and different kinds of textures combined, suggest otisak.) i različitim vrstama tekstura na vrlo jednosta-
top quality printing process. Same approach is used in van način sugerira vrhunsku kvalitetu otiska. Takav
all other corporative materials and has therefore cre- pristup prisutan je u svim korporativnim materijalima
ated a tool of direct marketing for the company. This pa ima i funkciju direktnog reklamiranja tvrtke. Ovaj
unique concept has assured brand distinctiveness in pristup osigurao je tiskari jednostavnu prepoznatlji-
the market. vost na tržištu.

title/naziv | Kratis
032 agency/agencija | Bestias 033
authors/autori | Božidarka Brnas, Tomislav Kraljević
client/klijent | Kratis printer/ tiskara Kratis
year of production/godina realizacije | 2006
title/naziv | Visual Identity of Istria as the Tourist Desti-
nacion/Vizualni identitet Istre kao turističke destinacije
authors/autorice | Cavarpayer (Ira Payer, Lana Cavar,
Narcisa Vukojević
collaborators/suradnici | Goran Zmaić(ilustrator), Andri-
jana Čuljak (brand konzultant)
client/klijent | Istrian Tourist Board/Turistička zajednica
Istre
year of production/godina realizacije | 2005-2006
techinical description/tehnički opis | manual, stationery,
promotional gifts/priručnik, aplikacije identiteta, promo-
tivni darovi, različite naklade

The new Istria’s tourist identity came to place as a first-prize
winner on international design competition. Client’s task was to
picture Istria’s tourist strategy as well as their new brand posi-
tioning: ‘Green Mediterranean hideaway’. Our own task on top
of that was to awoyd generic and unifying visual identity typical
of 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 of a
historical Istrian crest. However, the visual identity does not rely
strictly on mark application but on the usage of colors: green
and blue. Colors are clear communicators of Istra’s geography
and nature (mainland rich on green - woods and fields; coast
036 037
rich on blue sea). ‘Istria=green mediteranean’ became the pre-
mise for building this visual identity.

Projekt je realiziran kao prvonagrađeni rad na međunarodnom
natječaju za novi vizualni identitet Istre. Osnovni zadatak je bio
stvoriti negenerički i nekonfekcijski vizualni identitet, koji afir-
mira strategiju novog pozicioniranja Istre, sažetog u sintagmi
“Zeleno utočište Mediterana” te koji nedvosmisleno diferencira
Istru od ostalih mediteranskih destinacija koje dijele isto more
i sunce. Sâm znak je interpretacija utvrđenog povijesno uteme-
ljenog vizualnog identiteta Istre i poštuje već izgrađenu komuni-
kaciju. Sustav vizualnog identiteta nije građen na motivu koze,
nego na odnosu zelene i plave boje, koje jasno komuniciraju
specifičnost Istre kao destinacije: Istra je izvorni Mediteran, a
njezina je prednost u tome što u neposrednoj blizini obale ima i
bogatu zelenu unutraπnjost. “Istra = zeleni Mediteran”, jednadž-
ba je na kojoj je temeljen čitav vizualni identitet.
title/naziv | Brachia
agency/agencija | TRIDVAJEDAN
author/autor | Izvorka Jurić
co-author/koautor | Jelena Gvozdanović
client/klijent | Brachia p.z.
year of production/godina realizacije | 2006

Logotype Brachia appears on the company Brachia p.z.’s
identity and as brand on three types of packaging. Logotype
Brachia appears on the the company’s identity and its stan-
dard packaging with an additional graphical element – illu-
stration of olive oil branch while the premium package inclu-
des another graphical element – an olive leaf.
Premium and standard line of Brachia olive oil come in two
lines in the existing glass bottles. Due to the segmentati-
on of the target groups and the specific market placement,
two different labels were designed for these two lines. The
premium editions got the corner labels on which the brand
Brachia, partially pressed with Braille varnish, appears next
to the illustration of olive leaves and the same goes for the
exclusive ceramic packaging – Brachia olive.
090 For the standard line label, the brand name Brachia is placed 091
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 ambalaže. U identitetu tvrtke
i standardnoj ambalaži logotip Brachia pojavljuje se uz do-
datni grafički element - ilustraciju maslinove grane - dok se
u premium ambalaži pojavljuje uz dodatni grafički element
- list masline.
Premium i standardna linija Brachia maslinovog ulja dolaze
u postojećoj staklenoj ambalaži. Zbog segmentiranja ciljnih
skupina te različitom i specifičnom tržišnom pozicioniranju,
za te dvije linije dizajnirane su dvije različite vrste etiketa. Za
premium ekstenzije dizajnirane su kutne etikete na kojima
se brand Brachia, parcijalno otisnut reljefnim lakom, pojav-
ljuje uz ilustraciju listića masline, kao i na ekskluzivnom ke-
ramičkom pakiranju - Brachia Maslini.
Za standardnu liniju brend Brachia pojavljuje se uz ilustraciju
maslinove grane, kao i u vizalnom identitetu Brachia p.z.
title/naziv | Helvetica Now/Helvetica sad
agency/agencija | STUDIO INTERNATIONAL
author/autor | Boris Ljubičić
client/klijent | STUDIO INTERNATIONAL/Linotype
year of production/godina realizacije | 2007
technical description/tehnički opis | 118x84 cm/118x84
cm

This poster is made for International poster contest organi-
zed for 50th anniversary (1957 – 2007) of probably the most
used typography in history.
Motto on the poster said all: Helvetica is not typography, it’s
lettering! Which meant that Helvetica outgrown herself and
become far more than just typography, just as the Swiss knife
did. As same as Swiss knife, in typography Helvetica can do
anything.
158 159
Ovaj plakat je napravljen za međunarodni natječaj organizi-
ran u čast 50. godišnjice (1957. – 2007.) vjerojatno najkorište-
nije tipografije u povijesti.
Moto na plakatu govori sve: Helvetica nije samo tipografija,
to je pismo što znači da je Helvetica sebe prerasla i postala
daleko više od same tipografije, kao što je i švicarski nož. Kao
i švicarski nož, u tipografiji Helvetica može sve.
Plakat za ljetni jazz festival u istarskom gradiću sugerira
povratak ove glazbene forme u sredinu koja je tradicionalno
usmjerena klasičnoj glazbi u svojim ljetnim školama i radi-
title/naziv | Jazz is Back! Grožnjan onicama. Pretopljene su artificijelna i prirodna forma kako
studio | Studio Dogan bi se komunicirala ideja o savršenim proporcijama koje su
client/klijent | Jazzette Records ujedno i vječne.
year of production/godina realizacije | 2005-2008

168 169
178 179

title/naziv | The Garden Festival slogan “Game on!” and extended the concept to all visual co-
studio | Fiktiv mmunications material, from ads and posters to The Funny
author/autor | Andrej Filetin Money – the Festival’s official currency.
co-autors/koautori | Goran Raukar, Ana Kovačić, Želj-
ko Paulić Svako ljeto “The Garden Festival” se održava na prekrasnom
client/klijent | Bašta Zadar d.o.o. malom poluotoku pokraj Zadra. Ovo atraktivno trodnevno
year of production/godina realizacije | 2006-2008 događanje predstavlja svjetsku elektronsku glazbu i postalo
je iznimno popularno među mlađom britanskom publikom,
Each summer, The Garden festival takes place on a beauti- a vodeći europski mediji proglasili su ga jednim od najzani-
ful little peninsula in a village next to the city of Zadar. This mljivijih ljetnih događanja. Fiktiv prati festival usmjeravajući
fine electronic music 3-day event has become very popular i dizajnirajući njegove vizualne komunikacije od samog osni-
within the younger British population and has been named vanja. Glavnina festivala odvija se na otvorenom. Organizatori
the place to be in summer by leading European media. Fiktiv su željeli naglasiti da se festival odvija na poluotoku okru-
has been working on the festival’s visual representation sin- ženom morem. Fiktiv je sve pretvorio u društvenu igru sa
ce its very first edition. Major part of the festival’s program sloganom “Game on!” i primijenio koncept na sve elemente
happens outdoor. The organizers wanted to emphasize the vizualne komunikacije, od oglasa i plakata do festivalske va-
fact that the festival takes place on a peninsula, surrounded lute – The Funny Money.
by the sea. So, Fiktiv turned it all into a social game with a
title/naziv | Sexus, Nexus, Plexus - Chosen Works of The synthesis of headlines and the visual are skilfully knitted
Henry Miller, Series of Covers/Sexus, Nexus, Plexus through each book individually as well as all three books to-
- odabrana djela Henryja Millera - serija naslovnica gether. When trilogy is put together we see that both covers
studio | Bestias and headline create a visual whole emphasized with large
author/autor | Božidarka Brnas, Tomislav Kraljević XXX that in a way is a hidden homage to Miller himself.
client/klijent | Meandar
year of production/godina realizacije | 2007 Trilogija je vizualno definirana prvenstveno iz ljudske aso-
cijacije na spomen imena Henry Miller. Henry Miller: “sek-
Trilogy’s visual identity derived primarily from the associati- sist” i pornograf. Crni korzet povezan crvenom bašunastom
ons arising when hearing Henry Miller’s name. Henry Miller: vrpcom. Sinteza fotografije i naslova trilogije u vizualu skriva
«sexist» and pornographer. konačnu sintezu korzeta s naslovima – kako na naslovnici,
The carrying visual is a Black corset tied with red velvet bow, tako i na hrbatu. Tako “skupljena” trilogija u crni korzet opet
which skilfully ties all three books in one unified concept. i dalje odaje skrivenu počast samome Milleru: crveni baršu-

216 217
title/naziv | St Peter’s Maternity Centre/ Petrova tru- client/klijent | “Healthy Newborn” Association/Udru- the campaign certainly doesn’t correspond to the needs of Ovi su oglasi bili dio kampanje za prikupljanje sredstava za
dionica ga “Zdravo novorođenče” the patients who spend up to seven months in it, safeguar- uređenje odjela za rizične trudnoće Petrove bolnice u Zagre-
agency/agencija | Bruketa&Zinic OM year of production/godina realizacije | 2007 ding their pregnancies. Horrible shape of the hospital influ- bu. Taj odjel nije obnovljen još od svog osnutka 1920. godine.
authors/autori | Moe Minkara, Tonka Lujanac (creative ences the mothers and through them it effects the unborn Stanje u kojem se danas nalazi sasvim sigurno ne odgova-
directors), Tonka Lujanac, Gordana Golik, Ana Belić, This ads were a part of the money rising campaign for re- children as well. The slogan was: What the mother feels, the ra potrebama pacijentica koje na njemu provode i do sedam
Petar Popović (art directors), Tanja Škorić, Daniel Vu- construction of the Risk Pregnancy Department of St Peters baby feels as well. mjeseci čuvajući trudnoće. Loše stanje bolnice uvelike utječe
ković, Ivan Čepelak, Ivan Čadež (copywriters), Ivana Hospital in Zagreb. This department has not been recon- na majke koje u njoj borave, a preko njih i na još nerođene
Pamiković (designer) structed since its founding in 1920. The state it was in before

268 269
title/naziv | Next, Office Chairs Design System/Next, ch offers warm seating experience Next project tend to step ferent surface finishes and materials the design can fit well sve potrebne ergonomske funkcije za maksimalnu udobnost.
dizajn sistema uredskih stolica aside from contemporary high-tech approach which treats into a wide range office interior projects. Seriju čini mogućnost odabira tri visine naslona, opcija sa
studio | Redesign office chair like a seating machine. i bez rukonaslona i tri vrste postolja s obzirom na funkciju:
author/autor | Neven Kovačić Design of “Next” chairs is based on innovative bent plywood Oslanjajući se na bogatu tradiciju dizajna stolica od savije- radna stolica, stolica za sastanke i fotelja. Različite povr-
collaborator/suradnik | Sanja Kovačić shell design which is shaped in a way to fit all ergonomic nog drva koji zove na sjedenje svojom toplinom nastojao se šinske obrade, teksture drva, boje tekstila i postolja pružaju
client/klijent | Tapo features for maximum comfort. postići odmak od aktualnog high-tech pristupa koji uredsku paletu odabira s obzirom na potrebe projekta uređenja inte-
year of production/godina realizacije | 2008 “Next” chair can be configured with three backrest heights, stolicu robotiziranog izgleda tretira kao stroj za sjedenje. rijera.
with or without backrest and three types of bases according Dizajn serije stolica “Next” temelji se na inovativnom dizajnu
Based on the rich tradition of bent plywood chair design whi- to the typology: task, meeting or lounge. By combining dif- školjke od savijenog drva koja je oblikovana tako da pruža

296 297
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A catalogue record for this book is available from Croatian National library
ISBN 978-953-95098-9-5
Authors: 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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