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Bančni vestnik 1996–2011 160 naslovnic v 16 letih 160 covers in 16 years Umetniško vodstvo in oblikovanje: Art Direction and Design by Edi Berk / KROG Ljubljana, Slovenia Fotografije in ilustracije: Photographed and illustrated by Dragan Arrigler (47) Boris Gaberščik (29) Janez Pukšič (20) Kreb Ide (50) Dejan Habicht (6) Janko Dermastja (2) Matjaž Prešeren (2) Zvone Kosovelj (1) Andrej Cvetnič (3) Besedila: Text by Dragan Arrigler Boris Gaberščik Mag. Emil Lah Dr. Mojmir Mrak Dr. Ivan Ribnikar Dušan Hočevar Lektura: Proof reading by Maja Kraigher Prevod: Translated by Amidas, Ljubljana Tiskano v Sloveniji Printed in Slovenia 2011
T
rije moji problemi s fotografijo • Včasih je morda dobro odriniti filozofijo, koncepte in vse drugo okrog fotografije vstran in povedati kaj zelo osebnega. V nadaljevanju je že nekaj takih misli. • S fotografijo se izražam. Z njeno pomočjo kažem svoj pogled na svet in njegove pojave, kakršnikoli že so. Saj zelo rad tudi pišem, a fotografija mi je v vsakem primeru bliže. Od leta 1974, ko sem se z njo začel ukvarjati malo bolj resno, pravzaprav tako zagrizeno ne počnem ničesar drugega. Prav zaradi tega so se z leti pojavili tudi problemi, ki jih ne znam rešiti. Na primer tale: prvih pet let, torej do leta 1979, sem bil fotograf amater. Potem sem se zaposlil pri časopisu DELO kot fotoreporter, ampak v prostem času sem bil še vedno fotograf amater. Konec leta 1985 sem zapustil časnikarsko službo in odprl svoj studio za komercialno fotografijo. A kaj, ko sem se v prostem času s fotografijo ukvarjal tudi ljubiteljsko. Dandanes lahko rečem, da sem še vedno komercialni fotograf, začel pa sem sodelovati tudi v izobraževalnem procesu; prepričan sem namreč, da bi moral vsakdo, ki ima četrt stoletja izkušenj na nekem področju, svoje izkušnje (in ne nazadnje tudi pridobljeno znanje) posredovati mlajšim kolegom. Tako poleg rednega dela za naročnike predavam na eni od fotografskih šol, v prostem času pa se ukvarjam s fotografijo ljubiteljsko. Še vedno. Prva leta mi je bilo to še všeč, danes pa – kar je preveč, je preveč. Predstavljajte si: po dolgih urah fotografiranja v studiu, prestavljanja luči, plezanja po lestvah, borbe s scenografijo in vsega drugega pridem popoldne domov in za razvedrilo vzamem v roke fotoaparat ter grem malo na zrak. S kakšnim konkretnim namenom ali brez njega, to sploh ni pomembno. • Rad bi se amatersko ukvarjal s kakšno drugo rečjo. Imel bi hobi. Ampak seveda ne kar nekaj, recimo poslušanje glasbe. Saj jo poslušam, a to ne more biti hobi. • Rad bi počel kaj ustvarjalnega, s čimer bi se tudi lahko izražal, pasivni hobiji me ne zanimajo toliko. In seveda, ta hobi ne bi smel biti v ničemer povezan s fotografijo. Nimam pojma, kaj bi to lahko bilo. • Nemajhen problem pri mojem delu seveda izvira tudi iz samega značaja dela. Nimam se za kakšnega umetnika in zavedam se, da je komercialna fotografija timsko delo, to pa pomeni, da je treba svoje razmišljanje in ravnanje usklajevati z razmišljanjem in ravnanjem vsaj enega sodelavca. Če jih je več, je prilagajanje še toliko težje in obsežnejše. In to seveda pomeni tudi, da imam praviloma naročnika, ki ga moram s svojim delom prepričati; če mu bo všeč, ga bo kupil, sicer ne. Včasih morda sovražim to, kar sem prodal. A take stvari so neizbežne, če živiš od komercialne fotografije. Znani izrek “naročnik ima vedno prav” velja tudi tu. • In še en problem je: dandanes je vsakdo fotograf. Do tega sta pripeljali tehnika in recesija. Tehnika zato, ker je naredila fotoaparate, na katerih piše “auto” in imajo na zadnji strani zaslonček, kjer vsakdo lahko takoj vidi fotografijo, ki jo je pravkar naredil. Recesija pa zato, ker je prisilila večino naročnikov, da take pojave tolerirajo. Kot pri vsakem drugem poslu tudi pri komercialni fotografiji velja, da moraš biti boljši, hitrejši in cenejši, pa boš dobil delo. Vendar z omejitvami: lahko si boljši in hitrejši, ne bo pa to poceni. Lahko si hitrejši in cenejši, a vse bo narejeno zanič. In lahko si seveda boljši in cenejši, narejeno pa ne bo prav hitro. Žal naročniki v večini primerov najbolj cenijo drugo kombinacijo, torej da si hitrejši in cenejši, kvaliteta dela pa jim je manj pomembna. Kdaj bo recesija mimo (in z njo ta miselnost naročnikov), ni znano nikomur. • Ampak ali zaradi teh problemov svojega dela ne maram? Ali razmišljam, da bi počel kaj drugega? Grem v studio z odporom? Sploh ne, ravno nasprotno. Ravno zdaj moram nehati, ker sem namenjen prav tja, da se lotim najnovejšega naročila, ki sem ga dobil. Dragan Arrigler, fotograf
O vlogi centralne banke, njeni neodvisnosti in odnosih z državno zakladnico Bančni vestnik 1-2/1996 (fotografija Janez Pukšič)
About the central bank, its role, autonomy and relationship with the treasury Bančni vestnik 1-2/1996 (photographed by Janez Pukšič)
Metodika notranjega revidiranja bank Methods of internal bank auditing Bančni vestnik 3/1996 (fotografija / photographed by Dejan Habicht)
Konvertibilnost tolarja The convertibility of the tolar Bančni vestnik 4/1996 (ilustracija / illustration by Edi Berk)
Banke, zavarovalnice in notranji evropski trg Banks, insurance companies and European internal market Bančni vestnik 5/1996 (fotografija / photographed by Janez Pukšič)
Kodeks liberalizacije kapitalskih tokov Code of practice for the liberalisation of capital flows Bančni vestnik 11/1996 (zasnova in fotografija / concept and photography by Dragan Arrigler)
Bančne garancije v mednarodni praksi International business law Bančni vestnik 6/1996 (fotografija / photographed by Dragan Arrigler)
Reforma plačilnega sistema Reform of the Slovenian paymant system Bančni vestnik 7-8/1996 (fotografija / photographed by Boris Gaberščik)
Stroškovni model za potrebe odločanja in kontrole A costing model for decisions and control Bančni vestnik 10/1996 (fotografija / photographed by Dejan Habicht)
Listinjenje v Evropi Securitisation in Europe Bančni vestnik 12/1996 (fotografija / photographed by Boris Gaberščik)
M
y three problems with photography • Sometimes it is perhaps good to push away philosophy, concepts and everything else surrounding photography and instead say something very personal. Below are a few such ideas. • I express myself through photography. With its help, I show my view of the world and its phenomena, whatever they may be. I also love writing, but there is no doubt that photography is closer to my heart. Since 1974, when I began to take it a little more seriously, there has been nothing else to which I have devoted myself with comparable zeal. With the passing of the years, this has actually been the cause of problems that I am unable to resolve. This one for example: for the first five years, in other words until 1979, I was an amateur photographer. Then I got a job on the Delo newspaper as a photojournalist, but in my free time I was still an amateur photographer. At the end of 1985 I quit journalism and opened my own commercial photography studio. In my free time, though, I was still involved in photography as an amateur. Today I can say that I am still a commercial photographer, but I have also begun to participate in the educational process; I firmly believe that anyone who has a quarter of a century's experience in a given area should also pass on his experience (and the knowledge he has acquired) to younger colleagues. So in addition to my regular work for clients I teach at a school of photography, and in my free time I am an amateur photographer. Still. For the first few years I was still happy about this but today – enough is enough. Imagine: after long hours of taking photographs in the studio, setting up lights, climbing up ladders, wrestling with backgrounds and all the rest of it, I come home in the afternoon and, by way of a pastime, pick up a camera and go out to get some air. With or without a specific purpose – that is not important. • I would like to do something else on an amateur basis. I would like a hobby. But not just anything – listening to music, say. I do listen to music, but that cannot be a hobby. I would like to do something creative, something through which I can also express myself. Passive hobbies do not really interest me. And, of course, this hobby must not be connected to photography in any way. I have no idea what it might be. • A not inconsiderable problem in my work derives from the nature of the work itself. I do not consider myself an artist and I am aware that commercial photography is teamwork, but this means that you have to coordinate your ideas and actions with the ideas and actions of at least one co-worker. The more there are of you, the more difficult and more extensive this process of adaptation becomes. And this of course also means that I usually have a client whom I must convince with my work; if he likes it, he will buy it. If he doesn't, he won't. Sometimes I might hate what I have sold. Such things are inevitable when you make your living from commercial photography. The old cliché about the customer always being right also applies here. • And there is another problem: today everyone is a photographer. This is the fault of technology and the recession. Technology, because it has produced cameras with an "auto" setting and a little screen on the back where everyone can see at once how the photograph they have just taken has turned out. The recession, because it has forced the majority of customers to tolerate such phenomena. In commercial photography, like every business, you have to be better, faster and cheaper, and then you'll get work. There are, however, some provisos: you can be better and faster, but this will not be cheap. You can be faster and cheaper, but your work will be useless. And of course you can be better and cheaper, but that takes longer. Unfortunately in most cases customers prefer the second combination, in other words faster and cheaper, and the quality of the work is less important to them. No one knows when the recession will end (and with it, this mentality among customers). • But do these problems mean that I do not like my work? Would I consider doing anything else? Am I reluctant to go to the studio? Absolutely not: quite the opposite. Actually, I have to stop now because I am heading there at this moment to start on my latest commission. Dragan Arrigler, photographer
Nastajajoči finančni trgi Bančni vestnik 9/1996 (fotografija Janez Pukšič)
Emerging financial markets Bančni vestnik 9/1996 (photographed by Janez Pukšič)
Listinjenje v Združenih državah Amerike Bančni vestnik 1-2/1997 (fotografija Dragan Arrigler)
Securitisation in the United States of America Bančni vestnik 1-2/1997 (photographed by Dragan Arrigler)
Kako organizirati delovanje kontrolinga v poslovnih bankah How to organise supervision in banks Bančni vestnik 3/1997 (fotografija / photographed by Boris Gaberščik)
Nadzor bančnega poslovanja (1) Supervision of banking operations (1) Bančni vestnik 4/1997 (fotografija / photographed by Janez Pukšič)
Nadzor bančnega poslovanja (2) Supervision of banking operations (2) Bančni vestnik 5/1997 (fotografija / photographed by Dejan Habicht)
Vpliv monetarne unije na poslovanje bank (1) The impact of monetary union on the operations of banks (1) Bančni vestnik 6/1997 (fotografija / photographed by Dragan Arrigler)
Vpliv monetarne unije na poslovanje bank (2) The impact of monetary union on the operations of banks (2) Bančni vestnik 7-8/1997 (fotografija / photographed by Janko Dermastija)
Slovenija in oblikovanje Evropske monetarne unije (1) Slovenia and the formation of European monetary union (1) Bančni vestnik 9/1997 (fotografija / photographed by Dejan Habicht)
Slovenija in oblikovanje Evropske monetarne unije (2) Slovenia and the formation of European monetary union (2) Bančni vestnik 10/1997 (fotografija / photographed by Janez Pukšič)
Temeljne značilnosti sistema zavarovanja hranilnih vlog Basic characteristics of the deposit security system Bančni vestnik 12/1997 (fotografija / photographed by Boris Gaberščik)
Investicijsko poslovanje vzajemnih skladov (1) Investment performance of mutual funds (1) Bančni vestnik 11/1997 (fotografija / photographed by Janko Dermastija)
Državni vrednostni papirji Government securities Bančni vestnik 1-2/1998 (fotografija / photographed by Matjaž Prešeren)
Evro in slovenske banke Euro and Slovenian banks Bančni vestnik 3/1998 (fotografija / photographed by Janez Pukšič)
Evro in mednarodni finančni trgi (1) Euro and international financial markets (1) Bančni vestnik 4/1998 (fotografija / photographed by Boris Gaberščik)
Evro in mednarodni finančni trgi (2) Euro and international financial markets (2) Bančni vestnik 5/1998 (ilustracija / illustrated by Edi Berk)
Skupna evropska denarna politika in njeni transmisijski mehanizmi Common European monetary policy and it’s transmission mechanisms Bančni vestnik 6/1998 (fotografija / photographed by Dragan Arrigler)
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zjemna manipulativnost in zmuzljivost (po Branetu Koviču) fotografije sta lastnosti, ki jo zaznamujeta kot najzanimivejši medij 20. stoletja. Čeprav imam včasih občutek, da je v primerjavi z gibljivo sliko neučinkovita, pa ima tudi veliko prednost. Gibljive podobe (film in video) sicer tehnološko izhajajo iz fotografije, a jih dojemamo bolj kot nekaj igranega, insceniranega (bližjega teatrski podobi), medtem ko fotografijo dojemamo kot verističen dokument časa in prostora. Seveda to velja predvsem za naš kulturni oziroma civilizacijski prostor. Prav zato je v preteklem stoletju fotografija odigrala ključno vlogo v trženju in oglaševanju. • Sodelovati pri ustvarjanju
naslovnic Bančnega vestnika je bila prijetnejša izkušnja v mojem dosedanjem 25-letnem fotografskem stažu. Alterniranje z dvema vrhunskima fotografoma in odlična, jasna asociativna izhodišča, včasih malo humorna, odlično oblikovanje in več kot korektna tehnična izpeljava tiska je v slovenskem prostoru prej redkost kot nekaj vsakdanjega. • Galerija naslovnic Bančnega vestnika je prav gotovo oblikovalsko-fotografski dosežek, na katerega smo lahko ponosni tako doma kot tudi v tujini. Boris Gaberščik, fotograf
Bančni prevzemi in združitve po svetu in v Sloveniji (1) Bančni vestnik 10/1998 (fotografija Dragan Arrigler)
Banks mergers and acquisitions abroad and in Slovenia (1) Bančni vestnik 10/1998 (photographed by Dragan Arrigler)
Kodeksa liberalizacije kapitalskih gibanj in finančnih storitev OECD codes of liberalization of capital movements and of current invisible operations Bančni vestnik 7-8/1998 (fotografija / photographed by Dejan Habicht)
Skrbniški bančni računi tujcev Bank clients’ accounts for foreign portfolio investors Bančni vestnik 9/1998 (fotografija / photographed by Boris Gaberščik)
Bančni prevzemi in združitve po svetu in v Sloveniji (2) Banks mergers and acquisitions abroad and in Slovenia (2) Bančni vestnik 11/1998 (fotografija / photographed by Dejan Habicht)
Investicijski skladi Investment funds Bančni vestnik 12/1998 (fotografija / photographed by Boris Gaberščik)
Financiranje nepremičnin v svetu in pri nas Forms of financing real estate in Slovenia and the world Bančni vestnik 1-2/1999 (fotografija / photographed by Janez Pukšič)
Revalorizacija – resen sistemski problem Revaluation – a serious systemic problem Bančni vestnik 3/1999 (zasnova in fotografija / concept and photography by Boris Gaberščik)
Po čem se lahko zadolžuje slovenska država? How can Slovenian’s state run into debt? Bančni vestnik 4/1999 (fotografija / photographed by Dragan Arrigler)
Pravna ureditev potrošniških kreditov Legal regulation of consumer credits Bančni vestnik 5/1999 (zasnova in fotografija / concept and photography by Andrej Cvetnič)
Dejavniki uspešnosti poslovanja evropskih bank in teorija signalov (1) Bančni vestnik 9/1999 (fotografija Dragan Arrigler)
Factor influencing effectiveness of European banks and signaling hypothesis (1) Bančni vestnik 9/1999 (photographed by Dragan Arrigler)
Vloga nebančnih finančnih posrednikov na slovenskem finančnem trgu (1) The role of non-bank financial intermediaries in the Slovenian financial market (1) Bančni vestnik 6/1999 (fotografija / photographed by Dragan Arrigler)
Vloga nebančnih finančnih posrednikov na slovenskem finančnem trgu (2) The role of non-bank financial intermediaries in the Slovenian financial market (2) Bančni vestnik 7-8/1999 (fotografija / photographed by Boris Gaberščik)
T
he extraordinary manipulativeness and evasiveness of photography (to use Brane Kovič's words) are the characteristics that define it as the most interesting medium of the 20th century. Although I sometimes have a sense of its ineffectiveness when compared to the moving image, it also has a great advantage. Although moving pictures (film and video) derive from photography in the technological sense, we understand them more as something acted or staged (closer to a theatrical image), while we understand photography as a veristic document of time and space. This, of course, applies above all to our cultural or civilisational space. This is the reason why photography played a key role in marketing and advertising in the last century. • Collaborating on the creation of the covers for Bančni vestnik has been a pleasant experience in my 25-year career as a photographer. The alternation of two top photographers, excellent, clearly associative starting points (occasionally slightly humorous), first-rate design and technically faultless printing are more an exception than the rule in Slovenia. • The gallery of Bančni vestnik covers is without a doubt a significant achievement of design and photography, of which we may be proud both at home and abroad. Boris Gaberščik, photographer
Presoja investicijskega projekta z vidika nekomercialnih (političnih) tveganj Bančni vestnik 11/1999 (fotografija Boris Gaberščik)
Political risk assessment Bančni vestnik 11/1999 (photographed by Boris Gaberščik)
Dejavniki uspešnosti poslovanja evropskih bank in teorija signalov (2) Factor influencing effectiveness of European banks and signaling hypothesis (2) Bančni vestnik 10/1999 (fotografija / photographed by Andrej Cvetnič)
Povezava med mednarodno kapitalsko mobilnostjo in deviznim tečajem The link between international capital mobility and the foreign exchange rate Bančni vestnik 12/1999 (fotografija / photographed by Dragan Arrigler)
Vpliv informacij na delovanje finančnih trgov Expectations set pulse to financial markets Bančni vestnik 1-2/2000 (fotografija / photographed by Dragan Arrigler)
Monetarni modeli opredelitve deviznega tečaja (1) Monetary models for defining the exchange rate (1) Bančni vestnik 3/2000 (fotografija / photographed by Boris Gaberščik
Monetarni modeli opredelitve deviznega tečaja (2) Monetary models for defining the exchange rate (2) Bančni vestnik 4/2000 (fotografija / photographed by Janez Pukšič
Denarna uprava – izkušnje posameznih držav Currency board – experiences of the different states Bančni vestnik 5/2000 (fotografija / photographed by Boris Gaberščik
Listinjenje premoženja (1) Securitisation (1) Bančni vestnik 6/2000 (zasnova in fotografija / concept and photography by Andrej Cvetnič)
Listinjenje premoženja (2) Securitisation (2) Bančni vestnik 7-8/2000 (fotografija / photographed by Janez Pukšič)
Listinjenje premoženja (3) Bančni vestnik 9/2000 (fotografija Dragan Arrigler)
Securitisation (3) Bančni vestnik 9/2000 (photographed by Dragan Arrigler)
Premoženjska razlaga zunanjega ravnovesja The portfolio approach Bančni vestnik 10/2000 (fotografija / photographed by Roentgen)
Dileme javnih financ v Sloveniji (1) The dilemmas of public finance in Slovenia (1) Bančni vestnik 11/2000 (fotografija / photographed by Dragan Arrigler)
Dileme javnih financ v Sloveniji (2) The dilemmas of public finance in Slovenia (2) Bančni vestnik 12/2000 (fotografija / photographed by Dragan Arrigler)
Zdravje javnih financ The health of the public finances Bančni vestnik 1-2/2001 (fotografija / photographed by Dragan Arrigler)
Bančne krize v Latviji in Estoniji (1) Banking crises in Latvia and Estonia (1) Bančni vestnik 3/2001 (fotografija / photographed by Janez Pukšič)
Bančne krize v Latviji in Estoniji (2) Banking crises in Latvia and Estonia (2) Bančni vestnik 4/2001 (fotografija / photographed by Boris Gaberščik)
B
ančni vestnik praznuje letos 60. obletnico rednega izhajanja in publicističnega razvoja. V samostojni Sloveniji se je v zadnjih dveh desetletjih Bančni vestnik profiliral kot specializirana strokovna revija za področje bančništva in denarništva, ki se poleg ožjih bančnih tem analitično ukvarja tudi s problematiko financ v širšem pomenu besede. • V skladu s programsko usmeritvijo so se sodelavci revije v prvem desetletju nove države lotevali kopice problemov na prehodu v tržno gospodarstvo in vprašanj, povezanih z delovanjem majhnega gospodarstva ali majhnega denarnega območja. Ker je bil pomemben del ekonomske ureditve, strategije in politike povezan z denarjem, denarno ureditvijo, bankami in drugimi finančnimi ustanovami, finančnimi trgi in instrumenti, politiko deviznega tečaja in mednarodnim pretokom kapitala, so v reviji našla prostor razmišljanja o dveh med seboj povezanih problemih – o problemih prehoda na splošno in o problemih prehoda majhne ekonomije. • Tudi v prihodnje bo osnovno poslanstvo revije v tem, da strokovno bančno in širšo zainteresirano javnost redno seznanja z aktivnostmi slovenskega bančnega združenja in bank članic, da spodbuja javno diskusijo o odprtih finančnih vprašanjih in prispeva k strokovnemu izobraževanju slovenskih bančnikov. Za slovensko poslovno
bančništvo je nesporno koristno tudi nastajanje strokovne bančne terminologije v reviji, ki omogoča globlje razumevanje novih finančnih produktov in razvojnih trendov evropskega bančništva. Ker revija izhaja v slovenskem jeziku, sta njen obstoj in nadaljnji publicistični razvoj tudi nacionalnega in družbeno-kulturnega pomena, saj si novih finančnih revij s podobno specializirano vsebino ne moremo privoščiti. Revija bo v prihodnjih letih morala narediti nov korak k strokovni odličnosti in večji mednarodni prepoznavnosti. Zato bo morala načrtno spremljati razvojne trende evropskega bančništva, se vključevati v nekatere mednarodne dogodke regionalnega pomena in o njih poročati. Čeprav bo še vedno izhajala v slovenskem jeziku, bo treba nekatere prispevke objavljati v angleškem jeziku ali vsaj v dvojezični obliki. Uredništvo revije je v skladu s programskimi usmeritvami uredniškega odbora spremenilo vsebinsko zasnovo revije v dva vsebinsko in konceptualno ločena dela, in sicer v aktualnopoljudni in strokovnoznanstveni del. V tem okviru je revija v Bančni rubriki spremljala in bralce redno informirala o izobraževanju bančnikov, o delu poravnalnega sveta, poslovnih konferencah, letnih in specializiranih strokovnih srečanjih slovenskih poslovnih bančnikov, zakladnikov, upravljavcev bančnih tveganj, računovodij, specialistov za plačilni promet ter o aktivnostih ECOFIN, ECB, EBF in drugih evropskih bančnih institucij. Tako smo poskušali revijo približati širšemu krogu bralcev in povečati njeno aktualnost ter informacijsko vrednost. Takšna posodobitev vsebinske zasnove je Bančni vestnik naredila nekoliko drugačen od drugih sorodnih strokovnih revij v evropskem bančnem prostoru. Če želimo biti v Sloveniji tudi na področju bančne publicistike malo drugačni in »posebni«, smo tako svoj cilj nedvomno dosegli. mag. Emil Lah, odgovorni urednik Bančnega vestnika, Vir: Bančni vestnik – 60 let, Združenje bank Slovenije, Ljubljana 2011
Popotnica reviji ob petdesetletnici Bančni vestnik 5/2001 (fotografija Janez Pukšič)
Fairwell at fifty Bančni vestnik 5/2001 (photographed by Janez Pukšič)
Sistemi jamstva za vloge se razlikujejo Deposit insurance systems differ Bančni vestnik 6/2001 (fotografija / photographed by Dragan Arrigler)
Doseganje plačilnobilančnega ravnovesja v okviru makroekonomske stabilizacije v državah na prehodu The re-establishment of balance of-payments equilibrium in the process of macroeconomic stabilization in transition economies Bančni vestnik 11/2001 (fotografija / photographed by Janez Pukšič)
Tečajni režimi in nadzor nad kapitalskimi tokovi držav kandidatk za Evropsko unijo Exchange rate regimes and capital flows in the EU candidate countries Bančni vestnik 7-8/2001 (fotografija / photographed by Dragan Arrigler)
Napovedovanje verjetnosti za prevzem podjetij Takeover prediction models Bančni vestnik 9/2001 (fotografija / photographed by Boris Gaberščik)
Povezava med upravljanjem državnega dolga in denarno politiko Connection between national debt management and monetary policy Bančni vestnik 10/2001 (fotografija / photographed by Boris Gaberščik)
Kreditne naložbe bank in rezervacije – kako določiti ustrezno pokritje Commercial banks’ credit portfolio and loan-loss provisions Bančni vestnik 12/2001 (fotografija / photographed by Dragan Arrigler
Slovenski bančni sektor ni povzročitelj inflacije Bančni vestnik 1-2/2002 (fotografija Janez Pukšič)
Slovene banking sector is not creator of inflation Bančni vestnik 1-2/2002 (photographed by Janez Pukšič)
Globalizacijski procesi v bančnem sektorju držav na prehodu Globalisation processes in the banking sector of the transition countries Bančni vestnik 3/2002 (fotografija / photographed by Boris Gaberščik
Monetarna politika Slovenije in evropska monetarna unija Monetary policy of Slovenia and EMU Bančni vestnik 4/2002 (fotografija / photographed by Janez Pukšič)
Denarni trg v državah kandidatkah za članstvo v Evropski uniji The monetary market in accession countries Bančni vestnik 6/2002 (fotografija / photographed by Boris Gaberščik)
Banke v državah srednje in vzhodne Evrope Banks in countries of Middle and East Europe Bančni vestnik 7-8/2002 (fotografija / photographed by Dragan Arrigler)
Variabilnost obrestnih mer kot dejavnik oblikovanja obrestne marže pri slovenskih bankah Impact of interest rate variability on interest margins in Slovenian banking Bančni vestnik 5/2002 (fotografija / photographed by Dragan Arrigler)
Hrvaški zakon o bančništvu Croatia’s law on banks Bančni vestnik 9/2002 (fotografija / photographed by Mr. Scan)
Vpliv izbranih dejavnikov na tekoči račun plačilne bilance držav na prehodu (1) The macroeconomic determinations of current account balances in transition economies (1) Bančni vestnik 10/2002 (fotografija / photographed by Janez Pukšič)
Vpliv izbranih dejavnikov na tekoči račun plačilne bilance držav na prehodu (2) The macroeconomic determinations of current account balances in transition economies (2) Bančni vestnik 11/2002 (fotografija / photographed by Kreb Ide)
Strukturirani investicijski proizvodi Structured investment products Bančni vestnik 12/2002 (fotografija / photographed by Janez Pukšič)
Alternativne oblike investiranja: skladi hedge skladov Alternative investments – hedge fund of funds Bančni vestnik 1-2/2003 (fotografija / photographed by Janez Pukšič)
Priprave državnih uprav članic evro območja na uvedbo evra (1) The preparations of the public administrations in the EU members to the introduction of the euro (1) Bančni vestnik 3/2003 (fotografija / photographed by Dejan Habicht, Janez Pukšič)
Priprave državnih uprav članic evro območja na uvedbo evra (2) The preparations of the public administrations in the EU members to the introduction of the euro (2) Bančni vestnik 4/2003 (fotografija / photographed by Dragan Arrigler
Preveč bank in premalo kreditov v tranzicijskih državah Too many banks and not enough credits in transition countries Bančni vestnik 5/2003 (zasnova in fotografija / concept and photography by Dragan Arrigler)
Povezovanje nosilcev infrastrukture finančnih trgov v EU Globalisation of financial markets organizers in EU Bančni vestnik 6/2003 (fotografija / photographed by Matjaž Prešeren)
Kapitalski trgi v tranzicijskih gospodarstvih: preteklost in prihodnost Bančni vestnik 7-8/2003 (fotografija Janez Pukšič)
Capital market in transition countries: past and future Bančni vestnik 7-8/2003 (photographed by Janez Pukšič)
Bančni sektor v državah Evropske unije Banking system in the countries of the EU Bančni vestnik 9/2003 (fotografija / photographed by Boris Gaberščik)
Pomen elektronskega denarja v tranzicijskih gospodarstvih The role of the e-money in transition economies Bančni vestnik 10/2003 (fotografija / photographed by Dragan Arrigler)
Vloga finančnih storitev v tranzicijskih državah The role of financial services in transition economies Bančni vestnik 11/2003 (fotografija / photographed by Dragan Arrigler)
Denarni tokovi v Evropski uniji in likvidnost proračuna Financial flows in the European union and budget liquidity Bančni vestnik 12/2003 (fotografija / photographed by Boris Gaberščik)
Primernost sistema dinamičnih rezervacij za slovenske banke (1) Adequacy of the system of the dynamic provisions for Slovenian banks (1) Bančni vestnik 1-2/2004 (fotografija / photographed by Dragan Arrigler)
Primernost sistema dinamičnih rezervacij za slovenske banke (2) Adequacy of the system of the dynamic provisions for Slovenian banks (2) Bančni vestnik 3/2004 (fotografija / photographed by Boris Gaberščik)
Tuje banke in prihodnja lastniška struktura slovenskega bančnega sektorja (1) Foreign banks and future ownership structure of Slovenian banking sector (1) Bančni vestnik 4/2004 (fotografija / photographed by Boris Gaberščik)
Slovenija ob vstopu v Evropsko unijo: stanje, problemi in izzivi Slovenia joins the European Union: situation, problems and chalenges Bančni vestnik 5/2004 (fotografija / photographed by Boris Gaberščik
Tuje banke in prihodnja lastniška struktura slovenskega bančnega sektorja (2) Foreign banks and future ownership structure of Slovenian banking sector (2) Bančni vestnik 6/2004 (fotografija / photographed by Dragan Arrigler)
Zavarovalništvo v Sloveniji: izzivi in priložnosti Slovenian insurance undertakings at he crossroads Bančni vestnik 7-8/2004 (fotografija / photographed by Dragan Arrigler)
Tuje banke in prihodnja lastniška struktura slovenskega bančnega sektorja (3) Foreign banks and future ownership structure of Slovenian banking sector (3) Bančni vestnik 9/2004 (fotografija / photographed by Janez Pukšič)
Aktualni model merjenja kreditnega tveganja The actuarial approach to measuring credit risk Bančni vestnik 10/2004 (ilustracija / illustrated by Dragan Arrigler)
Kako nastaja finančna regulativa v EU Preparation of the EU financial legislation and regulation Bančni vestnik 11/2004 (fotografija / photographed by Dragan Arrigler
Dezinflacijska politika v Sloveniji in ERM2 Disinflation policy in Slovenia and ERM2 Bančni vestnik 12/2004 (fotografija / photographed by Dragan Arrigler)
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ančni vestnik is celebrating its 60th anniversary this year. Over the last two decades, since Slovenia became independent, Bančni vestnik has profiled itself as a specialist journal in the field of banking and money which, as well as covering strictly banking-related topics, analyses issues relating to finance in the broader sense of the word. • This orientation meant that in the first decade following independence, contributors to the journal focused on the numerous problems relating to the transition to a market economy and issues inherent to the functioning of a small economy or a small monetary area. Since an important part of the economic system, economic strategy and economic policy was connected to money, monetary regulation, banks and other financial institutions, financial markets and instruments, exchange rate policy and the international flow of capital, the journal found space for reflections on two interrelated issues – the problem of transition in general and the problem of the transition of a small economy. • The fundamental mission of the journal will continue to be to keep the banking sector and the wider public informed of the activities of the Bank Association of Slovenia and member banks, encourage public discussion of current financial issues and contribute to the professional education of Slovene bankers. For Slovenia's commercial banking sector, the journal's formulation of technical banking terminology is unquestionably useful, since this enables a deeper understanding of new financial products and development trends in the European banking sector. Since the journal is published in Slovene, its existence and continued development is also of national and sociocultural importance, since we cannot afford new financial journals with similarly specialised content. In the years to come, the journal must take a new step towards professional excellence and greater international visibility. For this reason it must systematically monitor development trends in European banking, participate in selected international events of regional importance, and report on them. Although it will continue to be published in Slovene, specific articles will need to be published in English or at least in bilingual form. In accordance with the line laid down by the editorial committee, the editorial board of the journal has divided the journal into two conceptually distinct parts: a news/popular section and a specialist/technical section. In this context, the Banking column has regularly covered training for bankers, the work of the settlement council, the business conferences and annual and specialist meetings of Slovenia's commercial bankers, treasurers, bank risk managers, accountants and payment transactions specialists, and the activities of ECOFIN, the ECB, the EBF and other European banking institutions. In this way we have tried to bring the journal closer to a wider circle of readers and increase its topicality and value as a source of information. This modernisation of content has made Bančni vestnik slightly different from other specialist journals in the European banking arena. If we in Slovenia wish to be slightly different and "special" in the financial publishing sector too, we have undoubtedly achieved this objective. mag. Emil Lah, editor-in-chief of Bančni vestnik, Source: Bančni vestnik – 60 Years, Bank Association of Slovenia, Ljubljana 2011
Makroekonomska tveganja ob vključitvi v ERM2 Bančni vestnik 1-2/2005 (fotografija Dragan Arrigler)
Macroeconomic risks of entry in ERM2 Bančni vestnik 1-2/2005 (photographed by Dragan Arrigler)
Makroekonomska tveganja po vključitvi v ERM2 Macroeconomic risks after ERM2 entry Bančni vestnik 3/2005 (fotografija / photographed by Boris Gaberščik)
Makroekonomska tveganja ob in po vključitvi v ERM2 Macroeconomic risks at the time of EMU entry and afterwards Bančni vestnik 4/2005 (fotografija / photographed by Dragan Arrigler)
O politiki plasmajev hrvaških bank A review of credit policy in Croatian banks Bančni vestnik 5/2005 (fotografija / photographed by Dragan Arrigler)
Monetarna pravila in monetarna politika (1) Monetary policy and monetary rules (1) Bančni vestnik 6/2005 (fotografija / photographed by Dragan Arrigler)
Priprave novih članic EU na prevzem evra New member states prepare for euro adoption Bančni vestnik 7-8/2005 (fotografija / photographed by Dragan Arrigler
Monetarna pravila in monetarna politika (2) Monetary policy and monetary rules (2) Bančni vestnik 9/2005 (ilustracija / illustrated by Gustave Doré)
Finančni trg Črne gore – trnova pot razvoja Financial market in Montenegro Bančni vestnik 11/2005 (fotografija / photographed by Dragan Arrigler)
Prihodnost gotovine The future of cash Bančni vestnik 12/2005 (fotografija / photographed by Dragan Arrigler
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ančni vestnik je v času tektonskih političnih in ekonomskih sprememb v naši državi predstavljal osrednjo slovensko revijo, v kateri so številne generacije avtorjev analizirale najrazličnejše tematike slovenskega finančnega sistema in bančništva kot njegovega osrednjega dela. V Bančnem vestniku kot osrednjem tovrstnem strokovnem mediju v Sloveniji so se soočala različna stališča in pogledi avtorjev na ključne dileme razvoja slovenskega bančništva in njegovo vpetost v mednarodno finančno okolje. Tako je revija odločilno vplivala na raven znanja na finančnem področju, veliko pa je prispevala tudi k razvoju strokovne bančne terminologije. dr. Mojmir Mrak, profesor na Ekonomski fakulteti Univerze v Ljubljani
ančni vestnik je pomemben predvsem zato, ker izhaja v slovenščini in pomaga k utrjevanju in razvoju strokovne terminologije. Revija bi lahko bila tudi večjezična, vendar bi naj bila večina besedil v slovenskem jeziku. Poleg tega je Bančni vestnik pomemben, če obravnava teme, ki zadevajo nas v Sloveniji. Sicer je, kakor je znano, pri nas poplava revij, časopisov in besedil, ki so vsakomur lahko dostopni. Revija redno izhaja in tako dokazuje svojo zrelost in resne namene. Njeno poslanstvo je predvsem v tem, da objavlja relativno kratka, dobro napisana in aktualna besedila, zaradi katerih bodo ljudje revijo z veseljem vzeli v roke. dr. Ivan Ribnikar, zaslužni profesor Univerze v Ljubljani in član uredniškega odbora Bančnega vestnika ančni vestnik, specializirana strokovna revija za denarništvo in bančništvo, praznuje letos 60 let publicističnega razvoja. • V reviji smo burne spremembe na področju finančne zakonodaje in evropske regulative redno spremljali, analizirali in kritično komentirali. • Revija je namenjena predvsem bančnikom, zato smo jo v zadnjih nekaj letih vsebinsko obogatili. Njen poglavitni cilj je tudi seznanjanje strokovne in širše javnosti z aktualnimi bančnimi dogajanji in odpiranje vrat mladim strokovnjakom, katerim daje možnost objavljati strokovne prispevke in jih ponujati širši javnosti. Dušan Hočevar, direktor Združenja bank Slovenije,
Vir izjav: Bančni vestnik – 60 let, Združenje bank Slovenije, Ljubljana 2011
Konvergenca tranzicijskih gospodarstev in dezinflacija v letu 2005 BanÄ?ni vestnik 10/2005 (fotografija Dragan Arrigler)
Convergence of transition economies and dezinflation in 2005 BanÄ?ni vestnik 10/2005 (photographed by Dragan Arrigler)
Ena (enotna) ali prevladujoča davčna stopnja? Bančni vestnik 1-2/2006 (fotografija Boris Gaberščik)
One (flate) or prevailing tax rate? Bančni vestnik 1-2/2006 (photographed by Boris Gaberščik)
Nekateri pravni vidiki izstopa iz evroobmočja Some legal aspects of leaving euro area Bančni vestnik 3/2006 (fotografija / photographed by Dragan Arrigler)
Izbrati ETF ali indeksni vzajemni sklad? Picking ETF or index mutual funds? Bančni vestnik 6/2006 (fotografija / photographed by Dragan Arrigler)
GARCH modeliranje nestanovitnosti GARCH volatility modelling Bančni vestnik 4/2006 (fotografija / photographed by Boris Gaberščik)
Razmah indeksnih investicijskih skladov Growth of passive investment funds Bančni vestnik 5/2006 (fotografija / photographed by Dragan Arrigler)
Procikličnost finančnega in realnega sektorja in tranzicijska gospodarstva Procyclicality of financial and real sector and transition economies Bančni vestnik 7-8/2006 (fotografija / photographed by Roentgen)
Učinkovitost bank v vzhodni in zahodni Evropi in makro okolje Banking sector efficiency between eastern and western Europe and macroeconomic environment Bančni vestnik 9/2006 (fotografija / photographed by Boris Gaberščik)
Proračunski prihodki Evropske unije in dobiček Evropske centralne banke Budget of the European Union and gain of the European Central Bank Bančni vestnik 10/2006 (fotografija / photographed by Boris Gaberščik)
Majhna gospodarstva v evroobmočju: problemi, izzivi in priložnosti Small economies in the euro area: issues, challenges and opportunities Bančni vestnik 11/2006 (fotografija / photographed by Dragan Arrigler)
Kreditni posli banke s povezanimi osebami Bank business with connected companies Bančni vestnik 12/2006 (fotografija / photographed by Dragan Arrigler)
Uganka premije na lastniški kapital: ocena premije na podlagi modela CAPM Equity premium puzzle: estimation with CAPM Bančni vestnik 1-2/2007 (fotografija / photographed by Dragan Arrigler)
Tveganja povezana s pokojninskim sistemom Risk present in the supplementary pension system Bančni vestnik 3/2007 (fotografija / photographed by Boris Gaberščik)
Bančni sektor pod lupo evropske komisije Banking sector under the scrutiny of the European Commission Bančni vestnik 5/2007 (fotografija / photographed by Dragan Arrigler)
Pomen staranja prebivalstva za banke The role of ageing for banks Bančni vestnik 4/2007 (fotografija / photographed by Dragan Arrigler)
Industrijska konkurenčnost Slovenije Industrial competitiveness of Slovenia Bančni vestnik 6/2007 (fotografija / photographed by Gorenje)
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ančni vestnik has been, at a time of tectonic political and economic shifts in our country, a central publication in which numerous generations of writers have analysed the widest possible variety of topics relating to Slovenia's financial system and the banking sector at the core of it. As the main specialist organ in Slovenia, Bančni vestnik has given space to different positions and views on key dilemmas in the development of Slovenia's banking system and its place in the international financial environment. The journal has thus had a decisive influence on the level of knowledge in the financial sector and contributed greatly to the development of specialist banking terminology. dr. Mojmir Mrak, professor at the Faculty of Economics of the University of Ljubljana ančni vestnik is important above all because it is a Slovene publication that helps the consolidation and development of specialist terminology. The journal could also be multilingual, but the majority of the texts should be in Slovene Bančni vestnik is also important when it covers topics that affect us in Slovenia. There are, of course, plenty of magazines, newspapers and texts in Slovenia that are easily accessible to all. The journal appears regularly and in this way demonstrates its maturity and serious intentions. Its mission is above all to publish relatively short, well-written and topical texts that make picking up the journal a pleasurable experience. dr. Ivan Ribnikar, emeritus professor of the University of Ljubljana and member of the editorial committee of Bančni vestnik
ančni vestnik, a specialist journal in the field of banking and money, is this year celebrating 60 years of development. • The journal has regularly covered, analysed and provided critical commentary on significant changes in the field of financial legislation and European regulation. • The journal is aimed above all at those working in the banking sector, and its contents have been enhanced in recent years. Another of its principal aims is to keep the specialist and general public informed of current events in banking while also opening the door to young experts by giving them the opportunity to publish specialist articles and present them to a wide audience. Dušan Hočevar, director of the Bank Association of Slovenia, Statements taken from: Bančni vestnik – 60 Years, Bank Association of Slovenia, Ljubljana 2011
SEPA – skupni enotni plačilni sistem v evrih Bančni vestnik 7-8/2007 (ilustracija KROG)
SEPA – Single Euro Payment Area Bančni vestnik 7-8/2007 (illustrated by KROG)
Evropski nepremičninski trg European real estate market Bančni vestnik 9/2007 (zasnova in ilustracija / concept and illustrated by Zvone Kosovelj)
Sprejemljivost tujega kapitala v obliki čezmejnih združitev in prevzemov v Evropi The acceptability of foreign capital in the form of cross-border mergers and acquisitions in Europe Bančni vestnik 10/2007 (fotografija / photographed by Dragan Arrigler)
Vloga bank pri korporacijskem upravljanju: primer Nemčije The role of banks in corporate governance: the case of Germany Bančni vestnik 11/2007 (fotografija / photographed by Kreb Ide)
Slovenski zunanji dolg in inflacija Slovenian foreign debt and inflation Bančni vestnik 1-2/2008 (fotografija / photographed by Kreb Ide)
Upravljanje s tveganji v slovenskih bankah v luči uvajanja evropskih direktiv Risk management in Slovenian banks from the view of implementation of europen directives Bančni vestnik 12/2007 (fotografija / photographed by Kreb Ide)
Trendi v energetskem sektorju evropskih držav kot smernica za Slovenijo The fuel shares of electricity production in EU Bančni vestnik 3/2008 (fotografija / photographed by Kreb Ide)
Rezultati projekta SEPA SEPA project results Bančni vestnik 4/2008 (fotografija / photographed by Kreb Ide)
Kakšno nadziranje stroškov je smiselno? What would be reasonable cost control? Bančni vestnik 6/2008 (fotografija / photographed by Kreb Ide)
Prevzemi in managerski prevzemi – kam gre Slovenija? Takeovers and managerial takeovers – where is Slovenia going? Bančni vestnik 5/2008 (fotografija / photographed by Kreb Ide)
Pomen skladov življenskega cikla v luči demografskih sprememb Life cycle funds: A demographic perspective Bančni vestnik 7-8/2008 (fotografija / photographed by Kreb Ide)
Uganka premije za tveganje pri delnicah BanÄ?ni vestnik 9/2008 (fotografija Kreb Ide)
Equity risk premium puzzle BanÄ?ni vestnik 9/2008 (photographed by Kreb Ide)
Model dinamike donosov slovenskega borznega indeksa z metodo regresije zveznega prehoda BanÄ?ni vestnik 10/2008 (fotografija Kreb Ide)
Modelling Slovene stock exchange index returns with smooth transition regression BanÄ?ni vestnik 10/2008 (photographed by Kreb Ide)
Mednarodna finančna kriza in stanje bank International financial crisis and bank’s performance Bančni vestnik 11/2008 (fotografija / photographed by Kreb Ide)
Vpliv črpanja strukturnih skladov Evropske unije na državni proračun The impact of extracting structural funds of the European Union on state budget Bančni vestnik 12/2008 (fotografija / photographed by Kreb Ide)
Evro po dveh letih v Sloveniji BanÄ?ni vestnik 3/2009 (ilustracija Kreb Ide)
Euro after two years in Slovenia BanÄ?ni vestnik 3/2009 (illustrateded by Kreb Ide)
Ob desetletnici uvedbe evra Ten years after the introduction of the euro Bančni vestnik 1-2/2009 (fotografija / photographed by Kreb Ide)
Finančna kriza, gospodarska upočasnitev in konsistenten odziv ekonomskih politik Financial crisis, economic slowdown and consistent policy response Bančni vestnik 4/2009 (ilustracija / ilustrated by Kreb Ide)
Predlog nadgradnje Basla II Proposed enhancements to the Basel II framework Bančni vestnik 5/2009 (fotografija / photographed by Kreb Ide)
Bančni vestnik
REVIJA ZA DENARNIŠTVO IN BANČNIŠTVO LJUBLJANA, LETNIK 58, ŠTEVILKA 6, JUNIJ 2009
Krivci za naslednjo finančno krizo naj ne bodo banke Banks should not be blamed for the next financial crisis Bančni vestnik 6/2009 (ilustracija / ilustrated by Kreb Ide and iStock)
Monetarna osamosvojitev je bila za državo ključnega pomena Bančni vestnik 7-8/2009 (ilustracija Kreb Ide)
Monetary independence was crucial to Slovenia’s statehood Bančni vestnik 7-8/2009 (ilustrated by Kreb Ide)
Regulatorni kapital in naložbe tveganega kapitala Regulatory capital and private equity investments Bančni vestnik 9/2009 (fotografija / photographed by Kreb Ide)
Nadlegovanje in trpinčenje na delovnem mestu Harassement and torment (mobbing) at the working place Bančni vestnik 10/2009 (ilustracija / ilustrated by Kreb Ide)
Vzroki svetovne finančne krize Money smart, crisis smart Bančni vestnik 11/2009 (ilustracija / ilustrated by Kreb Ide)
Finančna kriza – kriza naših pokojnin? The financial crisis – our pension crisis? Bančni vestnik 12/2009 (fotografija / photographed by Kreb Ide)
V pričakovanju nove ureditve finančnega nadzora v Evropski uniji In expectation of a new European system of financial supervision Bančni vestnik 1-2/2010 (ilustracija / ilustrated by Kreb Ide)
Problematika nizkih plač uslužbencev za okenci in visokih plač šefov Problematics of bank cash desk employees low salary and high salary of boses Bančni vestnik 4/2010 (ilustracija / ilustrated by Kreb Ide and iStock)
Slovenija: finančna kriza in odzivi ekonomske politike v podporo finančnemu sektorju Slovenia: Financial crisis and policy response in support to the financial sector Bančni vestnik 3/2010 (fotografija / photographed by Kreb Ide)
Nova pokojninska reforma New pension reform Bančni vestnik 5/2010 (fotografija / photographed by Kreb Ide)
Lastništvo bank (privatizacija NLB) Bančni vestnik 9/2010 (fotografija Kreb Ide)
Ownership of banks (privatisation of the NLB) Bančni vestnik 9/2010 (photographed by Kreb Ide)
Pogovor s predsednico uprave Probanke Interwiev with president of the management board of Probanka Bančni vestnik 6/2010 (ilustracija / ilustrated by Kreb Ide and iStock)
Težje kot kdajkoli The unprecedented crisis Bančni vestnik 7-8/2010 (fotografija / photographed by Kreb Ide and iStock)
Prihodnji ukrepi kriznega upravljanja Future measures during the crisis Bančni vestnik 10/2010 (fotografija / photographed by Kreb Ide)
Poslovno vodenje bank Corporate governance of banks Bančni vestnik 11/2010 (fotografija / photographed by Kreb Ide)
Izvajanje denarne politike ECB ECB’s monetary policy implementation Bančni vestnik 12/2010 (fotografija / photographed by Kreb Ide)
Zavarovalne jamstvene sheme v EU Insurance guarantee schemes in EU Bančni vestnik 1-2/2011 (ilustracija / ilustrated by Kreb Ide)
Celovit sistem zaščite elektronskih plačilnih sistemov pred zlorabami Holistic model of electronic payment system protection against misuse Bančni vestnik 3/2011 (fotografija / photographed by Kreb Ide)
Z novo normativno opredelitvijo elektronskega denarja do pogostejše rabe New legal definition of electronic money to boost its use Bančni vestnik 4/2011 (ilustracija / ilustrated by Kreb Ide)
Finančni instrumenti vezani na inflacijo Inflation linked products Bančni vestnik 5/2011 (ilustracija / ilustrated by Kreb Ide and iStock)
Stres testi – stres za banko, delničarje in varčevalce Stress tests – stress for banks, shareholders and savers Bančni vestnik 9/2011 (ilustracija / ilustrated by Kreb Ide and iStock)
Vzroki in posledice slovenske bančne krize ter izhodna bančna stategija Causes and consequences of the Slovenian bank crises and exit bank strategy Bančni vestnik 6/2011 (fotografija / photographed by Kreb Ide)
Stagnacija slovenske konkurenčnosti Stagnation of Slovenia’s competitiveness Bančni vestnik 7-8/2011 (fotografija / photographed by Kreb Ide and iStock)
Slovenija in dolžniška kriza Slovenia and debt chrises Bančni vestnik 10/2011 (fotografija / photographed by Kreb Ide)
Dolgoročna rešitev za težave evroobmočja Long-term fix for Eurozone problems Bančni vestnik 11/2011 (ilustracija / ilustrated by Kreb Ide)
Evropska in svetovna dolžniška kriza Bančni vestnik 12/2011 (fotografija Kreb Ide)
European and global debt chrises Bančni vestnik 12/2011 (photographed by Kreb Ide)
Publiciranje / Publishing Graphis, New York, USA • • • • • • • • • • • • • • • • • • • •
Packaging 5, 1988 Design 90, 1989 Annual Reports 2, 1989 Poster 90, 1990 Letterhead 1, 1991 Poster 92, 1992 Design 94, 1993 Logo 2, 1993 Packaging 6, 1994 Logo 3, 1996 World Trademarks: 100 yrs. 1, 1996 World Trademarks: 100 yrs. 2, 1996 Bottle Design, 1997 Brochures 3, 1998 Logo Design 4, 1998 Design Annual 2000, 1999 Design Annual 2001, 2000 Design Annual 2002, 2001 Logo Design 6, 2004 Graphis Packaging 9, 2004
Publiciranje / Publishing
Publiciranje / Publishing
HBI-HarperCollins Publishers, USA
Art Directors’ Club, New York, USA
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Blue is Hot, Red is Cool, 2001 Global Corporate Identity, 2002 The Big Book of New Design Ideas, 2002 The Big Book of Logos 4, 2004 Global Corporate Identity 2, 2005 The Big Book of Business Cards, 2005 Logos Redesigned, 2006 The New Big Book of Color, 2006 Global Corporate Identity 3, 2006 Logos Redesigned, 2006 The New Big Book of Color, 2006 The Big Book of Layouts,, 2006 The Big Book of Letterheads, 2007 The Big Book of Logos 5, 2007 The Big Book of Design Ideas 3, 2008 Logolicious!, 2010 The New Big Book of Layouts, 2010 The Big Book of Packaging, 2011 Trademarks 1, 2011 Bright Ideas in Poster Design, 2011
Edi Berk
P.I.E. Books, Tokio, Japan
Index Book, Španija
Rojen / born on 9. 7. 1954. Diplomiral leta 1980 na Fakulteti za arhitekturo v Ljubljani. Graduated from the Faculty of Architecture in Ljubljana in 1980.
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Brochure Design Forum, 1991 Cover to Cover, 1991 Business Stationery, 1991 Business Card Graphic 2, 1992 Corporate Image Design, 1992 Calendar Graphics, 1992 Packaging Design and Graphics 1, 1993 1, 2, 3 Color Graphics, 1993 Brochure Design Forum 2, 1993 Brochure and Pamphlet Collection 3, 1994 Calendar Graphics 2, 1995 Corporate Profile Graphics, 1995 Business Publication Graphics, 1995 New Business Card Graphics, 1996 Advertising Flyer Graphics, 1996 Shopping Bag Graphics, 1996 Business Publication Graphics 2, 1997 Corporate Profile Graphics 2, 1997 Successful Direct Mail Design, 1997 Private Greeting Cards, 1998 New Logo and Trademark Design, 1998 Corporate Profile Graphics 3, 1998 Successful Direct Mail Design 2, 1999 New Business Card Graphics 2, 1999 Limited Color Graphics, 2000 New Business Publication 1, 2000 Shop Image Graphics, 2000 Logo World, 2001 Corporate Profiles and Web Graphics, 2001 New Business Stationery Graphics, 2001 New Logo World, 2003 Package & Wrapping Graphics, 2004 World Corporate Profile Graphics, 2004 The Best Informational Diagrams 2, 2005 World Business Cards Today, 2005 Food Package Design, 2006 World Calendar Design, 2007 Attractive Prospectus Design: School and Facility, 2008 • Corporate Brochure Designs, 2010
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Poslovni naslov / Business address KROG, d.o.o. Krakovski nasip 22 1000 Ljubljana, Slovenia tel: 041 780 880 tel. + fax: 01 4265 761 edi.berk@krog.si www.krog.si
Pomembnejši naročniki Main Clients in Slovenia Združenje bank Slovenije, Prešernova družba, Pošta Slovenije, Sinefinis, Mladinska knjiga, Banka Slovenije, Obrtna zbornica Slovenije, Probanka, Modrijan založba, Urad Vlade RS za informiranje, Vinska družba Slovenije, Vodovod–Kanalizacija, Kmečki glas, Pomurski sejem, Univerza v Ljubljani, Ljubljanski sejem, Mestno gledališče ljubljansko, Pravna fakulteta v Ljubljani, Univerzitetna knjižnica Maribor, Monsadria, Vipi, Mesarija Mlinarič, EKO sklad Republike Slovenije, Stojan Ščurek, Vinovin, Rustika ...
Nagrade, priznanja Awards, recognitions Več kot 1000 nagrad in priznanj.
Nekatere pomembnejše: nagrada Prešernovega sklada 1993 za oblikovanje vidnih sporočil; nad 40 prvih nagrad na natečajih za oblikovanje CGP in vizualnih komunikacij; zlata ideja Portoroža; zlata medalja Creativity 30, ZDA; ožji izbor žirije Supon, ZDA; dvakrat ožja selekcija ADC New York; ožji izbor European Design Annual, London. More than 1000 awards and recognitions.
The most important: In the year 1993 award of the Prešeren Fund of Slovenia, for graphic design work in visual comunications; more than 40 first prizes at competitions for corporate identity and other designs; the Golden Idea of Portorož; gold medal Creativity 30, USA; judge’s choice at Supon, USA; twice in the final selection of ADC New York; final selection at The European Design Annual, London.
Objave, razstave Publishing, exhibitions Objavljen v več kot 160 strokovnih knjigah v tujini; sodeloval na več kot 90 razstavah doma in v tujini. Published in more than 160 professional books; exhibited at more than 90 exhibitions at home and abroad.
Tempus Fugit, 2009 Packaging Identity, 2009 Basic Logos, 2009 Basic Pack, 2010
RotoVision, Hove, Great Britain • The European Design Annual 4, 1999 • The European Design Annual 5, 2000 • Print and Production Finishes for Bags, Labels, and Point of Purchase, 2008
MDX Culture Communication, Kitajska • • • • • •
Excellent 1: Poster, Packaging, 2008 Excellent 2: Graphics, Visual ID, 2008 Excellent 3: Logo, Visual ID, 2008 Excellent 1: Visual ID, 2011 Excellent 2: Vis. ID, Logo, Graphics, 2011 Excellent 3: Packaging, Poster, 2011
The Best of Business Card Design 5, 2002 Color Graphics, 2002 One Color Graphics, 2002 Layout: Making it Fit, 2003 Designer’s Breaking Block, 2004 Logo Design Workbook, 2004 Brochures: Making a Strong Impr., 2004 1000 Type Treatments, 2005 Color Design Workbook, 2006 1000 Bags, Tags and Labels, 2006 Business Graphics, 2007 LogoLounge 4, 2008 LogoLounge 5, 2009 LogoLounge 6, 2011 LogoLounge Master Library 1, 2010 LogoLounge Master Library 3, 2011
Art Direction Book Company, USA • • • • • • • •
Creativity Creativity Creativity Creativity Creativity Creativity Creativity Creativity
27, 1998 28, 1999 29, 2000 30, 2001 31, 2002 32, 2003 34, 2005 35, 2006
• Creative Calendars, 2011
• Trademarks and Symbols of the World 2, 1989 • Logotypes of the World 2, 1989
Kashiwa Bijutsu Shuppan, Tokio, Japan • International Corporate Design, Vol. 1: Trademarks & Symbols, 1993 • International Corporate Design, Vol. 2: Logotypes & Pictograms, 1994
Interecho Press, Zandhoven, Belgium • Art Symbols 1, 1992 • Famous Animal Symbols 2, 1992
Art Directors’ Book, New York, USA • Letterheads 6, 1987
PBC International, New York, USA • Designer’s Self-Image, 1991 Robundo, Tokio, Japan • International Corporate Identity, 1992
Kodansha, Tokio, Japan • Graphic Design of the World 1, 1993 Quon Editions, Edmonton, Canada • Museum and Gallery Graphics, 1993 Benteli-Werd Verlags, Switzerland • Who’s Who in Graphic Design, 1994
Art Directors Club, Ljubljana, Slovenia • Plakat in znak, 1989
Društvo oblikovalcev Slovenije, SLO
• The Ultimate Graphic Element Coll., 2007
ICO Publishing, Japonska
Razstave / Exhibitions
• Meishi: Little Graphic Art Gallery of the World, 2009
Supon,Washington, USA Great Design Using 1, 2 &3 Colors, 1992 Internat. Logos and Trademarks 2, 1993 Graphically Bold, 1993 Computer Generation, 1993 The Best of Int. Self-Promotion, 1993 More Great Des. Using 1, 2 & 3 Col. 1994 Internat. Logos and Trademarks 3, 1997 Absolutely Entertaining, 1997 Visual Impact, 1997 Even More Great Design Using 1, 2 and 3 Colors, 1997 • Internat. Logos and Trademarks 4, 1998 • Breaking the Rules in Pbl. Design, 2001 • Internat. Logos and Trademarks 5, 2001 • • • • • • • • • •
IS publishing, Hong Kong, China • IS Design Series 1: IS Identity, 2004 • IS Design Series 2: IS Book Design, 2004 • IS Design Series 4: IS Typography, 2004
HOW Books, ZDA • The Graphic Design Exercise Book, 2010
Cortina Learning Int., Wilton, USA • Creative Art Course, 2004
Sansung Publishing, Seul, Corea • The Best in World Trademarks, Vol 2, 2005
Graphic-sha, Tokio, Japan • • • • • • •
World Trademarks and Logotypes II, 1987 Shopping Bags & Wrapping Paper I, 1988 Letterheads 2, 1989 Business Cards, 1989 Shopping Bags 2, 1991 World Trademarks and Logotypes III, 1991 Business Cards 2, 1994
Novum, München, Germany • Novum 04, 2002
Print, New York, USA Basheer Graphic, Singapore
Kashiwashobo, Tokio, Japan
• Design in Slovenia 1: pisemski papirji, znaki, logotipi, 1995 • Slovenski plakat devetdesetih let, 1997
LST-Liaoning Pbl House, Kitajska
Rockport Publishers, Massachusetts, USA • • • • • • • • • • • • • • • •
• 67th Art Directors’ Club, 1988 • 72nd Art Directors’ Club, 1993
• Print’s European Design Magazine, 1999 • Print’s European Design Magazine, 2000
• Biennial Brno, Czech Republic, 1986, 1994, 1996, 1998, 2000 • International Exhibition, Art Directors’ Club, New York, USA, 1988, 1993 • International Biennial of Poster Art, Warszaw, Poland, 1988 • European Triennial of the Political Poster, Mons, Begium, 1989 • Rag Bag, Richmond, Canada, 1989 • Self-Image, Jerusalem, Israel; Tokio, Japan; London, Great Britain; 1989, 1990 • International Poster Biennial, Mexico, 1990, 1992, 2008, 2010 • Salon International de l’Affiche, Paris, France, 1991, 1992, 1993 • International Poster Triennial, Tojama, Japan, 1991, 1994 • International Poster Triennial, Trnava, Slovakia, 1994, 1997, 2000, 2003 • ZGRAF, HR, 1984, 1987, 1991, 1995, 1999 • BIO, SLO, 1986, 1992, 1994, 1996, 1998 • Contemporary Graphic Design in Slovenia 1988-1996, New York, Ljubljana, London, Vienna, 1997, 1998 • The Influence of Russian Constructivism on International Graphic Design, New York, USA, 1997 • Biennal of Book Art Martin, Martin, Slovakia, 1997, 1999, 2001 • Golden Bee 4, 6, 8, Moscow, Russia, 1998, 2004, 2008 • International Poster Exhibition, Dansk Plakatmuseum, Denmark, 1999 • Slovenian Theatre Poster, Czech Republic, Poland, Switz., Hungary, Slovenia, 2000 • Vsi na volitve, Ljubljana, Slovenia, 2000 • Colorado International Invitational Poster Exhibition, Fort Collins, USA • Manifesto!, Venezia, Tarvisio, Italy, 2001-02 • Brumen 1, 2, 5,Ljubljana, Slovenia, 2002, 2005, 2011 • Znaki za lahko noč, Ljubljana, SLO, 2004 • Re:Design Europe, Berlin, Germany, 2005 • Odprti depoji, MAO, Ljubljana, SLO, 2011 • The Faces of Racism Revealed, Poster festival Ljubljana, Slovenia, 2011 • Hiiibrand 2010, logotypes, China, 2011