CZECH DESIGN
CZECH DESIGN visual identity
Veronika Pechova BA Visual Communication BCU Birmingham, 2010
Everything should be made as simple as possible, but not simpler. Albert Einstein
The role of this mark will be to represent czech design internationally and also to unify the design within Czech republic.
Design categories included:
To raise awareness of design in between Czech audience and to help them to understand the importance and impact of its role in their every days life.
graphics, paintings, architecture, product, signs, design, packaging, motion graphics, websites, interfaces, photography, game design, sculpture, furniture design, tableware, fashion, glass & ceramics, exterior design, installation, movies, illustration, typography, book design, jewellery design etc.
It is element which follows the nation all the way through its existence and therefore it is integral part of the culture. Build awareness of the design and the economic effects among the businesses.
BRIEF VISUAL IDENTITY FOR CZECH NATIONAL DESIGN BODY
icon & lovemark
empathy To make the starting point to be empathy, as a higher motivation aspect, which might become the strongest communication value in current radically changing environment / marketplace. adjust the perception of czech republic To change view of our country from just cheap beer and Prague, to more complex mark, as we have the history and resources to support it.
provoke people to stop and think Ideally the intention will be to provoke us to think, to make people to realize that design is integral part of business world nowadays and that avoiding this fact will have huge impact on economics and the whole cultural development. design as a profession To make people realize that design is a profession. Due to our history of WWII, 40 years of communism, 20 years of ‘freedom’, the rule of DIY applied to everything including design - and therefore is still inherited very deeply in the nation.
Stimulation through iconic symbol, or even better become a lovemark. This perception is much more easier to create within design field, where the art style is related to the place/country much more naturally then in case of corporate lovemark. Parties included in national branding are: government, industry, the arts, education, sports. If you examine the individual areas which one brings people together on cultural level, pleasure, interests, feelings? The arts become natural choice of national empathy. From here it should be much more easier to become iconic in your country. Logically it is one of the few things people would agree to, it is their’s nation, it is the only institution working perfectly in the country and it brings them international recognition.
inform & educate To inform and educate the nation about design in their everyday life, embedded it to the primary school education, to share basic principles with them and to make them understand that there is institution to who they can always come for available professional advice. invite people to take action To invite them to take an action: visit website, buy book, watch programme, educate themselves, be interested in this matter, viral sharing, become part of the resources, help us to develop the institution, etc.
provoke nationalist feeling To provoke nationalist feeling (ice hockey in case of Czech Republic), therefore interest. Due to the globalization, there is increasing lack of nationality, which has its natural reaction: nations increasingly emphasize nationality. Olympic games, football finals, ice hockey world championships... these are the only truly shared moments of the whole nation. We don’t expect the same amount of response with national design centre, but it works on the same principle, positive nationalist feeling.
passion Be passionate about this institution, positive attitude is missing in Czech republic. To keep it going, be serious about it and show people it is friendly institution, filled up with events, fun and innovation.
Intention
“Take a brand away and people will find replacement. Take a lovemark away and people will protest its absence. Lovemarks are a relationship, not a mere transaction. You don’t just buy lovemarks, you embrace them passionately.” Kevin Roberts, CEO of Worldwide Saatchi & Saatchi
the need There is no institution in CZ applying this kind of job. There were few of them, the latest one called Design Center of the Czech Republic (DC) was established in 1991 (it replaced IPD which was established in 1990) and closed 2007. The reason why this happened was due to the budget cuts, followed by poor explanation from the Ministry of Industry and Trade of the Czech Republic, saying that the DC was closed down due to its concentration more towards fine art rather than industry design. So instead of making changes in the DC strategy they closed it down and forgot all about their international activities, support of students, non profit activities, exhibitions, workshops, technical advice, membership in BEDA, ICSID, ICOGRADA, IFI and priceless sixteen years built background and contacts. Jana VinĹĄovĂĄ, a designer and the manager of CZECHDESIGN (the design web-portal trying to cover and follow CD activities) wrote a letter with appeal to all experts and international institutions and asked them for feedback.
Last Friday on 19th October 2007, Czech Republic’s present Minister of Industry and Trade, Mr. Riman, and his deputy ministers decided to cease all activities off and shut down the only design organization in the country, Czech Design Centre. All activities will be stopped at the end of year 2007. Czech Design Centre is the only public organization concerning all design activities in the Republic. The organization plans and curates design exhibition, students programs, competition: The Excellent Product of the Year, Young Package, supports design production, companies implementation of design and publishes design magazine and design bulletin. Czech Design Centre represents Czech Republic in the international organization and is the only design organization connecting with other international organization. Czech Design Centre was supported by Ministry of Industry and Trade of the Czech Republic. Unfortunately, present Minister of Industry and Trade, Mr. Riman and his deputy ministers have decided that the operating cost of 715 000 Eur that Czech Design Centre was receiving is too much. Czech Design Centre manages this amount for operation of two offices and galleries, rent, salaries, services and organizing all the activities. But still half of this amount is for grant program (the only design grant program) for supporting companies with implementation of design - Program Design.
Ministry of Industry and Trade decided to transfer Design Centre Activities on CzechTrade - National Trade Promotion Agency. Said Jana Vinsová, “Even we don’t agree with all Design Centre activities - better said: way and presentation their activities - we can’t agree with the cancellation of only public support of design.” CzechTrade’s main objective is to promote international trade and cooperation between Czech and foreign companies. CzechTrade’s professional information, assistance and consulting services accompany Czech exporters to foreign markets, and the agency is a contact partner for firms entering the Czech market, seeking interesting and reliable business partners and suppliers. Czech Design Centre seeks cooperation from all design organizations and councils to express their points of view, experiences and the situation of Design Centre in respective cities and countries. The Design Centre would like to visit the Czech Minister of Industry and Trade and give him comparison with other countries. Write in to Jana Vinsová at martin@zampach.com or visit www.czechdesign.cz. Letter published by public association www.CZECHDESIGN.CZ.
Sponsor
Allan Steinmetz CEO of Inward Strategic Consulting in Massachusetts
Adds Olins
“Relying on government leaders to devise a country’s branding campaign is particularly risky if politicians have image problems of their own.”
“Governments like quick results, but governments often don’t stay in power very long.”
development This solution needs to be investigated further by researching the law requirements, cooperation with other existing organizations, government appeals, EU grants and other.
government
businesses, private sponsors
From this point - also keeping in our mind the past event - we can see that the government needs to be informed more then anybody else in the country about the importance of this institution. It is going to be hard, but not impossible. Nothing is impossible, on the end of the day it is yet another ‘product’ we need to sell to the government = customer = sponsor.
There is never enough money anywhere, although this can be put to them, as it is going to be both ways cooperation, as a well invested money, which will have big return in the future.
Sponsor Sponsor
Randall Frost, www.brandchannel.com
Lisa Baxter
“Just as corporate branding campaigns can raise can provide a country with a common sense of a company’s employees, national branding campaigns can provide a country with a common sense of purpose and national pride - not to mention a higher standard of living.”
“For an arts brand to survive in this climate, it needs to become essential rather than desirable...”
brand
‘In addition, in an increasingly nationalistic and in some ways fragmented era, the city, the region and the nation are developing full-scale identity programmes, partly to encourage self-confidence and self-esteem and partly to attract inward investment and tourism.’
‘Identity is major resource for instituting and managing change.’
brand Wally Olins 1995
In 1983 corporate identity in Europe was just emerging from the obscurity of its graphic design roots and showing signs of mutating into significant management resource. Identity can be marketing resource, a design resource, a communication resource or a behavioral resource either consecutively or collectively.
Identity activity is associated with a few simple rules Identity is about enabling change to happen and emphasising that change has taken place. Deals with both internal and external audiences. Is a design, marketing, communication and human resource tool. Should influence
every part of the organization and every audience of the organisation. Is an economical resource because it mostly co-ordinates what already exists or what has to be done.
aim Every brand builds on certain values beyond its obvious function. These values compliment values of the whole nation and therefore needs to be picked up very wisely. We need to consider asking questions about the whole society and culture, the sustainability of the institution and its usability. It is essentially branding for Czech visual culture, which needs to absorb the whole wide society audience of Czech Republic and to change the perception of czech design.
Professor Nicolas Papadopoulos, Sprott School of Business at Carleton University, Ottawa
“Once an umbrella brand concept that is unitary and clear is established, individual constituents can go their merry separate ways within it, without the risk of inconsistent messaging. Achieving this, of course, will take a lot of doing. There is a steep learning curve, and there is great need to devise approaches for coordinating within and across diverse constituents.�
brand tasks develop alongside contemporary design in CZ
to get as wide audience as possible to develop dynamic working structure
create visual environment that challenges neither artists nor observer during its development, research alternative solutions to different issues - to avoid what happened to previous institutions keep up to date, no aging
to become embedded in government’s activities be strategic bare in mind: different visions = different visuals
function institutional informal educational improvement historical national social cultural promotion
brand Values clarity responsible formality functionality symbolic/iconic contemporary professional
invite elegance evolving pure flexible neutral sensitive
message The message is going to be changing through the brand development, as it is going to settle its values and develop its identity, the message is going to evolve and change through the time. Here is few characteristics of Czech nation I found helpful in establishing the core values for the message: contemporary, innovative, creative, knowledgeable, collaborative, professional, authoritative, integrated, innovative, effective, fresh.
Here is aimed message for the future developed institution: To brand Czech design on a national and international level. To build awareness of design and the economic effects of design among businesses. To meet the growing need of the business world for information about design. To inspire the best use of design and to improve prosperity and well-being. Our role is seen as that of an enabling and supportive the recognition of Czech design worldwide as a desirable marque.
critics The trouble of Czech branding is Lack of unity of purpose, difficulty in establishing actionable and measurable objectives, lack of authority over inputs and control over outputs, restricted flexibility, and relative lack of marketing know-how. Thus, problems that obstruct a successful strategy development process are identified. The main problem revealed is lack of coordination and collaboration among involved institutions. Other disclosed problems include lack of financial resources, lack of political will and inadequate involvement of experts.
Czech history
To understand czech audience, it is necessary to get wider view and to understand what happened to Czech nation in the historical context. Then we will be capable to identify nowadays troubles, needs and solution.
Czech Republic due to its location on the map of Europe, was ever since in the middle of the European interests. We started as a Great Moravian Empire 830, 907 came Hungarian invasion. Then we were part of big Holy Roman Empire until 1526 when Austrian king Ferdinand I took over the throne and we belonged under the Austro-Hungarian Empire until the end of WWI. Then Czech lands and Slovakia established Czechoslovakia 1918, called the ‘First Republic’. In those days we had economy that was among the strongest in the world. 1938 comes Munich Pact and we were given to Hitler and occupied by Nazi Germany until the end of WWII in 1945. The power went to the hands of the Communist Party and since 1948 the regime changes into the Communist totalitarian regime. 95% of all privately owned companies became the property of state.
The economy went down and basic human rights were suppressed. In 1960s greater political and cultural freedom and changes were made within the Communist Party, this was seen as a threat by the Soviet Union, so they sent Soviet troops to occupy the country until 1989. Period of ‘normalization’ was following, the purpose of which was to put things back together, as it was before the Soviet troops came, back to the Communist Party. Any sign of disapproval of the regime was persecuted and opposition moved to underground. The late 1980s were characterized by public demonstrations. A week after the fall of Berlin Wall in November 1989 lead to Velvet Revolution and brought the end to communism. We had our first democratic elections in January 1990 as a Czechoslovakia and peacefully split into two countries in 1993.
Audience After seeing the history and the short period of being a democratic country, we move further to understand the Czech audience. 40 years of communism and 20 years of freedom - with the growth we are going through currently - is incredible development and shows the potential in Czech market. Nevertheless the major part of 60 years of history - which is a life spam of average person - was under the communism, which left Czech market with few negative characteristics. Let me analyze some of the characteristics in connection with my work.
issues
education in business Not implemented yet properly, there is courses happening, but the level is very poor and just small percentage of the businesses applies them.
no design implementing People were use to do everything themselves, there was no designer; still not seen as a crucial part of marketing.
Efficiency One of the reasons is - might sounds radical, but is publicly known fact - that government steals money of people (bribes), who must work harder to achieve their living standards. They work very hard for very small reward.
Lack of marketing skills Marketing is in Czech for 20 years, not developed, not granted as one of the selling strategies.
professionalism In the old days, power had the one who had uncle in the government; make friends was good, they could get you some cheap goods from west.
no international promotion Everyone knows Prague, but that’s all. Why? Because Prague promote itself. This needs to be created and maintained with the whole design world
BUSINESS INDUSTRY
summary
Implementing design into businesses to deliver world-class brands, product and services. Introducing the importance of design in business. Connecting businesses with designers in order to improve their performance. Introduction and promotion of Czech trade internationally. Educating and providing efficiency in businesses practices.
public sector government
After nationalization we did experience capitalist market. The trouble was nobody really know how to behave, what it really is and how does it work. Another issue was that all the companies, property and valuables - after nationalization - were suppose to returned to the people. Unfortunately felony, lie, dissimulation, bribes and intrigue was a common part of communist power, therefore the most of the property was taken by high-positioned politics, who just changed their ‘communist’ face to ‘capitalist’ face and stayed in politics.
education training
historical issues
issue
lack of good quality design in public sector
everyday design application
Way-finding and information design is very bad, it is left over from 20 years ago and it is still not changed or developed. This leaves foreign investors, tourist and others in involuntary decision, when thinking about spending money in CZ. Also for the Czech people it is bad example as they cannot observe and learn the principles of good communication.
People are use to DIY their design, they need to understand it is profession and just professionals should do it.
government as a bad example Most of Czech government campaigns and material is executed on very poor level, therefore we cannot expect people to understand its significance, when the most important institution of authority doesn’t support this fact.
most people don’t know their own history or contemporary situation When I asked my friends who they know as a Czech contemporary designer, I got two names maximum, even they would like to know. The trouble is there is no summary information available online (as the most used tool in research nowadays) and no aware campaigns. There is the interest, now just to supply the information.
public sector government
Encouraging design education in earlier stages. Seminars, conferences and other activities to educate and train designusers, from students, teachers to skilled designers and practitioners. We will make sure that the design education in our country will be at an appoppriate level and accessible to everyone. Under the government’s auspicies we will also supervise all educational organizations.
education training
summary
issues public design education
activities
Implementing design education into lives of people, educate and remind them the applications they can improve their businesses with, remind them the history and discover the areas of contemporary design. Inspire them.
Seminars, meetings, etc: lack of these opportunities leads to decay of design industry, missing opportunities are going to be replaced by international and professionals will leave country.
basic design education in earlier stages Not developed yet in most countries. Needs to be supported by government’s appeal.
Last year I went for a seminar with Jan Ctvrtnik - awarded Czech Grand Design Award in product design 2009, 2008 - to Prague, hold by DOX Centre for Contemporary Art. Currently he works for Electrolux, but his work touches companies like IKEA, NASA, Lunar Design, Volvo, Vitra Design Museum, Sony-Ericsson, etc. His studies are spread all over the world: Prague, Finland, Peru, Sweden, San Francisco, Madagascar, JSC Houston. His answer to my question “Would you recommend me to come back to the country to work as a designer?” was “Don’t do it! Why would you? If you want to make a living from design, don’t work in Czech. There is no background, lack of support and market for high-end design is covered by all those designers staying in Czech.”
summary
public sector government
Setting standard for good quality design and applying it in every day lives. Give full government support in design and its education. Raise design awareness in the public sector. Effective use of design to create new solutions in the public sector. Developing government campaigns on an appropriate design level to set the example to wide public.
KNOWLEDGE
NEW TOOLS
AWARENESS
We aim to develop new knowledge base in collaboration with other bodies, to identify how design works in business, education and government. This gives us insight into how design can improve competitiveness, increase the skills of the future workforce and enhance the effectiveness of the public sector.
We try to use and keep up to date with new technological tools coming onto the market backed up by research and close consultancy with design bodies. We use our new knowledge to develop new methods which will enable our audiences to understand and use design thinking in their work, and to enable organizations to manage change.
We organise a wide range of events, often in collaboration with other organizations. We publish a range of material and journals which communicate the importance of using design effectively to increase competitiveness.
communication
message & language Message is what we want to say. In any kind of communication either between two friends or shop and their customer, there is always the message which needs to be translated so that the person understands: ie. message: “Yes this computer has appropriate features, suitable your requirements” Language is how we are going to say it. The most important way is how we are going to translate this message to the appropriate language for each individual. Easily noticeable, just imagine how many things you bought in your life and you didn’t even wanted. All this just because someone knew how to word his message ‘buy’. In our case if the customer is old lady the shop keeper would say: “Yes this computer is made for your talks with your daughter in Scotland”, if it would be computer monster he might say: “Yes this computer has 4 cores, with water cooling system, Linux, very nice graphic card and one terra HD”. Even he is talking about the same product.
‘In Marius design general principles rather than absolute rules apply. However, it is save to suggest that aspects of Serban dynamism - the unexpected or the unusual - are likely to be featured in most memorable designs. Not all visual mnemonics are esthetically pleasing - very often, it is not their design quality that makes them memo‘Understanding the background rable. Equally, just because a piece of work is beautifully considered and produced, it is not necessarily going of the audience, the “language” to be remembered. A superb design might well be recalled, but with little or no retention of precisely how the audience speaksit conveyed. is one ofA visual mnemonic can remain in the memory as something to be it looked, or what messages recalled at will, possibly even in rendition with a paper and pencil. A mnemonic can also be something the key factors. Whenpersonal you talk that is immediately recognized at first sight, but requires a visual triggers to stimulate the viewer’s memory. ‘
to one of your people within the same team you use one language, but when you need to talk to a person from a different department you need to identifyis what “language” you need Here the core communication values we would like to implement to the Czech Design mark to speak so your “audience” Communication values must obey the dynamics of visual representation; information clarity; provoke feeling of understands unity; use of ‘sticky’it.’ communication approaches; concentration of information design; natural interaction with Carol Knight & Jessica Glaser - Sticky Graphics
audience; rather minimalistic then busy; to cover wide range of media - including the less obvious; ethically and morally correct.
message & language
approach What is then the most effective approach? Here is few of them: humor, guilt, empathy, drastic, intellectual, riddle, futuristic view, collaborate, national, obvious, energetic, minimalists, settle, multi-generational, educational, game, interaction, history-connected, use of famous person, statistics & graphs, smile & good mood, no promises, story telling, relatable issue, surprise, unexpected combination, emotional, mood, feeling, size, dynamics, intimate, witty name, pattern, series vs. singles, up to date media (Facebook, outdoor projection...), still vs. motion, conventional vs. wild card, functional vs. pretty, colours, font, signs, images, illustration, products, photography, interactivity, web, tv, installation, editorial, media, materials, noise vs. signal I believe that through the whole development we will use most of this approaches, as they are very good tools to get attention of the audience. We would like to introduce unique approaches, media and problem solving solutions, however we would like to keep the message clear and simple.
‘In design general principles rather than absolute rules apply. However, it is save to suggest that aspects of dynamism - the unexpected or the unusual - are likely to be featured in most memorable designs. Not all visual mnemonics are esthetically pleasing - very often, it is not their design quality that makes them memorable. Equally, just because a piece of work is beautifully considered and produced, it is not necessarily going to be remembered. A superb design might well be recalled, but with little or no retention of precisely how it looked, or what messages it conveyed. A visual mnemonic can remain in the memory as something to be recalled at will, possibly even in personal rendition with a paper and pencil. A mnemonic can also be something that is immediately recognized at first sight, but requires a visual triggers to stimulate the viewer’s memory. ‘ Carol Knight & Jessica Glaser - Sticky Graphics
Here is the core communication values we would like to implement to the Czech Design mark Communication values must obey the dynamics of visual representation; information clarity; provoke feeling of unity; use of ‘sticky’ communication approaches; concentration of information design; natural interaction with audience; rather minimalistic then busy; to cover wide range of media - including the less obvious; ethically and morally correct.
LOGO DEVELOPMENT
Here is few sketches I’ve started with, it consists of some national symbols like a flag shape, colours, the middle part reminds of wine glass - glass and ceramics are very typical for Czech Republic and its product design.
The Municipal House This art Noveau building in Prague, belongs to one of the finest buildings its kind in Czech republic and middle Europe.
application I love this art movement, so I’ve tried to implement it in the logotype, give it the simple, fine and elegant feeling.
Here is a pattern inspiration, where I observed the organic and decorative style. The elegance of art Noveau always worked for me. The energy, unique expression and ‘the noodle style’ feels even over the years ‘art noveau’ = new artmovement.
Further logo development, black background applied to see how does it work in negative. Also different shape of background which gives you different perception.
This was developed just to the concept stage also there was bigger variety of the design, they stayed in my RVJ handed in with my Negotiated project.
William of Ockham
Aristotele
Albert Einstein
‘Entities should not be multiplied without necessity.”
‘Nature operates in the shortest way possible.”
“Everything should be made as simple as possible, but not simpler.”
takes years of experience to create something successful & simple, or have a very good luck. Use of symbol can be worthy. Symbols are sticky, easy to remember and sustainable. In this case the letter ‘C’ can stand for copyrigh, culture, Czech or creative. Some people who came with feedback
to me said it reminds them ‘swich off’ button if you rotate it 90 degrees. This is quite handy, the symbol provoked association with very common semiotics, that means their brain will keep this information for longer than if there will be no association.
symbol & simplicity Another idea with the core value is simplicity. I love the previous idea, but it was in contrast with my aim - create visual environment that challenges neither artists nor observer - so I created symbol, by just doodling the letter ‘C’. The issue with simplicity is that it sounds ‘simple’, but it
Line width You can achieve different impact with different line thickness, here is few experiments.
I’m happy to let people to be innovative, adventures and fun with the symbol, so therefore I think all of them will be applicable. All I want to ask is to be respectful. As we can see, just different line thickness gives you different visual perception.
typography Find solution for the identity name Czech Design and one for its subcategories
FURNITURE PRODUCTS CERAMICS GLASS GRAPHICS MOVIE PHOTOGRAPHY ----------sugo
furniture products ceramics glass graphics movie photography ---------------Big noodle titling
furniture products ceramics glass graphics movie photography -----------Cicle
furniture products ceramics glass graphics movie photography ----------------DejaVu Sans
idea I wanted to apply some type which would not age, something I consider significant for this institution. Also to maintain the clear geometric face with elegance and sustainability to reflect the mark itself. Please see short listed fonts I was going through.
furniture products ceramics glass graphics movie photography -----------------Century Gothic
furniture products ceramics glass graphics movie photography ----------------District Thin
furniture products ceramics glass graphics movie photography ---------------Champagne & Limousines
furniture products ceramics glass graphics movie photography -----------------Myriad Pro
Here I was looking for alternative naming, use of type and positioning. Again I must say that the most suitable type out of these four is Big Noodle font, for its very clear readability.
cicle Cicle - the most satisfying font for the identity name, with clear element of elegance, geometry with sense of past. You wont be able to specify from what age exactly it comes from, that’s how I imagine non-aging type, therefore I believe it will work in the future as well.
big noodle Big Noodle Titling - nice geometrical font with high readability. I like the ratio of its height and line width. Also the letters in the word create effective ‘chunk’ of information, where the compact chunk is then easier to implement within the graphics, very suitable for headings - in our case categories.
Position Here are few alternatives for positioning and combination of the name and the symbol of the identity. I think it is quite flexible and its use is extensive. The whole piece has quite bold expression even the type is fine and the symbol is bold. Also the arrangement of the type and symbol to the width reminds me of the old style layouts, very suitable for letterheads, posters and other applications.
90 degrees difference gives another level to the logotype. It looks like there will be never ending possibilities with this logotype and it is quite hard to make it go wrong, all caused by its simplicity. This will help us to keep the level of good design and to avoid unwanted and disrespectful editing by unprofessional - as the logo will always go through some unexpected adjustments.
subcategories This is an experiment with the category-font and its position next to the symbol. Different sizes, alignments and ratios gives us better understanding how it will work applied as these headings/ logotype needs to work on screen or printed, small scale or big scale, in colour or monochromatic.
colours
Colours to be used
I’ve been using just black and white, as I was advised to do so, due to its clear contrast and as a default colour combination. Not always the logo will have the opportunity to show in colours, also it is going to be used on other art and it cannot take the attention of the observer.
Core colours are going to be black, white & white transparent (transparency ratio depends on the application used). Modern* colour palette is also used and free to combine. All what needs to be maintained is the contrast of the foreground and background to satisfying level. * Modern in the meaning of development over the years of the practice, as this kind of institution should be long lasting, multi generational and needs to keep up to date.
BLACK RGB 0, 0, 0
CMYK 0, 0, 0, 100
WHITE TRANSPARENT 40%
WHITE
RGB 255, 255, 255
RGB 255, 255, 255
CMYK 0, 0, 0, 0
CMYK 0, 0, 0, 0
final visual identity
applications
On following pages I developed few concepts of basic applications.
letterhead and compliment slip: carrying through the light feeling of transparency with delicate and pure approach to the stationery
OsadnĂ 34, Praha 7, 170 00 - 00420 774 145 434 www.czechdesign.com - info@czechdesign.com
AIE Secretary Worcestershire Royal Hospital Charles Hastings Way Worcester WR5 1DD
12/02/08 REQUEST FOR CONFORMATION LETTER FOR UCE BIRMINGHAM
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www.czech design.com - info@czechdesign.com - OsadnĂ 34, Praha 7, 170 00 - 00420 774 145 434
OsadnĂ 34, Praha 7, 170 00 - 00420 774 145 434
www.czech design.com - info@czechdesign.com
AIE Secretary Worcestershire Royal Hospital Charles Hastings Way Worcester WR5 1DD
12/02/08 REQUEST FOR CONFORMATION LETTER FOR UCE BIRMINGHAM
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Phasellus ornare porta risus, eu consequat risus facilisis et. Nam aliquam diam euismod velit bibendum varius. Duis egestas, tellus sed vehicula vehicula, felis mi scelerisque nisi, eget porta quam urna eu dui. Ut cursus nunc id sapien gravida vehicula vitae vel nunc. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Duis sed nibh ac quam convallis feugiat. Pellentesque ut auctor mauris. Nam pellentesque lobortis malesuada. Maecenas rhoncus leo sit amet magna adipiscing nec iaculis eros auctor. Sed suscipit est vel mauris sodales et vulputate enim condimentum. Sed eget nisi turpis, sed auctor massa. Vestibulum vitae turpis mi, id fermentum dui. Phasellus sit amet dapibus velit. Aliquam justo libero, fermentum e
from left, clockwise: envelope, notebook, cd opposite page: website concept
‘‘If design is to be taken seriously in this country it has to be seen to be valuable’’
categoryhjk category cory catejgg jhhhhgf htfhjjzfs date category tag
HEADING NUMBER ONE FROM CYECH DESIGN Lorem ipsum dolor sit amet, consectetur adipiscing elit. Fusce ullamcorper tempor erat, quis varius risus vehicula eu. Mauris a consectetur augue. Fusce condimentum vehicula urna, ut luctus quam semper eu. Integer dignissim commodo sapien, a vestibulum odio lobortis a. Aliquam erat volutpat. Nullam sed ante nibh. Aliquam erat volutpaat venenatis a, imperdiet ut urna. Quisque imperdiet dictum auctor. Suspendisse imperdiet dolor eu ligula commodo a blandit libero aliquet. Nulla a magna ipsum, vitae porttitor purus.
Hope you enjoyed my Reflective Critical Commentary. I did, it helped me to learn how to structure and analyze while looking back to my work I did for negotiated project. It helped me to realized that fight against Golden ratio with square format is not the best way to become professional information designer. Also I improved my project planning skills and exercised timekeeping. The biggest contribution for my skill set I gained, thanks to this project, is book Universal Principles of Design. These rules applying basic design principles - are so obvious to everybody but anyway seeing it written in book helps. This project came onto my mind when I was researching Czech design institutions and couldn’t find any core design body. After further research I discovered that our design body just ended by the end of 2007.
Visual identity for this institution is quite a big challenge and it needs huge amount of knowledge and research. For my Negotiated Project I’ve created identity guide, now I completed analysis and will follow with my Major project, where I will develop applications going deeper into the identity applications and will try to get in touch with Czech institutions to offer them this project. This carry big potentiation in the future and will teach me a lot I hope. Also the networking which this project requires will give me a good base for my future connections. Note: I’m not a big writer and I hope you will be understandable as English is not my first language.
DesignBlok 2009, Studio Makkink & Bey, Superstudio A7, Holesovicky Pivovar
CONCLUSION
BIBLIOGRAPHY Magazines • Carney, R. (2009), Computer Arts, Vol. 155 -167 • Evans, K. (2009), Computer Projects, Vol 119 - 127 • Stanley, R. (2008), Dazed & Confused, Issue 62, 79 Books • Hyland, A & King, E (2006). Visual Identity and Branding for the Arts. London: Laurence King Publishing Ltd. • Ollins, W (1995). The New Guide to Identity. Aldershot: Gower Publishing Limited • Pelcl, J (2001). Czech Design 1995 - 2000. Praha: Publisher Prostor • Knight, C & Glaser, J (2006). Sticky Graphics. Mies: RotoVision Book • Lidwell, W & Holden, K & Butler, J (2003). Universal Principles of Design. Gloucester: Rockport Publisher, Inc. • Millman, D (2008). The Essential Principles of Graphic Design. Mies: RotoVision Book • Grant Design Colaborative (2009). 1000+ More Graphic Elements. Beverly: Rockport Publishers • Young, J W (2003). A Technique for Producing Ideas. New York: McGraw-Hill • The Academy of Design of the Czech Republic (2008). Czech Grand Design 2008 Awards. Praha: Profil Media • The Academy of Design of the Czech Republic (2007). Czech Grand Design 2007 Awards. Praha: Profil Media • Fawcett-Tang, R & mason, D (2004). Experimental Formats & Packaging. Mies: RotoVision Book • Bennet, A & Heller S (2006). Design Studies. New York: Princeton Architectural Press • Development of a national branding strategy: The case of Latvia, Authors: Iveta Endzia; Lidija Lueva; Source: Place Branding, Volume 1, Number 1, November 2004 , pp. 94-105(12); Publisher: Palgrave Macmillan
websites • www.paperantix.com, Handmade albums, cards, boxes - patterns • www.lisa-baxter.co.uk, Marketing for the Arts - arts identity • www.brandchannel.com, Branding - visual identity • www.designtaxi.com, Design news - Czech Design Centre • www.blog.mariusserban.com, Software, leadership, management, business, development - audience research • www.dafont.com, Font library - font research • www.designcabinet.cz, Czech Design Cabinet - czech design research • www.designineurope.eu, Design News - czech design research • www.designportal.cz, Czech design news - czech design research • www.framemag.com, Design News Magazine - inspiration • www.id-mag.com, Design Magazine - inspiration • www.designersnetwork.co.uk, Designers Network - design research • www.creativereview.co.uk, Visual communication news - design research • www.cgtextures.com, Texture library - image library • www.contzentrade.com, Wallpapers Lars Contzen - pattern inspiration • www.iso50.com, Creative agency - inspiration • www.electroluxdesignlab.com, Electrolux Design Lab - inspiration • www.mzv.cz, Embassy of the Czech Republic in London - Czech design in London • www.designguide.cz, Design news - inspiration • www.mkcr.cz, Ministry of Culture of the Czech Republic - czech design research • www.designweek.co.uk, Design Magazine - inspiration • Anholt, S. (2008). Place branding: Is it marketing, or isn’t it?. Available: http://www.palgrave-journals.com/. Last accessed 20 January 2010 • www.designblok.cz - The biggest design festival in Czech republic
Czech Design Veronika Pechova UK 2010