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 Fundacija Brumen |
| ZADNJE DOSJE Uvod Anna Berkenbusch Pierre Bernard Peter Bilak Irma Boom Max Bruinsma William Drenttel Jessica Helfand Andrzej Klimowski Cyprian Koscielniak Bo Linnemann Piotr Młodozeniec Bruno Monguzzi Aleš Najbrt Jean-Françoise Porchez Mark Porter Rick Poynor Erik Spiekermann Wieczyslaw Wasilewski Alan Záruba BIENALE 04 Fotogalerija Poročilo žirije Žirija Komisija Ožji izbor Razpis Medijska soba Summary bvss04 & mod04 MOD 04 Fotogalerija Žirija Predavanja Razstava Medijska soba POSTER FESTIVAL LJUBLJANA 09 ZAGREB English Slovensko Fotogalerija OBLIKOVANJE ZA DRŽAVO - razstava Slovensko English Medijska soba BRNO English Slovensko Fotogalerija OBLIKOVANJE ZA DRŽAVO - posvet Referati Medijska soba Sklepi posveta ODGOVORNOST V OBLIKOVANJU Predavanja Medijska soba Fotogalerija |
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BIENALE 03 Žirija Poročilo žirije Medijska soba Fotogalerija Ožji izbor Razpis English MOD 03 Fotogalerija Razstava Predavanja Žirija Medijska soba HRVAŠKO OBLIKOVANJE 040506 Info Fotogalerija Medijska soba TDC NY Info Fotogalerija Medijska soba APEL Mnenje Fundacije Odzivi Korespondenca G. Košaka ADC BiH Info Katalog Medijska soba E-A-T Info Katalog Fotogalerija Medijska soba BIENALE 02 Žirija Poročilo žirije Medijska soba Fotogalerija Ožji izbor Bienala 02 Prijavnica Razpis MOD 02 Razstava Predavanja Medijska soba BIENALE 01 FUNDACIJA Namen in cilji Fundacija Načrti Jože Brumen Kontakt FAQ Pokrovitelji |
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The context of the exhibition The purpose and structure of the exhibition Selection of countries Problems and possibilities Findings Headlines Supporters Acknowledgements Realisation The context of the exhibition In March 2008 the Brumen Foundation organised (in collaboration with other design institutions in Slovenia) a discussion panel entitled Designing for the Country in Cankarjev dom which was attended by designers, communication professionals and representatives of the public administration who drew up proposals and recommendations for improving Slovenia’s visual image on the basis of opinions, arguments and examples. Everyone agreed that consistent use, deriving from excellent design, is the key to being recognised and distinctive. The purpose and structure of the exhibition To establish the quality of existing design we prepared a two-part exhibition which enables a comparison of images of eight European countries and highlights examples of good practice. The comparative part presents elements of a country’s corporate identity, including the primary identity system (coat of arms, flag, colours, logo), official letterheads, identity elements of ministries, economic and tourist promotion, signage on police cars, airliners, and appearances of national football teams. The purpose of the comparative part is to clearly identify the problem, not to offer solutions. The second part highlights examples of good practice in the presented countries. The projects have either visually articulated the issue well (Portuguese Presidency of the Council of the EU, new designs for UK coinage, Croatian tourist promotion) or have a very good visual concept – monolith (corporate identities of the German and Swiss government bodies) or open with the possibility of deriving different versions (corporate identity of the Danish government and administration, corporate identity to promote the Czech Republic abroad). Selection of countries In addition to the example of Slovenia, the exhibition presents Croatia, the Czech Republic, Denmark, Germany, Portugal, Switzerland and the UK. The selection was essentially made from works which have acquired a referential status in international design communities in terms of designing for countries and their institutions. When evaluating an approach it is particularly relevant if the corporate identity of a country took advantage of graphic design as an integrated process. Integrity in this respect chiefly means the consistent use of primary elements which present the identity of a country, consistency without communication noises and unnecessary repetition and visual consistency which does not lose their quality despite being applied to different media. Integrity also means the ability to use all the available means of presentation of visual communications to wider audiences, along with the carefully considered use of visual elements to achieve the optimal communication effect. The integrity of the corporate identity is also displayed in how the network of recognisable elements is organised in all sub-systems (ministries, the business sector, tourism, sport, culture etc.), which all reflect the primary corporate identity of the country. Problems and possibilities Every country has specific rules of organisation which in itself require time to comprehend. The staff of embassies, representatives of government institutions and design studios were of great help. The collected works enable a basic insight into the designs of eight countries. The exhibition is based on a system which allows it to expand and be updated with more recent achievements. The materials of each country can be complemented and expanded and new countries can be presented. Findings Designing for a country encompasses all the visual communications which are used to identify a country, including the images of the government and government bodies, and signage on police cars and airplanes. Presenting individual countries abroad, marketing a country as a brand, the connection of a country with its business sector, the presidency of a group of countries, the organisation of international meetings and contemporary communication channels all demand professional solutions when it comes to designing an appropriate corporate identity system. As countries join international organisations like the EU, there is a greater need to maintain a certain level of individuality and their own specific identity. Being a sovereign partner in international processes also means displaying this sovereignty at the level of the visual image. Any country is an organisational structure comprising different sub-systems which all have different needs when it comes to communicating with their environment. The effectiveness and consistency of messages at the government level depends on the clarity and consistency of the messages generated by each sub-system; and of course vice-versa: the dispersion of a variety of visual communications created within various sub-systems without reference to their totality boils down to nothing but a multitude of communication noises and, consequently, comes across as an example of poor visual communication design practice. Different approaches taken in introducing a corporate identity into sub-systems do not necessarily signify different levels of quality. A strict corporate identity centred around a single sign (or a coat of arms) and colour suits a certain type of country (e.g. Switzerland) and the cultural patterns of its citizens, while a more open corporate identity with basic symbols that lend themselves to a host of different variations is appropriate for other countries (e.g. Denmark). Some countries emphasise good internal communication as the key to good international promotion (e.g. Denmark, Switzerland, Germany), whereas others focus on external communication (e.g. Slovenia, Czech Republic) at the expense of internal communication, which is less harmonious and user-friendly in terms of its accessibility and the quality of information. Nevertheless, all of these countries provide examples of well-designed visual communications and, as far Slovenia’s corporate identity is concerned, we should avoid using foreign examples of inferior quality as an excuse and those which are better as an unattainable ideal Headlines # 1 The image of a country does not end with the coat of arms as it includes the sub-systems and presentations of individuals, bodies and institutions which represent it. # 2 A well-considered and consolidated corporate identity of a country which is not limited to the coat of arms and flag, but also includes systems of logos, composition principles, different types of visual materials and typographical rules, can provide a good basis for designing any visual message at any level. (For example trade, particularly if the need to highlight products by emphasising the national brand emerges. The integrity strengthens the synergy of companies which act together in the global market and the recognition of a country.) # 3 The selection was limited to Europe, where eight countries were selected as the time and resources were limited. Current issues and unfinished projects were not considered, for example the emerging corporate identity of the Dutch government. # 4 The collection of materials and information from this extensive area was limited by time and resources. There were also often bureaucratic obstacles to acquiring works. # 5 The presented images are not evaluated but enable a country to be compared and viewed against others. Supporters MO Ljubljana MOBITEL NLB DOS Dmagazin TAM-TAM ALTOS DNEVNIK Acknowledgements Architecture Museum of Ljubljana, British Council – Slovenia, Chamber of Commerce and Industry of Slovenia, City Museum Ljubljana, Croatian National Tourist Board – Office in Slovenia, Embassy of the Czech Republic in Slovenia, Embassy of the Federal Republic of Germany in Slovenia, Embassy of the Republic of Croatia in Slovenia, Embassy of the Portuguese Republic in Slovenia, Embassy of the Swiss Confederation in Slovenia, Embassy of the United Kingdom of Great Britain and Northern Ireland in Slovenia ,Football Association of Slovenia, Government Communication Office, Ministry of Culture, Ministry of Defence, Ministry of Foreign Affairs, Slovenian Police, The Royal Danish Embassy in Slovenia Pedro Albuquerque, Kim Meyer Andersen, Filip Blažek, Andrew Boag, Vasco Branco, Matt Dent, Sabina Dežman, Isabel Douglas, Manuela Giger, Martina Gobec, Paula Gris, Alena Horáčková, Marko Janša, Anita Kropf, Martina Kryslova, Boris Ljubičić, Maria dos Santos Lonsdale, Tomas Machek, Maria do Carma Allegro de Magalhaes, Gabi Matkovič, Mirjam Matti, Matevž Medja, Mitja Miklavčič, James Mosley, Aleš Najbrt, Peter Niebuhr, Ranko Novak, Sabina Popovič, Iva Pospíšilová, Marek Prokop, Cvetka Požar, Marija Skočir, Luka Stepan, Edi in Matic Stropnik, Jeremy Tankard, Nuška Tavčar, Beatriz Vidal, Andy Young, Alan Zaruba, Theresa Ziehe, Annegret Zimmermann Realisation production: Fundacija Brumen; curators of the exhibition, editors of the publication: Robert Ilovar, Jernej Stritar; professional assistant, editorial board: dr. Petra Černe Oven; professional assistant: Peter Skalar; visual id, design: DesignIlovarStritar; exhibition layout: Jasmin Šahipašić; organisation: Barbara Predan, M. A.; promotion, editorial board: Inge Pangos; translation: U.T.A. Prevajanje; photography of the exibition: Blaž Zupančič; web: Borut Brezavšček, Gigodesign |
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