MOD katalog - Fundacija Brumen

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MOD katalog - Fundacija Brumen

CIP - Kataložni zapis o publikacijiNarodna in univerzitetna knjižnica, Ljubljana766(100)”20”(083.824)745/749(100)”20”(083.824)MEDNARODNI oblikovalski dogodek (3 ; 2007 ; Ljubljana)Pierre Bernard (F), Irma Boom (NL), William Drenttel (ZDA),Jessica Helfand (ZDA), Cyprian Koscielniak (NL/PL) : JakopičevaGalerija 22. 10.-25. 11. 2007 = Jakopič Gallery, 22 October - 25November 2007 / 03. M. O. D. - mednarodni oblikovalski dogodek = 03International Design Event ; [uredniki Petra Černe Oven ... [etal.] ; teksti Petra Černe Oven ... et al.]. - Ljubljana : FundacijaBrumen, 2007ISBN 978-961-91699-1-91. Gl. stv. nasl. 2. Bernard, Pierre, 1964- 3. Černe Oven, Petra235124224


»Najpopolnejši način komunikacije je človek s človekom. Vidiš me, slišiš, vohaš, seme dotikaš. Televizija je druga oblika – lahko me vidiš in slišiš. Radio je naslednja– slišiš me, a me ne vidiš. Šele potem so na vrsti tiskani mediji. Ker se me ne daniti videti niti slišati, si moraš ustvariti podobo o meni na osnovi natisnjenega. Intakrat stopi v ospredje tipografija.«(Aaron Burns)»Perfect communication is person-to-person. You see me, hear me, smell me, touchme. Television’s the second form of communication; you can see me and hear me.Radio is the next; you hear me, but you don’t see me. And then comes print. Youcan’t see or hear me, so you must be able to interpret the kind of person I am fromwhat is on the printed page. That’s where typographic design comes in.«(Aaron Burns)Seveda je bil Aaron Burns človek dvajsetega stoletja. Torej ni vključil blackberryjev,skypov, telefonskih konferenc, neformalnega sms komuniciranja ... A načeloma grezgolj za variacije na dano temo. Poanta ostaja ista: osebni stik je najpopolnejšinačin komuniciranja.Tudi zato se v Fundaciji Brumen veselimo žrtvovanega časa in energije, ki ju našieminentni gostje vlagajo v spremljevalni dogodek Bienala vidnih sporočil Slovenije.Predavanja in razstava njihovih del sta enkratna priložnost, da se srečamo v živoin spregovorimo besedo, dve.Poleg tega, da z njo spet odpiramo vrata pretoku informacij o stanju vizualnihkomunikacij po svetu, naj razstava služi tudi prikazu širokega razpona oblikovalskihnalog, ki se jih naši gostje lotevajo. Od njih se lahko naučimo o odnosu mednaročnikom in oblikovalcem, o vplivu različnih medijev na oblikovalski postopek, otem, kako se pišejo inteligentne in udarne knjige o oblikovanju, o pomembnosti organizacijekompleksnih oblikovalskih procesov, o intuiciji v vizualnem sporočanjuin še in še.Naši gostje so ilustratorji, založniki, grafični oblikovalci, kritiki in teoretiki, pedagogi,dobitniki najvišjih evropskih kulturnih nagrad, ustanovitelji in člani strokovnihin znanstvenih teles ... skratka, ljudje, ki spreminjajo stvari. Udarni in svetovnoznani na svojem področju, a hkrati katalizatorji sodobne kulture, ki ji pripadamovsi. Njihova imena so povezana s pojmi, kot so: Parc La Villette, Franz Kafka, muzejLouvre, Ferrari, Vitra International, Koninklijke Tichelaar Makkum, Camper, MoMA,World Financial Center, Susan Sontag ... In to nas prepriča, da nam imajo velikopovedati.Of course, Aaron Burns was a man of the twentieth century. So he did not mentionBlackBerries, Skype, telephone conferences, informal text messaging, etc. But thisis just a variation on a theme. The point remains the same: personal contact is thebest way to communicate.This is also why all of us at the Brumen Foundation are looking forward to hostingour distinguished guests who have devoted much of their time and energy tothe event accompanying the 3rd Biennial of Slovene Visual Communications. Thelectures and the exhibition of their work will be a great opportunity to meet andtalk to everyone.Besides opening the doors to the flow of information about visual communicationsaround the globe, the exhibition presents a broad range of our guests’ design activities.We can learn from them about client-designer relationships, the influenceof different media on the design process, how to write intelligent and insightfulbooks on design, the importance of organising the complex design processes, therole of intuition in visual communication, and more.Our guests are illustrators, publishers, graphic designers, critics, theoreticians,teachers, winners of the most prestigious European cultural awards, founders andmembers of expert and scientific bodies; in short, they are people who can changethings – world authorities in their fields and at the same time catalysts of thecontemporary culture to which all of us belong. Their names are associated withthe likes of Parc La Vilette, Franz Kafka, the Louvre, Ferrari, Vitra Internatinonal,Koninklijke Tichelaar Makkum, Camper, MoMA, the World Financial Center, andSusan Sontag...and we can be sure they have much to say to us.Petra Černe OvenPetra Černe OvenP. S. Organizator te razstave sprejema vso odgovornost za »neprimerno predstavitev«del naših eminentnih gostov. Stvari, ki jih kažemo, v osnovi ne morejobiti razstavni eksponati. Namenjeni so konzumu, torej branju, gledanju, listanju... Slike knjig niso knjige same. Slike domačih strani izpred nekaj let niso interaktivnaspletišča. Slike trirazsežnostnih objektov niso realni kosi. Seveda tako hudimkriterijem ne more zadostiti nobena predstavitev oblikovanja ali arhitekture.Vljudno vas torej prosimo, da gledate na to razstavo kot na skupek misli, tem insubjektov, ki jih boste v prihodnosti ponovno obiskali prek drugih virov informacij,ki so vam na voljo. Kot pravi Jessica Helfand: »Branje je tvoja vstopnica v svet.«P.S. The exhibition organiser assumes full responsibility for any ‘inappropriatepresentation’ of works by our distinguished guests. The pieces exhibited cannot inherentlybe exhibition pieces. They are intended to be consumed, i.e. read, viewed,browsed, etc. Images of books are not books themselves. Images of homepagesfrom a few years ago are not interactive networks. Images of 3-D objects are notreal pieces. Of course, to apply such strict criteria would exclude the mounting ofan architectural or design exhibition. You are kindly requested to view this exhibitionas a collection of thoughts, themes and subjects that you will re-visit in thefuture through other channels. Or to borrow a thought from Jessica Helfand: ‘Read-


Diplomant Višje šole za lepe umetnostiv Parizu (1964), sošolec Henrika Tomaszewskegana Likovni akademiji vVaršavi, magister Inštituta za okolje vParizu (1971).Leta 1970 s Francoisom Miehom inGérardom Paris-Clavelom ustanoviskupino Grapus, ki se ji šest let poznejepridružita še Alex Jordan in Jean-PaulBachollet. Grapus skuša »spreminjatiživljenje« na podlagi dinamikegrafičnega oblikovanja in političnegaudejstvovanja. Oblikuje celostne podobeza Centre National des Arts Plastics(1984), Parc La Villette (1985) in muzejLouvre (1988). Od leta 1978 sodelujena razstavah v Musée de l’Affiche vParizu, v Stedelijk Museum v Amsterdamu,na oblikovalski konferenci vAspnu (Kolorado) in v Muzeju sodobneumetnosti v Montrealu. Po letu 1990, kose Grapus odloči, da preneha dejavnost,Bernard z Dirkom Behageom in s FokkeDraaijer ustanovi Atelier de CréationGraphique. Njihovi naročniki so mdr.Francoski nacionalni parki in pariškiPompidoujev center.Pierre Bernard je od leta 1987 član InternationalGraphic Alliance in poučujegrafično oblikovanje na Višji šoli zalepe umetnosti v Parizu (Ecole NationalSupérieure des Arts Décoratifs).After graduating from the Ecole NationaleSupérieure des Arts Décoratifsin 1964, he studied poster design withHenryk Tomaszewski at the Academyof Fine Arts in Warsaw, and completedhis studies in 1971 with graduate workat the Institut de l’Environnement inParis.In 1970 he founded Grapus withFrancois Miehe and Gérard Paris-Clavel; Alex Jordan and Jean-PaulBachollet joined the group in 1976.Grapus sought to ‘change life’ througha twofold dynamic of graphic arts andpolitical action. In 1984, 1985 and 1988Grapus designed the corporate identityof the Centre National des Arts Plastics,the Parc La Villette, and the Louvre,respectively. From 1978 on, Grapusshowed their work in major exhibitionsat the Musée de l’Affiche in Paris, theStedelijk Museum in Amsterdam, theAspen Conference in Aspen, Colorado,and the Museum of ContemporaryArt in Montreal. After 1990, whenGrapus decided to end their activities,Bernard founded the Atelier de CréationGraphique with Dirk Behage andFokke Draaijer, working for clients suchas the French National Parks and theCentre Pompidou in Paris.Pierre Bernard has been a member ofthe International Graphic Alliance since1987, and currently teaches graphicdesign at the Ecole National Supérieuredes Arts Décoratifs in Paris.Verjamem, da mora oblikovalec kotoseba združevati edinstveni identitetiumetnika in tehnika. To je osnovanjegove dejavne vloge – tudi kot posameznika,ki je s sebi lastnimi dejanjidel civilizacije. Prepričan sem, da jedružbena vloga grafičnega oblikovalcarezultat mnenj in prepričanj, ne palogike in znanja.Kot je zapisal Maksim Gorki: »Življenjeje vedno dovolj težko, da ne izgubimoželje po boljšem.« Družbena odgovornostgrafičnega oblikovalca temeljina želji sodelovati pri soustvarjanjuboljšega sveta. To načelo je morda preprostorazglasiti, a ob vseh protislovjihživljenja, ki ga živimo, nas ne vodineposredno k uporabnim pravilomobnašanja.Družbena vloga grafičnega oblikovanjaI believe that the single identity ofthe artist and the technician in theperson of the graphic designer formsthe basis for his capacity to assert hisrole strongly – and to take his own aspecific action as an individual who isa part of civilization. I believe that thesocial function of the graphic designeris a subject to be approached throughopinions and persuasion rather thanthrough logic and knowledge.»Life will always be hard enough toprevent men from losing the desire forsomething better,« Maxim Gorky said.The graphic designer’s social responsibilityis based on the wish to takepart in the creation of a better world.It seems simple to declare such aprinciple, but given the contradictionsof real life, the principle does not leadreadily to practical rules of behaviour.The social role of the graphic designer4http://www.acgparis.com/


Pierre BernardDan in noč | Day and Nightav Pierre Bernard; Atelier de Création Graphiquena Fundacija Erazem | Fondation ErasmeErazmova nagrada | Erasmus Prize,Stedelijk Museum, Amsterdam2006Latinska Amerika | Latin Americaav Pierre Bernard; Atelier deCréation Graphiquena Pompidoujev center1992Spoštovanje, Predanost, Složnost | Respect, Devotednessand Solidarityav Pierre Bernard; Atelier de Création Graphiquena dobrodelna skupnost | humanity associationSecours Populaire Francais2005Preporod oblikovanja | Design Renaissanceav Pierre Bernard; Atelier de Création Graphiquena Icograda1993


Diplomantka Likovne akademije vEnschedu (Nl).Leta 1991 ustanovi lastni studio, kidela na javnem in zasebnem področju,za domače in tuje naročnike. Mednjimi so Rijksmuseum v Amsterdamu,Paul Fentener van Vlissingen, studioInside Outside, muzej Boijmans VanBeuningen, Fundacija Princa Clausa,Zumtobel, Ferrari, Vitra International,NAi Publishers, United Nations in OMA/Rem Koolhaas, Koninklijke TichelaarMakkum, Camper, MoMA. Leta 1993 oblikujelegendarno serijo znamk Metuljiza nizozemsko pošto.V začetku devetdesetih dela pet let naprojektu knjige SHV Think Book 1996-1896 za družbo SHV Holdings iz Utrechta.Knjiga obsega 2136 strani, izidepa v angleščini in kitajščini. 1998 imasamostojno razstavo Irma Boom on herBooks v haaškem Centru Stroom, 2001.sledi predstavitev Boom Beyond Booksv pariški Nacionalni knjižnici.Od leta 1992 sodeluje kot kritičarka nauniverzi Yale v ZDA, 1998–2000 predavana Akademiji Van Eyck v Maastrichtu,ves čas pa ima tudi vabljenapredavanja in delavnice po vsem svetu.In 1979 she enrolled at the AKI ArtAcademy in Enschede.In 1991 she founded Irma Boom Office,which works nationally and internationallyin both the cultural and commercialsectors. Clients include the RijksmuseumAmsterdam, Paul Fentenervan Vlissingen, Inside Outside, MuseumBoijmans Van Beuningen, the PrinceClaus Fund, Zumtobel, Ferrari, Vitra International,NAi Publishers, the UnitedNations and OMA/Rem Koolhaas,Koninklijke Tichelaar Makkum, Camper,the Museum of Modern Art, New York.In 1993 she designed a series of butterflystamps for Dutch PTT.For five years she worked (editing andconcept/design) on the 2136-page SHVThink Book 1996-1896 commissionedby SHV Holdings in Utrecht. The ThinkBook was published in English andChinese.In 1998 she had a solo exhibition, ‘IrmaBoom on her Books’, at the StroomCentre in The Hague, and ‘BoomBeyond Books’ at the BilbiothqueNationale de France in Paris in 2001.Since 1992 Boom has been a critic atYale University in the USA. She wasa tutor at the Van Eyck Akademiein Maastricht between 1998-2000.She gives lectures and workshopsworldwide.Mi nismo umetniki, mi delamo zanaročnika/ico. On/a mora jasno povedati,kaj si želi. Pomembno je, da semed naročnikom/ico in oblikovalcemvzpostavi dialog. Ta proces je bistven.Bistveno je tudi, da se njemu/njejin sebi postavlja prava vprašanja invzdržuje kritično držo. Vsi s(m)o odgovorniza rezultat. Če se v dialogu nepojavljajo vprašanja in če ne pride dodogovora, morate projekt opustiti.Emigre, 1993Če je kaj skupnega mojim knjigam, potemje to grobost; vse so neprečiščene.Precej pogosto je z njimi nekaj narobe.Niso kot dela Walterja Nikkelsa – trdnadela, kjer se ne da nič spremeniti.Pri mojih knjigah je celo vseeno, čespremeniš podrobnosti. To, kar jezanimivo, je celota. In to velja za vsemoje projekte – velike in male.Peter Bilak: Pogovor z Irmo Boomhttp://www.peterb.sk/readings/irma_boom.htmlWe are not fine artists, we work witha commissioner. He or she has to beclear in what he or she wants. It isimportant that there is a dialoguebetween the commissioner and thedesigner. This process is essential. Toask him or her and yourself the rightquestions, and to maintain a criticalattitude is also essential. They are bothresponsible for the result. And if thereis no question of a dialogue and youcannot agree, then you should quit.Emigre, 1993If there is something in common aboutmy books, it is the roughness; theyare all unrefined. Very often thereis something wrong with them. It isnot like Walter Nikkels – very solidwhere you can’t change anything. Inmy books it doesn’t even matter ifyou change details. It’s more the totalthing that is interesting. This is true ofall my projects – big ones, and smallerones too.Peter Bilak: Interview with Irma Boomhttp://www.peterb.sk/readings/irma_boom.html6http://www.irmaboom.nl/


Irma BoomVsi Ferrarijevi motorji | All Ferrari Enginesav Irma Boom; Irma Boom Officena FerrariSHV knjiga misli 1996–1896 | SHV Think book 1996–1896av Irma Boom; Irma Boom Officena SHV1991–96Royal Tichelaar (celostna podoba družbe | corporate identity)av Irma Boom; Irma Boom Officena Royal Tichelaar


Diplomant Univerze Princeton, smer:evropske kulturne študije.1985–96 vodi studio Drenttel DoylePartners v New Yorku in deluje napodročju oblikovanja revij (Spy, TheNew Republic, And); strateškega svetovanjain kompleksnih oblikovalskihprojektov za velika podjetja (ChampionInternational, Springs Industries inHewitt Associates); celostnih podob,oblikovanja programov in razstav(World Financial Center, Cooper-Hewitt,National Design Museum, PrincetonUniversity).1997 z Jessico Helfand ustanovi novistudio: Jessica Helfand | WilliamDrenttel, ki se ukvarja z oblikovanjempublikacij, celostnih podob in projektovnovih medijev. V letu 2000 gapreimenujeta v Winterhouse. Njunazaložba Winterhouse Editions izdajadela s področja kritike oblikovanja inliterarnih del.Drenttel piše o oblikovanju za revijeI. D., Communication Arts in AIGA Journal;uredi dve antologiji o oblikovanjuza Allworth Press in tri raziskave ooblikovalskih podjetjih v Ameriki zaRockport Press.Je zaslužni predsednik Ameriškegainštituta grafičnih umetnosti (AIGA),član upravnega odbora na Cooper-Hewitt National Design Museum ingostujoči profesor na newyorškemInstitute of the Humanities na NYU.He received a B.A. in European CulturalStudies from Princeton University.From 1985-1996, he was a principalof Drenttel Doyle Partners in NewYork City. Selected clients and projectsinclude: the editorial design ofnumerous magazines, including Spy,The New Republic, and Inc.; strategicconsulting and large design programsfor companies such as ChampionInternational, Springs Industries andHewitt Associates; the overall graphicidentity, and program and exhibitiondesign for the World Financial Center;a new identity program and exhibitiondesign for the Cooper-Hewitt NationalDesign Museum; a new graphic identityand publications program for PrincetonUniversity; an exhibition and storedesign at Grand Central Station.In 1997, he joined the designer andwriter Jessica Helfand to form a newdesign consultancy: Jessica Helfand |William Drenttel - focusing on editorial,identity and new media projects.The studio was renamed Winterhousein 2000. Their imprint, WinterhouseEditions, publishes design criticism andliterary works.Drenttel has written on design for I.D.and Communication Arts magazinesand the AIGA Journal, as well as editingtwo anthologies of critical writingson design (Allworth Press) and threesurveys of design firms in America(Rockport Press).He is president emeritus of the AmericanInstitute of Graphic Arts, a trusteeof the Cooper-Hewitt National DesignMuseum, and a Fellow of the New YorkInstitute of the Humanities at NYU.Ob pregledu več stotih [protivojnih]plakatov [na temo protesta protiBushu, Ameriki in iraški podjetnosti– plakate je objavila francoskaoblikovalska revija étapes] sem se zamislil:Kateri bodo ikonografski simbolinašega časa? Kje je jezik grafičnegaoblikovanja, ki lahko pove več, narediveč? Bodo oblikovalci sposobni presečigolo jezo in namesto nje raje sporočatinove rešitve za mir?Igra v laži št. 2 (ali Priklic Vietnama)http://www.designobserver.com/Zamisel je lahko zagrabiti: umetnikinaredijo stvari opazne s tem, ko jimdajo nenavadno podobo, tj. drugačnood tiste, ki smo je vajeni. Všeč mije preprostost te ideje, saj je trebarazumeti le dvoje. Prvič: kateri sopomeni, s katerimi se doseže, da sostvari videti nenavadne? In drugič: kajje pričakovani kontekst, ki ga nekdoizzove, da bi ustvaril nekaj opaznega?Povedano drugače, ovrednotenjeuspeha z defamiliarizacijo zahtevarazumevanje pomenov, s katerimidosežemo svež izraz, IN stopnje, dokatere je kontekst sprevržen.Defamiliarizacija: Osebna zgodbahttp://www.designobserver.com/Looking at hundreds of posters [antiwarposters against Bush, America,and the Iraq enterprise: in the Frenchdesign magazine’s étapes] has mademe wonder: What will become theiconographic symbols of our era?Where is the graphic design languagethat can say more, do more? Will anydesigners transcend mere anger andcommunicate, instead, new solutionsfor peace?The Lying Game No. 2 (Or Vietnam Redux)http://www.designobserver.com/It’s an easy concept to grasp: artistsmake things noticeable by makingthem look strange — i.e., different fromour normal ways of seeing things. I likethe simplicity of this notion becauseit only requires understanding twothings. First: what are the means bywhich one makes things look strange?And second: what is the expected contextthat one is challenging in order tomake something noticeable? In otherwords, evaluating the success of thedefamiliarization requires understandingthe means by which the expressionis fresh AND the degree to whichthe context has been subverted.Defamiliarization: A Personal Historyhttp://www.designobserver.com/8http://www.jhwd.com/http://www.winterhouse.com/http://www.designobserver.com/


William DrenttelPod pregibom | Below the Foldštevilka, posvečena kulturi(naslovnica) |culture issue (cover)av William Drenttel, Jessica Helfand,Geoff Halber; Winterhousena Winterhouse Institute2006Pod pregibom | Below the Foldštevilka, posvečena nevarnosti(notranji prelom) |danger issue (spread)av William Drenttel, Jessica Helfand,Geoff Halber; Winterhousena Winterhouse Institute2005Poezija (naslovnica revije) |Poetry Magazine (cover)av William Drenttel,Geoff Halber;Winterhouseil Barry Fallsna Poetry Magazine2007Statistika: spletno beleženje | Stats: A Record of the OnlineObserver, 2003–6 (statistika obiska | traffic statistics of design)av William Drenttel, Geoff Halber, Winterhousena Winterhouse Edition2007Hanns Zischler: Kafka gre v kino(naslovnica) | Kafka Goes to the Movies(cover)av William Drenttel, Rob Giampietro,Jessica Helfand; Winterhousena University of Chicago Press2003


Diplomantka grafičnega oblikovanja inarhitekturne teorije (1982), magistragrafičnega oblikovanja (1989) – obojena Univerzi Yale.V osemdesetih dela v studiu RogerjaBlacka, v začetku devetdesetih zaPhiladelphia Inquirer Magazine, 1993pa ustanovi Jessica Helfand Studio.Leta 1997 z Williamom Drenttelomustanovi novi studio: Jessica Helfand| William Drenttel, ki se ukvarja zoblikovanjem publikacij, celostnihpodob in projektov novih medijev. Vletu 2000 ga preimenujeta v Winterhouse.Njuna založba WinterhouseEditions izdaja dela s področja kritikeoblikovanja in literarnih del.Jessica Helfand je objavila številneeseje o oblikovanju v revijah Eye,Print, ID, The New Republic and LosAngeles Times. Je ena najbolj pomembnihsodobnih avtorjev na področjuoblikovanja in avtorica številnihknjig, mdr. Screen: Essays on GraphicDesign, New Media and Visual Culture(Princeton Architectural Press, 2001)in Reinventing the Wheel (PrincetonArchitectural Press, 2002), Paul Rand:American Modernist (Winterhouse,1998).Bila je izredna profesorica na podiplomskemprogramu interaktivnihtelekomunikacij na Univerzi v NewYorku, zdaj pa ima status kritičarkena Yale School of Art.She received her B.A. in graphic designand architectural theory in 1982, andher M.F.A. in graphic design in 1989,both from Yale University.She worked at Roger Black Studio inthe late 1980s, at Philadelphia InquirerMagazine in the early 1990s, andestablished her own studio, JessicaHelfand Studio, Ltd., in 1993.In 1997, she joined William Drenttelto form a design consultancy - JessicaHelfand | William Drenttel - focusingon editorial, identity and new mediaprojects. The studio was renamedWinterhouse in 2000. Their imprint,Winterhouse Editions, publishesdesign criticism and literary works.Helfand has published numerous essayson design in Eye, Print, ID, TheNew Republic and The Los AngelesTimes. She is one of the most importantcontemporary writers on designand the author of several books,including Screen: Essays on GraphicDesign, New Media and Visual Culture(2001), and Reinventing the Wheel(2002), both published by PrincetonArchitectural Press, and Paul Rand:American Modernist (Winterhouse,1998).Previously Adjunct Professor at NewYork University’s graduate programin Interactive Telecommunications,Helfand is currently a Critic at YaleSchool of Art.Zapomni si, da vse, kar je videti kul,verjetno ne bo kul prav dolgo. Pravdolgo pomeni, no ja ... verjetno kakdan ali dva. Zapomni si, da slika lahkoodtehta tisoč besed, vendar besedazaleže. Zapomni si, da boš zaraditipografije lahko kaj razumela, se nakaj odzvala ali kaj začutila hitreje, anajbrž ne boš mogla reševati sporovmed sprtimi narodi, si povečatiumskih zmogljivosti ali se zaščititipred čebeljimi piki, ugrizi klopov alinoricami. Zapomni si, da pravopisnenapake žanjejo slavo v e-sporočilih, aso nesprejemljive v književnosti. [...]Ne glede na to, kaj tipografija naredi(ali ne naredi) in kaj je (ali ni) tisk,besede so še vedno samo zamisli, kičakajo, da jih nekdo prebere. Branjepa ne bo nikoli umrlo. Branje je tvojavstopnica v svet.Besede minejo, tisk ostane:Pismo Fioni ob prvem branju Konca tiskaRemember that anything that lookscool probably won’t look cool forvery long. Remember that very longmeans, well, probably about a dayand-a-half.Remember that picturesmay speak louder than words, butthat words speak volumes. Rememberthat sometimes typography can helpyou understand something or react tosomething or feel a certain way faster,but that it probably won’t help resolveconflicts between embittered nationsor advance your capacity for reason orprevent you from getting bee stings ortick bites or chicken pox. Rememberthat spelling mistakes are celebratedin email but not tolerated in literature.[...]It doesn’t matter, because no matterwhat the typography does (or doesn’tdo), and no matter what print is (orisn’t), words are just ideas waiting tobe read. And reading will never die.Reading is your ticket to the world.Sticks and Stones Can Break My Bones butPrint Can Never Hurt Me:A Letter to Fiona on First Reading The Endof Print10http://www.jhwd.com/http://www.winterhouse.com/http://www.designobserver.com/


Jessica HelfandPreoblikovanje spletnega mesta(domača stran) |Website Redesign (homepage)avnaWilliam Drenttel, JessicaHelfand, Betsy Vardell,Geoff Halber, WinterhouseThe New Yorker2007Poziv k prijavi (plakat) |Call for Entries (poster)av Jessica Helfand,William Drenttel,Jeffrey Tyson;Winterhousena American Center forDesign1999Hiša iz besed | Word House(V spomin D. W.Dwigginsu |Homage to D.W.Dwiggins)av Jessica Helfand;Winterhouse2003Jessica Helfand: Na novoodkrito kolo (naslovnica) |Reinventing the Wheel (cover)av Jessica Helfand(tudi avtorica knjige |also author of the book),William Drenttel, KevinSmith, Rob Giampietro;Winterhousena Princeton ArchitecturalPress2002Trofeja, državna oblikovalskanagrada | Trophy, National DesignAwardsSilikon-karbidna 3-razsežnostna trofeja |3D renderings of trophy,manufactured out ofsilicon carbideav William Drenttel,Jessica Helfand, JeffreyTyson; Winterhousena Cooper-Hewitt NationalDesign Museum2000


Diplomant Likovne akademije vVaršavi (1974).V sedemdesetih in osemdesetih oblikujeveč kot 20 špic za poljske filmein tv-nadaljevanke, mdr. za Wesele, ZiemiaObiecana, Seksmisja. Ukvarja setudi s scenografijo, z opremo knjig ins knjižno ilustracijo. Zelo aktiven je napodročju plakata: z ženo Joano Wnukoblikuje številne razstave za Muzejliterature v Varšavi, kjer se predstavitudi s samostojno razstavo risb. Od1980 poučuje na likovnih akademijahv Varšavi in Gdansku.Leta 1988 se preseli na Nizozemsko,kjer se posveča ilustraciji. Rednosodeluje s časopisi (NRC Handelsblad,Frankfurter Allgemene Zeitung) inrevijami (Elle, Vrij Nederland, Quote).Je tudi predavatelj za ilustracijo naLikovni akademiji Minerva v Groningenu.He graduated from the Academy ofFine Arts in Warsaw in 1974.In the 1970s and 1980s he designedmore than twenty leaders for Polishfilms and TV series, including Wesele,Ziemia Obiecana, and Seksmisja. Healso created stage designs for Polishtelevision, book covers and bookillustrations. At that time Koscielniakwas also very active in posterdesign: with his wife Joanna Wnuk hedesigned several exhibition posters forThe Museum of Literature in Warsawand presented his drawings in a soloexhibition in Warsaw. Since 1980 hehas been a teacher at the Academies ofFine Arts in Warsaw and Gdansk.In 1988 Koscielniak moved to TheNetherlands, where he concentrateson illustration. He regularly worksfor newspapers (NRC Handelsblad,Frankfurter Allgemene Zeitung) andmagazines (Elle, Vrij Nederland, Quote).Koscielniak also teaches illustration atthe Academy of Fine Arts Minerva inGroningen (NL).Če nimaš dobre ideje, ti tudi najboljširačunalnik na svetu ne more pomagati.Svinčnik ali miškaPapergram, 2/2005Ilustracija se mora vedno boritis fotografijo. V zadnjih letih imafotografija s svojo očitno, nedvoumnolastnostjo skoraj monopol. Ne zahtevanamreč razmisleka, njena metaforikaje večinoma drugotnega pomena.Ilustracija pa je predvsem metafora inprav zato jo je težko v hipu osvojiti. Avse mora biti takoj. Ljudje razmišljajov fotografijah, ne v ilustracijah.Največji sovražnik ilustracije je pravnapor, potreben za njeno razlago inumevanje.Nizozemski mojster2+3D, 2/2004If you don’t have a good idea then noteven the best computer in world canhelp you.Pen or MousePapergram, 2/2005Illustration always has to fight withphotography. In recent years therehas been almost a monopoly ofphotographs, which always have thatobvious unambiguous quality. Theydon’t require reflection, and theirmetaphorical aspects are generally ofsecondary importance. An illustrationis foremost a metaphor, and is thus difficultto instantly consume. Everythingneeds to be right away. People thinkin photographs, not illustrations. Thus,that effort which is necessary for theinterpreting and understanding of anillustration is its greatest foe.A Dutch Master2+3D, 2/200412http://www.artassociates.nl/


Cyprian KoscielniakBakuavCyprian KoscielniakVeluweavCyprian KoscielniakMuzej | MuseumavCyprian KoscielniakKippenbergeravCyprian KoscielniakGlobalno segrevanje | GlobalwormingavCyprian Koscielniak


Doslej so gostovali:Our guests were:1. M. O. D. 20032. M. O. D. 200514


ustanovitelj fundacije brumenfounder of brumen fundationveliki pokroviteljprincipal sponsorgeneralni pokrovitelj tiskaprinting kindly sponsored bymedijski pokroviteljimedia sponsorspokroviteljisponsorsS prijazno podporo VeleposlaništvaKraljevine Nizozemske.With kind support of the Embassyof the Kingdom of the Netherlands.This project was funded, in part,through a U.S. Embassy grant.The opinion, findings, and conclusionsor recommendations expressedherein are those of the Authors anddo not necessarily reflect those of theDepartment of State.


Produkcija | Production: Fundacija BrumenRedakcija | Editing: Petra Černe Oven, Inge PangosPrevod (biografije) | Translation (biographies): U. T. A. PrevajanjeOblikovanje | Design: Robert IlovarOrganizacija | Organisation: Barbara PredanTisk | Printer: Tiskarna PetričNaklada | Print run: 500Ljubljana. November 20073,00 EUR

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