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Godinjak

Studija
dizajna
School of
Design
Annual
Review

1
izdava
Sveuilite u Zagrebu
Arhitektonski fakultet
Studij dizajna

Godinjak
publisher
University of Zagreb
Faculty of Architecture
School of Design

za izdavaa
Voditelj Studija dizajna
prof. Stipe Bri

for the publisher


Studija
dizajna
Head of School of Design
Professor Stipe Bri

Sva prava pridrana. Niti jedan dio ove publikacije ne

School of
smije se reproducirati ni na koji elektronski i mehaniki
nain bez pisane dozvole izdavaa.

All rights reserved. No part of this publication may be


reproduced in any form by any electronic or mechan-
ical means without permission in writing from the

Design
publisher.

ISSN 18487823

Annual
Review
Zagreb, 2016.

2 3
preddiplomski studij/undergraduate programme
Sadraj Contents

predgovor _7 preface _7

godinje nagrade i priznanja _9 annual awards and acknowledgements _9

preddiplomski studij _19 undergraduate programme _19

diplomski studij/graduate programme


ciljevi _20 Objectives _20
projektiranjeindustrijski dizajn _23 design courseindustrial design _23
projektiranjevizualne komunikacije _61 design coursevisual communications design _61
tipografija _121 typography _121
likovni program _147 visual arts programme _147
fotografija i film _165 photography and film _165
osnove interaktivnih medija _181 basics of interactive media _181
studenti preddiplomskog studija _191 Undergraduate programme students _191
izvedbeni program _199 curriculum outline _199

diplomski studij _207 graduate programme _207


ciljevi _208 Objectives _208
industrijski dizajn _211 industrial design _211
dizajn vizualnih komunikacija _227 visual communications _227
projektiranje pisma _243 font design _243
film i video _249 film and video _249
interaktivni mediji _257 interactive media _257
dizajn interakcija _263 Interaction Design _263
diplomski radovi _271 graduation thesis _271
studenti diplomskog studija _317 Graduate Programme Students _317
izvedbeni program _323 curriculum outline _323

projekti _329 projects _329


dogaanja _359 events _359

vijee, povjerenstva, programski odbor _381 council, committees, programme board _381
In memoriam Dr.sc. Edo midihen, In memoriam Edo midihen, phd,
professor emeritus _384 professor emeritus _384
registar _387 archive _387
impresum _422 impressum _422

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godinjak studija dizajna 2014./2015.
school of design annual review 2014/2015

Predgovor Foreword
prof. stipe bri
voditelj studija dizajna
head of the school of design

Roen 1948. godine u Osijeku. 1971. diplomirao slikar- Born in 1948, in Osijek. In 1971 graduated from the U ovoj, dvadesetestoj godini Studija dizajna svoje obrazova- In this 26th anniversary of the School of Design, 29 students have
stvo na Akademiji likovnih umjetnosti u Zagrebu, u klasi Academy of Fine Arts in Zagreb, Painting Department, nje uspjeno je zavrilo 29 prvostupnica i prvostupnika te 34 successfully completed their Bachelor degree program and 34
prof. Miljenka Stania. Od 1968. do 1972. stalni suradnik in the class of Prof. Miljenko Stani. From 1968 to
u ateljeu arh. Vjenceslava Richtera. Od 1977. do 1989. 1972 was a permanent associate with the architect magistrice i magistara dizajna. Jo jedna diploma je obranjena students have completed their Master degree program. One of
lan autorskog tima Vizualne komunikacije Centra za Vjenceslav Richters studio. From 1977 to 1989 acted po starom (predbolonjskom) sustavu. Istodobno, 32 studen- them graduated from the former pre-Bologna study program.
industrijsko oblikovanje CIO. 1983. lan-osniva Dru- as an authoring member of the visual communica- tica i studenata upisalo je preddiplomski, a njih 28 diplomski Currently 32 students are enrolled in the Bachelor degree pro-
tva dizajnera Hrvatske. Od 1985. do 1989. predsjednik tions design team at the Industrial Design Centre (CIO).
Drutva dizajnera Hrvatske. 1990. osniva vlastiti stu- In 1983 became a co-founding member of the Croa- studij dizajna. gram and 28 in the Master degree program. Although the reor-
dio Norma International. Od 1986. do 1988. lan radne tian Designers Society (HDD). From 1985 to 1989 held Iako organizacijska tranzicija jo nije zavrena, Studij die punim ganization of the School of Design is still in process, professional
grupe za osnivanje i izradu okvirnog programa Studija the position of President of the Croatian Designers pluima. I ovaj Godinjak o tome svjedoi. U nastavi su posti- work and activities are in full swing. This publication presents
dizajna na Sveuilitu u Zagrebu na kojem, po osnivanju Association (HDD). In 1990 established his own studio,
1989. godine, postaje predava na kolegiju Projektiranje. Norma International. From 1986 to 1988 acted as a gnuti vrijedni rezultati. Onim najboljim dodijeljene su ve tra- the activities that we took part in and the results that we have
Od 2002. do 2006. voditelj Studija dizajna. Od 2004. member of the working group in charge of founding dicionalne godinje nagrade i priznanja. achieved. Our high-quality professional training has resulted in
do 2005. koordinator radne grupe za izradu studij- of the School of Design and drafting of its educational Istodobno, Studij je ostvario niz zanimljivih suradnji, radionica i the traditional annual rewards that went to some of our most
skog programa u sklopu bolonjske reforme i koautor programme framework. After the Schools foundation
izvedbenog programa iz kolegija Projektiranje/vizu- in 1989 he became a lecturer in Visual Communica- projekata. Tako je uspjeno nastavljena suradnja izmeu naih successful students. We have established some effective colla-
alne komunikacije 16 (preddiplomski studij) i Dizajn tions Design. From 2002 to 2006 he was Head of the studenata i studenata Akademije za dramsku umjetnost na boration, held some interesting workshops, and carried out some
vizualnih komunikacija 14 (diplomski studij). Od 2011. School of Design. From 2004 to 2005 acted as coor- projektu FRKA. major projects.
godine voditelj Studija dizajna. dinator of the working group in charge of the educa-
tional programme draft within the Bologna reform S udrugom RODA u enskoj kaznionici Poega realizirana je izu- We have continued fruitful collaboration between our students
of higher education, and a co-author of the Visual zetno vrijedna radionica Reetke nisu prepreke. I ove godine u and the students from the Academy of Dramatic Art who are
Communications Design 16 (undergraduate level) suradnji sa kolom narodnog zdravlja Andrije tampara i Arhi- jointly working on FRKA project. Together with Roda Associa-
and the Visual Communications Design 14 (grad-
uate level) courses educational programmes. As of tektonskim fakultetom organizirana je UNICEF-ova radionica tion we held a workshop Prison bars are not an obstacle in the
2011 he has been holding the position of Head of the Prostori uenja u tranziciji. womens penitentiary in Poega. In collaboration with the School
School of Design. Za Strategije obrazovanja, znanosti i tehnologije Republike of Public Health Andrija tampar and the Faculty of Architecture
Hrvatske Studij je izradio projekt vizualnog identiteta i komu- we organized a UNICEF workshop Study facilities in transition.
nikacijskog sustava Nove boje znanja. Our School is responsible for the visual identity of the project
Zapaeno je sudjelovanje Studija na Danu D, Tjednu dizajna i New colours of knowledgeStrategy of Education, Science and
Smotri Sveuilita. Technology of the Republic of Croatia.
Ove godine u Frankopanskoj 12 otvorena je Galerija Studija diza- We actively took part on D Day, Design Week, and University
jna, kao novi komunikacijski kanal vrlo vaan kako za internu of Zagreb Fair.
tako i za eksternu komunikaciju. The Gallery of the School of Design was opened this year at 12,
Na kraju, zahvaljujem studenticama i studentima, nastavnicima Frankopanska st. as a new communication channel which is
i suradnicima na uloenom trudu i postignutim rezultatima. important both for the internal and the external communication.
Zahvalu dugujemo i Arhitektonskom fakultetu s dekanom I express my gratitude to all the students, professors and colla-
prof.mr.sc. Borisom Korunjakom na elu te Fakultetskom borators for their efforts and the achieved results. We also owe
vijeu koje je u svom radu podravalo interese Studija dizajna. sincere gratitude to the Faculty of Architecture headed by Prof.
Boris Korunjak, M.Sc., and all teaching staff who supported the
Prof. Stipe Bri, School of Design and its interests.
voditelj Studija dizajna
Prof. Stipe Bri
Head of the School of Design

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godinjak studija dizajna 2014./2015.
school of design annual review 2014/2015

Godinje nagrade i priznanja



Annual Awards and Acknowledgements

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godinjak studija dizajna 2014./2015. godinje nagrade i priznanja
school of design annual review 2014/2015 annual awards and acknowledgements

Godinje nagrade i priznanja Awards presented by the


studija dizajna u 14./15. godini School of Design 2014/2015

Treu godinu zaredom, Studij dizajna dodjeljuje nagrade i pri- For the third consecutive year the School of Design has been
znanja najboljim studentskim projektima, nastalima u okviru awarding the best student projects developed within the regular
redovnoga nastavnog programa na oba usmjerenja: Projekti- teaching programme in both departments: DesignIndustrial
ranje, industrijski dizajn i Projektiranje, vizualne komunikacije. Design and DesignVisual Communications.
Nagrade i priznanja dodjeljuju se odvojeno, za preddiplomski Awards and recognition are conferred separately for the Under-
i diplomski studij te se tako dodatno motivira studente, pro- graduate and for Graduate Study Programme and hence students,
fesore i asistente za snaniji kreativni angaman u rjeava- professors and assistants are additionally motivated to be more
nju projektnih zadataka predvienih nastavnim programima. deeply creatively involved in providing solutions to terms of refe-
Dodjela nagrada i priznanja ima takoer za cilj stvaranje poti- rence included in the teaching programmes.
cajnog okruja, kao vanog motivirajueg imbenika za potica- Moreover, the conferring of awards and recognition is also inten-
nje i razvoj kreativnosti. Izbor najboljih radova podrazumijeva ded to provide a more encouraging environment, as an important
valorizaciju i samih nastavnih programa u kojima su nastali ti motivating factor for the encouragement and development of
radovi te stoga omoguuje generacijske usporedbe. creativity. The selection of the best works also implies a valori-
injenica da je ovo ve trea godina kako Studij dizajna dodje- sation of teaching programmes in which they were created and
ljuje nagrade i priznanja, potvruje da je proces nominacije, it hence provides the opportunity for generational comparisons.
izbora i dodjele postao sastavnim dijelom i odreeni vrhunac The fact that this is the third year in which the School of Design
jednogodinjega obrazovnog ciklusa. has been conferring the awards and recognition confirms the
Nagraeni radovi izloeni su u novotvorenoj Galeriji Studija fact that the process of nomination, selection and presentation
dizajna, to znai znaajniju afirmaciju nagraenih radova i nji- of awards has become an integral part of a one-year educati-
hovih autora u irem profesionalnom i drutvenom kontekstu. onal cycle and is considered as its pinnacle.
To drugim rijeima znai i da nagraeni radovi prestaju biti The awarded works have been exhibited at the recently opened
tek dijelom internoga obrazovnog procesa te da inom jav- School of Design Gallery, implying a more significant affirmation
nog izlaganja postaju dostupniji javnosti. of the awarded works and their authors in the broader profes-
Za Studij dizajna to predstavlja i svojevrsni in otvaranja, a sional and social context.
time i put k snanijoj afirmaciji u sredini u kojoj djeluje. In other words, this implies the fact that the awarded works
Sam in dodjele nagrade valjalo bi snanije javno predstaviti i stop being merely a part of the internal educational process
marketinki iskoristiti ne samo za popularizaciju ovog Studija, and through their public exhibition they become more availa-
ve i same dizajnerske struke kao jednog od vanijih imbe- ble to the public.
nika za ekonomski i iri opedrutveni razvoj. This is considered as an act of opening of the School of Design Voditelj Studija dizajna prof.Stipe Bri, predsjednik Povjerenstva za
and hence a path towards a stronger affirmation in the envi- dodjelu nagrada prof.mr.sc.Zlatko Kapetnovi i studentica Marta
ronment in which it operates. Baturina, voditeljica sveanosti dodjele Nagrada i Priznanja SD-a
Head of the School of DesignStipe Bri, Professor; President
Nevertheless, the presentation of the award needs to be provi- of the Awards Commision Zlatko Kapetanovi, MSc, Professor and
ded a more vigorous presentation to the public and used from student Marta Baturina, presenter at the award and acknowledge- Dobitnice Valentina Sunek, Dorja Benussi i Zrinka Horvat
the aspect of marketing not only for the popularisation of this ment presentation ceremony of the School of Design Award winners Valentina Sunek, Dorja Benussi and Zrinka Horvat
School, but also of the design profession, as one of the funda- Djeli slavljenike atmosfere nakon dodjele Nagrada i priznanja Prof.Mladen Orei, studentica Valentina Sunek i asistentica Andrea Hercog
mental factors in the broader economic and social development. Festive atmosphere after award and acknowledgement presentation Mladen Orei, Professor; Valentina Sunek, student and Andrea
Hercog, Teaching Assistant

Prof. Stipe Bri i studentica Zrinka Horvat


Stipe Bri, Professor and Zrinka Horvat, student

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godinjak studija dizajna 2014./2015. godinje nagrade i priznanja
school of design annual review 2014/2015 annual awards and acknowledgements

godinja nagrada studija dizajna godinja nagrada studija dizajna


annual awards at the school of design annual awards at the school of design
Preddiplomski studij/ProjektiranjeIndustrijski dizajn Preddiplomski studij / ProjektiranjeVizualne komunikacije
Undergraduate programme / Industrial Design Studio Undergraduate programme / Visual Communications Studio

Valentina Sunek Grgo Petrov


Zipka Sway Moj pervi abecedarij
Cradle Sway slikovnica, samoinicirani projekt
My First Alphabet Picture book
mentor: Mladen Orei
asistentica/assistant: Andrea Hercog Self Initiated Project
mentor: Nenad Dogan
asistentica/assistant: Romana Kajp

Rjeenje zipke Sway inovativno integrira funkcionalne i oblikovne Sve zapaenija devastacija materinjeg jezika tuicama, dovela je u
znaajke traene od klijenta Noona s kojim je provedena suradnja pitanje opstojnost i vrijednost hrvatskih dijalekata to se osobito
na razvoju namjetaja za bebe. Inteligentnim rjeenjem konstrukcije osjeti kod mlaih populacija. Nepostojanje suvremenih, moderno obli-
omoguuje se sklopivost, prenosivost i podesivost, a pri tome obli- kovanih materijala za uenje kajkavskog narjeja najmlaeg uzrasta,
kovno odaje mekani, topli i zatitniki dojam, primjeren namjeni te bio je motiv za ovaj rad. Moj pervi abecedarij je ilustrirana knjiica
tim znaajkama originalno rjeava specifine situacije i potrebe suvre- kajkavske abecede, edukativnog karaktera, namijenjena prvenstveno
menih mladih roditelja. Rjeenje se takoer odgovorno odnosi prema najmlaim uzrastima, koja bi trebala potai djeji interes za zaviajni
okoliu kroz projektirani dui ivotni vijek proizvoda, to se nasto- jezik, socio-kulturni identitet i zaviajnu batinu. Stilski i vizualno
jalo postii kvalitetnim izborom materijala i tehnologije, ali i obliko- ujednaen, ovaj fizikim opsegom mali projekt, uspjeno sjedinjuje
vanjem koje ne podlijee modnim trendovima. Ukupnost pozitivnih vjetine suvremenog dizajna s potrebom da se steene vjetine stave
znaajki rjeenja je rezultirala i odlukom tvrtke Noona o nastavku u funkciju rjeavanja konkretnih drutvenih problema.
razvoja zipke te njena realizacija i komercijalizacija.
Increasing devastation of the native language by the loaned words
The cradle Sway innovatively integrates the functional and design and phrases from other languages, which is present especially in
characteristics required by the Noon Company, for which the fur- younger population, is questioning the viability and value of Croa-
niture for babies project was developed. Intelligent solution allows tian dialects. This project was motivated by the lack of contemporary,
design possibilities, portability and scalability. The shape gives a soft, modern educational materials of kajkavian dialect for the youngest
warm and protective impression appropriate for the purpose. These generation. Moj pervi abecedarij (My first alphabet) is illustrated edu-
characteristics successfully address specific situations and needs of cational booklet of kajkavian alphabet, aimed especially at the young-
contemporary young parents. This design is environmentally responsi- est age groups, which should stimulate childrens interest in native
ble by the products longer life span, achieved by the quality of mate- language, socio-cultural identity and local heritage. Although small
rials, technology, and design which is not a subject to fashionable in volume, this stylish and visually uniformed project successfully
trends. The overall positive characteristics of this cradle design led combined the skills of contemporary design with the need to put the
to the companys decision to further develop, realize acquired skills in the function of resolving concrete social problems.
and commercialize this cradle.

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godinjak studija dizajna 2014./2015. godinje nagrade i priznanja
school of design annual review 2014/2015 annual awards and acknowledgements

godinja nagrada studija dizajna godinja nagrada studija dizajna


annual awards at the school of design annual awards at the school of design
Diplomski studij / Industrijski dizajn Diplomski studij / Dizajn vizualnih komunikacija
Graduate programme/Industrial Design Graduate programme/Visual Communications Design

Dorja Benussi Zrinka Horvat


Senzomotorno stimulativna edukacijska oprema Taktilna slikovnica za slijepu djecu
Diplomski rad Diplomski rad
Sensorimotoric stimulating educational equipment/Graduation thesis Tactile Picture Book for blind children/Graduation thesis
mentor:Mladen Orei mentor:Stipe Bri
komentorice/co-mentor: Ivana Fabrio, Rea Fulgosi-Masnjak suradnica/associate: Karla Paliska

Obavljena istraivanja pokazala su velik manjak kvalitetno oblikovanih didaktikih sredstava za


slijepu djecu. Projekt Taktilna slikovnica, pokuaj je da se ukae na mogue rjeenje ovog pro-
blema, a realiziran je uz konzultacije i u suradnji sa strunjacima koji se bave ovim problemom.
Koritenjem odgovarajuih taktilnih materijala, koji aktiviraju i razvijaju osjetilo opipa i osjetilo
sluha slijepog djeteta, realiziran je projekt koji svojim plemenitim ciljem, praktinim znaenjem,
vjetinom oblikovanja i izvedbe, znatno odskae od uobiajenog izbora tema za diplomski rad.

The performed studies have shown a great lack of well designed didactic materials for blind chil-
dren. The project Tactile Picture Book is an attempt to point out the possible solution to this prob-
lem. It included consultation and cooperation with experts who deal with this problem. The use of
appropriate tactile material, which trigger and develop the sense of touch and the sense of hear-
ing of a blind child, resulted in the project whose noble cause, practical significance, design skills
and performance, significantly stands out from the usual choice of topics for graduation thesis.

Set stolica i pisai stol su inovativni proizvodi opreme senzomotorno stimulativnih edukacijskih prostora kojima
se potie senzorna integracija i motoriki razvoj. Iako poetno namijenjeni terapijskim ustanovama dizajnirani
su da se mogu koristiti za svu djecu, jer interakcija s prostorom i opremom podjednako utjee na njihov rast
i razvoj, kao i na koncentraciju i sposobnost pamenja i uenja. Proizvodi donose originalna oblikovna i funk-
cionalna rjeenja, koja su rezultat nove konceptualne postavke i kriterija proizalih iz opsenog istraivanja i
konzultiranja sa strukom. Posebna panja posveena je odnosu korisnika i predmeta s obzirom na specifinost
zahtjeva, a izborom materijala i tehnologija potvruje se odgovoran odnos i prema okoliu. Koncept i rjeenja
donose nove vrijednosti i doprinos razumijevanju stvarnih potreba u svom podruju i pri tome postaju realan
potencijal za daljni razvoj i realizaciju.

Set of chairs and the desk is an innovative set of products designed as equipment for sensorimotoric stimu-
lation of educational spaces that encourage sensory integration and motor ic development of children. The
design was initially intended for the therapeutic use for all children, because the interaction with the space and
equipment equally affects their growth and development, as well as their concentration, memory and learning
ability. Products are originally designed. The functional solutions are led by the new conceptual preferences
and criteria resulting from the extensive research and consultation with experts. Special attention was paid to
the respect of users and items due to specific requirements. The choice of materials and technology confirms
the responsible attitude towards the environment. The concept and the solution brings new value and contrib-
ute to understanding the real needs in this field, and thereby becomes a realistic potential for further develop-
ment and implementation.

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godinjak studija dizajna 2014./2015. godinje nagrade i priznanja
school of design annual review 2014/2015 annual awards and acknowledgements

godinje priznanje studija dizajna


annual acknowledgement at the school of design
Preddiplomski studij/ProjektiranjeIndustrijski dizajn
Undergraduate programme / Industrial Design Studio

Grupi autorica/Group of authors

Dina Bartoli
Elizabeta Bonjak
Ivana Hrabar
Katarina Huljev
Maja Jandri
Monika Moevi
Laura Mrka
Helena Nemec
Nataa Njegovanovi
Iva Udovii
Lea Vavra
Petra Vrdoljak
Reetke nisu prepreke U suradnji s udrugom Roda, Studij dizajna je organizirao i realizirao radionicu participativnog dizajna i socijalne
Radionica inkluzije u enskoj kaznionici Poega. Nastavnice i studentice Studija, aktivistice udruge Roda i zatvorenice iz
Kaznionice su tijekom 5-dnevne radionice zajedniki osmislile i izradile uzorke za 8 proizvoda (s ambalaom i
Prison Bars Are Not Obstacles/Workshop vizualnim komunikacijama) namijenjenih bebama i roditeljima, koji e se proizvoditi u Kaznionici, a prihod od
kojih e sluiti za pokrivanje trokova puta djece i omoguivanje susreta s majkama koje slue zatvorsku kaznu.
mentorice (voditeljice radionice) Proizvodi se odlikuju proienom funkcionalnou i tehnologinou izrade prema stvarnim mogunostima.
mentors (workshop leaders) Svojom funkcijom i pojavnou osvjeuju neke predrasude o majkama i spolno odreenim ulogama roditelja,
Sanja Benceti, Andrea Hercog, Izvorka Juri, te potiu razvijanje bliskosti izmeu roditelja i djece. Takoer sadre visoku emotivnu dodanu vrijednost, kroz
Ivana Zanze (Udruga Roda/Roda Association) koju osvjeuju problem razdvojenosti majki i djece u ranoj dobi.

In cooperation with the association Roda School of Design organized and realised the workshop of participa-
tory design and social inclusion in the penitentiary for women, in Poega. Mentors and students of the School of
Design together with the activists from the association Roda and penitentiary inmates, during the 5-day work-
shop jointly designed and developed patterns of 8 products (packaging and visual communications) intended
for babies and their parents, who will be produced in the penitentiary.The profit from this project will be used
to cover the travel expenses for children visiting their parents sentenced to prison. The products are charac-
terized by functionality and are technologically sound.The products functions and shapes surpass some preju-
dices and raise awareness of mothers and gender roles of parents, encouraging the development of closeness
between parents and children.They also contain high emotional added value raising awareness of the problem
of separation of mothers and children at an early age.

Sudionice radionice Reetke nisu prepreke:


Participants at the workshop Bars are not Obstacles:
Elizabeta Bonjak, Nataa Njegovanovi, Maja Jandri, Monika Moevi,
Lea Vavra, Dina Bartoli, Katarina Huljev, Petra Vrdoljak, Ivana Hrabar

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godinjak studija dizajna 2014./2015.
school of design annual review 2014/2015

Preddiplomski studij

Undergraduate program

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godinjak studija dizajna 2014./2015. ciljevi
school of design annual review 2014/2015 objectives

Ciljevi Objectives

Struka je na Studiju dizajna promatrana kao interdisciplinarna, Design profession is at the School of Design considered as an Studenti ve tijekom preddiplomskog studija kontinuirano Undergraduate students continuously co-operate in project
kreativna, inovativna i intelektualna djelatnost usmjerena na interdisciplinary, creative, innovative and intellectual activity surauju na projektantskim zadacima sa stvarnim gospodar- tasks with economic and social entities, as well as in extracu-
uspostavu naela promiljenoga, odrivog i ekoloki osvijete- striving to comply with the principles of planned, sustainable skim i drutvenim subjektima u okviru semestralnih projekata rricular activities: workshops, tenders, exhibitions and in current
nog razvoja s ciljem stvaranja i njegovanja identiteta, huma- and environmentally friendly development, humanisation of tijekom redovne nastave te u izvannastavnim aktivnostima regional and international events, which enables comprehensive
nizacije tehnologije i permanentnog poboljavanja kvalitete technology and continuous improvement of the quality of life poput radionica, natjeaja, izlobi i sudjelovanja u aktualnim advancement of the process of design in real conditions, keeping
ivota i rada, te prema odgovornom pronalaenju odgova- and work, and it is primarily focused on responsible selection of regionalnim i meunarodnim dogaanjima. Time je omogu- abreast of current trends and events, as well as inclusion of stu-
rajuih rjeenja komunikacijskih problema u gospodarskom, adequate solutions to communication problems in economic, eno cjelovito usavravanje procesa dizajniranja u uvjetima dents in the processes of professional development.
drutvenom i kulturnom segmentu drutva. Kao takav, dizajn social and cultural aspect of society. Design is one of the prin- suvremenoga realnog okruja, aktivno praenje aktualnosti i Following the completion of the undergraduate study of design
je promatran kao jedan od temeljnih imbenika pri stjecanju cipal features in achieving competitiveness and recognisability ukljuivanje studenata u procese razvoja struke. the students acquire competences in the field of design creation
konkurentnosti i prepoznatljivosti u globalnoj gospodarskoj in the global economic and cultural exchange. Zavretkom preddiplomskog studija dizajna studenti stjeu in compliance with the definition by icsid and icograda, such as
i kulturnoj razmjeni. During the three-year undergraduate study of design students kompetencije za suradnike poslove na podruju dizajner- independent performance of simple tasks concerning design of
Tijekom trogodinjega preddiplomskog studija dizajna studenti acquire knowledge and competencies for work in project teams skog stvaralatva prema definiciji ICSID-a i ICOGRADA-e, poput objects or systems and co-operation in interdisciplinary, research,
stjeu znanja i sposobnosti za rad u projektnim timovima na on ideas and creation of planning design tasks in material and samostalnog izvoenja jednostavnih projektantskih zadataka developmental, scientific and artistic teams. Moreover, following
osmiljavanju i oblikovanju projektantskih zadataka dizajna communication environment. The principal objective of an under- dizajna predmeta i sustava, suradnje u razvojno-istraiva- the completion of undergraduate study, students acquire com-
predmetne i komunikacijske okoline. Cilj preddiplomskoga graduate cycle is the creation of competent professionals to meet kim poslovima i projektima, zatim suradnja u specijalistikim petencies for enrolment in graduate study.
obrazovnog ciklusa je stvaranje kompetentnih strunjaka za human requirements in the real environment. The interdiscipli- istraivanjima i u interdisciplinarnim razvojnim, istraivakim,
zadovoljavanje stvarnih ljudskih potreba u realnom okruju. nary feature of design is implemented in the curriculum thro- znanstvenim i umjetnikim timovima. Zavretkom ovog studija
Interdisciplinarni karakter dizajna je uspjeno implementiran ugh theoretical and methodological, basic technical and tech- stjeu se takoer i kompetencije za upis diplomskog studija.
u nastavni program pomou teorijsko-metodikih, osnovnih nological, as well as social, artistic, practical and project-related
tehnikih i tehnolokih te drutvenih i umjetnikih, odnosno areas as fundamental preconditions of the profession. The use of
onih praktino-projektantskih podruja koja ine bitne zada- creative imagination is encouraged to enhance development of
tosti struke. Ciljano koordiniranim kombiniranjem teorijskih i personality required for innovative creation trough co-ordina-
praktino-projektantskih predmeta potie se svestrani razvoj ted combination of theoretical and practical-planning courses
kreativne imaginacije u cilju razvoja sposobnosti za inovativno in two specialist areas of study at the School of Design: indu-
stvaralatvo u dva specijalistika podruja koja Studij dizajna strial design and visual communications design. Industrial design
prua: industrijski dizajn i dizajn vizualnih komunikacija. Pod- at the undergraduate study includes a broad range of practical
ruje industrijskog dizajna na preddiplomskom studiju uklju- work ranging from design of various items and furniture design
uje raspon strukovnih vjebi od dizajna raznovrsnih predmeta, and furniture system design. On the other hand, visual commu-
dizajna namjetaja i njihovih sustava, dok podruje dizajna nications design involves the design of elements and systems for
vizualnih komunikacija ukljuuje dizajn elemenata i sustava the press and electronic media. During the first year of study the
za tiskovne i elektronike medije. Tijekom prve godine studija students become acquainted with fundamental general standards
studenti usvajaju temeljna opa naela dizajna i informacije of design and the information essential for their selection of a
potrebne za izbor usmjerenja. U kasnijim fazama produbljuju specific study programme. Subsequently, throughout the study,
opa znanja i vjetine i stjeu specifina znanja u odabranim the students enrich their general knowledge and acquire new skills,
podrujima specijalizacije. as well as specific knowledge in their selected study programme.

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school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme

Projektiranje Design Course


Industrijski dizajn Industrial Design

ProjektiranjeIndustrijski dizajn temeljni je strukovni kole- Industrial Design Studio is the fundamental vocational course
gij koji se provodi kroz sve tri godine preddiplomskog studija. extending throughout the three years of undergraduate study.
Tijekom prve godine studija studenti usvajaju osnovna zna- During the first year of study students acquire basic knowledge
nja i vjetine temeljem kojih izabiru usmjerenje. Na drugoj i and skills based on which they subsequently select the pro-
treoj godini studija studenti svladavaju projektantske pro- gramme. During the second and third year they become acqu-
cese u cilju stjecanja odgovarajuih kompetencija. Sloenost ainted with planning processes aiming to acquire the required
projektantskih zadataka postupno raste tijekom semestra, a competencies. The complexity of planning tasks increases gra-
studenti u njima primjenjuju znanja i vjetine iz odgovaraju- dually through semesters and students are required to apply the
ih predmeta drutveno-humanistika, umjetnika, tehnika knowledge and skills in social and humanistic area, as well as
i komunikacijskog podruja. the area of arts, technology and communications.
Na poetku obrazovnog procesa u okviru predmeta Projek- At the commencement of the educational process during the
tiranje studenti svladavaju temeljna predznanja u struci. U tu course Studio the students acquire the fundamental backgro-
svrhu analiziraju, estetski razmatraju i stvaraju trodimenzio- und required. Consequently, they analyse, examine aspects of
nalne oblike na funkcionalnoj i simbolikoj razini kao temeljne aesthetics and create three-dimensional items at functional
sposobnosti u industrijskom dizajnu. U nastavku obrazovnog and symbolic level as vital competencies in industrial design.
procesa usvajaju metode kritike analize i kreativne sinteze u Subsequently throughout the educational process students are
cilju osposobljavanja za osmiljavanje kreativnih i inovativnih introduced to methods of critical analysis and creative synthe-
rjeenja. Pri tome primjenjuju osnovne metode istraivanja sis in order to acquire competencies in providing creative and
odnosa proizvoda, korisnika i okoline u aktualnim drutvenim, innovative solutions. Moreover, fundamental methods of rese-
tehnolokim i gospodarskim okolnostima. arch of relationship between products, users and the environ-
Zavrnim radom preddiplomskog studija studenti pokazuju ment against the backdrop of current social, technological and
svoje sposobnosti, znanja i vjetine potrebne za samostalno economic circumstances.
projektiranje proizvoda i njihovih sustava. Izradom multime- The graduation thesis upon completion of the undergraduate
dijalne prezentacije zavrnog rada dokazuju svoje sposobnosti study shows students competencies, knowledge and skills requ-
u predstavljanju svojih zamisli kao sastavnog dijela kompe- ired for independent planning of products and their systems. In a
tencija koje preddiplomski studij daje. multimedia presentation of their graduation thesis students show
their competencies in presentation of their ideas as a vital consti-
tuent of competencies acquired during the undergraduate study.

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school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,1st semester

prvi semestar amin bajrektarevi dora doko jovana vlaisavljevi


mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio
Analiza prostornih struktura asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog

U prvom zadatku studenti trebaju analizom prirodnoga i pred-


metnog okolia svakodnevnog ivota uoiti i istraiti naela
prostornog oblikovanja te iskoristiti ta saznanja za vlastitu
interpretaciju predmeta pomou prostorne kompozicije.
Cilj zadatka je potaknuti studente na analitiko promatranje
vlastitog okruja iz kojeg e crpiti ideje za oblikovanje, upo-
znajui zakonitosti kompozicije trodimenzionalnih oblika putem
analize plohe, volumena, mrene konstrukcije, materijala, tek-
sture i svjetla. Prijeko je potrebno istraiti percepciju tih zna-
ajki te ih artikulirati kao alate u oblikovanju.
Tijek zadatka obuhvaa biljeenje zapaanja i razvijanje ideja
skicama i predmodelima te konanu samostalnu izradu pro-
storne forme koja predstavlja studentovu interpretaciju istra-
enih fenomena.

first semester Sjeckalica Happy Chop


Spatial structure analysis Razmiljanjem o funkciji sjeckalice proizala je kompozi-
cija inspirirana kretnjom njezinih otrica odnosno otiscima
In the first assignment students need to identify and explore koje ostavljaju. Dinamika pokreta postignuta je asimetri-
the principles of spatial design through analysis of natural and nom formom koja se sastoji od pet trokuta rastvorenih u
prostoru, od kojih se svaki nadovezuje na onaj prethodni.
built environment in our everyday lives and subsequently use
Fotoaparat Vadiep
their insights in their own interpretation of objects through a Happy Chop chopping machine
Predmet je inspiriran fotoaparatom. Izravna je interpretacija blende Inspiracija za nastajanje ove forme bile su kretnje vadiepa i prije-
spatial composition. fotoaparata i objektiva zajedno prikazujui pokret zooma kroz razli- nos energije iz ruke korisnika na glavu vadiepa kroz spiralnu otricu The idea behind the composition was inspired by a reflec-
The specific objective of the assignment is to encourage stu- ite stupnjeve. koja naposljetku zakretanjem probija pluteni ep. Redukcija sredita tion on the function of the chopping machine and of the
i crna sjajna pozadina svojim refleksima pridaju dinamici i doivljaju movements of its blades or the marks they leave. Move-
dents to become involved in analytical observation of objects ment dynamics has been achieved through an asymmetric
Still camera rotacije jer iz svakog kuta gledanja nastaje drukiji privid kretanja.
in their own environment which will provide them with ideas for Konana forma takoer asocira na probijeni pluteni ep kao negativ form comprising of five triangles opened up in space each
The object has been inspired by a still camera. It is a direct interpre- of which adds to the previous one.
design, whilst becoming acquainted with composition rules of tation of the blend and the lens combined, showing the movement kretnje otrice vadiepa.
three-dimensional shapes through analysis of surface, volume, of the zoom through diverse levels.
Corkscrew
net-like construction, materials, texture and lighting. Analysis of
The inspiration for the creation of this form were the movements of
the perception of these features is fundamental and they need the corkscrew and the energy transfer from the hand of the user into
to be expressed as tools in the design process. the upper part of the corkscrew through its worm which eventually
The course of the assignment comprises of notation of observa- pierces through a cork by turning. The reduction of the centre and
the shiny black background with their reflexes add to the dynamics
tions and idea development through sketching and pre-models and the rotation experience, since different angles of observation
and the final independent creation of a spatial form which pre- create different impressions of the movements. The final form also
sents the students interpretation of the phenomena explored. reminds of the pierced cork as the negative image of the movement
of the corkscrew worm.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,1.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,1st semester

veronika kova jan marin ljubica golubi stella grabari


mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
asistentica/assistant: Sanja Benceti asistentica/assistant: Sanja Benceti asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog

Patentni zatvara Moka aparat za kavu Sat


Nastala forma je proizala iz analize specifinog zvuka koji proizvodi patentni zatva- Predmet inspiriran Mokom nastao je analizom oblika, rotacijom elemenata te zani- Analiza predmeta te redukcija njegove forme rezultirala je zaklju-
ra pri zatvaranju ili otvaranju. Poput naega vidljivog svijeta i naa auditivna oko- mljivim volumenima i njihovim nainom slaganja. Ideja ispijanja kave, jutarnjih rituala kom da su najbitniji segmenti sata njegove kazaljke koje kruei oko
lina odreena je zakonitostima i redom. Istraivanjem meuovisnosti zvuka i tiine i funkcija kave, navela me da dinamian karakter predmeta ukomponiram u finalnu svojeg sredita ostavljaju zamiljene koncentrine krunice. Predmet
utvren je odnos punih elemenata i praznine. Kako je zvuk rezultat pokreta, stoga ideju. Fluidna forma asocira na rukovanje predmetom, a jasna linija rotacije odvojila je sastavljen od est elemenata. U sreditu je kugla koja predstavlja
i oblikovana forma svoj puni potencijal dobiva tek pokretom. je pravu funkciju predmeta i dala mu apstraktan prikaz uza zadravanje karaktera. Vrtne kare pojedinca, a on se nalazi okruen s pet krunih elemenata od kojih
Polazina toka za izradu ove forme bile su vrtne kare. Prouava- svaki idui obuhvaa prethodnog i predstavlja jednu od dimenzija
Zipper Moka coffee machine njem pokreta koji se dogaa radei njima izdvojeno je est karak- (toka, linija, ploha, prostor i vrijeme).
The created form originated from the analysis of a specific sound made by a zip- The object inspired by Moka was designed following an analysis of the forms, teristinih faza tog pokreta. Kut malih i velikih krunih ploha pro-
per upon zipping or unzipping. Our auditory environment is regulated by laws and through rotation of its features and interesting volumes and the way they are porcionalno se smanjuje ili poveava ovisno o tome zatvaramo li ili Clock
order in the same way as our visible world. Through exploration of interdepend- arranged. The idea of drinking coffee, morning rituals and the function of cof- otvaramo vrtne kare. The analysis of the object and the reduction of its form resulted in the
ence between sound and silence a relationship has been identified between solid fee made me incorporate the dynamic character of the object into the final idea. conclusion that the most important features of the clock are its hands
features and the void. Since sound is the result of movement, the designed form The fluid form reminds of the running of the machine, whilst a clear rotation line Garden shears that leave imaginary concentric circles whilst circulating around its
reaches its full potential only upon movement. points out the actual function of the object and gives it an abstract image in addi- The starting point for the creation of this form were garden shears. centre. The object comprises of six features. There is a sphere at its
tion to retaining its character. Six typical phases of the movement were identified following a centre which stands for an individual who is surrounded by five cir-
research of the movement made whilst using garden shears. The cular features each of which includes the previous one and represents
angle of small and large circular surfaces is proportionally reduced one of the dimensions (a point, a line, a surface, space and time).
or increased depending on whether we open or close garden shears.

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school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,1st semester

prvi semestar ela mesledi leonarda komen jovana vlaisavljevi


mentorica: Ivana Fabrio mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio
Novi ivot odbaenih predmeta asistentica/assistant: Sanja Benceti

Tema zadatka bila je prenamjena odbaenih, isluenih i zastar-


jelih predmeta. Cilj zadatka je bio spoznaja i artikulacija simbo-
like vrijednosti predmeta, te spoznaja sprege njihove uporabe i
znaenja, a svrha usvajanje osnova analize postojeih predmeta
kroz funkcionalne, tehnike i tehnoloke aspekte. Pored toga,
studenti su razmatrali simboliki znaaj odabranih predmeta u
kulturolokom i sociolokom smislu razdoblja njihovog kori-
tenja. Koritene su metode transformiranja odbaenih pred-
meta, dajui im time novi razlog postojanja u skladu s novim
uvjetima. Transformirani predmeti su dobili novu vrijednost
koja u njihovoj originalnoj pojavi i nainu koritenja najee
nije bila prisutna, niti svjesno ugraena. Radi se o namjerno
ugraenim elementima semantikih funkcija. Naroita panja
bila je posveena ekspresivnoj funkciji, tj. emotivnom doiv-
ljaju s ciljem ispitivanja mogunosti transformacije odbae-
nog i isluenog u poeljno i korisno, radi kreiranja uvjeta za Stalak za vino
njihovo trajnije postojanje. Stalak za vino zadrao je svoju funkciju odlaganja dok
je, umetanjem drvenih ploica, ve postojei pravilni
raster forme stalka postao multifunkcionalna polica.
first semester Namijenjena je stvarima koje lako gubimo, a esto tre-
bamo te su nam na ovaj nain uvijek pri ruci.
A new life of discarded objects Wine rack
The topic of this assignment was the transformation of dis- Koveg The wine rack retained its function of storage, whilst
carded, worn out and outdated objects. The objective was to the existing regular grid of the rack was transformed
Nae intime, udobnost i toplina dnevne sobe materijalizirane su sva- into a multifunctional shelf through insertion of wooden
gain insight and express a symbolic value of objects, as well kodnevnim uporabnim predmetima. Lijepo je sve to staviti u koveg boards. It is intended for objects that are easily lost, yet
as to explore the connection between the objects usage and i ponijeti sa sobom. used frequently and hence they are always within reach.
its meaning. The purpose was to adopt basic skills in analy- Stalak za eire
Suitcase
zing the existing objects through functional, technical and Dizajn je proizaao iz zakljuka da ne postoji mjesto koje slui samo
Our intimacy, the comfort and the warmth of the living room mate- za odlaganje eira te kako njima esto mjesto oduzmu neki drugi
technological aspects. Students were also analyzing symbolic rialised in everyday objects. It is nice to put them all into a suitcase odjevni predmeti. Od ostatka kiobrana i stalka za boino drvce
meaning of selected objects in cultural and social discourse and take them with you. nainjen je stalak za eire koji naglaava reprezentativnost eira i
of the particular period of time of their use. Methods of tran- time poveava uestalost njegova noenja.

sformation of the discarded objects were applied in order to Hat rack


give the objects new reasons for their existence according to The design originated from the conclusion that there is no place that
the present conditions. The transformed objects were given is intended exclusively for hats and what was originally intended as
the new values which, in their original appearance and usage a hat rack is frequently used for hanging other clothing items. A hat
rack was made from umbrella pieces and a Christmas tree stand. The
mostly were not present, nor were they consciously built in. hat rack emphasises the presentability of hats and it hence contrib-
These values present deliberately applied emotional experience utes to a higher frequency of their use.
aiming to explore possibilities of transforming the discarded
and worn out into a desirable and useful, in order to create
conditions for their more durable existence.

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school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,1st semester

stella grabari petra pikor ljubica golubi erika filipan


mentor: Zlatko Kapetanovi mentorica: Ivana Fabrio mentor: Zlatko Kapetanovi mentor: Zlatko Kapetanovi
asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog asistentica/assistant: Andrea Hercog

Radio Jadran Camera obscura Sanjke za plac


Radio Jadran iz 1950-ih preoblikovan je u policu za CD-ove inspiriranu Camera obscura nainjena je od mlinca za kavu/papar. U ladicu se Ideja je proizala iz sjeanja na dogaaj
jukeboxom. Dodane su noge koje odiu stilskim razdobljem pede- u tamnoj komori umee fotopapir koji se kasnije razvija u kemikali- iz djetinjstva kada su potrgane i odba-
setih, a unutar radija takoer je dodana i programirana led rasvjeta jama. Svjetlost ulazi kroz rupicu veliine desetine milimetra. Duljina ene stare sanjke ponovo vraene u istu
uz koju dolazi i daljinski upravlja. U tamnijim prostorima rasvjeta sa ekspozicije snimanja ovisi o vremenskim prilikama, tj. koliini svjetla. funkciju. Iako se sanjke vie ne koriste u
stranje strane projicira svjetlosnu mreu na zid. Ugraeni su i zvu- prvotne svrhe, uspomena iz djetinjstva
nici na koje se moe spojiti bilo kakav ureaj koji ima utor za slualice. Kodak Brownie hologram Camera obscura bila je povod da se sanjkama da nova
Slavni Kodak Brownie nekada je predstavljao revoluciju u proizvodnji fotoaparata. Camera obscura is made from a coffee/pepper grinder. A photo- funkcija. Nakon dvadeset godina sanjke
Radio Jadran Njegova masovna proizvodnja i laka dostupnost predoavali su tehnoloki napre- graphic paper is inserted into the drawer in camera obscura and it is su postale sanjke za plac.
Radio Jadran from the 1950s was transformed into a CD rack inspired dak ranog 20.st. Danas, u 21.stoljeu, tehnologija napreduje naglo i kako bih poka- later developed using chemicals. The light enters through a tiny hole
by jukebox. Legs have been added reminding of the 1950s style, whilst zala iskorak te razliku izmeu revolucionarnog tada i danas, stari Kodakov Brownie the size of one tenth of millimetre. The length of the exposure time Sledge for the market place
a programmable led light was added within the radio in addition to a pretvoren je u projektor holograma. depends on the weather, primarily on the amount of light. The idea behind it originated from a child-
remote control. In dark premises the lighting at the back projects a hood memory when the broken and dis-
luminous flux onto the wall. The loudspeakers have also been installed Kodak Brownie hologram carded old sledge was repaired and its
and hence any device with a headphone socket can be connected. The once popular Kodak Brownie used to be considered a revolutionary camera. function was restored. Irrespective of
Its mass production and easy availability showed the technological progress in the the fact that the sledge is not used for
early 20th century. Currently, in the 21st century, the technology has been abruptly its original purpose, it assumed a new
advancing and hence aiming to illustrate the breakthrough and the difference function. After twenty years the sledge
between what used to be revolutionary at the time and the currently revolution- was transformed into a sledge for the
ary, Kodak Brownie was transformed into a hologram projector. market place.

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school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester

drugi semestar
Oblikovanje proizvoda prema zadanim
parametrima
Didaktika igraka inspirirana veronika kova ela meseldi
mentor: Mladen Orei mentor: Zlatko Kapetanovi
hrvatskom batinom asistentica/assistant: Sanja Benceti

U drugom se semestru studenti susreu s dizajnom proizvoda


u cilju usvajanja predznanja za formativni razvoj i odabir smjera.
U tom smislu se od studenata oekuje usvajanje osnova diza-
jnerskog procesa, kroz koji analiziraju i procjenjuju kriterije za
kreiranje vlastitog rjeenja. Izvode ga na kompleksnoj razini
s jasnim uporabnim i simbolikim vrijednostima te vizualno
usklaen. Zadatak je bio igraka inspirirana hrvatskom bati-
nom, a proveden je u suradnji s udrugom Povucizakulturu.
Rezultirao je idejnim rjeenjima koja potiu razvoj novih vje-
tina i doivljaja igre, uz poticanje djejeg samopouzdanja,
inventivnosti i kreativnosti. Nekoliko studentskih rjeenja je
izabrano za razradu i implementaciju na trite.

second semester Bestijarij


Product design according to specified Bestijarij je igraka inspirirana vjerovanjima u ivotinje i izvanzemaljska bia u koja
se pretvaraju. U dvodimenzionalnom prikazu stvaraju se motivi potrebni za prianje
parameters pria, dok se u prostoru stvaraju ivotinje. Na taj nain ostvarena je metamorfoza,
preobrazba jednih oblika u druge. Takoer, apstraktni oblici omoguuju vlastitu
A didactic toy inspired by Croatian interpretaciju uz minimalnu indikaciju motiva.

heritage Bestiary
Bestiary is a toy inspired by belief in animals and extra-terrestrial beings into which
During the second semester students address the issue of product they transform. The two-dimensional layout creates motifs needed for telling tales,
design, aiming to acquire prior knowledge for formative deve- whilst animals are created in real space. Consequently, a metamorphosis is achieved,
lopment and the selection of programme. Hence, students are a transformation of some forms into other forms. Moreover, abstract forms enable
own interpretation with a minimal indication of motifs.
expected to master the basics of design process through which
they analyse and assess the criteria for the creation of their own Bzzbzz
solution. They provide it at a complex level with clear operating Bzzbzz je drutvena, didaktika i prostorna igra inspirirana sui-
votom pela i ljudi. Ideja vodilja je bila prevesti univerzalne vrednote
and symbolic values and visually harmonised. The assignment koje se mogu nai u pela na jezik igre. Tijekom procesa stvaranja
was to design a toy inspired by Croatian heritage and it was teilo se povezivanju elemenata signalizacije, logikog zakljuiva-
performed in co-operation with Povucizakulturu Association. It nja i snalaenja u prostoru te socijalizacije. Oblik igrake proizaao
je iz izgleda pelinjeg saa, odnosno pravilnih esterokutnih oblika.
resulted in conceptual design that encourages the development Bzzbzz je predvien za djecu predkolskoga i kolskog uzrasta.
of new skills and the experience of the game, whilst encoura-
ging childs self-confidence, inventiveness and creativity. Several Bzzbzz
students solutions were selected for further development and Bzzbzz is a social interactive and a didactic game played in real
life environment inspired by co-habitation of humans and the bees.
implementation on the market. The idea behind it was to translate the universal values present
amongst the bees into the language of the game. The toy was aimed
to connect signalisation features, logical conclusions, spatial navi-
gation, as well as socialisation throughout the process of creation.
The toy shape originated from the honeycomb form, comprising of
regular hexagon shapes. Bzzbzz is intended for pre-school and
school children.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,2.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester

andreja lovrekovi jovana vlaisavljevi


mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica/assistant: Sanja Benceti

Nop Znatieljna nit


Igraka se temelji na vjetini pletenja tako da djeca svojim tijelima Znatieljna nit didaktika je igraka nastala ugledanjem na hrvatsku
postaju alat i izmicanjem u prostoru na razne naine pletu kroz igru. tradiciju tkanja, tkalakih stanova te tkanja tapiserija. Temeljei se na
Nop se sastoji od predvjebe za najmlau dob, to e im kasnije samu tehniku zadrao se princip i proces tkanja koji je vrlo pogodan za
olakati snalaenje u ostalim igrama, zatim od prikaza nekih naina razvoj motorikih sposobnosti i strpljenja. Djeci prua slobodu stva-
pletenja te vezanja vorova. To im sve kasnije moe posluiti i u dru- ranja te potie istraivaki pristup igranju. Razumljiva kruna forma
gim igrama. Ovom igrom stjeu se razne kompetencije: usmjerenje nudi mogunost vie vrsta tkanja, a to su kruno, paralelno i 3D tka-
panje u kretanju kroz prostor, koncentracija, motorika, interakcija s nje, od kojih svaka razvija djeju kreativnost i preciznost.
drugom djecom, uspostavljanje pozitivnih veza te osjeaja za drugu
djecu i odrasle u prostoru. Curious thread
Curious thread is a didactic toy inspired by the Croatian weaving
Nop tradition, weaving looms and tapestry weaving. The fundamental
The game is based on knitting skills and hence childrens bodies are weaving principles and processes were used focusing primarily on
transformed into tools and they knit by diverse movements through the technique, aiming to develop motor skills and patience. Children
space they knit whilst playing. Nop comprises of a warm-up exer- are provided the liberty of creation, whilst being encouraged to adopt
cise for the youngest children and it is intended to subsequently help research approaches to playing. A comprehensible circular form pro-
them grasp other games, as well as of presentation of several knit- vides the opportunity of several types of weaving, such as circular,
ting techniques and knot tying. They can use all that in other games. parallel and 3D weaving, each of which is intended to develop child
Through this game children acquire diverse competencies: focusing creativity and accuracy.
their attention on spatial movement, concentration, motor skills,
interaction with other children, establishment of positive relation-
ships and evocation of feelings for other children and adults.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,2.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester

erika filipan antonija jurina


mentorica: Ivana Fabrio mentor: Mladen Orei

Kamni
Ova djeja igraka inspirirana je tradicionalnom hrvatskom suho-
zidnom gradnjom bez vezivnih sredstava. Igraka je zapravo slagai
sustav koji se sastoji od komadia manjih i veih drvenih elemenata
nepravilnog volumena to podsjeaju na nepravilnost i neujednae-
nost kamena u prirodi. Ideja je bila da igraka potakne djecu na pre-
poznavanje oblika razliitih elemenata i usmjeri njihovu pozornost
na zadatak - slaganje/ gradnje sloenijih kompozicija.

iulin Kamni
Igraka je inspirirana tradicionalnim nainima pohrane This childrens toy has been inspired by traditional Croatian dry
kruha na drvenom stalku na kojem se uvao kruh za stone wall construction without the use of binding material. The
itav tjedan, a koji ga je istodobno titio od glodavaca. toy is actually a construction system comprising of pieces of differ-
Cilj igre je da djeca suradnjom zadre stalak u ravno- ent-sized components of irregular volume that remind of irregularity
tei, a da se pritom rijee svih kolutova. and unevenness of natural stone. The toy is intended to encourage
children to recognise different shapes of construction components
iulin and direct their attention to the assignmentsuperimposing and
The toy was inspired by traditional ways of storing construction of complex compositions.
bread on a wooden stand where bread was stored
throughout the week and in this way it was also pro-
tected from rodents. The object of the game is that
children maintain the balance of the stand through
co-operation and simultaneously get rid of all the rings.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,2.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester

karla kocijan paula kova


mentor: Mladen Orei mentor: Mladen Orei

Pagus
Razvitkom igrake inspirirane pakom ipkom eljela se zadrati tradicionalna
vrijednost praktinog rada te segment slobode stvaranja vlastitog uzorka danim
materijalima. Na taj se nain potie kreativnost i otvara mogunost skupnog rada.
Konanom interpretacijom ostvaruje se 3D forma i moderna verzija pake ipke.

Pagus
The design of a toy inspired by Pag lace was aiming to retain the traditional value
of practical work and the aspect of freedom to create ones own lace pattern using
the available material. Consequently, creativity was encouraged and the opportu-
nity for group work was provided. Through the final interpretation a 3D form was
obtained and a modern version of Pag lace.
Zvutka
Zvutka je igraka inspirirana hrvatskim narodnim nonjama i plesovima. Oblik je
nastao stilizacijom lutke i zvrka, iz ega je i izvedeno ime. Uza Zvutku u kutiji se
nalaze ablone za oslikavanje priloenih tkanina koje predstavljaju haljine odno-
sno nonje. Na ablonama su osnovni motivi koji se pojavljuju na svim hrvatskim
narodnim nonjama. Oslikavanjem igraka postaje personalizirana, razliita od
svake druge igrake te vrste.

Zvutka
Zvutka is a toy inspired by Croatian folk costumes and dances. The design was cre-
ated through a stylisation of a doll and a spinning top after which it was named.
In addition to Zvutka the box includes patterns for ornamentation of the enclosed
fabric for dresses or folk costumes. The patterns comprise of the basic motifs used
in all Croatian folk costumes. The toy becomes personalised and unique through
ornamentation.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,2.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,2nd semester

ljubica golubi roko jurjevi


mentorica: Ivana Fabrio mentor: Mladen Orei

Motko Crobro
Igraka Motko inspirirana je grafizmima vezova sa sveanih ili sva- Igraka Crobro inspirirana je sitom koje se koristi za prosijavanje
kodnevnih nonji iz cijele Hrvatske. Na drvenu jelovu plou ubadaju brana prije same izrade kruha ili kolaa. Iz igrake se oitava pokret
se drveni tipli (klinovi) obojani crveno, od kojih su neki zaobljeni a koji se koristi za prosijavanje brana kroz sito, a i same kuglice aso-
neki uglati. Zatim se oko njih namotava crvena ili crna vuna, to tvori ciraju na prosijano brano, koje su razliite po svojoj veliini. Naziv
zanimljive oblike. Za igru je potrebna koncentracija, a igraka pobolj- Crobro proizlazi iz latinske rijei cribro, to znai sito.
ava motoriku kod djece i razvija kreativnost. Takoer, djeca mogu
izmisliti i svoje ornamente, a mogunosti je bezbroj! Crobro
The toy named Crobro has been inspired by a sieve for sifting flour
Motko just before making bread or cakes. The toy reflects the movement
The toy named Motko has been inspired by graphisms of embroidery used upon sifting flour through a sieve and the tiny balls of diverse
from traditional folk costumes used in festive or everyday occasions sizes remind of sifted flour. The name Crobro was derived from a
throughout Croatia. Rounded or angled wooden spikes have been Latin word cribro which stands for a sieve.
stuck into a fir board. Subsequently, a red or a black wool has been
wrapped up around them, creating interesting shapes and forms. The
game requires concentration and the toy improves motor skills of
children and increases their creativity. Moreover, children can design
their ornaments and there is an immense array of combinations!

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,3.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,3rd semester

trei semestar
Re/dizajn proizvoda josipa tadi matea bertina luka dundovi
mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
Proizvodi jednostavne strukture asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog

Upisom treeg semestra studenti odabiru usmjerenje. Na Indu-


strijskom dizajnu taj semestar posveen je stjecanju osnovnih
znanja i vjetina za formativni razvoj u podruju dizajna proi-
zvoda. Radi razumijevanja imbenika dizajna studenti koriste
osnovne metode informiranja i istraivanja o dizajnu i za dizajn
te usvajaju standarde projektantske dokumentacije. Kritiki
usporeuju svojstva aktualnih proizvoda i analiziraju imbenike
dizajna u kontekstu drutvenoga i tehnolokog razvoja kako bi
planirali upute, zahtjeve i mjerila za dizajn ili redizajn proizvoda.
Koristei osnovne metode kreativnog promiljanja, dizajnirali
su proizvode svakodnevne uporabe, a u ovome semestru to je
bio izbor izmeu visee vaze, kantice za zalijevanje i bokala s
aama. Projekt je proveden u suradnji s tvrtkom Klara Gar- Bloo
dening i rezultirao je visoko doraenim idejnim rjeenjima od Kantica za zalijevanje cvijea Bloo sastoji se od dva dijela. Gornji
dio ima tanku mlaznicu koju je pri upotrebi mogue zaokrenuti te
kojih su neki izabrani za daljnju razradu i realizaciju. time kantica poprima potpuno novu formu. Dok se ne koristi, dio s
mlaznicom se zatvara, a time se smanjuje prostor koji ona zauzima.

third semester Bloo

Product redesign A watering can named Bloo comprises of two parts. The upper part
has a narrow spout that can be twisted and hence the watering can
Simple structured products changes its form entirely. Whilst the watering can is not being used
the part with the spout can be closed, which considerably reduces
the amount of space it requires.
Upon enrolling the third semester students decide on their specific
study programme. At the Industrial Design Department the third FlexyPot Awave
semester is dedicated to acquisition of basic knowledge and skills Komplet sadri tri sklopive, fleksibilne, visee teglice Visee tegle za biljke s oputajuim uzorkom valova na
required for formative development in the field of product design. razliitih veliina. Ovaj sustav omoguuje prilagodbu sklopivim modulima lagane su za postavljanje. Njihovim
Basic methods of informing and research on and for design are irokom spektru komercijalnih teglica raznolikih rasklapanjem dobiju se tri ukrasne posude u dimenzi-
promjera. Namijenjen je uporabi u unutarnjem i jama koje prihvaaju standardne komercijalne teglice
used by the students in order to gain insight into design features vanjskom prostoru. Mogunost kombiniranja razli- od 5 ina, 6 ina i 7 ina. Kada se ne koriste mogu se
and they are acquainted with the standards of design documen- itih kontrastnih boja omoguuje prilagodbu razno- ponovno sklopiti i postaviti jedna unutar druge kako
tation. Moreover, they critically compare the features of actual likim ambijentima. ne bi zauzimale nepotreban prostor.

products and analyse design factors in the context of social FlexyPot Awave
and technological development in order to plan the instructions, The set comprises of three foldable, flexible, hanging Hanging flower pots with a relaxing wave-like orna-
the requirements and the measurements for design or redesign flower pots of diverse sizes. This system enables the ment on foldable modules can easily be placed. Upon
of products. Using the basic methods of creative thinking, the adaptation to a broad range of commercial pots of unfolding them one gets three ornamental pots whose
diverse diameters. It is intended for both indoor and dimensions are suitable for standard commercial 5,
students designed products that are used every day and in this outdoor use. The possibility of combination of diverse 6 or 7inch plant pots. When they are not being
semester they had the opportunity to select between a han- contrasting colours enables adaptation to different used, the flower pots can be folded again and placed
ging vase, a watering can and a jug with glasses.The project was ambiances. one inside the other in order to reduce the amount of
space they require.
implemented in co-operation with the company Klara Gardening
and it provided highly sophisticated conceptual design some of
which was selected for further development and implementation.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,3.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,3rd semester

paula anti marta badurina matej maltar viktorija jurina


mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei mentor: Mladen Orei
asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog

Leemo Waca Geba


Klara Leemo je set vreva i est aa jednostavnoga, geometriziranog oblika, izra- Waca je kantica za zalijevanje cvijea zapremnine 0,5 l. Svojim speci- Skulpturalna forma kantice za zalijevanje proizala je iz inspiracije
en od visokootporne plastike. Njegov oblik i dimenzije omoguuju ergonomsko finim i kompaktnim dizajnom savreno se uklapa u male stambene prirodnim vodenim oblicima te njezine funkcije kao svagdanjega
koritenje svim uzrastima, ali i utedu prostora pohranom aa unutar samog vra. prostore. Izraena je od PP plastike i dolazi u nekoliko boja. uporabnoga i svagdanjega vidljivog predmeta.
Komplet se proizvodi u tri boje.
Waca Geba
Leemo Waca is a watering can with 0.5 l capacity. Due to its specific and The sculptural form of the watering can was inspired by natural
Klara Leemo is a set of jugs and six glasses of a simple, geometric shape, made compact design it fits perfectly into confined residential premises. It watery shapes and its function as an everyday use objects and
from highly resilient plastic. Its form and dimensions enable ergonomic use for all is made from PP plastic and is available in several colours. objects visible every day.
ages, as well as saving space through storage of glasses within the jug. The set is
available in three colours.

Mona
Mona je set koji se sastoji od vra i est aa. Vr je oblikovan s dva elementa koji
spajaju minimalistiki i organski dizajn, karakteristian za Klara Gardening. Oko
osnovnoga valjkastog oblika omotan je plat koji formira izljevno mjesto i drak
te u tlocrtu stvara listoliki oblik vra. Drak ispunjava silikonski umetak koji omo-
guuje ugodnije koritenje. ae stanjenjem stijenke pri dnu prate oblik vra. ae
je mogue pohraniti unutar vra i uvrstiti ih epom. ep sadri aicu u koju je
mogue staviti ae dok je vr ispunjen tekuinom.

Mona
Mona is a set comprising of a jug and six glasses. The jug comprises of two ele-
ments that combine minimalist and organic design characteristics of Klara Gar-
dening. Around the basic cylinder shape there is a wrapping that forms a mouth
and a handle and creates a leaf-like shape of a jug in the bottom view. The han-
dle is filled with silicone which makes the use more comfortable. The narrowing
of the bottom of the glasses reminds of the shape of the jug. The glasses can be
placed inside the jug and secured with a cap. The cap contains a small container
into which glasses can be placed whilst the jug is filled with liquid.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,4.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,4th semester

etvrti semestar
Dizajn za poznatoga korisnika matej maltar eva muc
mentor: Zlatko Kapetanovi mentor: Mladen Orei
Oprema za dojenad asistentica / assistant: Sanja Benceti asistentica / assistant: Andrea Hercog

Okvirna tema zadatka na 4. semestru je dizajn za poznatoga


korisnika, skupinu ili segment trita s ciljem upoznavanja i
koritenja osnovnih metoda informiranja i istraivanja te pro-
cjene njihovih potreba, elja i mogunosti. Ue podruje je
bilo oprema za dojenad, a odnosilo se na osnovne proizvode:
kreveti, zipka, prematalica i hranilica.
Na osnovi analize imbenika dizajna i identificiranih zakona,
propisa i standarda relevantnih za projekt, studenti su uz pri-
mjenu metoda i tehnika kreativnog promiljanja dizajnirali pro-
izvode jednostavne strukture i jasne upotrebne vrijednosti i
izraajnosti. Posebna pozornost usmjerena je na integriranje
uputa o potrebama i mogunostima potencijalnog proizvoaa.
Zadatak je formiran i proveden u suradnji s tvrtkom Noona, a
Elevate Zola
rezultirao je s petnaestak rjeenja od kojih je zipka Sway stu-
Elevate je zidni sustav namjetaja koji omoguuje prilagodbu ele- Zola je jednostavna zidna previjalica i ujedno radni stol.
dentice Valentine Sunek izabrano za daljnju razradu i realizaciju. menata ovisno o potrebama korisnika. Sustav je originalno proiza- Zauzima vrlo malo prostora i jednostavna je za kori-
ao iz ideje stola koji raste s djetetomod previjalice do radnog tenje. Zbog svoje neutralnosti i jednostavnosti lako se
stola koji se moe namjestiti prema visini. Meutim, dodavanjem uklapa u raznovrsne interijere. Kada vie nije potrebna
fourth semester novih elemenata, kao i neutralnim izgledom sustava, mogunosti za previjanje djeteta, Zola se pretvara u pisai stol.
uporabe su se proirile.
User specific design Zola
Elevate
Baby equipment Elevate is a wall mounted furniture system that enables adaptation
Zola is a simple wall mounted baby changing table
and simultaneously also a desk. It requires consider-
of its items based on user needs. The idea behind the system origi- ably little space and it is easy to use. Due to its neu-
The general topic of the assignment during the 4th semester nally was the idea of a table that grows along with the child from trality and simplicity it fits easily into diverse interiors.
is user-specific design, design for a specific group or market baby changing table to a desk whose height can be adjusted. Never- When it is no longer needed for baby changing Zola
segment aiming to introduce and use the basic methods of theless, by adding new items, as well as by the neutral appearance can be transformed into a desk.
of the system, its use potential has been extended.
informing and research and the assessment of the specific needs,
wishes and possibilities. Baby equipment was narrowly addres-
sed, concerning the basic products: beddings, cradles, changing
tables and booster seats.
Based on the analysis of design factors and identified laws, regu-
lations and standards relevant for the project, students designed
simple structured products of obvious practical value and expre-
ssiveness using the techniques and methods of creative thinking.
A special attention was paid to integration of instructions on the
requirements and the capacity of the potential producer.
The assignment was formed and performed in co-operation
with the company Noona resulting in some fifteen solutions,
one of which was a cradle named Sway designed by the stu-
dent Valentina Sunek and it was selected for further develop-
ment and implementation.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,4.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,4th semester

valentina sunek
mentor: Mladen Orei klara mareli paula anti
asistentica / assistant: Andrea Hercog mentor: Mladen Orei mentor: Mladen Orei
godinja nagrada studija dizajna / annual awards at the school of design asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog

Sway RoTable Krevet(i)


Sway svojim jednostavnim elementima prua djetetu Ploha na kojoj se previja dijete na visini je 90 cm, gdje se Krevet(i) se moe koristiti ve od roenja djeteta, ako se madrac
leprav i ugodan san. Rjeenje omoguuje i sklopi- nalazi i spremnik za spuvu i ostale prijeko potrebne stvari. podigne na najviu razinu. Kada dijete pone samostalno sjediti (6
vost te je idealno za male prostore i spavae sobe. Spremnik i njegov poklopac rotiraju, a rotacijom spremnika mjeseci), radi njegove sigurnosti madrac se sputa na najniu razinu.
Mogunost prenoenja omoguuju jednostavan pri- postie se vie prostora na plohi za previjanje. Poklopac tako Ogradica je sastavljena od est meusobno povezanih dijelova od
stup i dranje djeteta nou blizu roditeljske postelje. moe sluiti kao dodatni prostor za odlaganje stvari tijekom kojih se jedan moe skinuti kada dijete pone samostalno ulaziti i
Kvalitetnim izborom materijala i tehnologije rjeenje previjanja. Previjalica se kasnije koristi kao radni stol. Utori izlaziti iz krevetia. Ovaj kreveti raste zajedno s djetetomjed-
se odgovorno odnosi prema okoliu jer je predvien na plohi za previjanje omoguuju promjenu visine s 90 na nostavnim razvlaenjem krevetia dobivamo sasvim novu postelju
dui ivotni vijek proizvoda. 75 cm, tj. na visinu radnog stola. koja se jo dugo moe koristiti.

Sway RoTable A (tiny) bed


Sway with its simple features enables the child to sleep The surface where a baby is changed is 90 cm high and it A (tiny) bed can be used from the childs birth if the mattress is raised
comfortably whilst swaying. The solution provides the also comprises of a container for the sponge and for other to the highest level. When the baby is able to sit independently
opportunity of folding and is ideal for confined spaces indispensable items. The container and its lid can be rotated (6 months), the mattress is adjusted to the lowest height level to
and bedrooms. The possibility of transfer enables a and hence more space can be obtained on the baby changing increase the childs safety. The bed rail comprises of six intercon-
simple approach and keeping the child by the parents surface. Consequently, the lid can be used as an additional nected parts of which one can be replaced when the child begins
bed. Due to its choice of high quality material and space for disposal of things during the changing of the baby. to get in and out of bed independently. This bed grows along with
technology the solution is environmentally friendly, The changing table can subsequently be used as a desk. The the childby simple extension of the bed one gets an entirely new
since the expected product life cycle is longer-term. slots on the changing surface enable the change of height bed for long-term use.
from 90 cm to 75 cmthe perfect height for a desk.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,4.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,4th semester

matea bertina josipa tadi lucija rubini


mentor: Zlatko Kapetanovi mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica/assistant: Sanja Benceti asistentica / assistant: Andrea Hercog asistentica/assistant: Sanja Benceti

Trona
Karakter hranilice poiva na sustavu preklapanja etiri glavna elementa koji ine
konstrukciju i omoguuju lako rukovanje i pohranjivanje u prostoru. Trona prati
rast djeteta tako da se transformira u djeji stolac te na taj nain ostaje prisutna
tijekom cijelog djetinjstva.

Trona
The idea behind this baby high chair is the system of combining of four principal
features that make up the construction and enable easy use and storage. Trona
follows the growth of the child by transforming into a childs chair and it hence
remains present throughout the childhood.
Nana
Djeji visoki stolac Nana raste zajedno s djetetom jo od najranije dobi. Dijago-
nalno usmjerenim kliznim sustavom naslona postie se simultano mijenjanje visine
naslona te dubine sjedita. Djeji visoki stolac pomicanjem naslona te samog sjedi-
ta postupno mijenja funkciju u sjedalicu za odrasle, ali se ponovno, prema potrebi,
moe vratiti u funkciju hranilice za najmlae.
Djeji visoki stolac
Koncept ovog stolca razvijen je zbog problema s kratkotrajnim kori- Nana
tenjem djejeg pokustva. Djeji visoki stolac koristi se samo neko- Nana baby high chair grows along with the baby from the earliest age. The changes
liko mjeseci djetetova ivota te se nakon toga njegova funkcija gubi. of the height of the back of the chair and seat depth are achieved due to its diag-
Sjedalo i naslon mogue je pomicati i tako prilagoavati stolac razli- onal slide system of the back of the chair. Through moving the back of the chair
itim uzrastima. the baby high chair gradually changes its function and is transformed into adult
booster seat, yet it can again be restored to function as a baby high seat if required.
Baby high chair
The concept of this chair has been developed due to the issue of
short-term use of baby furniture. Baby high chair is used only for
several months of a babys life and then it loses its function. The seat
and the back of the chair can be moved and hence the chair can be
adapted to diverse age groups.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,5.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,5th semester

peti semestar
Dizajn sloenog proizvoda katarina huljev dina bartoli
mentor: Mladen Orei, Zlatko Kapetanovi mentor: Mladen Orei, Zlatko Kapetanovi
Stolac asistent / assistant: Andrea Hercog asistent / assistant: Andrea Hercog

Stolac kao vjenu temu dizajna esto obraujemo na 5. seme-


stru radi usvajanja irih znanja i vjetina u podruju dizajna pro-
izvoda. Uz razvijanje razumijevanja uloge dizajna u drutvenom,
kulturolokom i gospodarskom smislu, od studenata se oe-
kuje upoznavanje naela odrivosti, ekologinosti i etinosti.
Primjenom metoda i tehnika informiranja, istraivanja i ekspe-
rimentiranja te oblikovanja zakljuaka, studenti su definirali
upute, zahtjeve i mjerila za pretpostavljeni smjer razvoja, uz
oekivano razumijevanje i integriranje tehniko-tehnolo-
kih mogunosti i ogranienja proizvodnje u realnom okruju.
Oekivani rezultati bila su rjeenja koja uz konceptualnu jasnou
i tehniku usklaenost imaju primjerenu upotrebnu vrijednost
i izraajan karakter.

fifth semester
Complex product design
Chair
Chair is an eternal topic of design that is frequently addressed
during the 5th semester aiming to acquire wider knowledge and
skills in the field of product design. In addition to the enhancement
of understanding of the role of design from the social, cultural
and the economic aspect of design, students are expected to gain
insight into the principles of sustainability, ecology and ethics.
Through application of methods and techniques of informing,
research and experimenting, as well as shaping of conclusions,
students defined the instructions, requirements and measures
for the assumed direction of development, in addition to the
expected insight and integration of technical and technological
opportunities and constraints of production in real environment. Inspiracija za dizajn bili su secesijski i barski stolci. Savijanjem drva Stolac spaja tri elementa: naslon koji se produenim dijelovima osla- The chair combines three features: the back that leans on the legs
The expected results were solutions that, in addition to con- postie se jednostavnost, kompaktnost i fluidnost konstrukcije. Ovaj nja na noge, a ujedno i na rubove sjedala. Elementi se meusobno and also on the edges of the seat with its elongated parts. The fea-
ceptual clarity and technical harmonisation, have an adequate je stolac izraen od etiri dijela svijenog drva, koji se meusobno spa- podupiru formirajui trokut, najstabilniji geometrijski lik, dajui stolcu tures support one another forming a triangle which is the most stable
jaju zupastim spojem drva, to je ujedno i estetski privlaan element. stabilnost i vrstou. Brezina perploa ini konstrukciju laganom, a geometric shape and accounts for the stability and strength of the
practical value and an expressive character. sama toplina materijala u kontrastu je s geometrijskim, jednostavnim chair. The construction is lightweight due to birch plywood, whilst
The inspiration for the design were secessionist and bar stools. Sim- linijama, gotovo plohama i minimalnim krivuljama kojima se nastoji the warmth of the material is in contrast with the geometric, sim-
plicity, compactness and construction fluidity were obtained through postii otvorenost i trodimenzionalnost. ple lines, almost surfaces and minimal curves made aiming to obtain
bending wood. This stool has been made from four parts of bent openness and three-dimensionality.
wood that are integrated through a toothed wood junction, which
is simultaneously also aesthetically appealing.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,5.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,5th semester

monika moevi iva vuemilovi-grgi


mentor: Mladen Orei, Zlatko Kapetanovi mentor: Mladen Orei, Zlatko Kapetanovi
asistent / assistant: Andrea Hercog asistent / assistant: Andrea Hercog

Stolac je lagan i prozraan a drvo kao prirodni materijal daje mu toplinu. U nacrtu paralelne ver- Dizajn je inspiriran japanskim drvenim stolcima te industrijskim i kolskim stolcima. Kombinacije
tikalne linije nogu i donjeg dijela naslona vizualno izduuju formu. Kut stranjih noga prua sta- mekoga zakrivljenog drva i hladnih, otrih, metalnih ipki ine stolac zanimljivim i dinaminim, a
bilnost konstrukciji, a suprotan kut naslona balansira cijelu formu. Minimalistinost ovih dijelova djeluje prozrano i lagano. Materijali od kojih je izraen su sirovi i nisu dalje obraivani. Naslon i
omoguuje naslonu i sjedalu od perploe da dou do izraaja. Karakter samom stolcu daje hori- sjedalo su od borovine, a noge od nehrajueg elika. Zbog svoga laganoga, prozranog izgleda
zontalni linijski uzorak koji je dobiven rezanjem perploe CNC tehnologijom. i svjetline stolac nije nametljiv u prostoru.

The chair is lightweight and airy and wood as a natural material accounts for its warmth. Parallel The design was inspired by Japanese wooden chairs and industrial and school chairs. Combinations
vertical lines of the legs and the bottom part of the back visually elongate the form in the design of soft curved wood and cold, sharp, metal bars make the chair interesting and dynamic, whilst
plan. The angle of the back legs provides stability to the construction, whilst the opposite angle appearing airy and lightweight. The materials used are raw and have not been processed any fur-
of the back of the chair provides balance to the entire form. Minimalism of these parts highlight ther. The back of the chair and the seat are made from pinewood, whilst the legs are made from
the back and the seat made from plywood. A horizontal linear pattern, specific for this chair, was stainless steel. Due to its light, airy appearance and the brightness the chair is highly unobtrusive.
obtained through cutting plywood using CNC technology.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,6.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,6th semester

esti semestar
Sustav proizvoda juraj balen lidija arko
mentor: Mladen Orei mentor: Mladen Orei
Rasvjeta asistentica / assistant: Andrea Hercog asistentica / assistant: Andrea Hercog

Zavrni rad usmjerenja Industrijski dizajn preddiplomskog


studija sloeni je projekt sustava proizvoda. Tema u ak. g.
2014./2015. bila je podruje dizajna sustava rasvjete. Zadatak
je obuhvatio uoavanje i istraivanje stvarnih potreba, kon-
teksta, potencijala i problema u izabranom podruju, uz defi-
niranje i analizu svih imbenika dizajna.
Cilj ovog zadatka je bio usvajanje procesa projektiranja sustava
proizvoda u stvarnoj, aktualnoj drutveno-gospodarskoj oko-
lini, usvajanje interdisciplinarnog pristupa u suradnji s nosite-
ljima odgovarajuih kolegija i primjena i prezentacija steenih
znanja, vjetina i sposobnosti samostalnog djelovanja.
Na temelju uoenih potreba i problema koji proizlaze iz real-
nih mogunosti, studenti su razvili nekoliko sustava rasvjetnih
tijela razliitih svojstava i namjena, koristei pri tome suvre-
menu, ali i stvarno dostupnu tehnologiju.

sixth semester
System of products
Lighting
The final paper in undergraduate study programme at the depar-
tment of Industrial design is a complex project of product system.
The topic for the academic year 2014/2015 was the area of
lighting system design. The assignment comprised of identifi-
cation and analysis of actual needs, the context, the potential
and the problems in the selected area, in addition to providing
a definition and analysis of all the features of design.
Sustavom rasvjete za kuanstvo cilj je bio ostvariti interakciju kori- Sustav rasvjete projektiran je na nain da on sam bude proizvod. Takvim pristupom
The specific objective of this assignment was adoption of the pro- snika i pojedinog rasvjetnog tijela tako da se time kontrolira koliina i oblikovanju otvara se mogunost individualnog prilagoavanja rasvjetnih tijela pro-
cess of design of a system of products against the backdrop of usmjerenost svjetlosti. Vanjska ovojnica je nepropusna, odnosno svaki storu i potrebama korisnika. Jednostavnost pri sklapanju profila omoguuje stvaranje
real, actual socio-economic environment, adoption of an inter- element proputa svjetlo s gornje i donje strane, ime se uz pomo igre svjetla i sjene, odnosno svjetleih i nesvjetleih ploha. Jednostavnost oblika tako-
klizanja postie upravljanje. Sve lampe sustava izvedene su iz istoga er prua priliku za razigranost kod oblikovanja samoga rasvjetnog tijela u prostoru.
disciplinary approach in co-operation with the directors of the ukupnog rasvjetnog tijela koje dolazi u tri veliine te se prua mogu-
corresponding courses and application and presentation of the nost odabira bilo koja tri ili vie segmenata za pojedinu svjetiljku. The lighting system has been designed aiming to be considered as a product. This
acquired knowledge, skills and the ability to act independently. approach to design provided the opportunity of individual adaptation of lighting
The objective was to establish interaction between the user and an fixtures to the premises and the user needs. Simplicity upon profile development
Based on the identified requirements and problems arising from individual lighting fixture trough a system of household lighting, aim- provided the opportunity for a game between light and shadow or luminous and
the real opportunities, students developed several systems of ing to control the quantity and the focus of the light emitted. The non-luminous surfaces. Moreover, the simplicity of forms provided the opportunity
lighting fixtures of diverse properties and intended use, using exterior shell is impermeable, since each feature lets in light both for playfulness upon the design of the lighting fixture in specific premises.
on the top and on the bottom which is all managed through sliding.
contemporary, yet actually available technology. All the lamps in the system derive from the same lighting fixture which
is available in three sizes and provides the opportunity to select any
three or more segments for an individual lamp.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjeindustrijski dizajn,6.semestar
school of design annual review 2014/2015 undergraduate programme/design courseindustrial design,6th semester

iva vuemilovi grgi katarina huljev


mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Andrea Hercog asistentica/assistant: Sanja Benceti

Koncept rasvjete je zasnovan na refleksijama koje svjetlo stvara odbi- Inspiracija je, osim iz specifinih tehnikih moguno-
jajui se od kupole pod razliitim kutovima i udaljenostima. Cilj je sti LED tehnologije, proizala iz geometrijskih i origami
stvoriti atmosfersku rasvjetu koja je prilagodljiva prostoru i korisniku. formi koje nastaju vrlo jednostavnopresavijanjem, te
Rasvjetno tijelo ima viestruku mogunost rotacije te se tako oda- daju vrlo zanimljive, ponekad i vrlo kompleksne oblike.
bire smjer svjetlosti u prostor. Zamiljeno je da se od jednostavnog plata, u nekoliko
presavijanja, dobiju razliite forme koje e izgledati
The concept of lighting was based on reflexions created by the light zanimljivo i primamljivo iz raznih kutova i kada se ne
reflecting from the dome under diverse angles and distances. The koriste. Modificiranjem kuta presavijanja i poetnog
objective was to create atmospheric lighting adaptable to the space plata nastalo je konano rjeenje od etiri rasvjetna
and the user. The lighting fixture has multiple possibility of rotation tijela: dvije razliite visilice, stolno rasvjetno tijelo te
and it hence selects the direction of its light emitted into the space. zidno rasvjetno tijelo.

In addition to specific technical potential of LED tech-


nology, the inspiration for this project derived from
geometric and origami forms that are considerably
easily createdby folding and result in particularly
interesting, at times even highly complex forms. The
idea behind it was to obtain diverse appealing forms
through multiple folding of a simple shell which will
look attractive from diverse angles even when they are
not being used. The final solution comprising of four
lighting fixtures was obtained through modification
of the folding angle and the initial shell: two different
pendant lights, a desk lamp and a wall light.

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godinjak studija dizajna 2014./2015. godinjak studija dizajna 2014./2015.preddiplomski studij
school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme

Projektiranje Visual
Vizualne Comunications
komunikacije Studio
Kolegij ProjektiranjeVizualne komunikacije osnovni je for- The course DesignVisual Communications is a fundamental
mativni kolegij u podruju dizajna vizualnih komunikacija, koji formative course in the area of visual communications design
se u sve tri godine studija odvija u nekoliko faza. Tijekom prve which comprises of several stages during the three-year under-
godine studente se upoznaje s temeljnim predznanjima struke graduate study programme. During the first year of the under-
i najosnovnijim vjetinama procesa dizajniranja, nakon ega graduate study programme students are provided with the fun-
biraju daljnje usmjerenje kako bi tijekom druge dvije godine damental background to the design profession and the basic
svladavali specifine vrste projektantskih zadataka, ime se skills of the design process. Subsequently, students can decide
stjeu neophodne profesionalne kompetencije. on the area of their orientation in order to master the specific
Pojedini zadaci i projekti na kolegiju slijede jedan za drugim design tasks during the next two years of the undergraduate
postajui sve sloeniji, te ih studenti rjeavaju uz nunu pri- study programme and acquire core professional competencies.
mjenu znanja i vjetina steenih na informativnim kolegijima, Specific tasks or projects during the course become increasingly
to ukljuuje vjetine likovnog izraavanja (raznolike varijante complex and students complete them using the knowledge and
crtakih i grafikih disciplina), upoznavanje povijesnog razvoja skills acquired during informative courses which implies the use
tiskarstva i tipografije te njihovih razliitih zakonitosti i izra- of visual expression skills (diverse drawing and graphic design
ajnih mogunosti; zatim ovladavanje osnovama fotografskog disciplines), introduction to the historical development of prin-
snimanja i uenje temeljnih principa oblikovanja interaktivnih ting industry and typography, as well as to their diverse rules
web-sadraja. Naravno, tu je i kontinuirano obrazovanje u teo- and their expressive potential. In addition, the course focuses
riji i povijesti dizajna te povijesti umjetnosti, to u studenata on mastering the basics of photography shooting and introdu-
potie dugorono razvijanje humanistike kulture potrebne ction to the basic principles of interactive web content design.
svakom akademskom graaninu, u skladu s osnovnim etikim Furthermore, students are provided continuous education in the
i estetskim vrijednostima i mjerilima struke. theory and the history of design, as well as in the history of art,
Tijekom druge i tree godine studija studenti usvajaju osnovne which encourages long-term development of humanist culture
vjetine oblikovanja informacijskih sustava kako bi upoznali of fundamental importance for academic population in accor-
formalne zakonitosti semantikih elemenata i postupke arti- dance to the basic ethical and aesthetical values and professi-
kulacije struktura znaenja u procesu vizualnog komunicira- onal standards.
nja. Ui se projektiranje komunikacijskih sustava u suvreme- During the second and the third year of the undergraduate study
nim drutvenim zajednicama te se upotpunjuju znanja koje the students acquire the fundamental skills of information system
kompetencije studenata ine dostatnim da mogu funkcioni- design in order to bec0me acquainted with formal regulations of
rati kao samostalni izvoai projekata. kolovanje zavrava semantic features and the procedures of articulation of seman-
izradom interaktivne prezentacije, to podrazumijeva kom- tic structures throughout the process of visual communication.
pleksnu simulaciju jasnoga i preciznog predstavljanja vlasti- Moreover, students focus on design of communication systems
tih projektnih zamisli potencijalnim klijentima i suradnicima. in contemporary communities and deepen their knowledge to
S formativnim predmetom projektiranja povezani su i infor- be able to become independent project developers.
mativni kolegiji, posebice u pojedinim specifinim podrujima
koja pomau sadrajno kompletiranje preddiplomskog studija.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,1.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,1st semester

prvi semestar andreja lovrekovi antonija jurina ljubica golubi lucija novosel luka palestrina mazi
Analiza grafikih struktura mentor: Nenad Dogan
asistentica/assistant: Romana Kajp
mentor: Nenad Dogan
asistentica/assistant: Romana Kajp
mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assist.: Tomislav Vlaini
mentor: Ivan Doroghy
asistent/assist.: Tomislav Vlaini
Artikulacija 2d oblika Toka / Point Mrea / Grid Linija / Line Toka / Point Linija / Line

U ovom se zadatku studenti vizualnih komunikacija upoznaju s


osnovama metodologije dizajnerskog promiljanja: potrebno je
usvojiti analitiki pristup promatranja okoline te metode ana-
lize i sinteze zbilje koristiti u razvijanju ideja prema vizualnim
elementima iz neposrednog fizikoga okruja. Cilj zadatka je
na temelju struktura predmeta i materijala prikupljenih foto-
grafiranjem projektirati jednostavne vizualne forme sastavljene
od osnovnih grafikih elemenata (toka, linija, mrea), jasnoga
i dosljednog ritma te vrstog i skladnoga grida, s kojim se stu-
denti u ovom zadatku prvi put susreu.

first semester
Analysis of Graphic Structures
Articulation of 2d Shapes
Throughout this task students of visual communications are intro-
duced to methodology basics of designers reasoning: analytical
approach to ones environment is fundamental, as well as using
the methods of analysis and synthesis of reality for the deve-
lopment of ideas towards visual features within the immediate
physical setting. The specific objective is to design straightforward
visual forms comprising of basic graphic features (points, lines
and nets), produce a clear and consistent rhythm, as well as cre-
ate a solid and harmonious grid, which students are introduced
to during this task, based on the structures of objects and image
materials collected by taking photographs.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,1.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,1st semester

prvi semestar
Znak
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki roko jurjevi
osnovnih grafikih elemenata (u to je ukljuena i uporaba mentor: Nenad Dogan
boje) te njihovoj sintezi sa sadrajem triju zadanih i povezanih asistentica/assistant: Romana Kajp

pojmova u seriju znakova prepoznatljive i efektne simbolike. Vrti, kola, fakultet


Day-Care Centre, School, University
Oblikujui grafike znakove koji simboliziraju odreene sadr-
aje, studenti ue vizualno interpretirati jednostavne sustave
znaenja, to je jedna od osnovnih vjetina u kasnijem pro-
jektiranju kompleksnije vizualne komunikacije.
marijana imag
first semester mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini
Sign Elektropromet, elektrocentar, elektroservis
Electrical equipment trading,
Signalising in Simbolising Electrical installation services,
Appliance repairs and electrical equipment services
Functionality
This task focuses on the study of formal features of the basic
graphic elements (which includes the use of colours), as well as paula kova
mentor: Nenad Dogan
their synthesis with the content of three specified and connected asistentica/assistant: Romana Kajp
concepts into a series of signs of a recognisable and effective Hardver, softver, mrea
symbolism. Students are provided an insight into visual inter- Hardware, Software, Network
pretation of straightforward semantic systems through design
of graphic signs which symbolise specific.

ivana baanek
mentor: Stipe Bri
Vrti, kola, fakultet
Day-Care Centre, School, University

mirta filipovi
mentor: Stipe Bri
Vodoprivreda, vodoopskrba, vodoinstalacije
Water resources management,
Water supply, Plumbing

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,1st semester

prvi semestar
Tipografski znak (logotip)
Oznaivanje u simbolizirajuoj
funkcionalnosti
Ovaj zadatak posveen je prouavanju formalnih znaajki ljubica golubi
tipografskih elemenata (slova) i njihove povezanosti sa sim- mentor: Stipe Bri

bolikim vrijednostima odabranog pojma te njihovoj sintezi


u oblikovanju tipografskog znaka, prepoznatljivoga i vizualno
atraktivnoga simbolikog izraza. Oblikujui logotip za odre-
enu temu studenti ue vizualno interpretirati jednostavne
sadraje odabirom postojee odgovarajue tipografije i spe- veronika kova
cifinim meuodnosom tipografskih elemenata unutar oda- mentor: Nenad Dogan
asistentica/assistant: Romana Kajp
branog pojma.

first semester
Typographic sign (logo) andreja lovrekovi
Labelling in symbolising functionality mentor: Nenad Dogan
asistentica/assistant: Romana Kajp

This assignment focuses on analysis of formal features of typo-


graphic design elements (letters) and their correlation with sym-
bolic values of the selected concept and their synthesis in the
design of a typographic sign of a recognisable and visually appe-
karla kocijan
aling symbolic expression. Through design of a logo for a specific mentor: Nenad Dogan
topic students learn about visual interpretation of simple con- asistentica/assistant: Romana Kajp
tent through a selection of existing corresponding typography
and a specific interrelationship amongst typographic elements
within a selected concept.

jovana vlaisavljevi
mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

roko jurjevi
mentor: Nenad Dogan
asistentica/assistant: Romana Kajp

ivana baanek
mentor: Stipe Bri

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,2.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,2nd semester

drugi semestar
Informacijska jedinica
Oblikovanje plakata luka palestrina mazi ivana baanek antonija jurina
mentor: Ivan Doroghy mentor: Nenad Dogan
zadanog sadraja asistent/assistant: Tomislav Vlaini
mentor: Stipe Bri
asistentica/assistant: Romana Kajp

Ovim se zadatkom znatno proiruje oekivani dijapazon izra-


ajnih sredstavapored osnovnih grafikih elemenata, od
studenata se sada trai kompetentna uporaba tipografije te
koritenje ilustracije i/ili fotografije u interpretaciji odabra-
nog sadraja, odnosno u dizajnu logotipa i plakata odree-
nog dogaanja u sferi kulture. Ovo je prvi zadatak u kojem na
temelju konkretnog briefa studenti moraju iscrpno analizirati
subjekt dizajna te sintezom prikupljenih podataka i steenih
spoznaja razraditi odgovarajuu strategiju vizualne komuni-
kacije. Kako je ovdje rije o tradicionalnom, statinom tiska-
nom mediju, pred studentima je takoer i izazov njegovoga
osvjeavanja u kontekstu sve snanije dominacije digitalnih
interaktivnih medija.

second semester
Information unit Tjedan suvremenog plesa
Design of Poster with Tjedan suvremenog plesa meunarodni je festival suvre-
menog plesa. Vizual plakata nastao je isticanjem dina-
specific Content mike plesnih pokreta koji su simboliki predstavljeni
jednostavnim potezima perom.
This task significantly expands the expected range of the means
of expressionin addition to basic graphic elements, students Dance Week Festival
are required to become competent in the use of typography, as Dani Orisa 13 Dance Week Festival is an international festival of con- Queer Zagreb Festival
Plakat za 13. po redu Dane Orisa vizualno je oblikovan tako da naglasi temporary dance. The poster visual was created through Queer Zagreb Festival propituje drutvene norme i vrijednosti te
well as to use illustration and/or photography during the inter- highlighting of the dynamics of dance moves that were
temu arhitekture. Informacije o dogaaju postavljene su perspektivno osvjeuje i osnauje queer identitet. Ideja plakata temelji se na pre-
pretation of the specified content, or achieve competence in the kako bi ostvarili iluziju prostora suvremene arhitekture. symbolically presented through simple strokes of the pen. ispitivanju osobnog identiteta, spolnosti i rodnosti. Intervencijom na
logo design and the design of posters on a specific event in the prikazu skulpture Afrodite, simbolom klasine ljepote, simboliki je
cultural sphere. It is the first task in which students are required Days of Oris 13 iskazano vlastito vienje queer zajednice.

to comprehensively analyse the subject of design based on a The poster for the 13th edition of Days of Oris event was visually
designed to point out the topic of architecture. The information about Queer Zagreb Festival
specific brief and hence develop an adequate strategy of visual the event was arranged into a visual perspective aiming to create Queer Zagreb festival explores social norms and values and raises
communication through synthesis of collected data. Since in this the illusion of a venue of contemporary architecture. awareness and strengthens queer identity. The idea behind the poster
case they are dealing with traditional static print media, students was to explore personal identity, sexuality and gender awareness.
The intervention on the illustration of the statue of Aphrodite, a
are also faced with a challenge of its revival against the increa- symbol of classical beauty, symbolically expressed own perception
singly vigorous dominance of digital interactive media. of queer community.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,2nd semester

leonarda komen petra pikor ljubica golubi ivan klanac


mentor: Nenad Dogan mentor: Ivan Doroghy mentor: Stipe Bri mentor: Nenad Dogan
asistentica/assistant: Romana Kajp asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp

One Take Film Festival Pssst! Festival nijemog filma


One Take Film Festival meunarodni je festival filmova snimljenih u Nijemi film u najirem smislu oznauje svaku filmsku snimku koja u
jednom kadru, bez klasinoga montanog postupka. Rjeenje plakata sebi ne sadri audiosnimak. U elji za prikazivanjem te znaajke za
temelji se na koritenju fotografije domina tijekom njihova padanja, plakat Festivala nijemog filma odabrana je scena iz filma The Artist.
kao metafore sukcesivne kretnje. Univerzalni znak mute sugerira da scena nema zvuk, to je i glavna
znaajka filmova ovog festivala.
One Take Film Festival
One Take Film Festival is an international festival of films shot in one- Pssst! Silent Film Festival
Plakat Human Rights Film Festival 2015. Festival Perforacije Silent film in the broadest sense refers to any film that does not
take, without classical interruptions. The poster design was based on
the use of a photograph of the dominoes falling down, to provide a Plakat je koncipiran kao tipografski prikaz transparentnosti informa- To je festival izvedbenih umjetnosti i performansa. Za vizualno rjee- include a sound recording. Consequently, aiming to point out this
metaphor of successive movement. cija. Izloeni velikoj koliini informacija, odabiremo ih prema vlastitom nje iskoriten je detalj renesansne slike Sveti Sebastijan Andree Man- specific feature, a scene from the silent film entitled The Artist was
izboru. Nisu sve jednako uoljive, stoga je i naslov festivala postav- tegne. Tema iz kranske ikonografije o svecu i mueniku podsjea selected for the poster announcing Silent Film Festival. The univer-
ljen u razliitim jainama tona u meusobnom preklapanju kako bi na estu manipulaciju ljudskim tijelom i spolnou te na aktualne sally used sign for mute suggests that there is no sound included,
se prikazao sloen proces iitavanja. probleme u odnosu religije i politike. which is the principal feature of the films presented at this festival.

Poster for Human Rights Film Festival 2015 Perforations Festival


The idea behind the poster is to provide a typographic illustration of It is a festival of performing arts and performances. The visual design
the transparency of information. We are exposed to a huge amount of includes a detail of the Renaissance painting St. Sebastian by Andrea
information and we hence select them according to our preferences. Mantegna. A topic from Christian iconography about a Saint and a
They are not equally noticeable and hence the name of the festival martyr reminds of frequent manipulation of human body and sexu-
has been written in diverse tone intensities that mutually overlap ality and the current problems in the relationship between religion
in order to show the complexity of the process of reading it all out. and politics.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,2nd semester

drugi semestar
Predmet / informacija
Povezivanje predmeta luka palestrina mazi ana pavii leonarda komen
mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Nenad Dogan
i znaenja (odnos) asistent/assistant: Tomislav Vlaini asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp

Prvi dodir studenata s marketinkom sferom dizajnerske struke


dogaa se upravo u ovom zadatku. Potrebno je dizajnirati vizu-
alni identitet zadanog proizvoda (najee prehrambenog) i
cjelokupan specifini informacijski sustav njegove ambalae,
to podrazumijeva ne samo izraavanje do sada upoznatim
sredstvima u fazi vizualne sinteze, ve i iscrpnu poetnu ana-
lizu znaajki proizvoda, njegove pozicije na tritu i odnosa s
konkurencijom te prepoznavanje odgovarajue ciljne skupine
potroaa kojima je proizvod namijenjen. Prema rezultatima
takvog istraivanja studenti moraju sami artikulirati projek-
tni zadatak i koncipirati idejno rjeenje koje e posluiti kao
temelj konkretnoga dizajnerskog postupka.

second semester
Item / Information
Connection between Objects Ultra Plus: Sardina
Budui da je srdela omiljena i jeftina vrsta ribe, redizajn je morao biti
and Meaning (Relationship) jednostavan i privlaan, a karakterom blizak najiroj ciljanoj skupini,
s naglaskom na hrvatsku tradiciju ribarenja. Novom ambalaom cilj
The first encounter of students with the sphere of marketing je bio istaknuti svjeinu, okus i koliinu proizvoda, kako bi se razli-
kovao od slinih na tritu.
is the specific objective of this task. Students are required to
design a visual identity of a specific product (generally a food Ultra Plus: Sardine
Solana Pag: Krupna morska sol
product) and the entire specific information system of its pac- Since sardines are a favourite and a budget-friendly fish species, the
Rjeenje za vizualno oblikovanje ambalae morske soli Solane Pag redesign had to be simple and attractive, whilst also close to the
kaging, which implies using the means of expression studied thus proizlazi iz ideje da se na ambalai prikae proces proizvodnje soli, broadest target group with emphasis on the Croatian fishing tra-
far in the phase of virtual synthesis, as well as providing a com- tonije, kristalizacija od morske vode do zavrnog proizvoda. Na dition. The new packaging was intended to point out the freshness,
prehensive initial analysis of product features, its market posi- ambalai primjeujemo kristale koji gradiraju od tamnoplave boje the taste and the quantity of products, aiming to be easily recog-
mora do bijele, boje soli. nised on the market.
tion and the relationship with the competition and identification
of the target market. According to the results of this research, Pag Salt Works: Coarse sea salt
students need to independently articulate the project task and The idea behind the solution for visual design of the packaging for
create a conceptual design to be used as the basis during the sea salt produced by Pag Salt Works is to present the process of Zagrebake pekarne Klara: pageti br. 7
salt production on the packaging, i.e., from its crystallisation from Ambalaa je oblikovana tako da bude razumljiva i da potroau omo-
specific design process. seawater to the end product. Crystals ranging from dark blue col- gui, u to kraem vremenu, povezivanje ambalae sa sadrajem. Ilu-
our of the sea to white, the colour of salt, appear on the packaging. stracija prikazuje kontinuiranu liniju koja proizlazi iz oblika pageta i
interpretira njegovu glavnu znaajku: duljinu. Karakteristino za pa-
gete je i nain konzumiranja, namatanjem na vilicu. Ambalaa je zami-
ljena kao vilica oko koje se okretanjem namata ilustracija pageta.

Klara Bakery Zagreb: Spaghetti No. 7


The idea behind the packaging design was to make it comprehensi-
ble and to enable consumers to make an instantaneous connection
between the packaging and its content. The illustration shows a con-
tinuous line originating from the shape of spaghetti and interprets its
principal feature: length. The way of eating spaghetti is also typical,
by winding it up on a fork. The packaging is designed as a fork to be
turned and around which one winds up the illustration of spaghetti.
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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

trei semestar
Informacijske strukture
Odnos teksta i slike u karla novak karla oti
mentor: Stipe Bri mentor: Nenad Dogan
sustavu (layout) asistentica/assistant: Romana Kajp

U ovom je zadatku cilj dizajnirati standarde prijeloma godinjeg


izvjea (promotivne broure) za odreeni poslovni subjekt.
Rije je o tiskanom mediju koji uglavnom nije namijenjen kraj-
njim korisnicima proizvoda i usluga subjekta, ve njegovim
postojeim i potencijalnim partnerima i suradnicima, to e
rei kako pri dizajnu valja voditi rauna o specifinim zakoni-
tostima komunikacije takvim medijem. Prilika je to za studente
da se okuaju u zadatku uobiajenom u radu profesionalnog
studija za dizajn ili marketinke agencije, te da dokau svoju
kreativnost u zadatku prilino ograniene autorske slobode,
to e ambicioznijima svakako znaiti izazov vjetog mane-
vriranja meu zahtjevima razliitih strana ukljuenih u projekt, Godinje izvjee: Saponia
u realnom trinom kontekstu. Saponia je vodea deterdentsko-toaletna industrija s tradicijom duom od 118
godina. Njihova vizija je svakodnevno unaprjeenje ivota razvijanjem kulture
istoe i zdravlja. Kljuna rije koja je misao vodilja ovoga koncepta je proces ie-
third semester nja/ proiivanje. Elementi kojima je prikazan koncept su obojene upljine slova
koje predstavljaju nekakvu neistou te tekuina koja se razlijeva po stranicama te
Information structures ispire tu neistou i ostavlja ist i proien tekst.

Relationship between the Text and Annual report: Saponia


Saponia is the leading detergent and toiletries industry with a tradition of over 118
the Photograph in the Layout years. Its vision is improvement of life on a daily basis through focus on the culture
of cleanliness and health. A key word and a leitmotif of this concept is the process
The specific objective of this task is to create standards of annual of cleaning/purification. The features used to illustrate the concept are coloured
report layout (or a promotional brochure) for a particular busi- cavities in letters which stand for some kind of dirt and a liquid is pouring over
the pages and washing away this dirt, leaving a purified and a consolidated text.
ness entity. It is print media which is not intended for end-users
of products and services of the business entity, since it focuses
on its potential partners and the current collaborators implying Godinje izvjee: Pogon Jedinstvo
that design needs to comply with the specific rules of communi- Pogon Jedinstvo je centar za nezavisnu kulturu i mlade u Zagrebu koji
djeluje kao neprofitna ustanova. Zalae se za aktivno sudjelovanje
cation in this form of media. It provides an opportunity for stu- mladih u kulturnim i drugim aktivnostima poput koncerata, predstava,
dents to become involved in a customary work of a professional radionica i sl. Za formu izvjea izabran je plakat kao najei medij
design studio or a marketing agency and display their creativity kojim se Pogon obraa svojoj publici. Format plakata je B1 na kojem
je prikazano cijelo godinje izvjee. Ono je podijeljeno na nekoliko
in a task where the authors freedom of expression is rather limi- poglavlja od kojih je najvee posveeno godinjem programu, a pre-
ted. Consequently, this task is an immense challenge for ambi- kriva cijelu poleinu plakata.
tions students as it implies skills of manoeuvring between the
Annual report: Unity Factory
requirements of diverse parties involved in the project against
Unity Factory is a centre for independent culture and youth in Zagreb
the real market circumstances. operating as a non-profit organisation. It advocates active partici-
pation of youth in cultural and other activities such as concerts, per-
formances, workshops, etc. The annual report is in form of a poster,
since it is considered as the commonest medium through which the
Factory addresses its audiences. The poster is in B1 format and it
presents the entire annual report. It is divided into several chapters
the largest of which is dedicated to annual programme and it covers
the entire back of the poster.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

vita vrebac
mentor: Stipe Bri

Godinjak Arhitektonskog fakulteta


S obzirom na tip sadraja Godinjaka AF, mrea je
bila kljuna toka u konceptu. Razvedena je i prua
mogunost koritenje nacrta i fotografija u razliitim
dimenzijama. Format omoguuje precizan prikaz teh-
nikih crtea i naglaava monumentalnost arhitekture.
Sadraj zahtijeva jasno vizualno razdvajanje dijelova pa
su oblikovane tri zasebne knjige. Korice knjiga su bijele,
a zajedno ih dri jednostavna mapa, simboliki podsjet-
nik na mape koje su neophodne studentima arhitekture.

Faculty of Architecture Zagreb Yearbook


Considering the type of content of Faculty of Archi-
tecture Zagreb Yearbook, the grid is the fundamen-
tal point of the entire concept. It is indented for and
provides the opportunity of using a design plan and
photographs in different dimensions. The format ena-
bles an accurate illustration of technical drawings
and it points out the monumentality of architecture.
The content requires clear visual separation of parts
and hence three separate books were designed. Book
covers are white and they have been bound together
by a simple folder - a symbolic reminder of folders
which are indispensable for students of architecture.

ena begevi Godinje izvjee za HEP Annual report for HEP


mentor: Nenad Dogan Hrvatska elektroprivreda (HEP grupa) nacionalna je tvrtka koja se bavi proizvod- HEP Group is the national company involved in generation and distribution of elec-
asistentica/assistant: Romana Kajp njom i distribucijom elektrine energije te opskrbom plina. Temeljne vrijednosti tric power and gas supply. Its core values are competitiveness, innovativeness and
su kompetentnost, inovativnost i odgovornost prema okoliu. Glavni cilj rjeenja environmental responsibility. The specific objective of the solution is to commu-
je komunikacija tih vrijednosti na uinkovit nain, a inspiracija za to pronaena je nicate the previously mentioned values in an effective way, whilst the inspiration
u prirodi i primjerima biomimikrije. Biomimikrija je oponaanje prirode suvreme- originates from the Nature and the examples of biomimicry. Biomimicry is emu-
nom tehnologijom, pomou koje moemo dizajnirati i razvijati nove tehnologije. lation of the Nature using cutting-edge technology with which new technologies
can be designed and developed.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

dorja horvati
mentor: Nenad Dogan
asistentica/assistant: Romana Kajp

Godinje izvjee: Gradske knjinice


Osnovna ideja je prezentirati knjinicu raznim formatima i nainima
oblikovanja tiskovinadepnim knjigama, katalozima, novinama.
Raznolikim formatima i pristupima oblikovanja stranica sugerirana
je knjievna heterogenost, ali i dodatnih aktivnosti koje danas nude
gradske knjinice. Knjievna djela dolaze u raznim oblicima, ovisno
o karakteru i vremenu nastanka. Ideja je doarati dinaminost knji-
evnosti, tj. ponudu gradske knjinice tijekom etiriju pristupa obli-
kovanja stranice.

Annual report: City Libraries mirjam milas


The idea behind was to present the library in diverse formats and mentor: Ivan Doroghy
design techniques used in publicationspaperback books, cata- asistent/assistant: Tomislav Vlaini
logues, newspapers. Diverse formats and approaches imply liter-
ary heterogeneity, as well as additional activities organised by City Godinje izvjee: SUVAG Osijek
Libraries. Literary work has a broad range of forms, depending on Poliklinika SUVAG u Osijeku odabrana je za temu godinjeg izvjea zbog svojih spe-
the type and the period of creation. The objective was to point out cifinih djelatnosti, rad s osobama sa slunim, govornim i jezinim potekoama.
the dynamism of literature, i.e. the programmes provided by City Misao vodilja ovog projekta, pitanje to je i postoji li jedna prava stvarnost, pred-
Libraries throughout four approaches to page design. stavljena je posebnim oblikovanjem naslova pojedinih poglavlja, koja samo naizgled
djeluju jasno i shvatljivo. Naslovi pokazuju kako i na koji nain osobe s disleksijom,
disgrafijom i diskalkulijom doivljavaju svijet oko sebe, ime se nastojalo osvijestiti
i informirati veinu o svakodnevnim preprekama s kojima se takve osobe susreu.

Annual report SUVAG Osijek


The Osijekbased SUVAG Polyclinic was selected as the topic of the annual report
due to its specific activities, work with hearing-impaired people, as well as people
with speech and language disorders. The idea behind this projectthe question of
whether there is a true reality and what it ishas been presented through a spe-
cial design of several chapter titles which only appear to be clear and intelligible.
The titles illustrated the way people suffering from dyslexia, dysgraphia and dyscal-
culia experience the world around them, aiming to raise the awareness and inform
the public on everyday obstacles encountered by such people.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

trei semestar
Informacijske strukture ena begevi dorja horvati
mentor: Nenad Dogan mentor: Nenad Dogan
Oblikovanje informacijske mape asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp

Ovaj se zadatak izravno nadovezuje na prethodnisada je


potrebno dizajnirati promotivni korporativni kalendar u dva-
naest listova za isti poslovni subjekt. Nuno je analizirati karak-
teristike ovog tiskanog medija, njegove najee namjene i
metode komunikacije vrijednosti subjekta te odrediti ciljne
skupine koje e od takvog kalendara imati koristi, kako infor-
mativne, tako i estetske. Svakako, kalendar se obraa irem
krugu ljudi nego godinje izvjee, stoga je to slobodniji i
fleksibilniji medij komunikacije, ali nuno je pronai kreativni
balans izmeu originalne dizajnerske interpretacije subjekta i
punog ispunjavanja svrhe medija koji je naposljetku ipak pro-
motivni materijal.

third semester
Information Structures
Design of an Information Folder
This task is a direct continuation of the previously described task
it focuses on design of a 12-sheet promotional corporate calendar
for the same business entity. Features of this print media need
Converse Garden: Kalendar
to be analysed, as well as its general use and the communica-
U stoljetnoj tradiciji tvrtka Converse All Star malo je mijenjala bazini Uz dvanaest mjeseci kalendara, korisnik dobiva dvanaest razliitih
tion methods of the advantages of the business entity. Moreover, dizajn klasinih tenisica. Jedino to se promijenilo su raznoliki uzorci paketa sa sjemenkama zainskog bilja. Ideja je motivirati i educirati
target market needs to be identified which will primarily benefit boja koji odgovaraju aktualnim stilovima. Vodei se time, koncept se korisnike o vanosti i prednosti vlastitog uzgoja zdrave prehrane.
from this calendar, both concerning information and aesthetics. zasniva na interpretaciji iste tenisice kroz stilove razliitih umjetnika Kalendar osim paketa sa sjemenjem sadri i sve prijeko potrebne
i dizajnera kao svojevrsni oma njihovu radu. informacije o uzgoju i koritenju biljaka te njihov ilustrativni prikaz.
The calendar is intended for wider audiences than the annual
report and hence there is more freedom and flexibility in this Converse Garden: Calendar
communication media. Nevertheless, a creative balance needs During its one hundred year long tradition the company Converse All In addition to twelve months of the calendar, the user also gets
to be achieved between the original designers interpretation Star has only insignificantly altered the basic design of classic sneak- twelve diverse packages with herb seeds. The idea behind was to
ers. It has only changed diverse colour patterns to match the current motivate and educate the users on the importance and the advan-
of the business entity and fully meeting the objectives of the styles. Hence, the concept is based on the interpretation of the same tages of growing your own healthy food. In addition to the packages
media which is still considered merely as promotional material. sneaker through different styles adopted by artists and designers as of seeds, the calendar also provides all the indispensable information
a kind of homage to their work. on growing and the use of herbs and their illustrated presentation.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

mirjam milas anja nikoli


mentor: Ivan Doroghy mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini asistent/assistant: Tomislav Vlaini

Zdrava hrana
Propitkujui temu o zdravoj hrani nizom neobinih fotografija odabra- Smoothie Factory
noga sezonskog povra, cilj je i fotografijom istaknuti njihove nada-
sve zanimljive detalje. Popratnim se tekstovima objanjava ime je Smoothie je slatko pie napravljeno od svjeega mik-
pojedina namirnica bogata, koja su blagotvorna svojstva te kako se sanog voa, povra, a nekada i od okolade i raznih
tijekom povijesti mijenjala njezina upotreba i znaenje. dodataka. Njihova se konzumacija smatra vrlo zdra-
vom i ponekad se koristi kao nutricionistiki ispravna
Healthy food zamjena nekog obroka. Za oblikovanje listova kalen-
dara odabrano je 12 sezonskih smoothija, gdje je broj
Questioning the issue of healthy food through a vast array of unu- mjeseca sloen od voa potrebnog za konkretan recept.
sual photographs of selected seasonal vegetables, we were aiming to Kalendar sadri tri zimska, tri ljetna, tri proljetna i tri
point out their specifically interesting features through photographs. jesenska smoothie recepta.
The accompanying texts provide explanations on the nutrient values
of individual ingredients, as well as their benefits and the way their Smoothie Factory
use and importance changes throughout history.
Smoothie is a sweet beverage made from fresh mixed
fruits, vegetables and sometimes even chocolate and
different supplements. They are considered extremely
healthy and hence they are at times used as a nutrition-
ally correct meal replacement. 12 seasonal smoothies
have been selected for calendar design and the num-
ber of the month has been made from fruits required
for a specific smoothie recipe. The calendar includes
three winter, three summer, three spring and three
autumn smoothie recipes.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,3rd semester

tanja modrakovi paula obat


mentor: Ivan Doroghy mentor: Stipe Bri
asistent/assistant: Tomislav Vlaini

Knjinica grada Zagreba Zagreb City Library Pliva zdravlje


Kalendar za Knjinicu grada Zagreba osmiljen je kao Calendar for Zagreb City Library was designed as an Koncept kalendara je osuvremeniti njegovo koritenje budui da kao tiskani pro-
uporabni predmet. Dvanaest bookmarka (straninika) article for daily use. Twelve bookmarks, as twelve izvod zbog sve vee digitalizacije polako izumire. Uz klasian prikaz datuma na
kao dvanaest prijedloga za knjigu, oblikovani su kako bi proposals for a book, have been designed aiming to kalendaru su prikazane biljke ije su peludne aktivnosti najvee tijekom aktualnog
probudili elju za itanjem i odgovorili na pitanje: to arouse interest in reading and to provide an answer to mjeseca. Koritenjem pametnog telefona i proirene stvarnosti otvara se novi sloj
itati idui mjesec? Svaki mjesec predstavlja jednu knjigu, the question: What to read next month? It presents informacija u kojima korisnik stvara profil u kojem odabire svoju lokaciju te biljke
a na poleini bookmarka nalazi se kalendar koji ima i a new book each month and on the back of the book- za koje eli pratiti peludnu prognozu. Aplikacija se koristi tako da se odskenira
funkciju notesa za zabiljeke tijekom itanja, podsjet- marks there is a calendar intended as a notepad for datum na kalendaru, pri emu se dobiva prognoza za taj dan na zaslonu mobitela.
nika na datum kada je knjiga posuena i kada je treba taking notes while reading, a reminder of a date when
vratiti te kao osobna uspomena na proitano djelo. the book was borrowed and when it has to be returned Pliva health
and as a personal remembrance of the book read. The idea behind the calendar is to modernise its use since it is slowly losing its
importance as a printed product as a result of increasing digitalisation. In addi-
tion to the classical provision of dates, the calendar also provides information on
the plants whose pollination activities are the greatest during the current month.
A new layer of information is provided through smartphone use and augmented
reality where the user creates a profile in which they select their location for the
plants on whose forecast of pollination dates they wish to be regularly informed on.
The app is used by scanning the date on the calendar and hence one is provided
the forecast for that day on the mobile phone screen.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,4th semester

etvrti semestar
Informacijski sustav
Oblikovanje vizualnog identiteta dorja horvati
mentor: Nenad Dogan
i signalistike asistentica/assistant: Romana Kajp

Ova kompleksna vjeba podrazumijeva dizajn sustava vizu-


alnog identiteta odreenog subjekta i skupine pravila koja ga
reguliraju.To podrazumijeva izradu cjelokupnog prirunika gra-
fikih standarda vizualne komunikacije. Subjekti obuhvaaju
institucije, tvrtke i udruge mahom iz vladinog ili nevladinog
sektora, koje djeluju primarno u sferi javnog dobra. Zadatak
nakon analize subjekta i istraivanja njegovog socijalnog, poli-
tikog i ekonomskog aspekta, podrazumijeva dizajn znaka i
logotipa, definiranje njihovog odnosa, odabir karakteristine
tipografije, definiranje sustava boja i dizajn svih korporativ- Puko otvoreno uilite grada
nih aplikacija u kojima se ogleda primjena osnovnog vizualnog Velike Gorice
identiteta. Signalistika obuhvaa dizajn informacijskog sustava Puko otvoreno uilite grada Velike
Gorice je ustanova za obrazovanje i kul-
i pojedinanih elemenata za oznaivanje i komunikaciju u pro- turu koja nudi razne edukativne i kulturne
storima javnog sadraja. programe. Karakteristian vizualni kod
istodobno oznauje rad Uilita na tri
postojea odjela (podruja) i spaja ih
fourth semester preklapanjem u prozraan motiv. Time
je stvoren dinamian, otvoren znak koji
Information System poziva na druenje i komunikaciju. Jasni
geometrijski oblici predstavljaju odjele,
Design of Visual Identity and dok je svaki sektor djelatnosti Uilita
prikazan umanjenim multipliciranim i
2 2

Signalistics strogo umreenim geometrijskim likovima.

Public Open University of the city


2

This complex task implies design of visual identity system for a


of Velika Gorica
specific entity and the set of rules regulating it. Hence, students 1

Public Open University of the city of Velika


need to become involved in the creation of the entire manual Gorica is an institution for education
0

-1

of graphic standards of visual communication. Diverse entities and culture that provides a vast array
comprising of institutions, companies and associations both from of educational and cultural programmes.
A characteristic visual code simultaneously
the public and the non-governmental sector operating primarily illustrates the operation of the Open
for the public benefit. It is a demanding task which, following University in three existing departments
the analysis of the entity and the research on its social, political (fields) and brings them together through
overlapping into a translucent motif.
and economic aspects, requires design of a sign and a logo, the Consequently, a dynamic, open logo
study of their relationship, a selection of a specific typography was created that invites for socialising
and the design of all corporate applications showing the appli- and communication. Clear geometric
shapes represent departments, whilst each
cation of a basic visual identity. Signalistics includes information sector of activity of the Open University
system design and its separate components for signalling and has been illustrated through diminished
communication in public areas. multiple and connected geometric shapes.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,4th semester

karla novak
mentor: Stipe Bri

Etnografski muzej Zagreb Ethnographic Museum Zagreb


Rjeenje vizualnog identiteta Etnografskog muzeja u The idea behind the visual identity solution for Ethno-
Zagrebu inspirirano je tradicionalnim hrvatskim teto- graphic Museum Zagreb was inspired by traditional
vaama. Nekad su se ljudi tetovirali kako bi oznaili Croatian tattoos. People used to get tattoos in order
pripadnost nekoj vjeri ili narodu, danas to ine iz tren- to show their belonging to a specific religion or nation-
dovskih razloga. Prikaz odnosa tradicije i suvremenosti ality, whilst they are currently getting them to keep
ilustrira djelatnost ovog muzeja, a to je predstavljanje abreast of trends.The illustration of the relationship
odnosa prolosti i sadanjosti u segmentu nemateri- between the traditional and the contemporary pre-
jalne kulture. sents the activity of this museum and it is the pres-
entation of the relationship between the past and
the present in the segment of non-material culture.

vita vrebac
mentor: Stipe Bri

Dom zdravlja Centar u Zagrebu


Identitet Doma zdravlja nuno mora biti itak najirem spektru korisnika. Stoga je i prepoznatljivi motiv gr-
koga kria iskoriten kao temelj oblikovanja vizualnog identiteta. Dom zdravlja je ustanova je koja se bavi lijee-
njem manje kritinih sluajeva te funkcionira kao podrunica s mnogo specijalizacija. U identitetu se naglaava
pojam centra kao lokacije i dijela naziva ustanove, ali i kao sredinji dio sustava koji predstavlja ljudsko tijelo.
Signalistika je jasna i itka, razvijena u loginu seriju, a strateki je smjetena na kljuna mjesta unutar zgrade.

Central Health Centre in Zagreb


The identity of the Health Centre needs to be intelligible to the widest range of users. Hence, the recognisable
motif of a Greek cross has been used as the basis for the design of its visual identity. Health Centre is an insti-
tution involved in treating less critical cases and it functions as a branch with a large number of specialisations.
The concept of central both as a location and a part of the name of the institution, as well as the central part
of the system that stands for human body has been pointed out. The signalistics is clear and legible, developed
into a logical series and it has been strategically located at focal points within the building.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,4th semester

mirjam milas
mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

Umjetnika akademija Osijek paula obat


Inspiriran slubenim motom institucije mentor: Stipe Bri
Poticajno, provokativno, kreativno mje-
sto studiranja kreiran je novi vizualni
identitet koji svojim oblikom sugerira
iskorak, slobodu i mogunost nadilae-
nja poznatoga, uobiajenog naina raz-
miljanja. Potreba za generikim znakom i
njegove tri izvedenice proizala je iz broja
odsjeka unutar Akademije. Razliitost je
postignuta akcentiranjem osnovnoga
gradivnog elementa znaka, pravokutne
strelice. Znak se rotira za 26, ime je
postignuta dinamika vizualnog identiteta. Arheoloki muzej
Koncept je proizaao iz pojmova vezanih
The Academy of Arts in Osijek uz arheologiju, fragmentarnost i slojevi-
Inspired by the official motto of the insti- tost. Slojevitost se iitava u obliku znaka
tution that reads Stimulating, provoca- koji se sastoji od tri sloja, pri emu svaki
tive, creative place for study a new visual nosi jednu primarnu boju. Preklapanjem
identity has been created which through slojeva i mijeanjem boja dobivamo nove
its form suggests a breakthrough, free- vrijednosti, kao to u arheologiji istra-
dom and the opportunity to transcend ujui i skupljajui dolazimo do novih
the known and the usual way of think- vrijednosti i informacija. Za signalistiku
ing. The requirement for a generic logo su preuzete boje iz znaka, primarne su
and its three derived forms was based odabrane za katove s glavnim zbirkama,
on the number of departments within a sekundarne za sekundarne sadraje.
the Academy. The diversity has been
achieved through highlighting of the Archaeological Museum
basic construction feature of the logo, The idea behind the project originated
a small rectangular arrow. The logo is from the concepts linked with archaeol-
rotated by 26, aiming to provide visual ogy, fragmentariness and stratification.
identity dynamics. The stratification is shown in the form of
a logo comprising of three layers where
each of them is in one primary colour.
Through overlapping of layers and mix-
ing of colours one gets new values, in
a similar way in which in archaeology
one gets new values and collects infor-
mation through research and collection.
Concerning signalistics, colours have
been taken from the logo, the primary
colours have been selected for the floors
with the principal collections, whilst the
secondary colours are intended for sec-
ondary content.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,5th semester

peti semestar
Komunikacijski sustav nikolina fuzul elizabeta lonar
mentor: Ivan Doroghy mentor: Stipe Bri
Identitet skupine proizvoda asistent/assistant: Tomislav Vlaini

Vjeba projektiranja identiteta skupine proizvoda naprednija


je i zahtjevnija varijanta posljednje vjebe iz drugog semestra
studija. Dok je tada bilo potrebno oblikovati vizualni identitet
pojedinanoga prehrambenog proizvoda i dizajnirati informa-
cijski sustav njegove ambalae, sada se to mora uiniti za sku-
pinu od tri povezana proizvoda iz istog sektora te ih predsta-
viti kao jedinstvenu robnu marku koju student treba osmisliti
i dizajnirati prema nekoj postojeoj. Svaki se proizvod mora
isticati vlastitim identitetom, ime se pak ne smije nakoditi
koherentnosti krovnoga vizualnog identiteta robne marke.
Naravno, samostalnoj izradi projektnog zadatka prethodi
analitiko istraivanje subjekta i trita koje je neizostavni
dio ovakvog posla, uobiajen u buduoj profesionalnoj praksi.

fifth semester
Communication System
Identity of a Group of Products
The task of designing the identity of a group of products is both
a more advanced and a more demanding task compared with Ekozona Pivo Mikkeller
the last task during the second semester of undergraduate study. Ekozona je robna marka viega cjenovnog ranga koja predstavlja niz Oblikovanje ove ambalae temelji se na ideji da se pivu Mikkeller
Whilst the latter focused on designing the visual identity of indi- prirodnih proizvoda ija je znaajka ekoloki uzgoj te bogatstvo viso- da prepoznatljiv i zanimljiv izgled, potujui pritom karakter svake
vidual food products and design of the information system of its kovrijednih hranjivih sastojaka. Analizom proizvoda unutar brenda pojedine vrste piva. To je postignuto jednostavnim ilustracijama koje
zakljueno je kako upravo jasno definirana skupina potroaa uvje- nenametljivo izraavaju osobnost svakog okusa, a cijeloj liniji proi-
packaging, the current task requires the same whilst focusing tuje odreen smjer u oblikovanju proizvoda. Informiranje o zdravim zvoda daju upeatljiv izgled.
on three related products in the same sector and presenting sastojcima proizvoda bila je kljuna ideja pa je infografikom prika-
them as a unique brand which needs to be created by the stu- zana tablica hranjivih vrijednosti koja je sastavni dio svake ambalae. Mikkeller Beer
dent and designed in accordance with an existing brand. Each The idea behind the design of this packaging was to provide Mik-
Ekozona (Ecozone) keller beer with a recognisable and an interesting appearance, pay-
product needs to be provided with its own identity, yet it needs Ekozona (Ecozone) is a higher price bracket brand that presents a ing special attention to the specific features of each beer type. That
to be coherent with the framework visual identity of the brand. vast array of natural products whose specific feature is ecological was achieved through simple illustrations that discreetly express the
Independent work on the project task is preceded by analytical farming and abundance of high-valued nutritional ingredients. The personality of each taste and give an impressive appearance to the
analysis of products within the brand showed that a clearly defined entire line of products.
research of the entity and market research which are both cru- group of consumers dictates the orientation of product design. The
cial in this type of work and customary in the future professio- specific objective was to provide information on the healthy nutri-
nal life of the student. tional ingredients of the products and hence a nutrition facts table,
as an integral component of the packaging, has been presented
using infographics.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,5.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,5th semester

iva leustek dora kasun


mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

Zaini Kotnyi Kotnyi seasoning Zaini Nadalina Nadalina seasoning


Zaini Kotnyi namijenjeni su i amaterima i profesi- Kotnyi seasoning is intended both for cooking enthu- Pod zainima podrazumijevamo dijelove biljaka koji The seasoning comprises of ground herbs that are
onalnim kuharima te su vie od obinog dodatka jelu. siasts and for professional chefs and are more than a se zbog svog sadraja okusa ili mirisa koriste u pri- used in preparation of all types of dishes due to their
Zaini daju karakter svakom jelu to je znaajka koja simple food additive. Seasoning gives a specific char- pravljanju svih vrsta hrane kako bi je se oplemenilo. taste or smell and in order to enhance their flavour.
je u osnovi glavna ideja u oblikovanju ovog rjeenja. acter to each dish and this feature was the main idea Zaini su tijekom povijesti imali znaajnu gospodarsku, Throughout history seasoning has played an impor-
Znaajke zaina te naini kako se koriste povezan je s behind the design of this solution. Seasoning features politiku ali i kulturnu ulogu. Svaki zain vezan je uz tant economic, political and cultural role. Each type
dijakritikim znakovima koji su razliitog oblika (toke, and ways they are used were connected with diacriti- specifinu kulturu, obiaje ili tradicije te kazuje svoju of seasoning is linked with a specific culture, customs
crtice, kvaice, kruii i sl.), a dodaju se nekom slovu za cal marks of diverse forms (full stops, hyphens, carons, priu. Neke prie su svima poznate, a druge tek treba or traditions and it has a story to tell. Some stories
odgovarajui izgovor, kao to se i zain dodaje jelu radi small rings, etc.) and they are added to a letter in order doznati i istraiti. Ilustracije asociraju upravo te prie are widely known, whilst others have yet to be learnt
postizanja posebnoga, karakteristinog okusa. Koliina to show a specific way of pronouncing it, the same koje su ispriane na poleini ambalae. and explored. The illustrations remind of the specific
vizualnih elemenata je minimalna radi lakega i breg as seasoning is added to dishes to achieve a special stories told on the back of the packaging.
itanja informacija. characteristic taste. The quantity of visual features is
minimum, aiming to increase the speed of reading and
help in reading the information.

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godinjak studija dizajna 2014./2015. preddiplomski studij/projektiranjevizualne komunikacije,5.semestar
school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,5th semester

otto kuec miran bai


mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

Keap, senf i majoneza


Keap, senf i majoneza izrazito su popularni proizvodi koje povezu-
jemo s brzom hranom, brzim nainom ivota, popularnom i urba-
nom kulturom. Idejni koncept ove pojmove prikazuje prepoznatlji-
vim vizualnim jezikom, specifinim za dio prometnih oznaka poput
boja semafora. Asocijacija na brzinu postignuta je trodimenzionalnim
dijelovima etiketa koji na simboliki nain upuuju na izlaz iz uobia-
arulje General Electric General Electric light bulbs jenog. Veza s potencijalnom skupinom postignuta je jednostavnim,
arulje pretvaraju mrak u svjetlo i predstavljaju poma- Light bulbs transform darkness into light and are con- duhovitim intervencijama u imenima proizvoda.
galo vano za svakodnevni ivot. Pozitivna simbolika sidered important in everyday life. The conceptual
svjetla u osnovi je idejnog rjeenja ambalae. Funkci- design of the packaging is primarily based on positive Ketchup, mustard and mayo
onalna vanost ove ambalae je informiranje korisnika symbolism of light. The importance of this packag- Ketchup, mustard and mayo are extremely popular products linked
o prednostima suvremenih arulja za to su iskori- ing from the functional aspect is to inform the user with fast food, a fast-paced life, popular and urban culture. The con-
teni piktogrami koji zamjenjuju velike koliine teksta i of the advantages of modern light bulbs and hence ceptual outline presented these concepts using a recognisable visual
svode podatke na one najosnovnije. Sukladno karakteru pictograms have been used to replace large quanti- language, specific for some traffic signs such as traffic lights colours.
proizvoda koriteni su ekoloki prihvatljivi materijali, ties of text and present only the crucial information. The association of speed was achieved through three-dimensional
a tisak je jednobojan. In accordance with the specific features of the prod- parts of labels that in a symbolic way show the exit from the ordinary.
uct ecologically acceptable materials have been used A connection with the potential group has been achieved through
and the print is monochrome. simple, witty interventions in product names.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,5th semester

peti semestar
mladen udovii
Komunikacijski sustav mentor: Nenad Dogan
michelle antonia kovaevi komentor/comentor: Veljko van
Oglaavanje mentor: Stipe Bri asistentica/assistant: Romana Kajp

Kao i u prethodnim semestrima, i sada je drugi zadatak nepo- Lino


sredno povezan s prvim, ali ovaj put se istim subjektom bavi itne kaice Linohrana je primarno namijenjena
drugi student, s ciljem oblikovanja oglaivakih sredstava za dojenadi i maloj djeci, no ciljana skupina su roditelji.
skupinu proizvoda, to je standardni dio promotivnog procesa. Ta injenica odreuje oblikovanje serije oglasa za koji
se koristi vizualni jezik blizak djeci, dok se tekstualni
Zadatak je teak utoliko to student sve elemente oglaivake dio oglasa obraa roditeljima. Djecu se motivira na igru
kampanje mora osmisliti sam (na temelju prethodno dizaj- likovima koje dobivaju otvaranjem kutije, s kojima mogu
niranog vizualnog identiteta robne marke)naslov i slogan, uz pomo roditelja osmisliti vlastite prie. Motivi ilu-
stracija su predmeti koje dijete najee nalazi za sto-
slikovne elemente (fotografiju ili ilustraciju), seriju plakata i lom za vrijeme jela poput lica i tanjura,
oglasa te cjelovitu strategiju implementacije tih oglasa u javni
prostor, takoer prema rezultatima samostalno provedenog Lino
istraivanja. Tako je student istodobno i marketinki stru- Lino cereal puree is a food product intended primar-
ily for suckling infants and babies, with parents as the
njak, i dizajner, i copywriter, i ilustrator, a mentori i asistenti target group. This fact defines the design of a series
nalaze se u ulozi svojevrsnih art direktora. Cilj zadatka usvo- of advertisements where the visual language used is
jiti je osnove svih vjetina koje se u marketinkoj praksi sma- familiar to children, whilst the textual aspect of the
advertisement addresses the parents. Children are
traju neizostavnima. motivated to play through the characters they get
upon opening the packaging which they can subse-
quently use to invent their own stories with the help
fifth semester of their parents. The motifs of illustrations are objects
children most frequently see on the table, such as
Communication System spoons and plates.

Advertising
As in previous semesters, the second task is directly connected
with the first task, yet this time another student needs to deal
with the same entity in order to design advertising methods for
a group of products which is a standard constituent in a pro-
motional process. It is a demanding task since students need to
independently design all the features of the advertising cam- Nescafe instant
paign (based on the previously designed visual identity of the Nescafe instant je kava namijenjena ciljanoj skupini okupiranoj sva-
brand)the title and the slogan, graphic elements (photography kodnevnim brojnim obvezama. Osnovne znaajke ovog proizvoda su
and illustration), a series of posters and advertisements, as well brzina i jednostavnost pripreme uz ugodan okus. Brzina je simboliki
prikazana linijama oitavanja (loading bar) u dvije boje, gdje bijela
as the entire strategy for implementation of the advertisements boja predstavlja vrijeme pripreme, a smea vrijeme uivanja. Koriten
in public space in accordance to the results of independently slogan Gotovo dok kae Nes pojaava naglasak na brzinu, a jedno-
conducted research. Hence, students are simultaneously both stavnost je prikazana reducirano oblikovanim oglasom.

marketing experts and designers, copywriters and illustrators, Nescafe instant


whilst mentors and assistantants have a role of some kind of Nescafe instant is intended for a target group involved in a large
art directors. The specific objective of the task is to master the number of everyday obligations. Basic features of this product are
basics of all the fundamental skills in marketing. speed and the simplicity of preparation, as well as agreeable flavour.
The speed has been symbolically shown through a loading bar in two
colours, where white stands for preparation time and brown for the
time of coffee enjoyment. The slogan that reads Ready until you say
Nes additionally points out the preparation speed, whilst the simplic-
ity has been shown through a reduced design of the advertisement.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,5th semester

nikolina fuzul borjan pavlek


mentor: Ivan Doroghy mentor: Nenad Dogan
komentor/comentor: Veljko van komentor/comentor: Veljko van
asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp

Kviki
Dizajn ambalae Kviki zamiljen je tako da se u mlaim
potroaima potakne znatielja i asocijacija na druenja
i popularne djeje igre. Svima znana djeja igra skrivaa
bila je osnovni motiv pa su i likovi na ambalaama stav-
ljeni u taj kontekst. Skrivanjem likova iza ploha eljelo se
zaintrigirati potencijalne kupca, a sloganom Pik, spas
za mene potaknuti na traenje skrivenih likova, ime
na simbolian nain poinje igra. Tako se igra skrivaa
seli na billboarde i citylighte, dok se pik koji spaava
nalazi na polici u trgovini.

Kviki
The idea behind Kviki packaging design was to arouse
curiosity amongst young consumers, as well as to
elicit associations to socialising and popular childrens
games. The basic motif was the well-known game
hide-and-seek and hence the characters on the pack-
aging were put into this context. The idea of the char-
acters hiding behind the level surfaces was aiming to
arouse interest of the potential buyers, whilst the slo-
gan Safe was intended to encourage them to start
Ketchup, majoneza i senf Ketchup, mayo and mustard looking for the hidden characters which, in a symbolic
way, was intended to start the game. Hence, the game
Prouavanje popularne kulture i moderne komunikacije The study of the popular culture and modern com- of hide-and-seek has been transferred to billboards
internetom, dovelo je do ideje da se iskoristi poznati znak munication over the Internet resulted in the idea to and city lights, whilst the means to be Safe is to be
ljestvi (hashtag #) koji se proirio po svim drutvenim use the popular hashtag # that has spread through- found on the store shelf.
mreama, a oznauje kljunu rije kojom se filtriraju out social networks and it stands for the crucial word
objave i informacije. Koritenje hashtaga na simboli- through which posts and information are filtered. The
an nain izrazilo je razmjenu informacija, duhovitost use of hashtag expressed information exchange in a
i neformalizam mladih. Uz taj znak koritene su foto- symbolic way, as well as the wit and the informality of
grafije proizvoda s dodatnim ilustrativnim intervenci- youth. Besides the hashtag, photographs of the prod-
jama koji su povezani s naslovima oglasa. ucts were used with additional illustrational interven-
tions linked with the ad titles.

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petra grubii
mentor: Ivan Doroghy nikolina kentri stani
komentor/comentor: Veljko van mentor: Stipe Bri
asistent/assistant: Tomislav Vlaini

Adria Dorina
Cilj kampanje je staviti naglasak na likovnu izraajnost proizvoda Jednostavna komunikacija izraava pristupanost proizvoda. Nije
koja ih u kombinaciji s aromom ini drugaijima. Svaki kolai ili nuno informirati o samome proizvodu jer su kvalitete i znaajke
okolada, nastala runim radom, poput maloga je umjetnikog djela, potroau ve dobro poznate. U obraanju prvenstveno mladim
posebna, slobodnog poteza, bez imitacija. Okus umjetnosti je slogan, ljudima poruka nije doslovna i izravna, ve je svojevrsna igra rijei.
a na svakom oglasu nalazi se tekst oblikovan kao informacija ispod Komunikacija poinje izrazom nikad..., a nastavlja se izrazom uvi-
izloka u muzeju. Sastojci su zamijenili likovnu tehniku, umjetnik je jek..., ime se izaziva privid proturjenosti pa poruka izdvaja kam-
Adria, a sam proizvod tretiran je kao umjetniko djelo, prikazan uve- panju i proizvod od uobiajene prakse u oglaivanju.
anim fragmentom i uokviren raskonim okvirom poput umjetnine.
Dorina
Adria Straightforward communication expresses product affordability.
The campaign is aiming to point out the visual expressiveness of Information on the product is not required, since the product fea-
the products that makes them different in combination with the tures and its quality is well-known. The message intended primarily
flavour. Each cookie or chocolate that was handmade is like a sep- for young people is not literal and direct, but it is a specific word play.
arate artwork, special, expressing its freedom and original. The slo- Communication commences with the word never and it proceeds
gan that reads The flavour of art and each advertisement includes with always, which creates the illusion of contradiction and hence
a text designed as a museum label providing the information about the message makes the difference and both the campaign and the
a museum exhibit. The ingredients replaced the visual art technique product differ from common advertising practices.
and the artist is Adria, whereas the product has been treated as art-
work, shown through augmented fragment and framed in a lavish
frame like real artwork.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,6th semester

esti semestar
Komunikacijski sustav
Komunikacija autorskoga mladen udovii borjan pavlek
mentor: Nenad Dogan mentor: Nenad Dogan
umjetnikog sadraja asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp

Pri kraju svog preddiplomskog studija, student se vraa pla-


katu kao jednom od najzahvalnijih medija vizualne komunika-
cije, kako bi izraajnim sredstvima dizajna interpretirao tuu
autorsku cjelinu kazaline predstave, ime postaje sudionik u
kolektivnom stvaralakom procesu karakteristinom za kaza-
lite. Cilj je oblikovati seriju plakata za promociju tri teatarska
sadraja odabrana iz repertoara jednoga kazalita, pri emu
valja podjednako voditi rauna o bazinom potivanju literar-
nog predloka predstava, odraavanju specifinosti redatelj-
skih pristupa, a treba imati na umu i da serija plakata mora
odraavati i originalni karakter kazalita, odnosno funkcionirati
kao element njegova vizualnog identiteta, onako kako ga vidi
student. Pravi izazov za zavrnu godinu trogodinjeg studija!

sixth semester
Communication System
Communication of Authors
Artistic Content
By the end of the undergraduate studies, students focus on
posters yet again, as the most gratifying visual communication
media, in order to use all the means of expression available in Kazalite Gavella Teatar EXIT
design to interpret another authors theatre performance which Rije je o vizualno dojmljivoj predstavi koju obiljeavaju nadrealnost, Exit je privatno gradsko alternativno kazalite koje se u neto vie od
slojevitost i iluzija. To je pria o prevrtljivosti i igranju ljudskim sudbi- dvadeset godina postojanja uspjelo pozicionirati na kartu zagreba-
transforms them into participants in a collective creative pro- nama. U predstavi se odvija preobrazba likova pod utjecajem arolije. kih kazalita. Obiljeavaju ga provokativne i britke predstave, to je
cess specific for the theatre. The objective is to design a series Za plakat je koritena slika isprepletenih ruku koje osvjetljenje ini u oblikovanju plakata izraeno jasno prikazanom sintezom dvaju ele-
of posters for the promotion of three featured theatre contents siluetu magarca. Silueta je ilustrativna intervencija kojoj je dodan menata u znak/piktogram. Jedan element za oblikovanje piktograma
prikaz sazvijea, to zajedno ini bijeli cvijet kojim se Puk vilenjak preuzet je iz predstave, dok je drugi simplificirani grafiki oblik koji u
selected from the repertoire of one theatre where the literary koristi kako bi izazvao aroliju. kombinaciji s prvim daje potpuno novo znaenje. Koritena crvena
work which the performances are based on needs to be fully con- podloga naglauje snagu teatarskog izraza Teatra Exit.
sidered and respected. Moreover, one needs to be fully aware of Gavella Theatre
It is a visually impressive performance whose features are the surreal, EXIT Theatre
the fact that the series of posters needs to reflect the original
stratification and illusions. It is a story about fickleness and playing Exit is a private alternative theatre that has managed to establish
features of the theatre in question and operate as a feature of its with human destinies. Character transformation takes place through- itself in the city. It has been operating for over two decades. It fea-
visual identity as perceived by the student. It is a true challenge out the performance under the influence of magic. The poster pre- tures provocative and acute performances which has been shown
for the final year students of the three-year study programme. sents the image of hands entwined that form the silhouette of a don- through the design of its poster through a clearly presented synthe-
key as a result of exposure to backlight. The silhouette is an illustra- sis of two features to make a sign/pictogram. One feature for picto-
tive intervention to which a presentation of a constellation has been gram creation was taken over from a performance, whilst the other
added creating a white flower which Puk, the elf, uses to make magic. is a simplified graphic form which, combined with the first feature,
conveys an entirely new meaning. The red background points out
the strength of theatrical expression of Exit Theatre.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,6th semester

gala marija vrbani iva leustek


mentor: Nenad Dogan mentor: Stipe Bri
asistentica/assistant: Romana Kajp

Teatar &TD Teatar &TD &TD Theatre


Kazalite &TD je eksperimentalno i avangardno kazalite. Sukladno tome plakati su Potop je predstava koja donosi potekoe jedne obitelji Deluge is a performance illustrating the difficulties
oblikovani upotrebom eksperimentalne fotografije i tipografije koja slui kao ilu- tijekom dvije vremenski razliite, ali istodobno prikazane encountered by a family during two plots which have
stracija i stilski objedinjuje sva tri plakata. U odabranim su se predstavama esto radnje. Na plakatu je paralelnost radnji simbolizirana a different timeline, but have been presented simul-
neki pojmovi preklapali i time dolazili u sukob pa je preklapanje postalo sastavni satom koji se iitava kada se dvije radnje (potopljena taneously. The parallel plots have been presented on
dio plakata. Neki dijelovi vizualnog rjeenja ostavljeni su da izgledaju nedovreno, prolost i sadanjost) sagledaju kao cjelina. Ko rukom the poster through a symbolism of a clock that is to
a time i sukladno duhu kazalita. Svi plakati imaju tri zajednika elementa koji se odneseno predstava je o tri prijatelja koji se svaki na be read when two plots (the submerged past and
sadrajno mijenjaju, prikazujui tako karakter predstave. svoj nain mui s vlastitim, ali i tuim emocijama. U the present) appear as a unity. Like blown away is
duhu predstave, na plakatu je na ironian nain prika- a performance about three friends who tackle their
&TD Theatre zan zahod koji simboliki postaje sredstvo rjeavanja own, as well as someone elses emotions each in their
&TD Theatre is an experimental and an avant-garde theatre. Consequently, its problema, odnosno otputanja tenzija i frustracija likova. own way. Hence, the poster ironically presents a toilet
posters have been designed through experimental photography and typography that symbolically becomes a means for solving prob-
used as illustration and aiming to stylistically integrate the three posters. Consid- lems, i.e. for releasing the tensions and frustrations
ering the frequent overlapping and even clashing of some concepts in the selected of the characters.
performances, overlapping has become an integral component of the poster. Some
aspects of the visual solution have been intentionally made to appear unfinished,
aiming hence to match the spirit of this theatre. All the posters have three com-
mon features that change concerning the content in order to present the charac-
ter of the performance.
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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,6th semester

helena nemec dora kasun


mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

ZKM
Glavna tema predstave Sada je, zapravo, sve dobro
ZKM-aje neosjetljivost sredine na probleme poje-
dinca koji ne upravljaju svojim sudbinama. Plakat je
komponiran tako da se moe postaviti na dvije strane,
ime njegov poloaj simboliki odreuje poloaj lika. U
predstavi Kolumbo tema je sukob individualca s vizijom
i banalnosti mase. Plakat ima etiri dijela koji funkcio-
niraju i kao kompozicija koja sugerira kolektivno kru-
enje i izgubljenost.

Mala scena ZKM


Mala scena malo je i nezavisno djeje kazalite. Predstave imaju relativno jedno- The main topic of the performance entitled Actually,
stavnu radnju, a minimalistika scenografija odaje dojam rune izrade. Ta obiljeja Everythings all Right Now by ZKM is the indifference of
prikazana su istim vektorskim plohama, iju strogost razbijaju bijeli detalji, ski- the others to the problems faced by individuals who do
coznoga i crtakog poteza. Naslovi su izvedeni digitaliziranom runom kaligrafijom not manage their own destinies. The poster has been
to naglauje zaigrani djeji karakter kazalita. designed to be presented on both sides, which symbol-
ically defines the position of the character. The topic
Mala scena of the performance entitled Columbus is the conflict
Mala scena is a small and an independent childrens theatre. The performances between an individual with a vision and the banality of
have a relatively simple plot, whilst its minimalist scenery creates the impression the masses. The poster comprises of four parts which
of being handmade. These features have been shown through pure vectorial sur- function also as a composition that implies both col-
faces, whose rigidity has been mitigated by white details of a sketchy drawing. Dig- lective socialising and forlornness.
itised hand calligraphy has been used for the titles aiming to point out the playful
childish aspect of the theatre.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,6th semester

dunja lesar nikolina fuzul


mentor: Stipe Bri mentor: Ivan Doroghy
asistent/assistant: Tomislav Vlaini

Teatar &TD
Koncept oblikovanja polazi od injenice da se pred prolaznika s kojim
plakat komunicira postavi odreeni vizual i njime izazove interes za
kazalinu predstavu. Fokus je na motivima iz svakodnevice koji su
esta tema mnogih predstava. Ilustracije prikazanim vizualnim ele-
Gavella mentima navode gledatelja na promiljanje o predstavi, a indirektno
Tema predstave Bojim se da se sada poznajemo je prekid veze. Plakatom se nastojalo i o vlastitoj svakodnevnici.
simboliki prikazati ponovno stvaranje osobnog identiteta nakon prekida, slaganje
vlastite slike, ali i prazninu i zadanost navikom. Predstava Amadeus temelji se na &TD Theatre
Salierijevu monologu o Mozartu nakon njegove smrti. Tema odbrojavanja otkucaja The idea behind the design was to place a specific visual before the
vremena do smrti velikog glazbenika izraena je spojem lijesa i kazaljke metronoma. passer-by whom the poster addresses and hence to arouse interest
in the theatrical performance. The focus is on everyday motifs that
Gavella are a frequent topic of a large number of performances. Illustrations
The topic addressed in the performance Im afraid we know each other now is a with the presented visual features encourage the public to think about
breakup of a relationship. The poster was aiming to symbolically present the crea- the performance and indirectly also about their own everyday life.
tion of a personal identity after a breakup, the creation of ones own image, as well
as the emptiness and the predetermination of habits. The performance Amadeus is
based on Salieris monologue on Mozart after his death. The topic is a countdown
of the passage of time until the death of a great musician expressed through the
image of a coffin and the pointer of the metronome.

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esti semestar
Komunikacijski sustav u
grgo petrov
odgovarajuim medijima mentor: Nenad Dogan
asistentica/assistant: Romana Kajp
Multimedijalna prezentacija godinja nagrada studija dizajna / annual awards at the school of design

Zavrni zadatak preddiplomskog studija po prvi put dopu-


ta studentima da sami osmisle i odaberu sadraj kojim e se
baviti i koji e istraivati koristei znanja i vjetine steene u
prethodnim godinama studija. Sada se od studenata trai da
se jasno postave prema struci, definiraju svoju poziciju i arti-
kuliraju vlastite stavove u kontekstu suvremenih vizualnih
komunikacija te da se postave i prema problemu ili podruju
koje su odabrali. Projektni zadatak moe se temeljiti na osob-
noj promociji ili na promiljanju odreenog fenomena u stu-
dentovoj okolini, ali zavrna prezentacija mora biti ostvarena
u medijima i izraajnim sredstvima koji najbolje komuniciraju
kako individualnost studenta, tako i kompleksnost odabra-
nog problema. Poticaj je to studentima da na pojave i pro-
bleme oko sebe reagiraju u skladu sa svojim ivotnim pozivom.

sixth semester
Communication System
in the relevant Media
Multimedia Presentation
The final task in the undergraduate study programme allows
students to select and create the content of personal interest Moj pervi abecedarij
which they will focus on and explore using the knowledge and Moj pervi abecedarij ilustrirana je knjiica kajkavske abecede edu-
kativnoga karaktera, namijenjena prvenstveno najmlaim uzrastima.
skills acquired during the previous years of undergraduate study. Cilj je potaknuti djecu i mlade na zanimanje za vlastiti jezik, soci-
Students need to assume responsibility towards their profession, okulturni identitet i batinu, usvajajui rijei te duh svojstvenoga
define their position and articulate their attitudes within the con- govora. Nedostupnost suvremenih, moderno oblikovanih sredstava
namijenjenih mladima za uenje kajkavskog narjeja bio je osnovni
text of contemporary visual communications, as well as express motiv za ovaj projekt.
their attitudes about the problem or the selected area. The project
task can be based on personal promotion or reflexion on a speci- My first abecedarium
fic phenomenon encountered in student milieu. Nevertheless, the My first abecedarium is an illustrated educational booklet of kajka-
vian alphabet, intended primarily for the youngest readers. The spe-
final presentation needs to be created using the media and the cific objective is to arouse interest amongst children and youth in
means of expression which can adequately communicate both their own language, sociocultural identity and heritage, aiming to
students individuality and the complexity of the selected issue. learn the words and gain insight in the spirit of a typical language.
Non-availability of contemporary, modern tools intended for youth
It is an incentive for students to deal with occurrences and issues for the learning of kajkavian dialect was the principal motive for the
encountered in their milieu in accordance to their profession. implementation of this project.

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school of design annual review 2014/2015 undergraduate programme/design coursevisual communications design,6th semester

miran bai helena nemec


mentor: Ivan Doroghy mentor: Stipe Bri
asistent/assistant: Tomislav Vlaini

Dubrovnik
Grad Dubrovnik odreen je vlastitom
prolou i zbog toga teko funkcionira
kao suvremena socijalna sredina. Cilj
ovog projekta je potaknuti komunikaciju
meu graanima, afirmirati istraivanje
te osvijestiti ljude o postojanju problema
u razumijevanju grada. Projekt se sastoji
od niza naljepnica koje ironinim tonom Ne podcjenjuj depresiju
upozoravaju, ali i propituju stavove gra- Projekt se sastoji od sustava plakata za podizanje svijesti, edukaciju i razbijanje stigme
ana o svome gradu. Skup naljepnica koje o depresiji. Odluka je bila pokazati karakter ovog problema koritenjem ilustracija u
graani lijepe po javnim povrinama ini negativu, ime se simboliki izraavaju negativni osjeaji s kojima se depresivni ljudi
plakat koji postavlja pitanje o tome to susreu. Svaka od ilustracija predstavlja jedan aspekt bolesti s kojim se treba nositi,
je Dubrovnik danas. unutranji psihiki i fiziki, te vanjski aspekt odnosom okoline prema tom problemu.

Dubrovnik Do not underestimate depression


The City of Dubrovnik has been defined The project comprises of a system of posters intended to raise awareness, provide
by its own past and it hence faces diffi- education and break the stigma around depression. The intention was to show the
culties in functioning as a modern social character of this problem through the use of negatives of illustrations, which sym-
environment. The specific objective of bolically expressed negative feelings faced by people suffering from depression. Each
this project was to encourage commu- illustration shows one aspect of the disease which needs to be tackled, both the
nication amongst the citizens, establish internal concerning the psychical and the physical aspects, as well as the external
research and raise awareness about the aspect concerning the attitude of the others towards this problem.
problems in the understanding of the city.
The project comprises of a vast array of
stickers that issue a warning using an
ironic tone, yet they also question the
citizens attitudes about their city. The
poster comprises of a set of stickers
to be affixed on public surfaces by the
citizens and a question has been posed
on what Dubrovnik is in this moment.

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matej vukovi otto kuec


mentor: Stipe Bri mentor: Stipe Bri

Tema dana

Sustav longboarding signalizacije


vraanje igre u svakodnevnicu
Skate daska dnevno Longboarding je rekreacijski sport velike popularnosti.
Izmislili su ga kalifornijski surferi kojima je bilo potrebno
Proces rada tijekom studija odvija se unu- kopneno vozilo koje oponaa kretanje daskom po valo-
tar komotnih vremenskih okvira. Vie nego vima. Vonja ovisi o kvaliteti podloge, to u Zagrebu
dovoljno je vremena kako bi se pomno predstavlja problem zbog mnogih oteenih nogos-
isplanirao projekt, provelo detaljno istra- tupa i drugih prepreka. Projekt izrade upozorenja na
ivanje, osmislio koncept te realizirao prepreke, ilustracijama vezanima uz morsku mitologiju,
finalni rad. Samoiniciranim projektom longboarding duhovito vraa u kontekst vodenog sporta.
nastojalo se ispitati vlastite kapacitete
skraujui trajanje zadatka na jedan dan. Longboarding signalisation system
Tematski je rad vezan uz projekt obliko- the return of games into everyday life
vanja kalendara, projektiranjem grafike
za jednu skate dasku dnevno. Longboarding is a highly popular recreational sport.
It was invented by Californian surfers who needed a
A Skateboard per day land vehicle that would imitate the movement of their
surfboard whilst riding the waves. The ride depends on
The process of work throughout the study surface quality, which is a problem in Zagreb due to a
takes places within an easy going time large number of damaged sidewalks and other obsta-
frame. There is more than sufficient time cles. The project of the creation of warnings about
available in order to comprehensively plan obstacles, illustratively linked with sea mythology, wit-
a project, conduct a detailed research, tily puts longboarding in the context of water sports.
develop a concept and implement the
final solution. The self-initiated project
was aiming to analyse own capacities
reducing the duration of the assignment
to one day. The work is thematically
linked with a calendar design project,
through the design of a graphics for one
skateboard per day.

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dora kasun sara pavlekovi preis


mentor: Ivan Doroghy mentor: Nenad Dogan
asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp

Anatomija projekta Obiteljsko stablo


Publikacija predstavlja pregled vlastitih dizajnerskih pristupa trima Projekt je zamiljen kao prostor pohranjivanja i sistematizacije obi-
donekle slinim projektima. Analizom vlastitoga kreativnog pro- teljske povijesti koja proima faktografske podatke i usmenu predaju.
cesa i mapiranjem postupaka, nastojalo se osvijestiti probleme koji Zamiljeno je da knjigu posjeduje jedna osobe dok svaki lan obitelji
se pojavljuju tijekom procesa kako bi ih prepoznali i izbjegli u slje- moe dodati svoj dio povijesti. Uvez omoguuje ubacivanje skupljenih
deem procesu. Poseban naglasak je stavljen na temu originalnosti podataka koje se provodi u etiri kategorije na razliitim formatima
kao sastavni, a vjerojatno i kljuni element dizajnerskog postupka. papira. Obiteljsko stablo gradi se naljepnicama koje sadre imena
novih lanova obitelji s dogaajima povezanih s njima.
Anatomy of a project
The publication provides an overview of own design approaches to A family tree
three fairly similar projects. The analysis of own creative process and The idea behind the project was to provide room for storage and sys-
the mapping of actions were intended to raise awareness about the tematisation of family history that permeates fact-oriented informa-
problems that appear throughout the process in order to be recog- tion and word-of-mouth. The book is supposed to be owned by one
nised and avoided during the next process. A special emphasis was person, whilst each family member can add their own part of family
put on the topic of originality, as an integral and probably also a history. The binding enables the insertion of the collected informa-
crucial feature of design process. tion in four categories on diverse paper sizes. The family tree is built
through stickers that contain the names of new family members
along with the events linked with them.

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Tipografija Typography

Cilj tipografskih kolegija na preddiplomskom studiju je stvaranje Typography courses during the undergraduate study programme
osnovnoga, upotrebljivog fundusa znanja o tipografiji. Studenti are intended to create a basic and applicable background knowledge
se upoznavaju s osnovnim terminima (tipografija, pismo, font, on typography. Students are introduced to fundamental concepts
mjerne jedinice...), osnovnom klasifikacijom pisama (serifni / (typography, typeface, font and units of measure, to name a few),
neserifni; konstrukcija translacije i ekspanzije; naslovna pisma the basic classification of typeface (serif / sans-serif; constru-
i pisma za tekui tekst...), osnovnim parametrima manipula- ction of translation and expansion; headline fonts and fonts for
cije (horizontalni pokretspacing, kerning, tracking, veliina body text, etc.), fundamental parameters of manipulation (hori-
pismate vertikalni pokretprored i veliina pisma) i povi- zontal scalingspacing, kerning, tracking, typeface sizeand
jeu tipografske discipline. Studenti se takoer upoznavaju vertical scalingletter spacing and typeface size) and history
s osnovama tipografskog sloga, proporcijama, formatima i of typography as a discipline. Students are also introduced to
hijerarhijom teksta. fundamentals of typographic syllable, proportions, formats and
Nastava se provodi preteno u obliku niza praktinih vjebi typographic hierarchy.
koje tipografsku disciplinu opisuju iz oba smjeramakrotipo- Courses comprise primarily of a broad range of practical assign-
grafskog (rad sa slovima, mree, formati) i mikrotipografskog ments that present typography at two levelsthe macrotypo-
(analiza slovnih oblika i njihove konstrukcije, crtanje slovnih graphy level (work with glyphs, grid systems, formats, etc.) and
znakova i cijelih pisama). Nakon usvajanja uobiajenih rjeenja the microtypography level (analysis of glyph forms and their con-
za uobiajene probleme (pravila) od studenata se oekuje i kri- struction, drawing of glyphs and entire typefaces). Following the
tiki stav te mogunost inteligentnog odstupanja od pravila. acceptance of common solutions for the usual problems (rules)
Nakon uvodnih predavanja i preteno tehnikih vjebi s prve students are expected to assume a critical stance and show the
godine, studenti se na drugoj i treoj godini susreu s kom- ability of smart divergence from the rules.
pleksnijim zadacima poput oblikovanja knjiga, asopisa te After the introductory lectures and primarily technical assign-
digitalnog pisma. ments during the first year, in their second and third year of
Uz aktivno povezivanje znanja usvojenih prethodnih godina, study students are faced with more complex assignments such
od studenata se oekuje da do kraja preddiplomskog studija as design of books, magazines and digital fonts.
svakoj vrsti dizajnerskog problema/projekta mogu pristupiti In addition to the active integration of all the knowledge acqui-
tipografski i potencijalno ga iskljuivo tako i rijeiti. red during the previous years, students are expected to be able to
address any type of design issue from the stance of typography
and potentially solve it in this way by the time they have com-
pleted the undergraduate study programme.

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school of design annual review 2014/2015 undergraduate programme/typography,1st semester

prvi semestar
Kaligrafija ivana baanek karla kocijan stella grabari
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Pisanje irokim perom demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

Kaligrafija je grana vizualne umjetnosti koja se bavi pisanjem


kao likovnom formom i predstavlja temelj znanja o slovnim
oblicima. Pisanjem irokim perom studenti se upoznaju s logi-
kom kontrasta, konstruktivnim elementima slova, proporcijama
te neposredno svladavaju ritam unutar rijei i izmeu rijei
(spacioniranje) te izmeu redaka (prored). Usavravanje teh-
nike pisanja u ovoj vjebi nije samo sebi svrhom, ve su zna-
nja steena pisanjem izravno primjenjiva u svemu to uklju-
uje slova, od projektiranja logotipa, informacijskih sustava
do knjiga i asopisa.

first semester
Broad nib pen calligraphy
Calligraphy is a branch of visual art that addresses writing as a
visual arts form and is considered as fundamental knowledge
of glyph forms. Through the use of a broad nib pen students
are introduced to the logic of contrast, constructive features
of glyphs, proportions and they indirectly master the rhythm
within words and between words (word-spacing) and between
the lines (line spacing). Perfecting the writing techniques in this
assignment is not an end in itself, since the knowledge acqui-
red through writing is directly applicable wherever glyphs are
involved from the design of logos and information systems to
the design of books and magazines.

ela meseldi
mentor: Hrvoje ivi
demonstrator: Lana Grahek

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godinjak studija dizajna 2014./2015. preddiplomski studij/tipografija,2.semestar
school of design annual review 2014/2015 undergraduate programme/typography,2nd semester

drugi semestar veronika kova klara bili ana pavii paula kova
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
Izrada vlastitog monograma demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

Monogram je znak sastavljen od dva ili vie slova, inicijala


osobe ili kompanije te se poput klasinog logotipa koristi za
raspoznavanje i oznaivanje. Monogram ima dugu povijest
(od kovanog novca i plemikih oznaka do tiskara, izdavaa
i umjetnika), a do danas se njegova upotreba zadrala pri-
marno kao inaica logotipa. Ovim uvodnim zadatkom stu-
denti se osmiljavanjem i iscrtavanjem vlastitog monograma
upoznavaju s crtanjem Bzierovim krivuljama, ogranienjima
pri reprodukciji ovisno o mediju te smislenom povezivanju
forme i sadraja (vlastite osobnosti).

second semester
Creation of ones own monogram
Monogram is a sign comprising of two or more letters, the initials
of a person or a company and is used as a classical logotype for jovana vlaisavljevi erika filipan monika hodak ela meseldi
identification and labelling. Monogram has a long history (from mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
coins and aristocratic emblems to printing offices, publishers and demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

artists), whilst it is currently used primarily as a version of logo.


In this introductory assignment students are introduced to drawing
with Bzier curves through design and drawing of their own
monogram, as well as the limitations upon reproduction depen-
ding on the media and meaningful integration of form and con-
tent (of their own personality).

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godinjak studija dizajna 2014./2015. preddiplomski studij/tipografija,3.semestar
school of design annual review 2014/2015 undergraduate programme/typography,3rd semester

trei semestar
Crtanje serifnih slova luka dundovi rafael mili mirjam milas vita vrebac
mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi
i njihovih izvedenica demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

Poetna toka ovog zadatka je runo crtanje jedne rijei seri-


fnim slovima srednjega kontrasta. Stilska obiljeja slova ostav-
ljena su na slobodu studentima, dokle god se pridravaju
osnovnih pravila o konstrukciji i proporcijama slova. Rije se
potom digitalizira, oblici dorauju te se prelazi na dizajniranje
jo etiri varijacije proizale iz poetnog crtea: visoki kon-
trast, niski kontrast, sans te slobodna interpretacija. U ovoj
vjebi se od studenata oekuje svladavanje osnova oblikovanja
pismadosljednost u proporcijama slova, debljinama poteza,
vrsti detalja. Razliitim varijacijama vjebom se pokuava pota-
knuti istraivanje slovnih oblika i proirenje shvaanja tipo-
grafskih sustava i njihovo potencijalno koritenje.

third semester
Drawing of serif typefaces and
their derived forms
The initial task is drawing of a word using serif alphabet letters
of medium contrast. Students are free to decide on the stylistic
features of the letters, providing they comply with the basic rules
on construction and proportions of the letters. The word is sub-
sequently digitized, the forms are improved and four additional
variations originating from the initial drawing are designed: high
contrast, low contrast, sans and free interpretation. Students are
expected to master the basics of letter designconsistency in
proportions of letters, thickness of lines and the type of detail.
Through diverse variations the assignment is striving to enco-
urage the research on letter forms and raise awareness of typo-
graphic systems and their potential use.

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school of design annual review 2014/2015 undergraduate programme/typography,3rd semester

trei semestar
karla oti mirjam milas
Prezentacija pisma mentor: Hrvoje ivi mentor: Hrvoje ivi

Uobiajen nain prezentacije pisma jest knjiica koja predstav- Hello!


lja pismo u punom opsegu i u razliitim tipografskim situaci- Naziv pisma te njegova prilagodljivost raznim jezicima
jama. Radi se o svojevrsnoj osobnoj iskaznici pisma koja sadri bili su poticaj da se promotivni materijal za predstav-
ljanje ovog pisma oblikuje poput avionskog pisma,
podatke o samom pismu, njegovu dizajneru, izdavau fonta, specifino iscrtkanog ruba. Svako pismo vezano je
pripovijest o nastanku... Ona sadri potpun pregled porodice uza zemlju iji jezik u pisanom obliku ima neku poseb-
(prikaz svih karakteristinih slovnih znakova svakog pojedi- nost (dijakritike, naglasci, uestalost verzala). Pismo se
otvara u mali plakat na kojemu su prikazana obiljeja
nog reza, ligatura, alternacija i ostalih specifinosti), prepo- tipografskog pisma.
ruke za uporabu (prikaz rezova u razliitim veliinama, prore-
dima i poravnanjima, prikaz blokova teksta za rezove koji su Hello!
namijenjeni slaganju kontinuiranog teksta) i ostale tehnike The name of the typeface and its adaptability to diverse
languages provided an encouragement to opt for design
podatke. Takoer, to je i pria o pismu ispriana na zanimljiv, of the promotional material for the presentation of this
originalan i prikladan nain. Oblikovanje knjiice moe biti typeface using the form of a specifically marked air
vrlo eksperimentalno ali i tradicionalno u pristupu i konanom mail. Each typeface is linked with the country whose
written language has some specific features (diacrit-
rezultatu, pod uvjetom da su sadrani svi obvezni elementi te ical marks, stress marks, frequency of capital letters).
da postoji jasna stilska poveznica knjiice i odabranog pisma. Upon opening the letter is transformed into a small
poster that presents typeface features.

third semester
Type Specimen
The common way to present a typeface is a booklet intended
to comprehensively present the typeface in diverse typographic
situations. It is a specific identity card of a typeface providing
information on the typeface, its designer, font publisher and a
story of its origin, to name a few. The booklet includes a com- Archer
prehensive overview of the typeface family (an overview of all Specimen se nalazi na karticama koje s jedne strane sadravaju opis
the characteristic glyphs of each specific graphic style, ligatures, jednog od rezova Archera ili opisuje obiljeja fonta, a s druge strane
prikaz je tog reza ili njegove znaajke. Strane na kojoj su prikazi rezovi
alternations and other specific features), recommendations for mogu se sloiti u plakat. Kartice su nale inspiraciju u karticama za
use (an overview of graphic styles in diverse sizes, line spacing kuhanje s receptima jer je cijeli font izvorno osmiljen za asopis
and alignments, an overview of text blocks for graphic styles Martha Stewart Living koji se bavio receptima za kuhanje kao i upu-
tama za ureenje kuanstva te rukotvorstvom.
intended for the composition of the body text) and other tech-
nical information. Moreover, it is also a story about a typeface Archer
told in an interesting, original and adequate way. Booklet design Specimen is presented on cards that on one side provide a description
needs to be considerably experimental and simultaneously also of one of Archer styles or describe font features, whilst on the other
side an overview of this style has been provided or its features. The
traditional in its approach and in the final result, providing all card sides presenting the styles can be used to form a poster. The cards
the mandatory features have been included and there is a clear were inspired by recipe cards, since the font was created for Martha
stylistic link between the booklet and the selected typeface. Stewart Living magazine that provides cooking recipes and home
decorating tips, as well as handicraft.

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paula obat eva muc


mentor: Hrvoje ivi mentor: Hrvoje ivi

Meta Optical Character Recognition


Font Meta je humanistiko pismo njemakog tipografa Erika Spieker- Umjesto klasinog predstavljanja nekog pisma, u sluaju ove publi-
manna. Budui da se sastoji od serifne i sans serifne verzije, koncept kacije odabrana tema je optiko prepoznavanje znakova, kao pod-
je bio potencirati tu dualnost samom formom specimena. Oblikovan loga za nastanak i razvoj OCR fonta. Knjiica prua kratki povijesni
kao dva spojena plakata, presavijanjem i rotacijom stvaraju se etiri pregled te kasnije prolazi kroz temeljne procese nune za prepo-
verzije lica plakata kojima se mogu prikazati usporedno znaajke seri- znavanje slova i znakova od strane raunala. U pokuaju to boljeg i
fnog i sans serifnog pisma ili po elji samo jednog od njih. doslovnog objanjenja tih procesa, neki su od njih prikazani korite-
njem slojeva paus-papira kako bi se to bolje prikazala njihova kro-
Meta nologija i metodinost.
Meta font is a humanist-style typeface designed by the German type
designer Erik Spiekermann. Since it comprises of a serif and a sans- Optical Character Recognition
serif version, the intention was to emphasise this duality through a Instead of the classical presentation of a typeface, this publication
specimen form. Designed as two combined posters, four versions of opted for optical character recognition as the basis for the creation
poster sides have been created through folding and rotation, aimed and development of OCR font. The booklet provides a brief histori-
at simultaneous presentation cal overview and subsequently presents basic processes required for
character and letter recognition by the computer. Aiming to provide
the best literal explanation of these processes, some of them were
presented using layers of tracing paper in order to provide a better
overview of their chronology and methodology.

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school of design annual review 2014/2015 undergraduate programme/typography,4th semester

etvrti semestar
Oblikovanje pisma po zadanim
paula obat eva muc luka dundovi
parametrima mentor: Hrvoje ivi mentor: Hrvoje ivi mentor: Hrvoje ivi

Za ovu vjebu od studenata se oekuje poznavanje anatomije


slova, vrsti kontrasta te osnovne vjetine crtanja slova. Na
temelju nasumino odabranih parametara (konstrukcija, kon-
trast, proporcije, debljina i vrsta poteza...) studenti crtaju skice
jedne rijei. Nasumini parametri omoguuju nove i neoeki-
vane situacije te uvjetuju studente da crtaju izvan svojih navika.
Poetne skice posluit e kao predloak za razvoj cijelog pisma.
Kada je dizajn pisma definiran, slova se digitaliziraju (skeniraju
te iscrtavaju pomou Bzierovih krivulja) i oblikuju u funkci-
onalan digitalni font.

fourth semester
Typeface design according to specific
parameters
Students are expected to gain an insight into the anatomy of
letters, types of contrast and the basic skills of letter drawing.
Based on randomly selected parameters (construction, contrast,
proportions, thickness and type of lines, to name a few) students
draw sketches of one word. Randomly selected parameters ena-
ble new and unexpected situations and encourage students to
draw outside the box. The initial sketches will provide a tem-
plate for typeface design. Upon defining the typeface design, the
letters are digitised (scanned and drawn using Bziers curves)
and designed into a functional digital font.

vita vrebac
mentor: Hrvoje ivi

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etvrti semestar
klara zaher
Tipografska hijerarhija i struktura mentor: Hrvoje ivi

Zadatak je oblikovati imaginarni asopis proizvoljne tematike.


Naglasak je na tipografskom tretmanu sadraja koji izlazi iz
graenja unutarnje logike asopisa, uspostavi hijerarhija teksta,
mree, rubrika te navigacije. Ovaj sloen zadatak spaja sadraj
i formu to potie studente na kritiko razmiljanje, istrai-
vanje i komunikacijski jasnu artikulaciju teme kojom se bave.

fourth semester
Typographic hierarchy and structure
The assignment comprised of the design of an imaginary maga-
zine addressing an arbitrary issue. It is important to highlight
the typographic feature of the content arising from the internal
Filma
logic of the magazine, text hierarchies, the grid, the sections and
Koncept asopisa Filma temelji se na predstavljanju specifinih film-
navigation. This complex assignment merges the form and the skih postupaka. Svaki od njih je analiziran, objanjen te reinterpretiran
content, encouraging critical thinking, research and clear topic odgovarajuim dizajnom u tiskanoj formi. Rezultat toga je eksperi- luka dundovi
articulation and communication amongst students. mentalan i razveden prijelom asopisa koji na simbolian nain ocr- mentor: Hrvoje ivi
tava logiku filmskog razmiljanja.

Filma
The idea behind the magazine Filma is based on the presentation
of specific film procedures. Each of them was analysed, explained
and reinterpreted through a corresponding design in print form. It
all resulted in an experimental and dissociated layout of the mag-
azine that in a symbolic way shows the logic of thinking from the
aspect of film creation.

ArtWork
ArtWork je zamiljen kao mjesenik koji okuplja novosti iz svijeta suvremene umjet-
nosti te predstavlja itateljima dogaanja, projekte i manje poznate umjetnike. Pri-
jelom se prilagouje vrsti sadraja bila to izvjea s izlobi, razgovori s umjetnicima
ili reprodukcijama umjetnikih ostvarenja. Ne bi li se istaknula informativna uloga
teksta, slike koje slijede tekst su akromatske, a ukupan dojam je blii nekoj vrsti
readera nego klasinog asopisa.

ArtWork
The idea behind the monthly magazine ArtWork is to provide news from the world
of contemporary art and present events, projects and less well-known artists. The
layout is adapted to content typedepending on whether we are dealing with
exhibition reports, conversations with artists or art reproductions. Aiming to point
out the informative role of the text, the photos that follow are achromatic and the
overall impression is closer to a type of reader rather than a classical magazine.

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vita vrebac paula obat


mentor: Hrvoje ivi mentor: Hrvoje ivi

Drag Mag Drag Mag Filmograf


Drag Mag je asopis koji tematizira drag kulturu koja se primarno Drag Mag is a magazine about drag culture which is primarily divided asopis je osmiljen kao mjesenik kina Tukanac te temama prati filmove na reper-
dijeli na Young i Oldschool. Posljedino tome, asopis je koncipiran into Young and Oldschool. Consequently, the magazine covers both toaru. Sadraj je razvrstan po kategorijama koje se pojavljuju u rasporedu projekcija,
na jednakom zastupanju oba anra to je ostvareno dijeljenjem na genres, which has been achieved through its division into two related, kao npr. In memoriam, Kratki utorak, Restrospektiva ili Tjedan stranog filma. Kazalo,
dva povezana, ali suprotna segmenta. Svaki od njih poinje s jedne yet opposing segments. Each of them commences from one side kao glavni nositelj koncepta, organizirano je kao isjeci slika koje se tek u potpunosti
strane to znai da asopis ima dvije jednakovrijedne naslovne stra- which means that the magazine comprises of two equally impor- rastvore (analogija otvaranja filmskog platna) kada se doe na odreeni lanak.
nice i smjera itanja. Young dio koristi slobodniji prijelom koji vizu- tant front covers and two reading directions. Young has a freer lay-
alizira injenicu da se radi o mladoj generaciji Queensa koje se refe- out which visualises the fact that we are dealing with a young gen- Filmograph
riraju na avangardnu modu. Oldschool dio je prelomljen na tradicio- eration of Queens focusing on avant-garde fashion. Olschool has a This is a monthly magazine of Tukanac cinema and the topics addressed accom-
nalniji nain, po uzoru na kultne modne asopise, to je pak vezano more traditional layout, inspired by cult-status fashion magazines, pany the films on the cinema repertoire. The content has been divided into catego-
uz kulturu balova i vougeanja. Young i Oldschool susreu se u sredini which is linked with the culture of balls and vogue. Young and Old- ries that appear in film screening schedule, such as for example In memoriam, Short
asopisapovezuje ih zajednika duplerica koja objanjava osnovne school merge in the middle of the magazinethey have a common Tuesday, Retrospective or International Film Week. The Index, as the principal bearer
pojmove drag terminologije. centre-fold which explains the basic concepts of drag terminology. of the concept, has been designed as clippings of photographs which are completely
opened only upon reaching a specific article (analogy of the opening of the film screen).
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school of design annual review 2014/2015 undergraduate programme/typography,5th semester

peti semestar
Digitalizacija i reinterpretacija dunja lesar miran bai donat radas
mentor: Nikola urek mentor: Nikola urek mentor: Nikola urek
postojeeg pisma demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

Revival postojeeg, a nedigitaliziranog pisma vee vee stu-


dente uz tipografsku tradiciju i upuuje ih na istraivanje
tipografske povijesti s naglaskom na hrvatsko tipografsko
nasljee. Rekonstrukcija i nadogradnja naenog pisma odvija
se u dvije faze. Prva se bavi analizom zateenih formi te kre-
iranjem to vjernije digitalne inkarnacije pisma, dok u drugoj
studenti oblikuju vlastitu, subjektivnu reinterpretaciju i nje-
govu nadogradnju.

fifth semester
Digitisation and reinterpretation
of an existing typeface
Revival of the existing, yet non-digitised typeface takes stu-
dents back to typographic tradition and encourages them to
conduct a research on the history of typography with a special
highlight on the Croatian typographic heritage. The reconstru-
ction and upgrade of the existing typeface is performed in two
phases. The first presents an analysis of the existing forms and
the creation of a faithful digital version of the typeface, whilst
in the second phase students design their own, subjective rein-
terpretation and the upgrade. Manon Quentin RTZ
Tipografija Manon je revival fonta pronaenog kao naslov na naslov- Quentin je pismo nastalo kao spoj dva zasebna pisma: pismo starog RTZ je geometrijsko eksperimentalno
noj stranici libreta za operu Manon, knjizi koja datira iz godine 1910. logotipa tvrtke Badel i iscrtanih slova s naslovnica knjiga iz Jugosla- pismo bazirano na dizajnu logotipa Radi-
Ostatak abecede razvijen je prema manje kontrastnoj verziji prona- vije. Preuzete su odreene znaajke iz oba pisma, poput svojstvenih otelevizije Zagreb iz 1971., kojeg je obli-
enoj unutar stranica libreta. Zbog visokoga kontrasta, ovo serifno krivulja te oblika pojedinih znakova i prilagoene jedne drugima, kako kovao slovenski arhitekt, kipar i dizajner
pismo preteno je namijenjeno za koritenje u naslovima. Visoki bi rezultat bio to ujednaenije i funkcionalnije pismo. Joe Brumen. Na temelju geometrijskih
kontrast i pucanje slova (nestajanje najtanjih dijelova) pri manjim principa postavljenih u izvornom logo-
veliinama inspiriralo je dvije stencil verzije pisma. Quentin tipu, razvijen je sustav pisama koje slijede
Quentin is a typeface created as a combination of two separate type- istu konstrukciju, ali manipuliraju dimen-
Manon faces: the typeface used in the former logo of the company Badel zijama pojedinih elemenata.
Manon typography is a revival of the font that was found as the and lined letters from front covers of books from former Yugosla-
title on the front page of Manon opera libretto, a book dating back via. Features of both typefaces have been included, such as spe- RTZ
to 1910. The remainder of the alphabet was designed based on a cific curves and design of separate glyphs and it has been mutually RTZ is a geometric experimental type-
lower contrast version found throughout the pages inside the libretto. adapted, aiming to design a homogeneous and functional typeface. face based on logo design of the Zagreb
Due to high contrast, this serif typeface is primarily intended for Radiotelevision dating back from 1971,
headlines. High contrast and breaking of letters (disappearance designed by the Slovenian architect, sculp-
of the thinnest parts) in smaller sizes inspired two stencil versions tor and designer Joe Brumen. Based
of the typeface. on geometric principles defined in the
original logo, a system of typefaces has
been developed that follows an identi-
cal construction, yet they manipulate
the dimensions of individual features.

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peti semestar
Tipografska linearnost miran bai
mentor: Nikola urek
i eksponencijalnost demonstrator: Lana Grahek

Knjiga, definirana u tradicionalnom smislu, klasini je medij Na rubu pameti


i ima svoju sintaksu, tj. ima u dobroj mjeri utvrene obrasce, Glavno pitanje Krleina romana Na rubu pameti jest pitanje ljudskog morala te
odnose i pravila prenoenja informacija, koje valja potovati. postoji li uope. U ovoj interpretaciji, tekui tekst je prelomljen tradicionalno,
odnosno reprezentira rigidnost i nebitnost socijalne veine koju Krlea osuuje, a
Ona mora prenijeti informacije primjereno i optimalno. Stu- svi dijelovi teksta koji opisuju radikalne misli ili ideje glavnog lika tretirani su poput
denti oblikuju izabrano djelo u eksperimentalnoj interpretaciji, neke vrste proglasa, odnosno optube na raun moralno bolesnog drutva te su
svjesno odmiui od tradicionalnoga kanona oblikovanja knjiga. otisnute bijelo na bijelo, kao neka vrsta cenzure koju i sam lik prolazi te ga je teko
proitati. Taj dio teksta je reljefno izdignut od samog papira i slui kao neka vrsta
Svrha zadatka je propitivanje poloaja knjige u digitalnom testa itatelja jer je nuno iarati stranice knjige da bi se proitalo, odnosno prekr-
dobu u kojem su informacije digitalizacijom postigle razinu iti tradicionalne konvencije odnosa prema knjizi.
kompresije koja znatno nadilazi mogunosti knjige, a i njezina
On the Edge of Reason
funkcija najpopularnijeg prijenosnika znanja (tu ulogu preu-
The principal issue addressed in Krleas novel On the Edge of Reason is the issue
zimaju internet i televizija) je poljuljana. I pored toga, zbog of human morality and the issue of its existence. In this interpretation the layout of
svoje formalne sagledivosti, analognosti i izradi po ovjeko- the body text is traditional, aiming to show the rigidity and unimportance of social
voj mjeri, knjiga je zadrala kredibilitet. U tom smislu je i cilj majority which is criticized by Krlea, whilst all the text segments that describe
radical thoughts or ideas of the principal character have been treated as a type of
zadatka eksperimentalne interpretacije istraiti njezina medij- proclamation or accusation of a morally ill society and have been printed white
ska ogranienja i upotrijebiti ih kao prednosti kojima e do on white, as a type of censorship undergone by the main character who is hence
izraaja doi njezini neupitni spoznajni potencijali. hard to grasp. This text segment has been raised from the paper in a relief form
and is intended as a specific test for the reader, since the books need to be scrib-
bled over in order to become legible, that is traditional conventions of relationship

fifth semester towards books need to be violated.

sara pavlekovi preis


Typographic linearity and mentor: Nikola urek
exponentiality demonstrator: Lana Grahek

Drava
Book, defined in a traditional sense, are classical media with their
Kao edukativno zanimljiv nain itanja Platona, Drava je iskomunicirana kroz dru-
own syntax, i.e. with considerably well-defined patterns, relations tvenu igru. Dinamika igre funkcionira na naelu rasprave uz pomo koje je cilj stvoriti
and rules of information transfer that need to be complied with. idealnu dravu. Glavne kartice sadre dijaloge iz knjige. Egzistencijalno filozofska
They need to convey information in an appropriate and optimal pitanja koja se u svojoj biti ne mijenjaju, bez obzira na vrijeme postavljanja, stavljaju
igraa u poloaj da mora sam razmisliti o odgovoru, a ne ga samo proitati. Kon-
way. Students design a selected work upon experimental inter- tekst vremena utjee da odgovor ne mora biti isti, no to je sliniji Platonovu, prije
pretation, consciously departing from the traditional canons of se stvara idealna drava. S obzirom na to da nitko sam sebi nije dovoljan, svatko bi
book design. The specific objective of the assignment was to se trebao pridravati svoje drutvene uloge, pravedno raditi svoj posao te se sta-
lei ne smiju mijeati. Likovi u igri su vladari, vojnici i robovi, a cilj je da svaki igra
analyse the role of books against the backdrop of a digital era doe do poloaja u dravi koji pripada odreenom liku.
in which information has achieved a level of compression thro-
ugh digitisation which considerably transcends the potential of The Republic
books, whilst the role of books as the most popular knowledge Aiming to provide an educational and interesting way of reading the Republic by
Plato, the book has been communicated through a social game. The dynamics of
transmitter has been taken over by the Internet and television. the game functions according to the principle of debate, aiming to help in the cre-
Moreover, due to their formal layout, analogousness and their ation of an ideal Republic. The main cards contain the dialogues from the book.
being practical, books have retained their credibility. Hence, the Existential philosophical questions whose essence never changes, irrespective of the
time of occurrence, make the player think of the answers rather than merely read-
objective of experimental interpretation was to explore the limi- ing them. The time context impacts on the answers, yet the greater the similarity
tations of books as media and transform them into advantages between the players answer and Platos answer, the sooner the ideal Republic will be
to point out their indisputable cognitive potential. established. Since no one is self-sufficient, everyone should comply with their social
role, duly perform their duties and, in addition, social classes must not be mixed.
The characters in the game are rulers, soldiers and slaves and each player needs to
reach the position in the Republic that is appropriate for each character.

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otto kuec
mentor: Nikola urek
demonstrator: Lana Grahek

Zombie Survival Guide Zombie Survival Guide


Knjiga je zamiljena kao prirunik za preivljavanje u post-apokaliptinom svijetu, The idea behind the book was to provide a survival guide in a post-apocalyptic
s naglaskom na obranu od zombija, fantastinih stvorenja koja su dio popularne world with particular emphasis on the defence from zombies, fantasy creatures
kulture. Sadraj je ironian, no napisan ozbiljnim tonom, ime se nastojalo knjigu that are part of a popular culture. The content is ironic, yet it has been written
uini zanimljivom i posebnom. Taj ozbiljan i realistian pristup u prijelomu teksta using a serious tone, aiming to make the book interesting and special. This approach,
naglaen je i doveden do ekstrema. Posebna pozornost posveena je praktino- that is both serious and realistic, has been highlighted in the layout of the text and
sti: stranicu s popisom opreme mogue je istrgnuti i objesiti na zid, dok se pregled brought to the extreme. A special attention was paid to practicality: a page with a
oruja i alata rastvara u vee dimenzije radi preglednosti. Poglavlje koje nabraja list of equipment can be torn out and put on the wall, whilst the overview of tools
kategorije i znaajke zombija u prijelomu dobiva palani registar radi lakega i breg and equipment was brought to large-scale dimensions to provide a greater clar-
dunja lesar snalaenja u hitnim situacijama. ity. The chapter that lists the categories and the features of zombies is provided
mentor: Nikola urek a thumb index in the layout in order to assure easier and a more efficient coping
demonstrator: Lana Grahek with emergency situations.

Nepodnoljiva lakoa postojanja


Oblikovanjem knjige ideja suprotstavljanja lakoe i teine prikazana je
na nekoliko razina. Za razliku od uobiajene forme knjige kao objekta,
u ovom sluaju se dogaa inverzja te su korice izraene od perja, a
stranice od neuobiajeno debelog papira. Poigravanje sa suprotno-
stima nastavlja se i oblikovanjem teksta, gdje svako poglavlje kompo-
zicijom teksta, debljinom i veliinom slova pokuava doarati dojam
teine ili lakoe. Paginacija je namjerno naglaena te se koristi kao
simbol prolaznosti vremena, tijeka knjige i ivota likova.

The Unbearable Lightness of Being


Through the design of the book the idea of opposition of lightness
and heaviness has been shown at several levels. As opposed to the
customary form of the book as an object, in this case an inversion
has occurred where the book covers have been made from feathers
and its pages from unusually thick paper. Playing with the oppo-
sites continues also through text design where each chapter by text
composition, thickness and size of the letters is intended to create
an impression of lightness or heaviness. Pagination has been inten-
tionally highlighted and is used as a symbol of ephemerality of time,
the course of the book and the lives of its characters.

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esti semestar dunja lesar dunja lesar miran bai


mentor: Nikola urek mentor: Nikola urek mentor: Nikola urek
Iscrtavanje slova demonstrator: Lana Grahek demonstrator: Lana Grahek demonstrator: Lana Grahek

Iscrtavanje slova je pisanje graenjem oblika slova koji ne ovisi


o sredstvu kojim se pie, ve je rezultat retuiranja poteza
i postupnog poboljavanja njegove kvalitete. U konanom
rezultatu nema razlike izmeu iscrtanih slova i tipografskog
pisma, osim to je kod prvog svaki slovni znak spremljen na
svoju poziciju u fontu (digitalnom ili analognom), dok iscrtana
slova ine nerazdvojivu cjelinu (poput logotipa). Iscrtavanje
slova esto se koristi kod projekata koji zahtijevaju tipografsku
specifinost, ali nemaju velik uporabni opseg. Iscrtana slova
mogu biti ekspresivna i odvana s obzirom na to da nastaju
na temelju konkretnih projektantskih zahtjeva i jasno predvi-
ene, ograniene uporabe (to je rijetko sluaj s tipografskim
pismima iroke namjene). U ovom zadatku studenti odabiru
nekoliko naziva proizvoda raznih kategorijaod brendova
pia, naslova knjiga, filmova ili pak imena muzikih sastava
te istrauju koji slovni oblici najbolje odraavaju znaenje i
kontekst odabranog naziva.

sixth semester
Hand-drawn typography
Hand-drawing of letters implies writing through construction of
letter design which does not depend on the writing tools, as it
is a result of retouching the lines and gradual improvement of
quality. The final result does not show any differences between
the hand-drawn letters and the typeface, except that in the for-
mer each glyph has been placed in its own position in the font
(digital or analogous), whilst the hand-drawn letters make an
inseparable unity (like a logo). Hand-drawn letters are frequently
used for projects that require typographic specificity, yet their
scope of use is rather limited. Moreover, hand-drawn letters can
be both expressive and brave since they are created based on
specific design requirements and clearly designated, limited use
(which is seldom the case with broadly used typefaces). In this
task students select several names for products of diverse cate-
goriesfrom beverage brands, book titles, films or music band
names and analyse the type of glyph which will most adequa-
tely convey the meaning and the context of the selected name.

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school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme

Likovni Visual Arts


program Programme

CRTANJE 1, 2, 3, 4Kolegij zapoinje vjebama crtanja po pro- drawing 1, 2, 3, 4The course commences with observational
matranju, polazei od proporcije oblika, perspektive, prostora i drawing practice, from shape and proportions, perspective, space
kompozicije slike. U drugom semestru izvode se vjebe crtanja and picture composition. The programme focuses on drawing
po sjeanju, uz razvijanje osobnosti likovnog izraza. U treem from memory and the development of identity of visual expre-
semestru razvija se sposobnost crtake istoe, likovnoga i ssion. The third semester develops the skills of purity of drawing,
grafikog izraza tehnikomasocijativne memorije. U etvr- visual and graphic expression through the technique of associa-
tom semestru komparativno vrednovanje oblikovanja pripada tive memory. In the fourth semester the comparative evaluation
crtakom, tonskom, rasteriranom, modelacijskom i koloristi- of design belongs to drawing, tonal, raster image, modelling and
kom zadatku unutar primarno likovnog izraavanja. Ekspresija, coloristic assignment within visual arts expression. Expression,
stilizacija, konstrukcija ili redukcija su u funkciji imaginacije stylisation, construction or reduction are in function of imagi-
slobodnog i zadanog crtea. nation during the free-topic and the assigned-topic drawing.
GRAFIKE TEHNIKE 1, 2Studenti vjebama prouavaju spe- GRAPHIC TECHNIQUES 1, 2Students study the specific visual lan-
cifian vizualni jezik pojedine grafike tehnike te sagledavaju guage of individual graphic techniques and get a broader over-
iru sliku o nainu, primjerenosti i svrsi koritenja odreene view of the ways, the appropriateness and the scope of use of
tehnike u kontekstu vremena i stupnju razvoja vizualnih komu- a specific technique in the context of time and according to the
nikacija. Kombinirajui razliite tehnike, izraavaju svoje ideje development level of visual communications. Students express
i otiskuju ih na razliitim materijalima te analizraju proces their ideas and print them on different materials. The process of
vizualnog razmiljanja, metodom povezivanja vizuala i pri- visual thinking is analysed through a method of matching visu-
padajuih pojmova. als and the corresponding concepts.
PLASTINO OBLIKOVANJE 1, 2Teme kolegija su upoznavanje VISUAL DESIGN 1, 2Course topics comprise of introduction to fea-
osnovnih elemenata plone i prostorne kompozicije, njihova tures of planar and spatial composition, their application in design
primjena u procesu projektiranja te analiza meuodnosa ele- and analysis of interrelation between elementary forms and gene-
mentarnih formi i generiranje prostorne iz plone kompozi- ration of spatial from planar composition. Possibilities of creation
cije. Kreativnom dekompozicijom i transformacijom zadane of a new form using diverse visual techniques are explored through
forme istrauju se mogunosti stvaranja nove forme raznim creative decomposition and transformation of an assigned form.
likovnim tehnikama. NUDE 1, 2The programme of this elective course focuses on
AKT 1, 2Proporcije ljudskog tijela te prijenos trodimenzionalnog human proportions and the transformation of a 3D model into a
modela u dvodimenzionalni crte raznim likovnim tehnikama 2D drawing. Human body is positioned in space and its interre-
predstavlja sadraj izbornog kolegija. Crteom se pozicionira lation with articles of daily use is presented. The objective of the
ljudsko tijelo u prostoru i prezentira u meuodnosu s uporabnim course is to develop the ability to create an original drawing as
predmetima. Cilj kolegija je razviti sposobnost stvaranja autor- an independent interpretation of the topic of human body.
skog crtea kao samostalne interpretacije teme ljudskog tijela. ILLUSTRATION 1, 2The course focuses on the introduction to the
ILUSTRACIJA 1, 2Tema kolegija je upoznavanje pojma i zna- concept of illustration and its meaning in visual communications
enja ilustracije u vizualnoj komunikaciji. Poznavanje osnov- and on insight into the basic features, the scope of application,
nih elementata i podruja primjene, odnos forme i sadraja, te the relationship between form and content and the applica-
odnos i primjena ilustracije s ostalim oblicima vizualnih komu- tion of illustrations with other forms of visual communications.
nikacija. Istrauju povijesne stilove i suvremene trendove, a Historical and contemporary styles are explored and a critical
predavanjima i vjebama razvijaju kritiki odnos, oblikovne i attitude is developed through lectures and practical classes with
tehnike vjetine i osobni vizualni jezik. a focus on design, technical skills and a personal visual language.

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ivana baanek ljubica golubi


crtanje 1/drawing 1 crtanje 1/drawing 1
mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Kljuevi Stolac
Crtaka analiza trodimenzionalnog Studija trodimenzionalnog modela
modela kroz kontraste i raster Tehnika: olovka
Tehnika: olovka, tu Chair
Keys Drawing analysis of a three-dimen-
Drawing analysis of a three-dimen- sional model studija trodimenzional-
sional model through contrast and raster nog modela
Technique: pencil, drawing ink Technique: pencil

luka palestrina mazi


crtanje 1/drawing 1
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Stolacskica
Studija trodimenzionalnog pred-
meta Tehnika: flomaster
Chairrough draft
Drawing analysis of a three-dimen-
sional model
Technique: felt tip pen

petra pikor ivana baanek martina petric luka palestrina mazi


crtanje 1/drawing 1 crtanje 1/drawing 1 crtanje 1/drawing 1 crtanje 1/drawing 1
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Teksturaskica Tekstura Fotoaparat Fotoaparatskica
Mrtva priroda, crtaka analiza trodimenzionalnog Mrtva priroda, crtaka analiza trodimenzionalnog Crtaka analiza trodimenzionalnog modela Crtaka analiza trodimenzionalnog modela
modela kroz teksturu, skica modela kroz teksturu Tehnika: olovka, drvena bojica Tehnika: flomaster, marker
Tehnika: olovka Tehnika: olovka Still camera Still camerarough draft
Texturerough draft Texture Drawing analysis of a three-dimensional model Drawing analysis of a three-dimensional model
Still life, drawing analysis of a three-dimensional Still life, drawing analysis of a three-dimensional Technique: pencil, colour pencils Technique: felt tip pen, marker
model through texture, rough draft model through texture
Technique: pencil Technique: pencil

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morana lauin
crtanje 1/drawing 3
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Dizajnerski predmet
M. Vignelli, ajnici
Tehnika: drvena bojica
Designed object
M. Vignelli, teapots
Technique: colourpencils

mirjam milas
crtanje 1/drawing 3
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Dizajnerski predmet
V. Panton, stolci
Tehnika: olovka
Designed object
V. Panton, chairs
Technique: pencil

nina stupar leonarda komen


crtanje 1/drawing 2 crtanje 1/drawing 2
mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Kvadrati Soba
Teorija boja, hommage kvadratu Crtaka vjeba sobe u perspektivi po zadanom tlocrtu,
Tehnika: drvena bojica slobodno interpretirano tonskom obradom filip kovai
Squares Tehnika: tu, drvena bojica crtanje 1/drawing 3
Theory of colours, Hommage to the square Room mentor: Boris Ilekovi
Technique: colour pencils Drawing exercise of a room in one-point perspective asistentica/assist: Inja Kavuri Kireta
based on a specified ground plan, free interpretation Utinica
through tonal finishing Afirmiranje asocijativnogspremitaanonimnim predmetom
Technique: drawing ink, colour pencils kao polaznom pretpostavkom u crtakom procesu
Tehnika: olovka
Power socket
Affirmation of an associativestoragethrough an anony-
mous object as an initial assumption in the drawing process
Technique: pencil
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karla novak
crtanje 1/drawing 4
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Muzika akademija
Crte arhitektonske kompozicije
u urbanom kontekstu
Tehnika: olovka, drvena bojica,
flomaster
Music Academy
Drawing of the architectural
composition in an urban context
Technique: pencil, colour pencil,
felt tip pen

petra kovaevi
crtanje 1/drawing 4
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Panton
Teorija boja, hommage Verneru Pantonu
Tehnika: akrilne boje
Panton
Theory of colours, Hommage to Verner Panton
Technique: acrylic paint

lucija rubini
crtanje 1/drawing 3
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
dorja horvati
Osam alica crtanje 1/drawing 4
Vizualna analiza likovnih tehnika mentor: Boris Ilekovi
Tehnika: olovka, tu, flomaster, tempera, drvena asistentica/assist: Inja Kavuri Kireta
bojica, akvarel, paper-cutting, kola
Interijer
Eight cups Fotografija interijera, istraivanje elemenata
Visual analysis of visual arts techniques kompozicije i prijenos u crte
Technique: pencil, drawing ink, felt tip pen, tempera, Tehnika: olovka
colour pencils, watercolour, papercutting, collage
Interior
Interior photography, research on composi-
tion features and use in drawing
Technique: pencil

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ana pavii ana pavii veronika kova


plastino oblikovanje 1 / theory of form 1 plastino oblikovanje 1 / theory of form 1 plastino oblikovanje 2 / theory of form 2
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Raspodjela kvadrata 1 Raspodjela kvadrata 2 Kocka i kugla (fotke crtea i modela)
Vjeba izrade kompozicije tonskom raspodjelom Vjeba izrade uveane kompozicije tonskom raspodjelom plohe Vjeba izrade kompozicije dekompozicijom zadanih formi kugle i kocke
plohe kvadrata kvadrata Tehnika: olovka, drvena bojica, gipsani model
Tehnika: olovka Tehnika: olovka Kocka i kugla cube and sphere (photos of drawings and models)
Division of the surface of the square 1 Division of the surface of the square 2 Creating a composition through decomposition of the assigned shape
Creating a composition through a tonal division Creating an enlarged composition through a tonal division of a sphere and a cube
of the surface of the square of the surface of the square Technique: pencil, colour pencil, plaster model
Technique: pencil Technique: pencil

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anja nikoli morana lauin anja nikoli morana lauin


crtanje akt 1 / figure drawing 1 crtanje akt 1 / figure drawing 1 crtanje akt 2 / figure drawing 2 crtanje akt 2 / figure drawing 2
mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta asistentica/assist: Inja Kavuri Kireta
Sjedea figura Stojea figura Skulptura gliptoteka Skulptura
Studija ljudske figure koja sjedi Studija ljudske figure koja stoji, kroki Studija ljudske figure kroz skulpturu Studija ljudske figure kroz skulpture, kroki
Tehnika: olovka Tehnika: olovka Tehnika: olovka tehnika: olovka
Seated nude figure Standing figure Sculpture glyptotheque Sculpture
A study of a seated nude male figure A study of a standing human figure, croquis A study of a human figure through sculpture A study of a human figure through sculpture, croquis
Technique: pencil Technique: pencil Technique: pencil Technique: pencil

morana lauin
crtanje akt 1 / figure drawing 1
mentor: Boris Ilekovi
asistentica/assist: Inja Kavuri Kireta
Ruka s ruem
Studija ruke s uporabnim predmetom
Tehnika: olovka, drvena bojica
A hand with a lipstick
Astudy of a hand with a usable item
Technique: pencil, colour pencil

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grgo petrov grgo petrov mikaela cvitanovi nikolina fuzul nikolina fuzul
grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques grafike tehnike/graphic techniques
mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak mentor: Mario Petrak
Sitotisak/Mesh Screen Printing Proces otiskivanja sitotiska/Screen Printing Process Metoda povezivanja vizuala i pojmova/ Proces otiskivanja linoreza/Linocut Printing Process Linorez/Linocut
Visual Thinking Techniques

nikolina fuzul grgo petrov


grafike tehnike/graphic techniques grafike tehnike/graphic techniques
mentor: Mario Petrak mentor: Mario Petrak
Metoda povezivanja vizuala i pojmova/ Metoda povezivanja vizuala i pojmova/
Visual Thinking Techniques Visual Thinking Techniques

158 159
likovne vjebeilustracija 1 / art studioillustration 1

godinjak studija dizajna 2014./2015. preddiplomski studij / likovni program


school of design annual review 2014/2015 undergraduate programme / visual arts programme

mladen udovii dina bartoli


ilustracija 1 / illustration 1 ilustracija 1 / illustration 1
mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Inicijali Six word story
Odnos ilustracije i tipografije/letteringa, inicijali Vizualni jezik, naracija
Tehnika: tu, vektorska ilustracija Tehnika: kombinirana tehnika, digitalna ilustracija
Initials Six word story
Relationship between illustration and Visual expression, narration
typography/lettering, initials Technique: combined techniques, digital illustration
Technique: drawing ink, vector illustration

monika moevi
ilustracija 1 / illustration 1
mentor: Inja Kavuri Kireta
Osjetisinestezija
gala marija vrbani Forma i sadraj, osjeti/sinestezija
ilustracija 1 / illustration 1 (koje je boje ponedjeljak?)
mentor: Inja Kavuri Kireta Tehnika: drvena bojica, suha pastela
Kaligram Sensessynesthesia
Odnos ilustracije i tipografije/letteringa, kaligram Form and content, senses/synesthesia
Tehnika: vektorska ilustracija (what colour is Monday?)
Calligram Technique: colour pencil, soft pastel
Relationship between illustration and typogra-
phy/lettering, a calligram
Technique: vector illustration

mikela cvitanovi
ilustracija 1 / illustration 1
mentor: Inja Kavuri Kireta
Kaligram nikolina fuzul katarina huljev
Odnos ilustracije i tipografije/letteringa, kaligram ilustracija 1 / illustration 1 ilustracija 1 / illustration 1
Tehnika: tu, vodena boja mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Calligram Kaligram Fotografija
Relationship between illustration and typogra- Odnos ilustracije i tipografije/letteringa, kaligram Odnos ilustracije i fotografije
phy/lettering, a calligram Tehnika: tu Tehnika: kola
Technique: drawing ink, watercolour
Calligram Photography
Relationship between illustration and typography/lettering, a calligram Relationship between illustration and photography
Technique: drawing ink Technique: collage
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grgo petrov grgo petrov


ilustracija 2 / illustration 2 ilustracija 2 / illustration 2
mentor: Inja Kavuri Kireta mentor: Inja Kavuri Kireta
Paradoks Karakter i aplikacije
Vizualni jezik: jezine figure (paradoks) Vizualni jezik: nositelj prie i pria,
Tehnika: tu Grodeus
Paradox Tehnika: vektorska ilustracija
Visual expression: linguistic figures Character and applications
(paradox) Visual expression: the protagonist
Technique: drawing ink and the story, Grodeus
Technique: vector illustration

helena nemec
ilustracija 2 / illustration 2
mentor: Inja Kavuri Kireta
Karakter i aplikacije
Vizualni jezik: nositelj prie i pria,
U visine
otto kuec Tehnika: tu, akvarel
ilustracija 2 / illustration 2 Character and applications
mentor: Inja Kavuri Kireta Visual expression: the protagonist
Karakter i aplikacije and the story, To the Heights
Vizualni jezik: nositelj prie i pria, Charlie Technique: drawing ink, watercolour
miran bai Tehnika: kombinirana tehnika
ilustracija 2 / illustration 2 Character and applications
mentor: Inja Kavuri Kireta Visual expression: the protagonist and the story,
Retro Charlie
Istraivanje umjetnikih stilova (retro) Technique: combined techniques
Tehnika: vektorska ilustracija
Retro
Exploring art styles (retro)
Technique: vector illustration nikolina fuzul
ilustracija 2 / illustration 2
mentor: Inja Kavuri Kireta
Karakter i aplikacije
Vizualni jezik: nositelj prie i pria, Transforumcija
Tehnika: vektorska ilustracija
Character and applications
Visual expression: the protagonist and the story, Transforumcija
Technique: vector illustration

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school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme

Fotografija Photography
i film and film

Sposobnost predoavanja stvarnosti fotografijom i razvija- The ability to express the reality through photographs and the
nje fotografskog umijea imaju vanu ulogu u obrazovanju development of photography skills have a vital role in the educa-
budueg dizajnera. Na Studiju dizajna se fotografija izuava tion of the future designer. Photography is taught at the School
kao samostalna vizualna umjetnost, a ujedno je i osnova za of Design as an independent visual art which is simultaneously a
bolje izraavanje u kreativnim dizajnerskim projektima. U oba prerequisite for improved expression in creative design projects.
preddiplomska kolegija studenti se pod mentorskim vodstvom During both undergraduate courses students under the men-
Stanka Hercega bave slobodnim fotografskim temama, ali i torship of Stanko Herceg deal with free photography themes,
zadanim vjebamaprimijenjenom fotografijom. Na kole- as well as a range of predefined assignmentsapplied photo-
giju fotografija studenti druge godine poinju fotografirati graphy. During the photography course, second year students
analognim fotoaparatom, ue o teorijskim osnovama teh- start taking photographs using an analogue camera and they
nike fotografiranja i o kompoziciji fotografske slike. Nakon to are provided the theoretical basis of photography techniques
su svladali osnove fotografskog znanja, studenti se tijekom and on photography composition. Following the acquisition of
tree godine susreu sa sloenijim postupcima fotografskog the fundamentals of photography skills, during the third year of
izraavanja. Na kolegiju fotografija i film 1 i 2 se u praktinom study students are faced with increasingly complex methods of
programu pouava o filmskom svjetlu i boji, a u teorijskom se photographic expression. The courses on photography and film
dijelu ui o osnovama filmske teorije. Zadane vjebe ukljuuju 1 and 2 and their practical classes programme include learning
fotografiranje u uvjetima postojeeg svjetla i u kontroliranim about film lighting and colours, while the theoretical part com-
svjetlosnom uvjetima fotografskog studija, pomou profesi- prises of fundamentals of film theory. The assignments include
onalne umjetne rasvjete. taking photographs against the existing lighting conditions, as
well as under controlled conditions in a photographic studio and
professional artificial lighting.

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school of design annual review 2014/2015 undergraduate programme/photography,4th semester

mirjam milas mirjam milas


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Poznati predmet/Familiar object Akt/Nude

anja nikoli
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Pejza/Landscape

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school of design annual review 2014/2015 undergraduate programme/photography,4th semester

valentina sunek matea bertina


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Arhitektura/Architecture Portret/Portrait

klara zaher
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Poznati predmet/Familiar object

luka dundovi
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Reportaa/Reportage

lucija rubini
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Arhitektura/Architecture

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school of design annual review 2014/2015 undergraduate programme/photography,4th semester

dora aldarovi josipa tadi


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Portret/Portrait Akt/Nude

lucija rubini dora aldarovi


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Pejza/Landscape Reportaa/Reportage

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school of design annual review 2014/2015 undergraduate programme/photography and film,5th and 6th semester

dina bartoli tin buri


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec

Koloristiki trozvuksekundari/Coloristic three tone chord secondary colours Koloristiki trozvuktercijari/


Coloristic three tone
chordtertiary colours

sara pavlekovi preis


mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Mijeano svjetlo/Mixed light

sara pavlekovi preis


mentor: Stanko Herceg
asistent/assistant: Pavel Posavec
Zasiene boje/Saturated colours

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school of design annual review 2014/2015 undergraduate programme/photography and film,5th and 6th semester

otto kuec helena nemec


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Inspirirano umjetnikim djelom/Inspired by a work of art Portret u studiju/Portrait in the studio

sara pavlekovi preis nikolina kentri


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Svjetlo ive/Mercury light Svjetlo arulje/Light bulb light

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school of design annual review 2014/2015 undergraduate programme/photography and film,5th and 6th semester

dunja lesar ana vuko


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Stolac u studiju/A char in Sjeverno svjetlo/Northern light
the studio

gala marija vrbani dora kasun


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Koloristiki trozvukprimari/ Visoki tonski klju/High key
Coloristic three tone chord
primary colours

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school of design annual review 2014/2015 undergraduate programme/photography and film,5th and 6th semester

gala marija vrbani borjan pavlek


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Akt u studiju/Nude in the studio Akt u studiju/Nude in the studio

michelle kovaevi matea jurevi


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec
Akt u studiju/Nude in the studio Portret u studiju/Portrait in the studio

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school of design annual review 2014/2015 school of design annual review 2014/2015undergraduate programme

Osnove Basics of
interaktivnih medija Interactive Media

Kolegij Osnove interaktivnih medija fokusiran je na teoriju i The course entitled Fundamentals of Interactive Media focused
praksu dizajna vizualnih komunikacija unutar podruja interaktiv- on theory and practice of visual communications design within
nih medija. Utjecaj novih digitalnih tehnologija sve vie mije- the area of interactive media. The impact of new digital tech-
nja nain na koji se izraavamo, na koji komuniciramo te kako nologies is increasingly changing the way we express ourse-
doivljavamo svijet oko sebe. lves, the way we communicate and the way we experience the
S obzirom na to da se naa komunikacija u potpunosti promi- world around us.
jenila u posljenjih nekoliko godina, uloga dizajnera u promi- Considering the fact that our communication has undergone
ljanju i oblikovanju tih interaktivnih sadraja i prezentacija od comprehensive changes during the last several years, the role of
izuzetne je i stalno rastue vanosti. Predavanjima, vjebama designers in reflexion and design of these interactive contents
i projektima kolegij ima za cilj kod studenata pobuditi razu- and presentations is of extreme and continuously increasing
mijevanje i interes za ovo podruje koje je u stalnom razvoju. importance. The specific objective of the course was to dee-
Na koji se nain to podruje dizajna razlikuje od tradicionalnih pen students insight and arouse their interest in this continuo-
medija te kako u tom kontekstu pristupiti promiljanju i obli- usly developing area. Moreover, the course addressed the issue
kovanju interaktivnih sadraja, teme su kojima se kolegij bavi. of how this design area differs from the traditional media and
Kolegij studentima nastoji prenijeti praktina znanja, tehnike i how to approach the reflexion and design of interactive con-
vjetine koje im pomau u samostalnom projektiranju suvre- tent in this context.
menih interaktivnih rjeenja. The course was aiming to transfer practical knowledge, tech-
niques and skills intended to help students in independent design
of contemporary interactive solutions.

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school of design annual review 2014/2015 undergraduate programme/basics of interactive media,3rd semester

trei semestar
tanja modrakovi
Mobilna aplikacija mentor: Tin Kadoi

Na prvom semestru Uvoda u interaktivne medije studenti


se bave promiljanjem i projektiranjem mobilnih aplikacija.
Zadatak je odabran djelomino zbog njegovih ogranienja,
formata, veliine ekrana te tipova interakcija, no veim dije-
lom zbog sveprisutnosti tog medija u naem svakodnevnom
ivotu i okolini. Mobilne aplikacije omoguuju iskoritavanje
specifinih tehnikih znaajki ureaja poput geolokacijskih
mogunosti, akcelerometra i iroskopa.

third semester
Mobile Application
During the first semester of the course entitled Introduction
to Interactive Media students reflected on mobile applications
and their design. The assignment was selected partly due to its
constraints, its format, the size of its screen and types of inte-
ractions, yet primarily due to the omnipresence of this media in
our everyday lives and the environment. Mobile apps enabled
the use of specific technical features of devices such as geolo-
cation potential, accelerometer and gyroscope.

Galdra
Galdra je aplikacija kojom korisnik istrauje nove i zani-
mljive lokacije na temelju osobnog izbora. Funkcionira
putem hashtagova pomou kojih je mogue odabrati
destinacije i interese, a aplikacija ih slae u kombinacije.
Galdra je ujedino i blog na kojem korisnik postavlja vla-
stite putopise, a omoguuje i opciju repostanja zani-
mljivih lokacija, ime se olakava traganje za drugim
odreditima. Aplikacija je namijenjena prvenstveno za
otkrivanje i spremanje lokacija, odabranih prema osob-
nim korisnikovim interesima.

Galdra
Galdra is an app through which users explore interest-
ing new locations based on personal choice. A resource
supporting this function is a hashtag through which
destinations and interests can be selected and the app
arranges them into groups. Galdra is simultaneously
also a blog in which the users post their own trave-
logues and it also provides the option of reposting
interesting locations, which facilitates the search for
other destinations.The app is primarily intended for
identifying and saving of locations selected according
to users own interests.

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school of design annual review 2014/2015 undergraduate programme/basics of interactive media,3rd semester

josipa tadi luka dundovi


mentor: Tin Kadoi mentor: Tin Kadoi

Start-add Start-add
Aplikacija je vezana uz problem svakodnevne organi- The app addressed the issue of daily planning of notes. Doba Doba
zacije biljeki. Temelji se na principu dodavanja novih It is based on the principle of adding new notes and Oznaivanje vremena u obliku vremenske lente omo- Using a timeline to label time helps in keeping abreast
biljeki i brisanju starih koje se automatski, bez obzira deleting the old ones which, irrespective of their cat- guuje lake praenje obveza, dogaaja i podsjetnika of the obligations, events and reminders that are intu-
radi li se o jednima i drugima, slau u mreu. egory, are organised in a grid. kojima se intuitivno upravlja potezom prsta. Omogu- itively managed by finger moves. An unlimited number
eno je unoenje neogranienog broja dogaanja ili of events or obligations can be entered and the app
obveza, a aplikacija e ih sloiti po redu prilikom vra- will arrange them in the adequate order upon returning
anja na poetak vremenske lente. Osim kao vremen- to the start of the timeline. In addition to providing a
ska lenta, aplikacija nudi i uobiajen prikaz obveza u timeline, the app also provides an overview of obliga-
obliku kalendara i popisa. tions in the form of a calendar and a list.

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school of design annual review 2014/2015 undergraduate programme/basics of interactive media,3rd semester

paula anti vita vrebac


mentor: Tin Kadoi mentor: Tin Kadoi

Noted @tm
Ovo je aplikacija za pisanje i pohranjivanje biljeki. Jed- Aplikacija omoguuje dijeljenje snimaka snimljenih
nostavna je za koritenje i osmiljena kao pomo pri tijekom aktualnih dogaanja meu korisnicima inter-
organizaciji obveza. Korisnicima omoguuje sortiranje neta. Korisnik odabire snimku nainjenu na odabranom
biljeki po kategorijama, uz prikaz prema mjesenom dogaaju te je razmjenjuje pomou ove aplikacije, uz
izlistu i uz kalendarski prikaz. dodavanje imena lokacije te naziva dogaaja. Dogaaji
koji su najposjeeniji bit e najzastupljeniji na home
Noted screenu, a aplikacija je sastavljena kao sredstvo aku-
It is an app for writing and saving notes. It is simple mulacije aktualnih dogaanja radi registracije novih
to use and it is intended to help in the planning of tzv. hip lokacija koje se nalaze u odabranom gradu.
obligations. Users can arrange their notes according
to categories, providing an overview according to a @tm
monthly list and a calendar overview. The app enables video footage sharing amongst Inter-
net users during actual events. The user selects a video
footage made on a specific event and shares it using
this app and adding location and event names. The
most popular events will be highlighted on the home
screen. The app is intended to provide a means of
accumulation of actual events, aiming to register new
hip locations in a selected city.

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etvrti semestar
vita vrebac luka dundovi
Web mentor: Tin Kadoi mentor: Tin Kadoi

Drugi semestar fokusira se na medij web-stranica. Polazi se


od definiranja subjekta, istraivanja potreba korisnika i ciljeva
web-stranice, definiranja informacijske arhitekture, wirefra-
meova pa sve do zavrne fazevizualnog dizajna. Subjekti
za projekt birani su iz servisne kategorije (KBC,AKZ,Hrvatska
lutrija),dravnih institucija (ministarstva, tz, galerije) te dobro-
tvornog rada (Suza, Zaklada Civilno drutvo).

fourth semester
Web
The second semester focused on the media of website. Firstly,
the issue was defined, which was followed by analysis of user
requirement and website objectives, defining of information arc-
hitecture, wireframes and the final phasevisual design. Subje-
cts for the project were selected from the category of services
(Clinical Hospital Centre, Zagreb Bus Terminal, Croatian Lottery),
state institutions (ministries, tourist boards, galleries) and cha-
rity work (Suza, Civil Society Foundation). Moderna galerija Ministarstvo kulture
Dizajn web-stranica za Modernu galeriju osmiljen je Ministarstvo kulture je sredinje tijelo dravne uprave
kao jednostavan i pregledan online prostor u kojem se koje potie kulturno djelovanje i promovira razliite kul-
daje primat pregledavanju izlobi i kupovini ulaznica. turne projekte na dravnoj razini. Internetske stranice
Web-stranicama prevladavaju reprodukcije umjetni- toga tijela trebale bi slijediti tu svrhu. Njihov korisnik
kih djela te se na poetnoj stranici infintie scrollom morao bi brzo i jednostavno doi do eljenih infor-
mogu pregledavati izlobe, od najaktualnijih do onih macija. Najnovije i najvanije informacije trebale bi se
ve zatvorenih. Detaljne informacije o svakoj izlobi odmah vidjeti te biti popraene slikom i piktogramima.
mogu se dobiti klikom na odabranu izlobu na poetnoj Daljnjom navigacijom kroz stranicu korisnik bi pristu-
web-stranici, nakon ega se otvara stranica posveena pio detaljnijim podacima koji ga zanimaju.
odabranoj izlobi, s prikazom jednog od dva mogua
layouta koji ovise o koliini teksta i slika koje kustosi Ministry of Culture
napiu i priloe odabranoj izlobi. The Ministry of Culture is a central government admin-
istrative entity which encourages cultural activities
Modern gallery and promotes diverse culture projects at the state
Website design for Modern Gallery comprises of a level. Consequently, its website needs to be designed
straightforward and schematic online venue where the in accordance with this scope. Its users need to be pro-
focus has been placed on viewing exhibitions and ticket vided the information effectively and in a simple way.
purchase. Website abounds with art reproductions and The most recent and the most important information
the homepage provides the opportunity for exhibition needs to be visible instantly and it needs to be accom-
viewing through infinite scrolling, ranging from the panied by photographs and pictograms. Upon further
most actual ones to those that have already closed. navigation through the website the users would access
Comprehensive information on each exhibition can comprehensive information of their special interest.
be accessed by clicking to a selected exhibition on
the website and hence the site dedicated to this spe-
cific exhibition is opened, providing an overview of
one of the two possible layouts which depends on
curatorial text quantity written and posted on the
selected exhibition.

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Studenti
Preddiplomskog studija

Undergraduate programme
students
godinjak studija dizajna 2014./2015. studenti preddiplomskog studija
school of design annual review 2014/2015 undergraduate programme students

1. godina 1stYear
Preddiplomskog studija Undergraduate Programme

Josip Andrei Ivana Baanek Amin Bajrektarevi Darian Baklia Klara Bili Dora Doko Erika Filipan Mirta Filipovi Ljubica Golubi Stella Grabari Monika Hodak Sandra Huski

Antonija Jurina Roko Jurjevi Ivan Klanac Karla Kocijan Leonarda Komen Paula Kova Veronika Kova Andreja Lovrekovi Jan Marin Lucija Mati Ela Meseldi Tanja Modrakovi

Lucija Novosel Luka Palestrina Mazi Ana Pavii Martina Petric Petra Pikor Lucija Sever Nina Stupar Marijana imag Tea Taneski Jovana Vlaisavljevi

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school of design annual review 2014/2015 undergraduate programme students

2.godina 2dYear 2.godina 2dYear


Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications

Marta Badurina Matea Bertina Dora aldarovi Tea Draga Luka Dundovi Viktoria Jurina Ena Begevi Bruno Bolfan Mikela Cvitanovi Karla oti Iva Franji Dorja Horvati

Mihovil Kara Ana Kikerec Filip Kovai Morana Lauin Matej Maltar Klara Mareli Petra Kovaevi Mirjam Milas Rafael Mili Anja Nikoli Karla Novak Ena Pikori

Monika Moevi Vilim Reda Lucija Rubini Valentina Sunek Paula anti Eva muc Paula obat Vita Vrebac Ivona Vuri Klara Zaher

Josipa Tadi Iva Vuemilovi-Grgi Mirko Vui

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school of design annual review 2014/2015 undergraduate programme students

3.godina 3rdYear 3.godina 3rdYear


Preddiplomskog studija Undergraduate Programme Preddiplomskog studija Undergraduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications

Juraj Balen Dina Bartoli Stela Cvijanovi Sara Grubi Karmela Gudiek Katarina Huljev Miran Bai Marina Bitunjac Tin Buri Nikolina Fuzul Martina Gelo Petra Grubii

Kai Ana Matulina Maja Prelec Petra Salari Matija Sviben Ivan aban Lidija arko Matea Jurevi Dora Kasun Nikolina Kentri Stani Juraj Koica Michelle Antonia Otto Kuec
Kovaevi

Toni ljaka Jasna Zorii Dunja Lesar Iva Leustek Elizabeta Lonar Dominik Markui Rebecca Mesari Helena Nemec

Fran Orani Borjan Pavlek Sara Pavlekovi Preis Grgo Petrov Donat Radas Mladen Udovii

Gala Marija Vrbani Matej Vukovi

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Preddiplomski studij
Izvedbeni program

Undergraduate Programme
Curriculum Outline

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preddiplomski studij undergraduate programme


1.godina First Year
Izvedbeni program / Curriculum Outline 1.semestar / 1st semester 2.semestar / 2nd semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vjebe ects Pred. Vjebe ects


Predmeti / Courses Lectures Exercises Credits Lectures Exercises Credits

ProjektiranjeIndustrijski dizajn 1, 2 15 45 4 15 45 4 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 1, 2 prof. Mladen Orei / associate professor doc.mr.sc. Ivana Fabrio / assistant professor
ProjektiranjeVizualne komunikacije 1, 2 15 45 4 15 45 4 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 1,2 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Crtanje 1, 2 / Drawing 1, 2 0 30 3 0 30 2 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Kompozicija 1, 2 / Composition 1, 2 15 15 2.5 15 15 2.5 pred. Nives Serti / lecturer
Plastino oblikovanje 1, 2 / Theory of Form 1, 2 15 15 3 15 15 2 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Vizualna kultura 1, 2 / Visual Culture 1, 2 30 0 2.5 30 0 2.5 pred.dr.sc. Ivana Podnar / PhD, lecturer
Uvod u dizajn 1, 2 / Introduction to Design 1, 2 15 15 2.5 15 15 2.5 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Povijest pisma i tipografije / History of Type and Typography 15 15 2 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / teaching assistant
Teorija tipografije 1 / Theory of Typography 1 15 15 2 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / teaching assistant
Matematika 1, 2 / Mathematics 1, 2 15 15 2 15 15 2 v.pred. Zlatko Klanac / senior lecturer
Engleski za dizajn 1, 2 / English for Design 1, 2 15 15 2 15 15 2 pred. Jelena Parizoska / lecturer
3D modeliranje i vizualizacija / 3D Modeling and Visualization 15 15 2 prof.dr.sc. Bojan Baleti / PhD, full professor asist.mr.sc. Roberto Vdovi / MSc, teaching assistant
Nacrtna geometrija i perspektiva 1, 2 / Descriptive Geometry and Perspective 1, 2 15 15 2.5 15 15 2.5 v.pred.mr.sc. Nikoleta Sudeta / MA, senior lecturer
doc.dr.sc. Marija imi Horvath / associate professor
390 30 420 30

Tjelesna i zdravstvena kultura 1, 2 / Physical Training 1, 2 0 30 0 30 pred.dr.sc.Vlatka Wertheimer / PhD, lecturer

200 201
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preddiplomski studij undergraduate programme


2.godina Second Year
Izvedbeni program / Curriculum Outline 3.semestar / 3rd semester 4.semestar / 4th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vjebe ects Pred. Vjebe ects


Zajedniki predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Crtanje 3, 4 / Drawing 3, 4 0 30 2.5 0 30 2.5 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Povijest umjetnosti 1, 2 / Art History 1, 2 30 0 3 30 0 3 pred.dr.sc. Ivana Podnar / PhD, lecturer
Metodologija dizajna / Design Methodology 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Fotografija / Photography 15 30 3 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Engleski za dizajn 3, 4 / English for Design 3, 4 15 15 2 15 15 2 pred. Jelena Parizoska / lecturer
Tehnike prezentiranja pomou raunala 1 / Computer Presentation Techniques 1 15 15 3 doc.mr.sc. Ivana Fabrio / assistant professor
150 13 135 10.5

Tjelesna i zdravstvena kultura 3, 4 / Physical Training 3, 4 0 30 0 30 pred.dr.sc.Vlatka Wertheimer / PhD, lecturer

Predmeti smjera industrijski dizajn


Courses in the Industrial Design Programme

ProjektiranjeIndustrijski dizajn 3, 4 15 45 6.5 15 45 6.5 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 3, 4 prof. Mladen Orei / associate professor doc.mr.sc. Sanja Benceti / MSc, assistant professor
Konstruiranje pomou raunala / Computer Aided Design 15 30 3.5 prof.dr.sc. Dorian Marjanovi / PhD, full professor
Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Osnove konstrukcija / Introduction to Engineering Design 15 15 2 prof.dr.sc. Milan Opali / PhD, full professor doc.dr.sc. Dragan eelj / associate professor
Konstrukcije drvnih proizvoda 1 / Wood Products Engineering 1 15 30 3 prof.dr.sc. Ivica Grbac / PhD, full professor doc.dr.sc. Ivica upi / associate professor
Strojarske konstrukcije / Mechanical Engineering Design 30 15 2.5 izv.prof.dr.sc. Tanja Jurevi-Luli / PhD, associate professor
165 14.5 180 14.5
Izborni predmetiindustrijski dizajn
Elective Courses in the Industrial Design Programme

Crtanje akt 1, 2 / Figure Drawing 1, 2 0 30 2.5 0 30 2.5 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoi / lecturer
Grafiki materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
Grafiki proizvodi / Graphic Products 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
30 2.5 75 5
Predmeti smjera vizualne komunikacije
Courses in the Visual Communications Programme

ProjektiranjeVizualne komunikacije 3, 4 15 45 6.5 15 45 6.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 3, 4 prof. Nenad Dogan / associate professor doc. Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Teorija tipografije 2, 3 / Theory of Typography 2, 3 15 15 3 15 15 3 prof. Nenad Dogan / associate professor asist. Hrvoje ivi / teaching assistant
Osnove interaktivnih medija 1, 2 / Basics of Interactive Media 1, 2 15 30 2.5 15 30 2.5 pred. Tin Kadoi / lecturer
Grafiki materijali i tisak 1, 2 / Graphic Materials and Printing 1, 2 30 15 2.5 30 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
Grafiki proizvodi / Graphic Products 30 15 2.5 pred.dr.sc. Kreimir Dragievi / PhD, lecturer
180 14.5 225 17
Izborni predmeti | vizualne komunikacije
Elective Courses in the Visual Communications Programme
Crtanje akt 1, 2 / Figure Drawing 1, 2 0 30 2.5 0 30 2.5 izv.prof.Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Ergonomija 1, 2 / Ergonomics 1, 2 15 15 2.5 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
30 2.5 30 2.5
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preddiplomski studij undergraduate programme


3.godina Third Year
Izvedbeni program / Curriculum Outline 5.semestar / 5th semester 6.semestar / 6th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vjebe ects Pred. Vjebe ects


Zajedniki predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Uvod u povijest dizajna / Introduction to Design History 30 0 3 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Marketing 1, 2 / Marketing 1, 2 30 0 2 30 0 2 prof.dr.sc. Jurica Pavii / PhD, full professor v.asist.dr.sc. Morana Fuduri / PhD, lecturer
Psihologija za dizajnere / Psychology for Designers 30 0 2 izv.prof.dr.sc. Marijan Palmovi / PhD, associate professor
Urbana sociologija / Urban Sociology 30 15 2.5 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Socijalna ekologija / Social Ecology 30 15 2 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Estetika 1, 2 / Estetics 1, 2 15 15 2.5 15 15 2 pred. Veljko van / lecturer
Osnove intelektualnog vlasnitva / Introduction to Intellectual Property* 30 0 2
135 10 165 10
Predmeti smjera industrijski dizajn
Courses in the Industrial Design Programme

ProjektiranjeIndustrijski dizajn 5, 6 15 75 8 15 75 8 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor asist. Andrea Hercog / teaching assistant
Design CourseIndustrial Design 5, 6 prof. Mladen Orei / associate professor
Konstrukcije drvnih proizvoda 2 / Wood Products Engineering 2 30 15 3 prof.dr.sc. Ivica Grbac / PhD, full professor doc.dr.sc. Ivica upi / associate professor
Konstrukcije proizvoda iz plastike / Plastic Products Engineering 15 15 3 doc.dr.sc. Tatjana Haramina / associate professor
Elementi arhitektonskog projektiranja 1, 2 / Architectural Design Elements 1, 2 15 30 3 15 30 3 doc. Robert imetin / associate professor
180 14 165 14
Izborni predmetiindustrijski dizajn
Elective Courses in the Industrial Design Programme

Fotografija i film za industrijski dizajn 1, 2 / Photo. and Film for Ind. Design 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Likovne vjebeilustracija 1, 2 / Art StudioIllustration 1, 2 15 30 2.5 15 30 2.5 izv.prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Tehnike prezentiranja pomou raunala 2 / Computer Presentation Techniques 2 15 30 2.5 doc.Vedran Kasap / assistant professor
Scenografija 1, 2 / Stage Design 1, 2 30 15 3.5 30 15 3.5 pred.dr.art.Ivana Knez / PhD, / lecturer
Kolegij sa Sveuilita / Courses at the University (free choice) 45 0 2.5 45 0 2.5
90 6 90 6
Predmeti smjera vizualne komunikacije
Courses in the Visual Communications Programme

ProjektiranjeVizualne komunikacije 5, 6 15 75 8 15 75 8 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Design CourseVisual Communications Design 5, 6 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Oglaavanje 1, 2 / Advertising 1, 2 15 30 2.5 15 30 2.5 pred. Veljko van / lecturer


Fotografija i film 1, 2 / Photography and Film 1, 2 15 30 3.5 15 30 3.5 izv. prof. Stanko Herceg / associate professor asist.Pavel Posavec
180 14 180 14
Izborni predmetivizualne komunikacije
Elective Courses in the Visual Communications Programme

Dizajn fonta i kaligrafija 1, 2 / Font Design and Calligraphy 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek / associate professor
Tehnike prezentiranja pomou raunala 2 / Computer Presentation Techniques 2 15 30 2.5 doc. Vedran Kasap / assistant professor
Likovne vjebeilustracija 1, 2 / Art StudioIllustration 1, 2 15 30 2.5 15 30 2.5 izv. prof. Boris Ilekovi / associate professor asist. Inja Kavuri Kireta / teaching assistant
Scenografija 1, 2 / Stage Design 1, 2 30 15 3.5 30 15 3.5 pred.dr.art.Ivana Knez / PhD, / lecturer
Grafike tehnike 1, 2 / Graphic Techniques 1, 2 0 30 2.5 0 30 2.5 pred.Mario Petrak / teaching assistant
Kolegij sa Sveuilita / Courses at the University (free choice) 45 0 2.5 45 0 2.5
90 6 90 6

* Kolegij je realiziran u prethodnoj ak.godini


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Diplomski studij

Graduate programme
godinjak studija dizajna 2014./2015. diplomski studij
school of design annual review 2014/2015 graduate programme

Ciljevi Objectives

Suvremenim tokovima tehnolokog razvoja nastaju novi gos- New economic and social relationships at the global and the Kompetencije magistara dizajna koje se stjeu zavretkom Postgraduate study programme focuses on critical and creative
podarski i drutveni odnosi na globalnoj i lokalnoj razini ostva- local level are continuously established due to technological ovog studija ukljuuju takoer i sposobnost samostalnog zami- research, analysis and consideration from the design stance of the
rujui uvjete za modernizaciju materijalne proizvodnje i komu- development, creating the conditions for modernisation of mate- ljanja i provoenja projekata kao rezultata teorijsko-istrai- existing and the future relationships, which include the subjects
niciranja, a time i drutva u cjelini. Ujedno se stvara potreba za rial production and communication and subsequently the entire vakog rada, stvaranja koncepata i strategija razvoja dizajna on methodology and planning. Consequently, stereotypical scope
nastajanjem novih disciplina dizajna. U tom kontekstu dizajn society. Design is considered to be an intellectual activity which s ciljem unapreivanja drutvenih i gospodarskih sustava, te of design disciplines has been expanded, providing the condi-
je definiran kao intelektualna djelatnost koja ukljuuje razvoj includes the development of living and social scenarios, systems, za preuzimanje strateke i proaktivne uloge na akademskoj i tions for analysis of methods and the nature of design activity,
ivotnih i drutvenih scenarija, sustava, usluga, te kreiranje services and creation of experiences and strategies at a business, strukovnoj razini. the mode of production and the form of communication. Edu-
doivljaja i strategija na poslovnoj, strukovnoj i drutvenoj occupational and social level. In accordance with the previously Program diplomskog studija je, dakle, temeljen na kritikom cational methods primarily focus on acquisition of experiences
razini. U skladu s navedenim naelima, sadraj diplomskog mentioned principles, the curriculum of graduate studies has been i kreativnom istraivanju, preispitivanju i dizajnerskom pro- in theory and critical analysis, modern technologies and mate-
studija je osmiljen na tako da studente potie na kritiko created in order to encourage students to critically observe the miljanju postojeih i buduih odnosa u sprezi s teorijsko rials, as well as methods and processes of project implementa-
sagledavanje tehnolokoga, drutvenoga i ljudskog okruja technological, social and human environment as the basis for metodolokim i projektantskim predmetima. Tako konci- tion with economic and social entities.
kao temelja za ostvarivanje vlastitih dizajnerskih zamisli. Takva implementation of their design projects. Consequently, the defi- piranim sadrajem nadilaze se stereotipni okviri disciplina
definicija dizajna podrazumijeva svladavanje vjetina potrebnih nition of design implies acquisition of skills required for the rese- dizajna i stvaraju se uvjeti za preispitivanje metoda i prirode
za istraivanja usmjerena prema novim, modernijim metodama arch, primarily focusing on new, innovative methods in the per- dizajnerskog djelovanja, naina produkcije i oblika komuni-
u koncipiranju ivotnih okolnosti, za razumijevanje gospodar- ception of living circumstances and in gaining a comprehensive kacije. Obrazovne metode se primarno odnose na stjecanje
stva, drutva i kulture na globalnoj i lokalnoj razini, te za pri- insight into the economy, society and culture at the global and iskustava studenata u teoriji i kritikoj analizi, na poznavanju
mjenu naela odrivog razvoja u ekolokom, gospodarskom the local level, as well as implementation of standards of sustai- suvremenih tehnologija i materijala, te na metode i procese
i kulturolokom smislu. nable development in the fields of ecology, economy and culture. realizacije projekata s gospodarskim i drutvenim subjektima.
Diplomski studij dizajna, ulazei u nova podruja poput pri- The postgraduate study programme of design covers new fields
mjerice dizajna interakcija, doivljaja i dogaanja i dizajna u of interest such as interaction design, events and experience
interaktivnim medijima omoguuje studentima da se u okvi- design, as well as interactive media design and consequently
rima odabranih disciplina osposobljavaju za rad u kreativnoj enables students to acquire competencies required for work in
industriji, za suradnju i voenje interdisciplinarnih timova, za creative industry, for co-operation and management of inter-
osmiljavanje i provoenje sloenih strategija, te za samo- disciplinary teams, for creation and implementation of complex
stalno i meudisciplinarno djelovanje. strategies, as well as for independent and interdisciplinary action.
Competencies of master degree holders in design acquired upon
the completion of this study programme include also the abi-
lity of independent creation and implementation of projects as
a result of theoretical and research work, creation of concepts
and strategies for design development in order to promote
social and economic systems, as well as play the strategic and
proactive role at both the academic and the occupational level.

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Industrijski Industrial
dizajn design

Diplomski studij dizajna osposobljuje studente da kroz razu- Postgraduate study of design trains students to develop new rela-
mijevanje drutvenoga, kulturolokoga i tehnolokoga kon- tionships and strategies in order to ennoble life and promote their
teksta razvijaju nove odnose i strategije s ciljem humaniziranja line of work through a comprehensive insight into social, cultural
ivota i unapreenja struke. Studenti usvajaju metode uprav- and technological context. Students acquire deep insight into met-
ljanja projektnim procesima i timovima, te provode sloena hods of project management and management of project teams
istraivanja socijalnih, gospodarskih i tehnolokih aspekata. and conduct complex research of social, economic and technolo-
Pored samostalno iniciranih projekata, studenti sudjeluju i u gical aspects. In addition to individually initiated projects, students
projektima koji proizlaze iz suradnje s konkretnim gospodar- participate in projects originating from co-operation with specific
skim, drutvenim, javnim i privatnim subjektima, nastojei pri economic, social, public and private entities, striving to implement
tome implementirati istraivane fenomene u razvoj konceptu- the analysed phenomena into the development of conceptual inno-
alnih inovacija u domeni proizvoda, sustava, usluga i strategija. vation in the domain of products, systems, services and strategies.
Tijekom prve godine diplomskog studija studenti usvajaju During the first year of postgraduate study students acquire
spoznaje o suvremenim tehnologijama i drutvenim proce- knowledge on modern technologies and social processes which
sima uslijed kojih nastaju nove mogunosti i potrebe, koje provide new opportunities and create new requirements which
implementiraju u procese dizajniranja i vizije novog razvoja. they subsequently implement into the design processes and
Studentima je omogueno da individualnim radom uz odgo- into their visions of new development. Students are provided
varajui odabir mentora, komentora i vanjskih suradnika, kao the opportunity to formulate their own preferences for specific
i odabirom izbornih predmeta, ovisno o odabranom podruju fields of industrial design through individual work and a selection
istraivanja, formuliraju vlastite sklonosti prema pojedinim of a mentor, co-mentor, external partners and elective subjects
podrujima industrijskog dizajna. depending on the selected area of research.
Druga godina je zavrna godina diplomskog studija koja sadri The second and the final year of postgraduate study comprise
dva segmenta zavrnog radamagistarske diplome: u treem of two aspects of the masters thesis: during the third semester
semestru studente se potie na samostalni teorijski i istrai- students are encouraged to conduct individual theoretical and
vaki rad kao temelj za izradu zavrnog projekta. Pri tome research work as a basis for the creation of the final project.
istrauju odabrano podruje, to predstavlja teorijsku pod- They conduct research on the selected area which provides the
logu rada te paralelno provode istraivanja i analize teme- basis for theoretical work, whilst simultaneously conducting
ljem kojih stvaraju baze podataka za projektantski dio rada. research and analyses based on whose results they create data-
Nakon prihvata elaborata studenti u etvrtom semestru pri- bases for practical work in planning. During the fourth seme-
stupaju izradi projektnog dijela diplomskog rada kojim doka- ster and following the acceptance of the project plans students
zuju svoje strukovne sposobnosti: samostalno voenje pro- commence project implementation as a constituent part of the
jekata, upravljanje procesima razvoja dizajna i komuniciranje final thesis to show their results and acquired competencies:
s drugim strukama u procesu dizajna, u skladu s predvienim independent project management, management of processes of
kompetencijama diplomskog studija dizajna. design development and communication with other occupations
during design process in accordance to the specific competen-
cies acquired during the postgraduate design study programme.

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prvi semestar
Dizajn u realnom okruju lea vavra
mentor: Zlatko Kapetanovi
Tema zadataka u 1. semestru diplomskog studija je vlastita afir- asistentica / assistant: Ivana Fabrio
macija u realnom okruju, s ciljem usvajanja procesa dizajna na
razini inovativnog koncepta. Pri tome je naroita pozornost
usmjerena prema razvoju samostalnosti tijekom svih faza pro-
cesa dizajna, od snalaenja u stvarnom okruju, vjetina voe-
nja projekta i razvojnog tima, upravljanja procesima razvoja
dizajna, do istraivanja i artikuliranja vlastitih stavova dizajnom.
Studenti su, u skladu s osobnim sklonostima i interesima
te prema stvarno raspoloivim resursima, definirali teme i
potrebna istraivanja u realnom drutvenom, gospodarskom
i tehnolokom kontekstu i kroz aspekte povijesnog razvoja,
aktualnog stanja i predvianja budueg razvoja. Na temelju
svojih spoznaja studenti su trebali samostalno odrediti ciljeve,
kriterije i zahtjeve za dizajn te stvoriti koncepte na temelju
vlastitih stavova, rezultirajui funkcionalno i oblikovno inova-
tivnim proizvodima, njihovim sustavima i uslugama.

first semester
Design in real environment
The topic of the assignment in the 1st semester of the graduate
study programme is ones own affirmation in the real environ-
ment, whilst striving to master the design process at the inno-
vative concept level. The principal attention is focused towards
the development of independence throughout the phases of the
design process, from dealing with the real environment, the skills
of managing projects and development teams, design develop-
ment process management, to research and expression of ones
own attitudes through design.
Students defined the topics and the required research in real
social, economic and technological context in accordance with
their own interests and inclinations and through aspects of Problemi gradskog azila za naputene pse Problems faced by the city dog shelter
historical development, the actual situation and predictions of Istraivanjem problema pasa lutalica i azila u gradu na primjeru sklonita Dumovec, Following a research conducted in Dumovec dog shelter addressing the issue
utvreno je da sklonitu nedostaje prostora i sredstava za stvaranje boljih uvjeta. of stray dogs in the city and the available dog shelters, the conclusion has been
future development. Based on the insights gained students had Potrebno je informiranje graana o azilu, poticanje na udomljavanje i donacije. Rje- reached that the dog shelter lacks both space and the resources in order to provide
the task to independently define their objectives, criteria and enje se temelji na odnosu i interakciji ovjeka i psa to bi tebalo potaknuti senzibi- better conditions. The general public needs to be informed about the dog shelter
design requirements and create concepts based on their own litet i osvjeivanje ljudi o azilima. Intervencijama u parkovima i parkovima za pse, and encouraged to adopt dogs and give donations. The solution focuses on the
poticalo bi se irenje informacija i razgovor o problemu. Doniranje bi bilo pota- relationship and the interaction between humans and dogs, aiming to encourage
attitudes, resulting in functional and innovative design of pro- knuto nagradama za donatore, to bi pomoglo prijenos poruku javnosti. Aktivno- sensitivity and raise awareness about dog shelters. Interventions in parks and dog
ducts, their systems and services. sti u parku bi se izvodile, lopticama i poslasticama namijenima psima, uz koritenje parks are intended to encourage the dissemination of information and the discus-
jednostavnih instrumenata i interaktivne ploe. Prijedlog predvia koritenje lako sion about this issue. Donations would be encouraged through prizes for donators
dostupnih i pristupanih materijala u izradi elemenata. which would help in conveying the message to the public. The activities in the park
would be performed using balls and dog treats, as well as simple devices and an
interactive board. The solution includes the use of easily available and accessible
materials in the creation of components.

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laura mrka valentino veeri


mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Andrea Hercog asistentica / assistant: Ivana Fabrio

Cloud
Vlak
Propitivanjem novih potreba unutar stambenog prostora, nametnulo se rjeenje koje poiva na
otvorenom prostoru kao sve eem obliku organizacije stambenog prostora. Razliite funkcije Vlak se sastoji od etri vagona, svaki duine 25 metara i irine 3 metra.
prostora, trae mogunost transformacije sadrajnih elemenata. Prijedlog Cloud modularnog je Prvi i zadnji vagon ujedno su i lokomotive. Srednja dva vagona nami-
karaktera, to omoguuje kreiranje razliitih atmosfera unutar stambenog prostora. Sastoji se od jenjena su putnicima koji putuju due i sjede, dok je prvi i zadnji vagon
drvenog postolja i etiri tapa. Udobnost se postie poplunom koji se rasprostire preko drvene namijenjen putnicima koji putuju na kraim relacijama i veinom stoje.
konstrukcije. Ovisno o zahtjevima korisnika mogue je stvoriti individualnu ahuru za pojedinca, Ti vagoni imaju manje sjedala od ostalih, postavljena su uza zid vlaka,
sjedalicu za dvoje ili prostranu povrinu za vei broj ljudi. Oblik i funkcija proizvoda postie se a imaju prostor za odlaganje bicikala. est vrata u prvom i osam u
ubadanjem tapova u predviene utore u postolju kao i privrivanjem popluna pomou depova drugom vagonu omoguuju brz izlazak i ulazak putnika. U sredini
koje sadri na poleini. Cloud ostavlja dojam prozranoga, udobnog elementa koji funkcionalno drugoga i treeg vagona nalazi se prostor pridvien za ljude u inva-
objedinjuje kako velike tako i male prostore. lidskim kolicima. Rukohvat je izmaknut na dva mjesta da se dobije
to vea duljina prihvata. U vlaku i izvan vlaka nalazi se ukupno 50
Cloud OLED ekrana koji slue prikazivanju informacija.

Through a scrutiny of new needs arising within the residential premises, a solution has been pro- A train
vided based on open space as an increasingly frequent organisational form of residential prem-
ises. Diverse spatial functions require the opportunity of transformation of content components. The train comprises of four cars whose length is 25 meters and width
The solution entitled Cloud has modular features, which enables the creation of diverse ambi- 3 meters. The first and the last car are also locomotives. Two cen-
ances within the residential premises. It comprises of a wooden platform and four rods. Com- tral cars are intended for long distance passengers who normally sit
fort is achieved with a quilt that is spread across the wooden construction. Depending on user during the ride, whilst the first and the last car is intended for stand-
requirements a separate cocoon for an individual can be provided, a seat for two or a spacious ing passengers travelling short distances. These cars have a smaller
surface for a larger number of people. The form and the function of the product is achieved number of seats and they are placed by the train walls. They also
through placement of rods into specific slots in the platform, as well as through fastening of the have bicycle spaces. Six doors in the first and eight in the second car
quilt fabric with the pockets on its back. Cloud leaves the impression of an airy and comfortable enable fast passenger exchange. At the centre of the second and of
component that functionally integrates both large and confined spaces. the third car a wheelchair space has been provided. Handrail has been
removed at two points aiming to provide more room for wheelchair
passengers. The train is provided with a total of 50 OLED screens
intended for information display both in its interior and exterior.

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nataa njegovanovi elizabeta bonjak


mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Andrea Hercog asistentica / assistant: Ivana Fabrio

Projekt Studija dizajna pri Arhitektonskom fakultetu Sveuilita u Zagrebu i


Kreativne radionice uenika gimnazije
Osnovni cilj Projekta bilo je poticanje razvoja urbane kulture i kritikog promiljanja svakodne-
vice grada. Autor projekta zamilja Grad Poegu kao mjesto koje aktivno ivi na kulturno-dru-
tvenom planu, a svojim sadrajem zadovoljava sve ciljne skupine graana: kao mali grad s razvi- Djeja soba
jenom urbanom kulturom, proaktivnim graanstvom, jasno definiranim lokalnim identitetom i
pametno iskoritenim resursima. Privlaan je za ivot kako lokalnom stanovnitvu tako i gostima Prilagodljivi namjetaj prati rast i razvoj djece od tree godine ivota pa sve do tinejderske dobi, a moguim
koji ga imaju prilike upoznati. U skladu s ciljevima projekta, osmiljen je niz akcija unutar svake transformacijama otvara mogunosti za igru, brze i jednostavne promjene poloaja. Krevet standardnih dimen-
faze Projekta (Detekcija, Negacija, Valorizacija, Afirmacija), na granici street arta i performansa, zija obogaen je dodatnom konstrukcijom koja omoguava razne transformacije prostora. Rotirajua ploha pre-
provedenih unutar javnog prostora i u interakciji s graanima. tvara se u plou za crtanje, slikanje i sline aktivnosti. Prostor ispod kreveta sadri ladicu za pohranu igraaka i
prizmi presvuenih tkaninom, koje mogu posluiti kao objekti za sjedenje, leanje pa ak i kao tobogani te uz
druge elemente unutar sobe initi razliite kompozicije koje dijete prilagoava svome svijetu igre. Stol dvijema
A project implemented by the School of Design at the Faculty of Architecture of the pozicijama omoguava promjenu visine te veliine radne povrine pa se na taj nain prilagoava uzrastu djece.
University of Zagreb and the Creative Workshop of grammar school students
The specific objective of the project was to encourage the development of urban culture and Childrens room
critical thinking about the urban daily routine. The project author imagined the city of Poega as Flexible furniture is adapted to growth and development of children from the age of three to their teenage
a place with active life from a cultural and social aspect. Its content meets the needs of all the years and play opportunities are provided through potential transformations and fast and simple changes of
targeted groups of citizens; it is a small town with a developed urban culture, proactive citizens, position. A standard-dimension bed has been enhanced by an additional construction that enables diverse spa-
a clearly defined local identity and a smart use of resources. It provides an appealing life both for tial transformations. Through rotation of a plane surface it can be transformed into a board used for drawing,
the local community and the visitors who get the opportunity to become acquainted with it. A painting and similar activities. The space under the bed contains a drawer for the storage of toys and uphol-
vast array of activities within each project phase has been provided in accordance with project stered prisms that can be used for sitting, lying and even as slides and, in addition to other furniture compo-
objectives (detection, negation, valorisation, affirmation), on the boundary between street art nents within the room. Moreover, they can form diverse compositions which can be adapted by the child to
and performance, performed within the public space in interaction with the citizens. their own world of play. Due to its two positions the desk can adjust its height and the size of its work surface
and is hence adapted to childrens age.

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school of design annual review 2014/2015 graduate programme/industrial design,2nd semester

drugi semestar
Dizajn u kontekstu razvoja tehnologije nataa njegovanovi
mentor: Mladen Orei
LED rasvjeta asistentica / assistant: Ivana Fabrio

Tema zadatka u drugom semestru je dizajn u kontekstu razvoja


tehnologije, a akademske godine 2014/2015. vezan je za LED
rasvjetu. Studenti su istraivali na koji nain e razvoj LED teh-
nologije promijeniti nain na koji percipiramo i koristimo artifici-
jelnu rasvjetu. Kako i u kojoj mjeri sveprisutan razvoj tehnologije
mijenja poimanje dizajna i nastaje li potreba za postavljanjem
drukijih ciljeva i metodologija dizajna, samo su neka pitanja
kojima su se bavili studenti. Osim propitivanja uloge dizajna i
potrebe za razvojem novim uvjetima primjerenijih metodolo-
gija u kreativnom postupku, studenti su propitivali i mogue
ishode svojeg djelovanja: to je sve mogue postii i kakav utje-
caj, naroito na doivljajnoj razini, moe imati njihovo ekspe-
rimentiranje, odnosno razmatranje kreativnih potencijala koje
razvoj tehnologije prua. Cilj zadatka je upoznavanje konteksta
razvoja tehnologija kao vanog za postavljanje i izvedbu projekta
te osmiljavanje rjeenja koja potiu razvoj novih tehnologija ili
primjene postojeih tehnologija na nove naine.

second semester
Design in the context of technology
development
LED lighting
The topic of the assignment was design in the context of tech-
nology development and in the academic year 2014/2015 it was Rasvjeta budunosti
linked with LED lighting. The impact of the development of LED Rasvjeta budunosti integrirana je u arhitekturu. Zidovi obloeni svjetlosnim tapetama omoguuju apsolutnu
technology on the way artificial lighting is used was explored. fleksibilnost rasvjete i njezinu personalizaciju. Zamiljeni sustav pokreu ovjek i priroda. Efekti prirodnih pojava
In what way and to what extent the omnipresent technological poput vjetra i kie, prenose se u interijer kada senzori detektiraju njihovo postojanje u eksterijeru. Svjetlosne
simulacije takvih pojava ovjek moe i sam odabrati, ako za njima osjeti potrebu. Aktiviranje pojedinih svjetlo-
development changes the perception of design and the need of snih zona koje odgovaraju odreenim aktivnostima, mogue je uiniti pokretom, dodirom i suvremenom tehno-
different objectives and design methodologies were some of the logijom (aplikacije na pametnim telefonima). Poloaj izvora svjetlosti, njegova povrina, intenzitet i boja, posve
topics addressed. Students analysed also the potential outcomes su prilagodljivi trenutnim potrebama.

of their activities: what can be achieved and the extent of the Future lighting
impact of experimentation, primarily at the experiential level, or Future lighting solutions have been integrated into architecture. Walls coated with LEDembedded wallpaper
consideration of creative potential resulting from technological ensure absolute lighting flexibility and its personalisation. The system is activated by man and the Nature. The
development. The objective of the assignment is to gain insight effects of natural phenomena, such as the wind and the rain, are transferred indoors when the sensors have
detected their appearance outdoors. Lighting simulation of such phenomena can be independently selected if
into the context of technological development that is funda- needed. The activation of specific lighting zones corresponding with specific activities can be performed through
mental for project setup and implementation and planning of the movement, touch and modern technology (smartphone apps). Light source position, its surface, intensity and
solutions aimed at enhancement of development of new tech- colour are entirely adaptable to current requirements.
nologies or use of the existing technologies in innovative ways.

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godinjak studija dizajna 2014./2015. diplomski studij/industrijski dizajn,2.semestar
school of design annual review 2014/2015 graduate programme/industrial design,2nd semester

laura mrka valentino veeri


mentor Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Ivana Fabrio asistentica / assistant: Andrea Hercog

monika daki
mentor Mladen Orei
asistentica / assist. Ivana Fabrio

Svjetlosna signalizacija na raskrijima


Cilj projekta je maksimalno iskoristiti mogunosti i prednosti novih
tehnologija LED svjetla i optike u novom sustavu svjetlosne signa-
lizacije na raskrijima. Mogunost koju tehnologija Google glassa
omoguuje je da novi semafori budu istih dimenzija kao i postojei
ali uz pet puta veu vidljivost. Nove tehnologije omoguavaju vidlji-
vost semafora iz onoga kuta koji je zaista potreban. Google glass je
ekran koji omoguava prikazivanje razliitih informacija kao to su
putokazi i znakovi. Navedena tehnologija omoguava da se signali-
zacija za pjeake postavi na kolniku. Animirani oblici na semaforima
osim bojom prepoznatljivo su vizualno kodirani ime se i daltonisti
mogu snalaziti na raskriju.

Traffic-lights at thecrossroads
The project is intended to maximally exploit the potential of new
LED lighting technologies and optics in a new system of traffic lights
Temporal motion light signalisation at crossroads. Google glass technology provides the
Tema je LED rasvjeta u kontekstu razvoja tehnologija. Krenuvi od spoznaje kako svjetlost dolazi iz opportunity for traffic lights to retain their current dimensions, albeit
prirode, a da umjetna rasvjeta predstavlja svojevrsnu ekstenziju prirodnog svjetla, uoeno je da je increasing their visibility fivefold. The new technologies enable the
sam ovjek s vremenom naruio ravnoteu izmjene svjetla u unutarnjem prostoru. Osnovna ideja visibility of traffic signals from the required angle. Google glass is a
koncepta bila je ostvariti prijeko potrebnu koliinu svjetla unutarnjeg prostora, koja imitira pri- screen that enables the display of diverse information such as road
rodnu izmjenu svjetla, sjene i tame. Kreirani sustav sastoji se od elastine polupropusne LED tkanine signs and sign posts. This technology makes possible the placement
razapete po stropu koja mehanikim pomicanjem i izmjenom propusnosti svjetla simulira prirodni of the signalisation for pedestrians on the road surface. The animated
protok svjetla. Na taj se nain u interijeru nastavlja prirodan tijek izmjene svjetla i sjene, dana i noi. signals on traffic lights have been provided with a recognisable visual
code, in addition to their diverse colours, which makes it possible
Temporal motion light even for the colour blind persons to find their way at the crossroads.

The topic is LED lighting in the context of technological development. Having realised that light
originates from the Nature and artificial lighting is an extension of natural light, a conclusion
was made that humans have in time disrupted the balance of alternation of light in the interior.
The fundamental idea behind it was to provide the indispensable quantity of light in the interior
that imitates the natural alternation of light, shadow and darkness. The created system comprises
of elastic and semi-permeable LED cloth stretched out on the ceiling that simulates the natural
flow of light through mechanical movement and alternation of permeability of light. Consequently,
the natural process of alternation of light and darkness, days and nights continues in the interior.

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godinjak studija dizajna 2014./2015. diplomski studij/industrijski dizajn,2.semestar
school of design annual review 2014/2015 graduate programme/industrial design,2nd semester

tamara petrua elizabeta bonjak


mentor: Mladen Orei mentor: Zlatko Kapetanovi
asistentica / assistant: Ivana Fabrio asistentica / assistant: Andrea Hercog

New Light on Light


Projekt se temelji na kombinaciji svjetla s njenom komplementarnom vrijedno-
umrakom. Svjetlost se oslobaa iz mraka, pri emu je mrak vaan gradivni ele-
ment. Oslobaanje se odvija pomicanjem i transformiranjem ploha, zidova i raznih Transformacija svjetla
elemenata u stambenom prostoru. Bit projekta je da ne koristimo prekida pri
paljenju svjetla, ve da dopustimo svjetlosti da se postupno oslobaa pomicanjem Osmiljen je sustav osvjetljenja koje se transformira ovisno o potrebama i eljama
strukturalnih elemanata prostora. Projekt nas navikava i podsjea na postojanje nei- korisnika. Jedan izvor svjetla koji je u prostoru nenapadan i nevidljiv, zadovoljava
zbjenih suprotnosti koje nadopunjuju jedna drugu, svjetlost i mrak. potrebe ope, funkcionalne, ambijentalne i akcentne rasvjete. Pametne aluminijske
folije transformiraju se iz potpune plonosti do izrazito dekorativnih formi. Termo-
New Light on Light kromna boja ini ugaeno rasvjetno tijelo gotovo nevidljim u prostoru, a paljenjem
ona lagano nestaje proputajui svjetlo na eljenim dijelovima. Tehnologija uprav-
The idea behind the project is the combination of light with its complementary ljanja pomou Leap Motiona korisniku olakava koritenje sustavom upravljama
valuedarkness. Light is liberated from darkness, yet darkness is an important con- gestikulacijom koja je bliska i prirodna ovjeku.
stituent feature. The liberation occurs through movement and transformation of
plane surfaces, walls and diverse features in residential premises. The project aims Transformation of light
to avoid using the light switch upon turning on the light, as it strives to let the light
liberate itself freely through the movement of the structural features of the premises. A lighting system that can be transformed depending on user requirements or
The idea behind is to remind us and help us in getting used to the existence of the wishes has been built. It is an unintrusive and invisible lighting source that meets
inevitable opposites, light and darkness, that are complementary one to another. the requirements of general, functional, ambient and accent lighting. Smart alu-
minium foils are transformed from full flatness to extremely decorative forms. The
turned off light fitting is almost invisible in space due to its thermochromic colour
which slowly disappears upon turning the light fitting on and hence emits light to
desired spots. The use of Leap Motion technology helps the user through the oppor-
tunity to use gesticulation that is both familiar and natural.

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godinjak studija dizajna 2014./2015. diplomski studij/industrijski dizajn,2.semestar
school of design annual review 2014/2015 graduate programme/industrial design,2nd semester

lea vavra monika daki


mentor: Zlatko Kapetanovi mentor Mladen Orei
asistentica / assistant: Andrea Hercog asistentica / assistant: Ivana Fabrio

Light my way
U dananjem ubrzanom ritmu ivota esto nismo svjesni njegova utjecaja na vlastiti organizam. Intuitivno osje-
amo da taj nekontrolirani ritam utjee na nae tijelo i njegovo funkcioniranje, i to najee gomilanjem stresa.
Pitanje postavljeno u ovom projektu je moe li nas jednostavan podraaj potaknuti na reakciju, kao to priroda
utjee na organizme i bioritam. Mogui odgovor je svjetlo, kao signal i sustav rasvjete, potpuno uklopljen u
postojee granice prostora (strop, zidovi). Osim osnovnog sadri i sekundarno svjetlo (pokretano senzorima)
koje suptilno alje signale o granicama i tijeku vremena.

Light my way
Against the backdrop of the currently accelerated pace of life we are frequently unaware of its impact on our
body. We intuitively feel that this unnatural pace impacts on our body and its functioning, most frequently
through the piling up of stress. The project addresses the issue of whether we can be encouraged to react to a
simple stimulus, in a similar way in which the Nature impacts on living organisms and the biorhythm. A possible
answer is light, both as a signal and a lighting system, completely integrated in the existing spatial constraints
(the ceiling, the walls). In addition to the basic lighting, it also includes a secondary lighting (controlled by sen-
sors) that sends signals on spatial constraints and the flow of time in a subtle way.
Malo letee rasvjetno tijelo
Tehnologija dronova spojena s mogunostima LED rasvjete prua osvjetljenje u razliitim pozicijama i za razliite potrebe. Kori-
tenjem WiTricity tehnologije beinog napajanja, trajanje leta je produeno na beskonano dok smo u blizini dosega napajanja.
Pomou touch-sensitive povrine, jednostavnim potezima direktno na tijelu lampice definira se intenzitet i irina snopa svjetla
koja nam je potrebna. Lampica moe letjeti u prostoru ili stajati samostalno na nekoj povrini, primjenjiva je u mnogim situa-
cijama, a kroz interakciju smo povezani s njom. Ona pamti nae pokrete i postaje nae malo osobno svjetlo.

A small flying light fitting


The drone technology combined with LED lighting potential provides lighting in diverse positions in order to meet different
requirements. Through the use of WiTricity wireless charging technology, the flight times have been extended to endless whilst
near the charging range. The intensity and the width of the lighting beam required is defined using touch-sensitive surface,
through simple moves directly on the body of the lamp. The small lamp can fly in space or be placed independently on a sur-
face. It can be used in a large number of situations and one is connected with it through interaction. Moreover, it tracks ones
moves and becomes ones small personal light.

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school of design annual review 2014/2015 school of design annual review 2014/2015graduate programme

Dizajn vizualnih Visual


komunikacija communications

Zvanje magistra dizajna, koje studenti stjeu po zavretku The title of a Master of Design (M.A. in Design) which is obtained
diplomskog studija, prua im kvalifikacije za samostalno voe- by the students upon the completion of the postgraduate study
nje projekata i upravljanje procesima razvoja dizajna. Na zada- programme provides them with qualifications for independent
cima projektiranja vizualnih komunikacija naglaava se spo- project development and management of design development
sobnost snalaenja u kontekstu realnog okruja, uz obvezno processes. The tasks of visual communications design highlight
usvajanje znanja i vjetina znanstveno utemeljenoga i kritikog the ability of succeeding against the backdrop of real environ-
promatranja zbilje, im se izlazi iz uih okvira struke. Studenti ment, in addition to mandatory acquirement of knowledge and
odabiru teme ili probleme od neposrednoga subjektivnoga ili skills of the scientific and critical approach to reality which trans-
opega drutvenog interesa te ue artikulirati svoja opaanja cends the professional boundaries. Students select the topics
i stavove izraajnim sredstvima dizajna, ali i potaknuti i formi- or issues of immediate subjective or general interest and learn
rati javni diskurs drutvenih skupina posredstvom inovativne to articulate their observations and attitudes with expressive
vizualne komunikacije. U procesu ovladavanja svim aspektima methods of design, as well as the skill to initiate and maintain
dizajna svaki student magistarski kandidattrebao bi indi- a conceptual thread through public discourse amongst social
vidualnim radom s mentorom i odabirom izbornih kolegija arti- groups through innovative visual communications. During the
kulirati vlastite sklonosti i otkriti mogunosti svoga daljnjeg process of achievement of mastery in all the aspects of design
razvoja, pri emu se podrava i potie suradnja sa studentima each studenta candidate for a Masters Degreeneeds to
i strunjacima iz razliitih disciplina povezanih s dizajnom, u articulate their own preferences and the potential of their further
duhu temeljnog karaktera studija. development during their individual work with a mentor, whilst
Zavrna godina studija temelji se na dva povezana segmenta they are simultaneously encouraged to co-operate with other
zavrnog rada, odnosno magistarske diplome. Prvi segment students and experts in diverse disciplines related to design in
podrazumijeva samostalni teorijski i istraivaki rad kao pre- accordance to the fundamental features of the postgraduate
dradnju za projekt, kada studenti moraju kompetentno pre- study programme.
poznati i obraditi odreeni/e problem(e), u skladu sa standar- The final year of the postgraduate study programme is based on
dima akademskog pisanja znanstvenih radova. two interrelated aspects of the final thesis or the Masters the-
Rezultati istraivanja u prvom semestru zavrne godine su tzv. sis. The first aspect implies independent theoretical and research
teorijska teza i istraivaki elaborat koji ukljuuju sve relevan- work as prerequisites for the project when students are requi-
tne imbenike pripreme za projekt, a koji je nastavak istrai- red to identify and tackle a specific problem using the required
vanja u realnom kontekstu. U drugom, posljednjem semestru, competencies and in compliance with the standards of acade-
studenti izrauju diplomski projekt kojim pokazuju steenu mic writing of scientific papers.
razinu snalaenja u struci, to podrazumijeva samostalno The results of the research during the first semester of the final
voenje projekta i komuniciranje s drugim strukama u pro- year are the so called theoretical thesis and the research study
cesu dizajna. Izborni predmeti na ovoj godini studija usko su which imply all the relevant features of the preparation for the
vezani uz svladavanje samostalnog djelovanja u dizajnu. Pro- project, which is a continuation of the research in the real context.
jekt i teorijska teza/istraivaki elaborat razlikuju kompeten-
cije magistra dizajna od prvostupnika te se smatraju jednako
vanim elementima diplome i krajem formativnog dijela edu-
kacije na ovoj razini u struci.

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school of design annual review 2014/2015 graduate programme/visual communications,1st semester

prvi semestar ivana hrabar


mentor: Ivan Doroghy
Dizajn u kontekstu realnog okruja asistent/assistant:Tomislav Vlaini

Prvi zadatak na diplomskom studiju dizajna razrauje i pro-


dubljuje znanja i vjetine steene pri kraju preddiplomskog
studija, a istovremeno slui kao odreeni uvod u proces rada
na zavrnom diplomskom projektu. Cilj zadatka je usmjeriti
senzibilitet studenata prema prepoznavanju aktualnih tema
i problema u podruju suvremenih vizualnih komunikacija,
masovnih medija i digitalnih tehnologija, u irem drutvenom,
ekonomskom i politikom kontekstu. Po odabiru tematskog
podruja koje e obraivati, studenti se opredjeljuju za neku Agenda
od komunikacijskih formi ili neki anr dizajna iz iroke palete Agenda je naziv asopisa o beskunitvu i drugim srodnim socijal-
aktualne vizualne kulture. Izbor ukljuuje tiskane medije, kor- nim temama, a nastao je kao rezultat suradnje studenata i udruga
porativni dizajn i signalistiku, ambalau te sustave vanjskog za pomo potrebitima. Agenda bi trebala biti platforma putem koje
bi se razliite udruge spojile u mreu i tako uinkovitije djelovale na
oglaavanja, sve do interaktivnih digitalnih tehnologija na razli- javnost i svoje tienike. Stalnim angairanjem studenata dobivala
itim platformama. Vano je koristiti alate vizualnih komuni- bi se dodatna vrijednost radi koje bi asopis bio poeljan za itanje,
kacija u artikulaciji prepoznatih problema, inovativnom izra- za razliku od nekih slinih izdanja koja ostaju u rukama beskunika,
neproitani i nepoeljni kod veine prolaznika. Agenda bi trebala
avanju vlastitih stavova, s ciljem poticanja i usmjeravanja imati vrstu konstrukciju kako oblikovnu tako i sadrajnu. Teme se
javnog odnosa o odreenim temama. trebaju podudarati sa zadanim planom, a autori posebno naglasiti.
asopis je ujedno prilika za stjecanje vrijednog iskustva na podruju
novinarskih izraza, posebno fotografije te dizajna i nain za promo-
first semester ciju buduih djelatnika kao i prezentaciju njihovih vjetina i uradaka.
Sudjelovanjem u ovome projektu pomae se najpotrebitijima izrav-
Design against the Backdrop nim prinosom kao i posljedinim djelovanjem na osvjeivanju jav-
nosti od koje se oekuje potpora.
of Real Environment Agenda
The first task during the new section of studies on the one hand Agenda is the name of the magazine on homelessness and other
elaborates and deepens the knowledge and skills acquired by the related social issues. It was created as a result of co-operation
between students and associations providing help to those in need.
end of the undergraduate studies and on the other hand is used Agenda is intended as a platform through which diverse associa-
as an introduction into the production of a postgraduate thesis tions would be brought together into a network and hence have a
during the final year of postgraduate studies. The objective is to more effective impact both on the public and their protgs. Value
added would be generated through a continuous student involve-
make the students focus upon recognition of the current topics ment that would make the magazine more appealing to the readers,
and issues in the area of contemporary visual communications, as opposed to some similar publications available to the homeless
mass media and digital technologies, as well as within the wider which remain unread and unattractive to most passers-by. Agenda is
designed to have a solid structure both concerning the form and the
social, economic and political context. Following their decision content. The topics need to be in harmony with the specific plan and
on the topic area tackled in the task, students opt for a form of the authors need to be particularly highlighted. The magazine simul-
communication or a design genre amongst a vast array of topics taneously provides the opportunity to gain valuable experience in
the area of journalism jargon, primarily concerning photography and
and genres in the current visual culture, ranging from print media, design. Moreover, it is a method of promotion of future employees
to corporate design and signalistics, packaging in industry or in the and the presentation of their skills. The participation in this project
service sector and out-of-home advertising to interactive digital is intended to help the needy through direct contribution and also
through consequential impact on raising awareness of the public
technologies using diverse platforms. The use of visual communi- from which support is expected.
cations tools is fundamental in the articulation of the identified
problems and in innovative expression of ones attitudes aiming
to encourage and focus the public discourse upon specific topics.
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martina uki klasja habjan


mentor: Nenad Dogan mentor: Nenad Dogan
asistentica/assistant: Romana Kajp asistentica/assistant: Romana Kajp

Studi Studi Slikovnica Carevo novo ruho Picture book The Emperors New Clothes
Aplikacija Studi namijenjena je studentima i mladim osobama koji u The app named Studi is intended for students and young people who Pokuala sam oblikovati slikovnicu koja bi mogla biti zanimljiva djeci razliite dobi, I have attempted to design a picture book that would appeal to children of diverse
mjesto studiranja ili boravka dolaze iz drugih gradova i tee se sna- come from another city to the place where they study or currently ali i roditeljima koji e priu pripovijedati najmlaima. Slikovnice bez teksta potiu age groups, as well as to the parents who will be telling the story to the youngest
laze u gradu. Svrha ove aplikacije je da bude svojevrsni suvremeni reside and they hence encounter difficulties in finding their way sudjelovanje i pounije su od uobiajenih. Pria Carevo novo ruho, Hansa Christiana ones. Wordless picture books encourage participation and are more educational
gradski vodi iji e sadraj biti primijenjen individualnim zahtjevima through the new city. The app is intended as a contemporary city Andersena, zanimljiva je svim naratajima, svakom na svoj nain. Mlaima e tako compared with the ordinary picture books.The story entitled The Emperors New
i potrebama korisnika. Ona omoguuje auriranje podataka, lociranje guide whose content will be tailored to meet individual needs and biti jasno da je rije o prijevari budalastog cara, a stariji e proitati drutvenu satiru, Clothes by Hans Christian Andersen is appealing across different generations in its
samoga korisnika i filtriranje sadraja, a nudi informacije o pojedinim requirements of its users. It enables data update, locating the user pasivnost mase i tatinu vladajuih.Tijekom deset prizora priu nose praznine jer own specific way. The youngest ones will grasp the fact that it is about the decep-
lokacijama uslunih i drutvenih djelatnosti te razne detalje koji su uz and content filtering, whilst simultaneously providing information on likovi nisu nacrtani ve izrezani, ime slikovnica postaje taktilna i vizualna igra okre- tion of the foolish Emperor, whilst the adults will see it as a social satire, address-
njih vezani, kao to su radno vrijeme, kontakt, okvirne cijene, najbri specific locations where service and social activities are provided, as tanja i odgonetavanja. Metafora negativnih formi vidljiva je u raspadanju careva ing the issue of the passivity of the masses and the vanity of rulers. Throughout
put do odredita te popis slinih podataka i aktivnosti. Putem primi- well as diverse details linked with these activities, such as opening ruha lanano povezanih prizora - gumbi s poetka postaju bradavice gologa cara, the ten scenes the story is told by empty spaces, as the characters have not been
jenjenog programa Studi korisnik moe doi do informacije, primje- hours, contact information, approximate prices, the fastest routes to a kasnije oi djeaka koji gleda kroz cara i prozre ga u svojoj jednostavnosti i iskre- drawn but have been cut out, due to which the picture book became a tactile and
rice, gdje se dobro okrijepiti, gdje se nalazi najblia fotokopiraonica, different destinations and a list of similar information and activities. nosti. Time se potvruje nepostojanje ruha koje je i samo praznina, privid, pria, ili a visual game of turning pages and guessing. The metaphor of the negative forms
koja ljekarna radi nedjeljom naveer i slino. Informacije koje sadri The programme Studi provides the user with information on where to u sluaju cara i lanih krojaa, zavodljiva la. is visible in the disintegration of the Emperors clothes in a sequence of intercon-
pomno su odabrane i svrstane u osam kategorija: hrana, zabava, stu- find good refreshment, as well as on the whereabouts of the nearest nected scenes what initially appeared as buttons is transformed into the nipples
dij, kultura, prijevoz, smjetaj, sport i zdravlje. photocopying services and on chemists open on Sunday evenings, to of the naked Emperor, whereas subsequently it is transformed into the eyes of a
name a few. The information provided has been carefully selected boy who is looking through the Emperor and seeing through him, expressing his
and grouped into eight categories: food, entertainment, studies, cul- own simplicity and sincerity. Hence, the inexistence of the clothes has been con-
ture, transport, accommodation, sports and health. firmed and becomes only a void, an illusion, a story or in the case of the Emperor
and the fake weavers, only an appealing lie.

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school of design annual review 2014/2015 graduate programme/visual communications,1st semester

lovro miokovi vitomira martinjak


mentor: Stipe Bri mentor: Ivan Doroghy
suradnica/associate: Karla Paliska asistent/assistant:Tomislav Vlaini

Kreativko
Suoenje s vlastitim strahom od kreativnog izraavanja
potaklo je istraivanje o kreativnom izraavanju i kogni-
tivnom razvoju pojedinca. Istraivanje je pokazalo da
se najee takav strah poinje razvijati ve polaskom
u osnovnu kolu. Istraivanje je takoer pokazalo da se
najplodonosnije kreativno izraavanje odvija u opute-
nom okruenju. Iz toga je proizala je ideja drutvene
igre za uzrast djece od 8 do 10 godina. Igra je namije-
njena za 3 do 8 igraa a odvija se pomou ploe, figurica
i tetraedra (kockice). Zahtijeva etiri vrste izraavanja:
crtanje, prianje prie, glumu i pjevanje. Cilj je igre prvi
doi do zagonetke i rijeiti je. Igrai se kreu s vanjskih,
najveih polja, prema unutranjosti do sredita. U sre-
ditu je polje sa sve etiri boje i upitnikom, a predstavlja
cilj na kojem se uzima zagonetka. Kako igrai prolaze
tijek igre i pomiu se po poljima, susreu se s raznim
zadacima koji zahtijevaju razliite vrste kreativnog
izraavanja. to su blie sredini, zadaci su sve sloeniji.

A creative child
The research on creative expression and cognitive
development of an individual originated against the
backdrop of facing ones own fear of creative expres-
sion. The research has shown that this type of fear
most frequently originates upon attending elemen-
Sjeanja grada Virovitice tary school. Moreover, the research has shown that
Web-platforma Sjeanja grada Virovitice zapoeta je kao pokuaj vizualizacije the most prolific creative expression occurs in relaxed
novoga vizualnog identiteta grada Virovitice. Poevi prilino otro o zadanoj temi, ambience. Consequently, the idea for a board game for
naiao sam na brojne prepreke. Tako osnovni ciljpodizanje svijesti graana grada children aged 8 to 10 originated. The game is intended
i na taj nain poticanje njihove sposobnosti rasuivanja o gradu koji naizgled pro- for 3 to 8 players and it comprises of a playing board,
pada, ali istodobno ima toliko toga za ponuditi, od bogate povijesti do raznovrsne figurines and dice. It encourages four types of expres-
kulturenije bio ostvariv u kontekstu vizualnog identiteta. Bilo je premalo pro- sion: drawing, telling a story, acting and singing.The
stora u kojem bih mogao djelovati i potaknuti sugraane na istraivanje i shvaa- object of the game is to be the first to reach the puz-
nje problema odumiranja grada, njegove vizure i manjka identiteta.Tako je nastala zle and solve it. Players move from the exterior and
zamisao o sustavu koji bi prikupljao sjeanja graana grada Virovitice i u isto vri- the largest fields towards the interior to the centre.
jeme im doputala interakciju i sudjelovanje u raspravama tuih ili svojih sjeanja. The centre comprises of a field with the four colours
and a question mark and it is at only the finish that
Memories of the city of Virovitica a player can get the puzzle. As the players progress
The web platform Memories of the city of Virovitica was launched as an attempt through the game and move across the playing fields
of visualising a new visual identity of the city of Virovitica. At the beginning I was they encounter diverse tasks that encourage different
adhering strictly to the assigned topic, yet I encountered a vast array of obstacles. types of creative expression. The closer the players are
Hence, the specific objectivecomprising of raising awareness of the citizens and to the centre, the more complex the tasks.
encouraging their ability to reason on the city that appears to be falling into ruin, yet
simultaneously providing a vast array of programmes, ranging from its rich history
to cultural diversitywas not implementable in the context of visual identity. The
available room was insufficient for any activities that would encourage the citizens
to explore and grasp the issue of the dying out of the city, of its skyline, as well as
its lack of identity. That was the idea behind the system that would collect mem-
ories of the citizens of Virovitica and simultaneously enable them to interact and
participate in discussions on their own or someone elses memories.

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drugi semestar
Dizajn u kontekstu razvoja lara ic
mentor: Ivan Doroghy
komunikacijskih medija asistent/assistant: Tomislav Vlaini

Od studenta se oekuje osmiljavanje multimedijalne dru-


tveno angairane kampanje o odreenoj temi, koja omoguuje
kvalitetnu dvosmjernu komunikaciju u procesu informiranja
javnosti o odreenom problemu i usmjeravanja drutvenog
potencijala za njegovo rjeavanje. Sadraj i forma su u kore-
laciji, pa je cilj zadatka originalno interpretirati klasine oblike
medijskih kampanja, uza zadravanje nekih njihovih karakte-
ristinih elemenata, poput naslova kampanje, slogana i slino.
Zadatak podrazumijeva kompetentno preliminarno istraivanje
i kontinuiranu suradnju s kolegama iz drugih struka, u duhu
interdisciplinarnog karaktera dizajnerske profesije i edukacij-
skog programa diplomskog studija.

second semester
Design within Communications
Media Development
The premise of this task is entirely contrary to the previous task,
although their context is similar. Students need to devise a multi-
media and a socially-involved campaign on a given topic, implying
that form (in the broad sense) precedes the selection of the topic,
as acquisition of skills of agitation and persuasion is considered
fundamental, as well as quality two-way communication in the Dobri duh Good Spirit
process of informing the public on a specific issue and directing Dobri duh kampanja je za poticanje na prijavu obitelj- Good Spirit is the campaign intended to encourage the
skog nasilja. Ciljana skupina ove kampanje su susjedi. reporting of domestic violence. The target group of this
the social potential towards providing a solution. Form and con- Oni kao najei svjedoci obiteljskog nasilja (koji nemaju campaign are the neighbours. They, as the most fre-
tent are correlated and hence the objective of the task is ori- emocionalnu ili rodbinsku povezanost sa rtvama ili quent witnesses of domestic violence (those without
ginal interpretation of classical forms of media campaigns, yet poiniteljima) ine skupinu kojoj problemi poput straha emotional or family links with the victims or the per-
od poinitelja predstavljaju najveu prepreku za pri- petrators), are the group which is frequently deferred
through preservation of some of their distinctive features, such javu obiteljskog nasilja u svojoj okolini. Rjeenje tog from reporting domestic violence in their environment
as campaign title and slogans, to name a few. The task explores problema nalazi se u poveavanju anonimnosti svje- primarily due to their fear from the perpetrators.The
both research and the creative potential of students against the doka koji prijavljuju, ali i zadravanju vjerodostojnosti solution to this problem can be provided through retain-
iskaza. Radi toga iskoritena je praksa online komuni- ing witness anonymity, as well as through retaining
backdrop of considerably limited formal postulates which is the kacije s policijom koja odnedavno postoji i u Hrvatskoj. the credibility of their testimony. Consequently, online
most common context of activity during subsequent professi- Razvijena je web-platforma pod nazivom Dobri duh communication with the police was resorted to that
onal life and work. Moreover, the task implies competent preli- koja omoguuje anonimnu prijavu obiteljskog nasilja. has since recently been available in Croatia. A web
Sama kampanja sastoji se od serije plakata i stickera platform named Good Spirit has been developed that
minary research and continuous co-operation with colleagues (naljepnica). Plakati su smjeteni u zajednikim prosto- enables anonymous reporting of domestic violence.
from other lines of work providing the given topic requires it, in rima zgrade, a kraj njih se nalaze stickeri na kojima je The campaign consists of a series of posters and stick-
line with interdisciplinary features of design profession and edu- lozinka pojedine zgrade za anonimnu prijavu, kao i QR ers. The posters have been placed in the building in
kod koji automatski vodi na web-platformu za prijavu. the facilities intended for common use, whilst beside
cational programme during the graduate study. them there are stickers providing a password of the
specific building for anonymous reporting, as well as
QR code that automatically leads to the web platform
for reporting of violence.

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school of design annual review 2014/2015 graduate programme/visual communications,2nd semester

klasja habjan
ivana hrabar mentor: Nenad Dogan
mentor: Ivan Doroghy komentor/comentor: Veljko van
asistent/assistant: Tomislav Vlaini asistentica/assistant: Romana Kajp

Ko/pilot
Kampanja za promicanje volonterstva u Domu za nezbrinutu djecu,
i to meu studentima koji su dovoljno stari da mogu biti uzor djeci,
ali dovoljno mladi da ih mogu razumjeti. Kampanja se odvija u ana-
lognoj i digitalnoj sferi. Putem drutvenih mrea dijele se eljoplovi
(zrakoplovi koji u sebi nose elje i potrebe djece), i to preporueno
putem internetske stranice ko/pilota koja slui kao spremnik elja. Spreavanje umskih poara
Sudjelovati se moe ukljuivanjem u akciju, tj. volontiranjem ili samo Cilj je kampanje, koja se sastoji od plakata i knjiice, privui pozornost na zabavan
prosljeivanjem poruke. Prosljeivanje je time jednako vano jer ima nain i ukazati na nepredoivost kobnih posljedica umskih poara. Vrijednosti i
ulogu filtra i elja i osoba koje ih mogu ispuniti. Rezultat tako zami- mjerne jedinice, koje su inae teko zamislive, poput hektara ili povrinskih metara,
ljene kampanje je pronalazak pojedinca koji dijeli iste interese kao i prenesene su u svakodnevni ivot, u poznate predmete ili mjesta. Time je znaenje
odreeno dijete ili mu svojim znanjem moe pomoi. Cijelim putem uma preneseno u globalne motiveneostvaren potencijal produkata drvne indu-
kampanja informira o nainima pomoi te tako rjeava nedoumicu strije (olovke, knjige, kue...), ili u lokalne motivedonekle predoive urbane povr-
kod potencijalnih volontera koji bi htjeli pomoi, ali ne znaju kako. ine (trg, obala, naseljeni otok) kako bi se brojke uklopile u prepoznatljiv i poten-
cijalno emotivniji kontekst. U trenutku kada kampanja izazove fascinaciju, izaziva
Co-pilot i razmiljanje koje pak vodi k opreznijem djelovanju u kritinim situacijama koje bi
The campaign intended for promotion of volunteering at the Home mogle dovesti do poara. Poeljno je i da mlai djeluju na starije (na roditelje) te da
for Abandoned Children amongst students who are old enough to be zapamte, ne brojeve ili uobiajene strahovite prizore goruih uma, ve ilustracije,
role models to the children, yet young enough to understand them. podsjetnike da su ume oko nas i kad nisu u vidokrugu.
The campaign is implemented both in the analogue and in the dig-
ital sphere.Wishplanes (airplanes carrying childrens wishes and Forest fire prevention
needs) are distributed through social networks, primarily through The idea behind the campaign comprising of posters and a library is to attract atten-
the co-pilots website that is used as a pool of wishes. Participa- tion in an amusing way and point out the extent of disastrous consequences of
tion is through involvement in the initiative through volunteering forest fires. The values and measurement units that are normally hard to imagine,
or simply by forwarding the message. Forwarding of the message such as hectares or square meters, have been placed in the context of real life
is attributed equal importance, since it filters wishes and the people to well-known objects or places. Consequently, the meaning of forests has been
able to fulfil them. The result of the campaign created in this way transferred to global motifsunrealised potential of wood industry products (pen-
is to find an individual who shares the same interests as a specific cils, books, houses, etc.) or into local motifsreasonably familiar urban spaces (a
child or the one that is able to help them using their knowledge. The square, a seashore, an inhabited island) aiming to place the figures into an iden-
campaign continuously provides information on ways to help and tifiable and potentially a more emotional context. Whilst the campaign arouses
hence solves the dilemma amongst the volunteers who are aiming fascination, it also encourages reasoning that leads towards a more considerate
to help, yet they do not know how. action in critical situations that may result in a fire. It is recommendable that the
young encourage the elders (and the parents) to memorise not the numbers or the
usual terrifying forest fire scenes, but to focus on illustrations and reminders that
we are surrounded by forests even when we cannot see them.

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borna aron grevi


mentor: Nenad Dogan vanja perkovi
komentor/comentor: Veljko van mentor: Stipe Bri
asistentica/assistant: Romana Kajp suradnica/associate: Karla Paliska

Care like no one watches


Care like no one watches kampanja je za spreavanje klimatskih
promjena, usmjerena na urbane Europljane uzrasta 2045 godina.
Istraivanje meu tom populacijom pokazalo je kako je ona svjesna
problematike klimatskih promjena, ali diskurs o njoj postao joj je
naporan i uzaludan. Zakljuak je da se kampanja treba fokusirati na
rjeenja umjesto na probleme. Ova kampanja nudi rjeenja postav-
ljajui zadatke koji su jednostavni, jeftini ili besplatni i ne trae od nas
nemogue. To su ona rjeenja za koje je primarno potrebno da nam
je do njih stalo. Snaga kampanje je u uvaavanju promjena ponaa-
nja koje zbog najmanjega iskrenoga unutarnjeg motiva donose sjeme
veih rezultata od najvee, ali neiskrene i neodrive geste. O rjee-
njima se komunicira putem proizvoda koji utjelovljuju njezinu misiju
jer se samom njihovom uporabom umanjuju klimatske promjene.
Na primjer, keramika alica za kavu za van odgovor je na uestalu
potronju papirnatih aa u poslovnom svijetu i na sebi nosi poruku
ciljanu za taj poslovni kontekst.

Care like no one watches


Care like no one watches is the campaign intended to prevent cli-
mate change, focusing primarily on urban Europeans aged 20 to 45.
The research conducted amongst this population showed that the
awareness of the importance of climate change issues, yet the dis-
course tackling these issues have been viewed as tedious and point-
Manje oruja, manje tragedija The less weapons, the less tragedy less. A conclusion has been reached that the campaign needs to focus
Kampanja je nastala kao inicijativa da se sprijei neadekvatno odbacivanje starog The campaign is intended as an initiative to prevent inadequate disposal of old on the solutions rather than on the problems.This campaign pro-
oruja. Koriteni motivi povezani s ponaanjem djece (djeja zaigranost, znatielja) weapons. The used motifs linked with child behaviour (child playfulness, curiosity) vides solutions through tasks that are straightforward, affordable or
slue kao emotivni okida koji bi trebao osvjestiti neodgovorne osobe koje to ine. are an emotional trigger intended to raise awareness of irresponsible people dis- free of charge and they do not require us to do the impossible. The
Kampanja bi ih trebala potai da shvate da svojim postupkom ugroavaju ivot sebi, posing of weapons in an inadequate way. Moreover, the campaign is intended to fundamental aspect of these solutions is that we care about them.
svojoj obitelji i drugima. Plakati su osmiljeni kao simboliki izraz odbaenog oruja encourage them to realise that their conduct endangers their own lives, as well as The power of the campaign is in the acknowledgement of changes
djejim pogledom; ono to je nama oruje, djetetu nesvjesnom opasnosti odbaeno the lives of their families and other people.The posters have been designed as a in behaviour which resulting from the tiniest sincere motive yield
oruje esto djeluje poput igrake. Kombinacijom realne slike oruja s elementima symbolic expression of discarded weapons seen through the eyes of a child; what results far better than the largest, insincere and unsustainable gesture.
igrake, stvaramo upeatljiv vizual kao snaan a istovremeno jednostavan komu- we see as weapons, children frequently perceive as toys. A truly impressive visual The solutions are communicated through products that embody the
nikacijski motiv. Dio kampanje je mrena stranicu koja sadri sve prijeko potrebne work was created through a combination of a realistic picture of weapons and mission of the campaign, as through the use of such products cli-
informacije o kampanji pa se tako i sama prijava oruja moe obaviti putem interneta. features of toys providing a powerful, yet simultaneously a simple communica- mate changes are reduced. For example, a ceramic to go coffee cup
Korisnik moe poslati zahtjev s fotografijom, ako nije siguran o kakvom se oruju tion motif. Another aspect of the campaign is a website that provides all the fun- is the response to frequent consumption of paper cups in the busi-
radi te se tako mogu pravodobno obavijestiti pirotehniarske slube. damental information on the campaign and hence the weapons can be reported ness world and implies a message targeted to this business context.
over the Internet. The user can send a request with a photograph in case they
are not sure of the type of weapon in question and hence pyrotechnicians can be
informed in due time.

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school of design annual review 2014/2015 graduate programme/visual communications,2nd semester

zita naki-vojnovi hana tintor


mentor: Ivan Doroghy mentor: Nenad Dogan
asistent/assistant: Tomislav Vlaini komentor/comentor: Veljko van
asistentica/assistant: Romana Kajp

Oivi me Resuscitate me Kampanja za darivanje krvi Blood donor campaign


Oivi me, mobilna je igra nastala kao dio zamiljene kampanje za osvjeivanje jav- Resuscitate me is a mobile game developed as a part of an imaginary campaign Ideja kampanje jest obratiti se mladima odgovaraju- The idea behind the campaign is to address young
nosti o vanosti poznavanja postupka reanimacije srca. Oivi me je javno zdrav- intended to raise public awareness of the importance of familiarity with the pro- im tonom i njihovim jezikom. Njezin je cilj pokrenuti people in an appropriate manner and usingtheir lan-
stvena kampanja kojom se eli podii razina svijesti graana te educirati javnost o cess of cardiopulmonary resuscitation. Resuscitate me is a public health campaign one koji pronalaze loa opravdanja kako ne bi darivali guage. It is aiming to encourage those who continu-
vanosti poznavanja jednostavnih postupaka oivljavanja osobe koja doivi srani striving to raise public awareness and educate the public on the importance of krv, ponukati ih da se sami preispitaju da bi, na kraju, ously find bad excuses in order not to be blood donors,
zastoj. U okviru kampanje odravaju se brojne radionice, predavanja i okupljanja, a familiarity with simplified CPR method for a person in cardiac arrest. A large num- pristupili darivanju ove dragocjenosti za spas ivota. make them analyse themselves in order to eventually
istoimena aplikacija slui kao popratni medij za mlau populaciju (srednjokolci i ber of workshops, lectures and gatherings are included in the campaign, whilst the Opravdanja zbog kojih mladi ne daruju krv, kao nedo- become involved in this important act to save lives.
djeca pri kraju osnovne kole). Sadraj ovog primijenjenog programa tematski prati eponymous application is intended as an accompanying media for the young (sec- statak vremena ili strah, fotografijom su raskrinkana, Excuses due to which young people are not blood
ciljeve kampanje, a svojim zabavnoedukativnim pristupom ukljuuje mlade u ondary school students and higher grade elementary school pupils). The content a tekst poruuje da izmotavanja i opravdanjanema. donors, such as lack of time or fear, have been exposed
daljnji razvoj kampanje. Aplikacija se sastoji od nekoliko razina interaktivnih igara of this specific programme thematically accompanies the objectives of the cam- Mladenakim, duhovitim i pomalo ironinim jezikom, through photography, whereas the text stresses that
u kojima korisnik, (ne)svjesno ponavljajui odreene radnje i motorike uzorke, ui paign, whilst through its both entertaining and educational approach it involves kampanja se izravno obraa promatrau. Tjera ga da there are actually no excuses or justifications con-
ili se podsjea na korake koje je prijeko potrebno pravilno provesti pri oivljavanju the young in further campaign development. The app comprises of several levels se pronae u izjavi i na fotografiji, a zatim odgovara na cerning this issue. Using the witty and slightly sarcastic
srca u stvarnom okruju. Radnje poput pritiskanja, puhanja, pozicioniranja i balan- of interactive games in which the user, (un)consciously repeating specific actions njemu blizak, ali ne i arogantan nain. Takvi se dijalozi language, popular among young people, the campaign
siranja ureaja asocijativno su povezane s postupkom oivljavanja, ime se dodatno and motor patterns, learns or is reminded of steps that need to be duly performed inae esto uju u razgovorima mladih, oni su pomalo directly addresses the beholder. It makes them identify
potie vjeba i motorika te povezivanje teorijskog znanja s praktinim iskustvom. upon resuscitation in real environment. Actions such as pressing, blowing in air, cinini i nesavreni, ali prijateljski nastrojeni. their own excuses and find their own reflection in the
positioning and balancing devices have been linked with the resuscitation process photography and it hence provides answers in a famil-
through a range of associations, which additionally encourages practice and mobil- iar, albeit not an arrogant manner. Such dialogues are
ity, as well as a combination of theoretical knowledge and practical experience. most frequently heard amongst young people who are
slightly cynical and imperfect, yet friendly.

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Projektiranje Font
pisma Design

Na diplomskom studiju tipografsko obrazovanje provodi se Throughout the Graduate Study Programme an insight into typo-
primarno na kolegiju Projektiranje pisma. Za razliku od pred- graphy is provided primarily during the course entitled Typeface
diplomskih tipografskih kolegija koji se na brojnim vjebama design. As opposed to typography courses during the Undergra-
bave irokim spektrom tipografskih situacija, na diplomskom duate Study Programme which address a vast array of typograp-
studiju je teite na produbljivanju odreenih gledita discipline. hic situations during a large number of practical classes, during
Svladavanjem nastavnih sadraja kolegija studenti e stei the Graduate Study Programme the focus is placed on gaining
sposobnosti tipografskog oblikovanja s naglaskom na cje- a deeper insight into specific aspects of this discipline.
lovito promiljanje procesa oblikovanja pisma i oblikovanja s Through mastery of the course content students will acquire
pismom. Kolegij se temelji na istraivakom radu i specijaliza- typographic design skills with a special emphasis on comprehen-
ciji u podruju oblikovanja pisma te zavrno fontova. sive consideration on the typeface design process and the design
Studenti svladavaju metodologiju i proces oblikovanja pisma using the specific typeface. The course is based on research and
uzimajui u obzir tipografsku tradiciju kao i predviene namjene specialisation in typeface design and eventually in font design.
i medije reprodukcije. Steena znanja i vjetine predstavljaju Students learn methodology and on typeface design process by
kvalitetnu osnovu za profesionalno bavljenje ovim dijelom taking into account typographic tradition, as well as the designa-
dizajnerske struke, ali i za samostalno unapreenje vlastitih ted purposes and reproduction media. The acquired knowledge
sposobnosti u tom podruju. and skills provide a quality background for professional involve-
ment in this aspect of design, as well as for independent enhan-
cement of ones own skills in this field.

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prvi i drugi semestar


vanja perkovi ana vujasi
Tipografsko istraivanje mentor: Nikola urek mentor: Nikola urek

Vjeba se protee u oba semestra te je podijeljena na dva


dijela: istraivanje i produkcija. Studenti su slobodni sami
izabrati tipografsku temu kojom se ele baviti ili vrstu pisma
kakvo ele oblikovati. Od njih se oekuje da do kraja zim-
skog semestra putem istraivanja i testiranja postave idejno
rjeenje projekta. Ljetni semestar je primarno posveen radu
na izvedbenom rjeenju.
Iako postoji tendencija da rezultati kolegija budu autorska
pisma, medij i format zavrnog rjeenja nisu definirani.

first and second semester


Typographic Research
Practical work lasts for two semesters and has been divided into
two parts: research and production. Students are free to choose
a typographic topic they would like to become involved in or the
type of typeface they would like to design. They are expected to
conduct research and testing and provide a preliminary design
of the project by the end of the winter semester. The summer Pismo Jukeboxdizajn glazbenih simbola
semester is primarily dedicated to focus on working design. Cilj projekta bio je dizajn notacije, glazbenih simbola za razne stilove glazbe. Pismo
sadri nekoliko razliitih rezova koji prenose osobnost glazbe, tako da ve i sam
Irrespective of the tendency of original typefaces to be presen- notni zapis ostavlja vizualni dojam glazbenog stila. Inspiracija za projekt dolazi od
ted as course results, the media and formats used in the final pisama koja se obino povezuju uz odreene stilove glazbe, na omotima albuma,
work have not been defined. ploa, plakata i drugih popratnih glazbenih materijala. Rezovi se mogu koristiti i u
kombinaciji pa se na taj nain moe naglasiti npr. refren ili solo dionica. Za pojedine
glazbene simbole postoji i po nekoliko alternacija. Idealna namjena ovog pisma bila
bi koritenje u nekom od softvera za biljeenje glazbe kao to su Sibelius ili Finale.

Jukebox typefacemusical symbol design


North The objective of the project was musical notation design, as well as musical sym-
North je sans serifno pismo primarno namijenjeno uporabi u konti- bol design for diverse musical styles. This typeface comprises of several differ-
nuiranom tekstu. Nastalo je translacijskom konstrukcijom te je izve- ent graphic styles that conveys the musical identity and hence the mere musical
deno iz rukopisa. Izlomljeni detalji i nesavrene forme prate rukopisne notation creates a visual impression of a musical style. The idea behind the pro-
nesavrenosti i daju mu arm koji ga ini pogodnim i za natpisnu upo- ject originated from typefaces that are normally linked with specific musical styles,
trebu. Uz neto manje izlomljenih formi, verzali stilom prate kurente, those on album and record sleeves, as well on posters and other accompanying
a proporcije su im na tragu renesansnih serifnih pisama. music materials. Styles can also be used in combination and hence the chorus or
a solo section can be particularly highlighted. Some musical symbols have several
North alternations. The ideal purpose of this typeface would be to use it in some musical
notation software such as Sibelius or Finale.
North is a sans serif typeface primarily intended for use in body
text. It has been translated into construction and has been derived
from handwriting. The fragmented details and imperfect forms fol-
low the imperfections of handwriting and provide it with a charm
which makes it adequate for use in headlines. Capital letters have a
slightly smaller quantity of fragmented forms and they follow the
lower-case letters with their style. Their proportions resemble the
Renaissance serif typefaces.

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school of design annual review 2014/2015 graduate programme/font design,1st and 2nd semester

klasja habjan barbara bjeli


mentor: Nikola urek mentor: Nikola urek

hrvoje dominko
mentor: Nikola urek

FloraFauna
Ovim projektom oblikovano je pismo prilagoeno djeci tako da im olaka uenje
slova igrom povezivanja sa ivotinjama, iji naziv zapoinje tim slovom. Odgoneta-
vanjem ivotinja djeca pamte oblik i zvunost pojedinih slova kao i nazive ivotinja
koje dotada nisu poznavali. Pismo ima dva stila, biljni (flora) i ivotinjski (fauna), a
osim edukativne uloge, prigodno je i za naslove, logotipe ili za izradu djejih igara
poput onih pogaanja ili rebusa.

FloraFauna
This project provided a typeface adapted to children, aiming to help them in their
learning of the alphabet through a game of association with animals whose names
begin with a specific letter. Through guessing the names of animals children mem-
orise the design and the sound of individual letters, as well as animal names that Grease Malia
had previously been unknown to them. The typeface has two styles: flora and Grease je pismo bazirano na potezima kista (brush lettering). Sastoji Malia je natpisno pismo koje u sebi nosi logiku rukom pisanih slova i slobodnih formi
fauna, and, in addition to its educational role, it is also effective in headlines, logos se od tri stila: script, serif i sans. Grease script je standardno rukopi- nastalih potezima kista ili markera. Njezina primjena je iskljuivo dekorativna jer ovo
or for the creation of childrens games such as guessing games or rebus puzzles. sno pismo, grease serif potezima kista nadodaje serifne forme te gre- pismo najbolje funkcionira na veim dimenzijama, naslovima te na manjim kolii-
ase sans, neserifno pismo s pojednostavljenim potezima i minimalno nama teksta. Ovo pismo dobro se slae s jednostavnim niskokontrastnim geome-
vidljivim utjecajem kista. Rezovi se mogu koristiti odvojeno ili kombi- trijskim pismima te zbog suprotnosti u konstrukciji Malia na tako najbolje dolazi
nirati, budui da su nastali na istoj osnovi te se vizualno nadopunjuju. do izraaja i unosi slobodniji duh u tipografske kompozicije.

Grease Malia
Grease is a font based on brush lettering. It comprises of three styles: Malia is a headline font with a logic of hand-drawn letters and free forms created
script, serif and sans. Grease script is a standard hand-drawn font, upon brush or marker lettering. Its application is exclusively decorative, since this
grease serif adds serif forms through brush lettering and grease sans, font functions best on higher dimensions, headlines and smaller text quantities.
a sans-serif font with simplified lines and minimally visible brush This font can be effectively combined with simple low-contrast geometric type-
impact. Styles can be used separately or combined, since they were faces and, due to contrariness in construction, Malia can best be noted in this way,
designed on the same basis and are visually complementary. permeating typographic compositions with its free spirit.

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Film Film
i video and Video

Film i video je teorijsko-praktini kolegij u okviru kojeg se Film and video is a theoretical-practical course within which stu-
studenti usmjeravaju na temeljne znaajke filmskog i video dents are provided a basic insight into film and video creativity.
stvaralatva. Cilj kolegija je studentima pruiti teoretska i The objective of the course is to provide students with theoretical
praktina filmska znanja te im ponuditi mogunost vizual- and practical knowledge on film and give them the opportunity
nog promiljanja i kreativnog izraavanja filmskim izraajnim for visual thinking and creative expression through expression
sredstvima u mediju koji je est pratitelj njihove profesije. methods used in film - the media that is frequently used in their
Rezultat autorskog djelovanja studenata su filmske vjebe profession. The result of original student work are filmmaking
koje sami realiziraju. exercises done independently by the students.
U prvom semestru studenti su mogli birati izmeu sljedeih During the first semester students were given the opportunity
vjebi: izrade kratkog dokumentarnog autobiografskog ili sni- to choose among the following exercises: the making of a short
manja biografskog filma o voljenoj osobi. documentary autobiographical film or the making of a biograp-
Ovisno o smjeru diplomskog studija, u drugom su seme- hical film about a loved one.
stru studenti industrijskog dizajna snimali videospot a stu- Depending on the department of the graduate study programme
denti vizualnih komunikacija reklamu za drutveno korisnu ili students had enrolled in, during the second semester students of
humanitarnu kampanju, koju su prethodno osmislili i razradili Industrial Design made a video clip, whereas students of Visual
na kolegiju Kreativna komunikacija pod mentorstvom profe- Communications made an advertisement for a socially responsi-
sora Veljka vana. ble or a humanitarian campaign, previously designed and deve-
loped during the course entitled Creative communication under
the mentorship of the professor Veljko van.

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klasja habjan
mentor: Stanko Herceg
asistent/assistant: Pavel Posavec

Transmisija Transmission martina uki Lucija Lucija


Biografski film A biographical film mentor: Stanko Herceg Biografski film A biographical film
asistent/assistant: Pavel Posavec Lucija je svestrana umjetnica koja se bavi kiparstvom, Lucija is a many-sided artist involved in sculpture,
Film je portret Stanislava Habjana kroz rijei koje je napisao iz per- The film provides a portrait of Stanislav Habjan through the words he
spektive djeaka. Rijei koje je autor postavio na zidu galerije Forum, had written from the perspective of a boy. The words placed by the slikarstvom, fotografijom i glumom. Film prikazuje njen painting, photography and acting. The film depicts
otkrivaju spoj prolosti i sadanjosti priom o ocu i sinu. Naziv prie author on the wall of Forum Gallery show a connection between the stvaralaki proces kombinacijom dokumentarnih i stu- her during the process of creation through a combi-
i filma je Transmisija, kao odnos materijalnoga i duhovnog, naslje- past and the present through a story about a father and a son. Both dijskih snimki u kojma umjetnica glumi samu sebe. Film nation of documentary and studio films in which the
ivanja i davanja, a simboliki je prikazana okretanjem pedala prili- the story and the film are entitled Transmission, aiming to portray je snimljen u dva razliita formata kako bi se razdvo- artist acts herself. The film has been made in two dif-
kom vonje bicikla. the relationship between the material and the spiritual world, as well jio glumaki od dokumentaristikog pogleda na temu. ferent formats in order to separate the actors and the
as between the inheritance and giving and it has been symbolically documentary stance on the topic.
shown through the turning of the pedals during cycling.

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mateo grubii ana vujasi


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec

Kampanja za razmjenu odjee


Promidbeni film
Film poziva na sudjelovanje u organiziranoj razmjeni odjee. enska odjea jar-
kih boja progovora ljudskim glasom prepriavajui dogaaje iz vlastite prolosti.
Svaki komad odjee ima svoju priu: trenirka je zaboravljena zbog nove, majica
je razdvojena od hlaa, haljina je diva zapostavljena nakon prekida veze. Tijekom
trajanja filma prie postaju tunije, kadrovi postaju bri, a film poprima sumorniji
dokumentaristiki ton. Tekst na kraju poziva gledatelje da razmisle o svom odnosu
prema odjei i dou na razmjenu. U zadnjem kadru prikazan je sretan ivot odjee
nakon razmjene. Koncept i scenarij razraen je u suradnji s kolegicom Anom Vuko
na kolegiju Kreativna komunikacija.

Campaign for clothing swap


A promotional film
The film is an invitation to participate in an organised clothing swap event. Womens
clothes in dazzling colours tell tales from their own past. Each piece of clothing has
a tale to tell: a track suit was forgotten because of a new one, a Tshirt was sepa-
rated from the trousers, whereas a dress is a diva neglected because of a breakup.
The stories become increasingly sad throughout the film, the shots become faster,
while the tone of the film becomes gloomier and transforms into a documentary.
The closing text invites the viewers to consider their relationship with clothes and
participate in the clothing swap. The final shot portrays the happy life of clothes
after the swap. The concept and the scenario have been developed in co-operation
with the colleague Ana Vuko during the course entitled Creative communication.

Noni Grandpa
Biografski film A biographical film
Portret djeda (nonia) inspiriran je slikovitou i ivopisnosti njego- The portrait of a grandfather (grandpa) was inspired by picturesque-
vog naina pripovijedanja i opisivanja dogaaja iz ivota. Razne foto- ness and vividness of his way of narration and the description of the
grafije i snimke iz obiteljske kolekcije vizualno pridonose priama i events that marked his life. Diverse photographs and recordings
zaokruuju film kao formu dokumentiranja prolosti koja bi inae from the family collection give a visual contribution to the stories
vremenom izblijedila u sjeanjima. and enhance the film as a form used for documentation of the past
that would otherwise fade away from the memory.

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maja jandri andrej uki


mentor: Stanko Herceg mentor: Stanko Herceg
asistent/assistant: Pavel Posavec asistent/assistant: Pavel Posavec

ArchiveYou Make Me Feel


Glazbeni spot
Sadraj scena iz spota preuzeta je iz pjesme iji stihovi govore o
melankoliji i nostalgiji. Kadrovi su montirani na nain da se rezovi
podudaraju s promjenama tempa u pjesmi.

ArchiveYou Make Me Feel


A music video
The theme of the video was inspired by the song lyrics that speak
about melancholy and nostalgia. The shots were edited in such a
way that the cuts between the scenes match the tempo changes
within the song.

Trophy JumpNoob rophy JumpNoob


Glazbeni spot A music video
Noob je dinamina pjesma mladoga zagrebakog pop-punk banda. Noob is a dynamic song by a young pop-punk band from Zagreb. The
Stihovi pjesme govore o uzastopnim osobnim neuspjesima. Spot song lyrics tell a tale of successive personal failures. The sound of
zvukom podsjea na ameriku teen kulturu, a radnja je smjetena the music video reminds of American teen culture and it takes place
na kolsko igralite za vrijeme natjecanja u tranju. Glavni junak je on a school playground during a running race. The main character
prikazan na komian nain kako, usprkos trudu, neslavno zavrava has been portrayed in a comic way, while daydreaming of a vic-
svoju utrku, a sanjari da je pobijedio. tory, irrespective of having ended the race in an unsatisfactory way.

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Interaktivni mediji Interactive Media


Oblikovanje User experience
korisnikog iskustva design
Sveobuhvatni dizajnerski projekti danas neminovno ukljuuju Comprehensive design projects currently inevitably include also
i segment digitalnih medija. Na diplomskom studiju od stu- the digital media segment. During the Graduate Study Programme
denata se trai izlaenje iz granica iskljuivo vizualnog obli- students needed to transgress the boundaries of exclusively visual
kovanja k razumijevanju procesa dizajniranjaod strategije design and focus on gaining insight into design processfrom
do izrade samog prototipa. strategy to prototype creation.
Tijekom oba semestra studenti prolaze cijeli proces obliko- Throughout both semesters students were introduced to the
vanja korisnikih iskustavaod definiranja strategije, obliko- entire process of user experience designfrom strategy defini-
vanja sadraja i strukture, dizajniranja wireframea te na kraju tion, content and structure design, wireframe design and even-
vizualnog oblikovanja samog projekta. tually to visual design of the project.
Metode i teme kojima se studenti bave su: informacijska arhi- Methods and topics addressed by the students included: infor-
tekura, dizajnersko istraivanje, definiranje persona i korisni- mation architecture, design research, defining of personas and
kih scenarija, izrada wireframeova i prototipa, dizajn style gui- user scenarios, wireframe and prototype creation, as well as
des, moodboards itd. design of style guides and mood boards, etc.
Na prvome semestru studenti promiljaju, projektiraju, obli- During the first semester students reflected on, designed and cre-
kuju i izrauju prototipove mobilne aplikacije. Tema zadatka ated mobile app prototypes. The topic of the assignment was Joy
bila je veselje (engl. Joy) koji su studenti interpretirali nizom and students interpreted it through a vast array of diverse apps
razliitih aplikacija od kojih se neke bave temom fotografije some of which address the issue of photography (and sharing
(i dijeljenja fotografije s najbliima), kalendara itd. photographs with the loved ones) and calendars, to name a few.
Fokus u projektnom zadatku bio je na situacijama u kojima Project task focused on situations in which users would interact
e korisnici biti u interakciji s aplikacijom te na tome kako bi with the application and on a typical user flow over one day.
izgledao tipian user flow u jednome danu. The assignment during the second semester primarily focused
U okviru zadatka drugog semestra pozornost je bila usre- on website. In the context of digital design website as a media
dotoe na web-stranicu. U kontekstu digitalnog oblikovanja is currently still the most present in our society. Subjects were
web-stranica kao medij i dalje je najprisutniju u naem drutvu. selected through public voting as national internet centres whose
Subjekti su birani javnim glasovanjem kao nacionalna inter- online presence is currently insufficiently exploited.
netska sjedita koja trenutno imaju nedovoljno iskoritenu Students had the opportunity to select subjects from the cate-
online prisutnost. gory of services (Clinical Hospital Centre, Zagreb Bus Terminal,
Studenti su mogli birati subjekte iz servisne kategorije (KBC, Croatian Lottery), state institutions (ministries, tourist boards,
AKZ, Hrvatska lutrija), dravnih institucija (ministarstva, tz, galleries) and charity work (Suza, Civil Society Foundation).
Galerija) te dobrotvornog rada (Suza, Zaklada Civilno drutvo).

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josipa pra martina uki


mentor: Tin Kadoi mentor: Tin Kadoi

Joy Joy aplikacija


Joy je aplikacija koja se fokusira na na doivljaj sree u svakodnevnom ivotu. esto tome osjeaju ne obraamo Aplikacija Joy namijenjena je enama od 25 do 40 godina ivota, koje zbog dnevne prezauzetosti ne stignu ui-
dovoljno pozornosti zbog prenatrpanoga dnevnog rasporeda i ubrzanog naina ivota. Budui da je veina nas vati i opustiti se. Prua im mogunost biljeenja dnevnih i mjesenih obveza i razdvajanja neodgodivih rutinskih
fokusirana na svakodnevno posjeivanje drutvenih mrea, aplikacija nam nudi pregled svih klikova na jednome obaveza od oputajuih sadraja. Ona omoguuje mjerenje dnevne odnosno mjesene koliine radosti. Tako-
mjestu. Otkriva dnevni, tjedni, mjeseni i godinji raspored, upozorava na skoranja dogaanja koja su nam bitna, er, predlae korisniku sadraje koji bi ga mogli opustiti i razveseliti te prua mogunost dijeljenja dnevnoga i
poput druenja, sastanaka, roendana i slino, skreui pozornost na ugodne trenutke. Pokazuje i stupanj sree mjesenog rasporeda s drugim korisnicima Joya.
koji smo taj dan doivjeli kako bismo toga bili svjesni i obratili tome vie pozornosti. Aplikacija nas upozorava na
nadolazee sretne dogaaje da bismo vie uivali u njima. Aplikacija je prvotno namijenjena mladim majkama i Joy app
zaposlenim enama, a popraena je njenim pastelnim tonovima kako bi omoguila osjeaj blaenstva i smirenja. The app named Joy is intended for women between the age of 25 to 40 who do not manage to relax and
enjoy themselves due to their packed daily schedule. It provides them the opportunity to write down daily and
Joy monthly obligations and separate pressing routine obligations from entertainment. Moreover, it enables the
Joy is an app that focuses on the experience of joy in everyday life. One frequently does not pay sufficient atten- measurement of daily or monthly amount of joy. In addition, it suggests programmes that may relax or provide
tion to this sensation due to ones packed daily schedule and a hasty lifestyle. Since most of us are focused on joy to the user, as well as the opportunity of sharing their daily or monthly schedules with other users of Joy.
visiting social networks on a daily basis, the app provides a comprehensive overview of all the clicks. In addi-
tion, it provides a daily, weekly, monthly and annual schedule, pointing out important forthcoming events, such
as socialising events, meetings and birthday parties, to name a few, stressing the most agreeable moments.
Moreover, it shows the level of joy experienced on a specific day aiming to point it out and make one pay more
attention to it. The app attracts attention to forthcoming joyful events striving to make us enjoy them more.
It is primarily intended for young mothers and working women, featuring calming pastel colours which aim to
create a sensation of bliss and calmness.

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borna aaron grevi mateo grubii


mentor: Tin Kadoi mentor: Tin Kadoi

martina uki
mentor: Tin Kadoi

Autobusni kolodvor Zagreb Zagreb Bus Terminal Redizajn web-stranice tvrtke Jadrolinija Jadrolinija website redesign
Postojea stranica Autobusnog kolod- The existing Zagreb Bus Terminal is packed Web-stranica Jadrolinije, drutva za linijski pomorski The website of Jadrolinija, a company providing mari-
vora u Zagrebu pretrpana je svakojakim with diverse textual and visual informa- prijevoz putnika i tereta, redizajnirana je prema potre- time transport services of both passengers and goods,
tekstualnim i slikovnim informacijama tion lacking the required classification bama korisnika koji eli to bre i jednostavnije kupiti has been redesigned to meet the requirements of users
bez neophodne klasifikacije prema nji- according to their level of importance. kartu za plovidbu. Na poetnoj stranici nalazi se inte- who aim to purchase tickets in a fast and straightfor-
hovoj vanosti. Osnovna ideja projekta The basic idea of the project is to select raktivna karta, povezana s widgetom za pretraivanje ward way. The home page provides an interactive map,
je ciljno odabrati slikovne i tekstualne both the visual and textual information reda plovidbe. Dizajnirana je s ciljem to jednostavni- connected with a widget for browsing of the sailing
informacije vezane uz hrvatske turistike linked with the Croatian tourist destina- jeg snalaenja meu rutama koje povezuju hrvatsku schedule. It has been designed aiming to simplify find-
destinacije, uvesti jednostavan sustav tions and to introduce a straightforward obalu i otoke. Na poetnoj stranici korisniku su, uz ing a way amongst the routes connecting the Croa-
navigacije koji bi kretanjem web-su- navigation system that would create novosti, prikazane i povoljne ponude s fotografijama tian coast and the islands. In addition to the news, the
eljem omoguio doivljaj putovanja. travel experience through movement atraktivnih lokacija koje ga mogu potaknuti na pro- home page also provides favourable options with a
on the web interface. mjenu plana putovanja. photo gallery of beautiful places, aiming to make the
users change their travel itineraries.

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Dizajn interakcija Interaction Design

Predmet Dizajn interakcija integrira steena znanja studenata The course Interaction Design 1 integrates the knowledge acqu-
industrijskog dizajna i vizualnih komunikacija iz podruja psi- ired by Industrial Design and Visual Communications students in
hologije, sociologije, antropologije, ergonomije, konstrukcija, the areas of psychology, sociology, anthropology, ergonomics,
tipografije, interaktivnih medija, pokretne grafike i animacije... construction, typography, interactive media, motion graphics
te ih koristi u oblikovanju sve uestalijih situacija u kojima u and animation, to name a few and uses them to address the
doticaj dolaze ovjek i manje ili vie kompleksni mehaniki i/ increasingly frequent situations where people are faced with
ili digitalni sustavi u realnom i virtualnom okruju. more or less complex mechanical and/or digital systems in real
Tehnologija i tehnika koja se sve ee koristi u interpretaciji and virtual environments.
informacija i pruanju usluga, bilo da se radi o vremenu dolaska The technology and the techniques increasingly frequently used
javnog prijevoza, prijavama putnika (check in) u zrakoplovnim in the interpretation of information and provision of services,
lukama, kupnji ulaznica, uplati i isplati novca, prezentiranju irrespective of whether this is concerning the public transpor-
znanstvenoga, kulturno-umjetnikoga, popularnoga, poslov- tation schedules, passenger check in at airports, ticket purc-
noga ili komercijalnog sadraja i sl., zahtijeva multidisciplinarni hase, in-payment and out-payment, presentation of scientific,
pristup u kreiranju takvih interakcija te odreenu razinu infor- culture and arts, popular, business or commercial contents, to
miranosti o podrujima koja su ukljuena u dizajn tih sustava. name a few, primarily highlight the importance of multidiscipli-
Predmet Dizajn interakcija obuhvaa edukaciju putem istra- nary approach for the creation of such interactions and provi-
ivanja i projektiranja meuodnosa ovjeka i jednostavnijih sion of a certain level of information on the areas included in
ili sloenijih mehanikih ili digitalnih sustava u realnom i vir- the design of such systems.
tualnom okruju. The course Interaction design 1 includes education through research
Dizajn interakcija 1 orijentira se prema analizi postojeih rje- and design of interaction between humans and more or less com-
enja u realnom okruju, s naglaskom na redizajnu problema- plex mechanical or digital systems in real or virtual environments.
tinih situacija s kojima se svakodnevno susreemo. Interaction design 1 focuses on the analysis of existing solutions
Dizajn interakcija 2 bavi se unaprjeenjem odnosa ovjeka i in real environment, highlighting the redesign of difficult situa-
raunalnih i/ili mehanikih sustava istraivanjem i kontekstua- tions one encounters on a daily basis.
lizacijom novih materijala i tehnologija te konceptualizacijom Interaction design 2 is involved in the enhancement of the intera-
buduih drutvenih odnosa. ction between humans and computer and/or mechanical systems
through research and contextualisation of new materials and
technologies, as well as through conceptualisation of future
social relations.

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prvi semestar
Cirkus Centrifuga
ana vujasi, lovro miokovi, mateo grubii, matej goreta, nataa njegovanovi
set interaktivnih uila za objanjavanje mentori: Vedran Kasap i Tin Kadoi

fizikalnog pojma centrifuge


Centrifugalna sila pojavljuje se pri krunom gibanju; to je ona
sila koja nastoji odbaciti tijelo od sredita gibanja odnosno sila
reakcije na centripetalnu silu (onu silu koja prisiljava tijelo da
se giba oko nekog sredita.)
S obzirom na to da se centrifugalna sila pojavljuje u brojnim
prilikama, osmiljen je set uila koji pomae u uoavanju nje-
zine prisutnosti u naizgled neoekivanim situacijama. Ne bi li
se sam proces uenja uinio zanimljivijim, a tako i uinkovitijim,
osmiljena je i koreografija s uilima u ulozi cirkuskih rekvizita,
koja korisnika navodi da se i sam u njima okua i tako stekne
znanje puno trajnije od teorijski usvojenog, a to centrifugalno
iskustvo naui prepoznati u svakodnevnim situacijama.

first semester
Circus Centrifuga
A set of interactive learning tools
intended to explain the physical concept
of centrifugation
Centrifugal force appears upon circular motion; it is the force
drawing a rotating body away from the centre of the rotation
or the force of reaction to the centripetal force (the force that
makes a body move around some central point).
Since centrifugal force appears in a large number of occasions, a
set of learning tools has been provided aiming to help in identi-
fying its presence in apparently unexpected situations. In order
to make the learning process more interesting and hence also
more effective, a choreography has been provided with learning
tools playing the role of circus paraphernalia that invite the user
to try them and hence acquire knowledge with long-term reten-
tion as opposed to theoretical knowledge and to learn to identify
the centrifugal experience in everyday situations.

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prvi semestar
Prostorna instalacija u funkciji
viktorija lea vavra, zita naki vojnovi, vanja perkovi, klasja habjan, monika daki
interpretacije fizikalnog pojma sile trenja mentori: Vedran Kasap i Tin Kadoi

Objekt je dizajniran kao modularni sustav interpretacijskih


jedinica koji funkcioniraju kao uilo pomou kojeg djeca razu-
mijevaju osnovne fizikalne principe i pojmove vezane za silu
trenja. Prolaenjem kroz poligon koji integrira statiko i dina-
miko trenje, kotrljanje te trenje fluida, korisnici istodobnim
podraajem nekoliko osjetila povezuju doivljeno s apstrak-
tnim znanjem o interpretiranom pojmu. Igrom i potaknutom
kreativnou upijaju slojevito prezentirane informacije.
U interakciji s nekoliko jednostavnih mehanikih pomagala
primjenjuju saznanja o trenju kako bi se uspjeno kretali obli-
kovanim prostorom.

first semester
Spatial installation intended to
interpret the physical concept of
friction force
The object has been designed as a modular system of interpre-
tation units functioning as a learning tool through which chil-
dren are provided an insight into the basics of the principles and
concepts of physics concerning the issue of friction force. Users
connect the experience with the abstract knowledge on the inter-
preted concept upon passing through a polygon that integrates
static and dynamic friction, rolling and fluid friction, through sti-
muli to several senses. They are happy to learn gradually pre-
sented information through games and encouraged creativity.
Upon interaction with several simple mechanical tools they apply
the acquired knowledge on friction in order to successfully move
through a specific space.

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school of design annual review 2014/2015 graduate programme/interaction design,2nd semester

prvi semestar
Interaktivni nutricionistiki tanjur
Color full/set posua za
maja jandri, borna aaron grevi, zita vojnovi naki, martina uki, nataa njegovanovi
uravnoteenu prehranu mentori: Vedran Kasap i Tin Kadoi

Set se sastoji od tanjura, zdjela, aa i alica koji u kontaktu


s hranom reagiraju obojenjem, prikazujui tako nutritivnu
raznolikost hrane. Osnovna zamisao ovog proizvoda jest na
intuitivan i zabavan nain poticati korisnika na raznovrsniju,
a time i zdraviju prehranu odnosno, odabirom hrane stvoriti
itav spektar boja na obodima posua.
Ciljanu skupinu ine svi pojedinci koji nastoje uravnoteiti svoju
prehranu i uiti o njoj na jednostavniji i oputeniji nain, to
ovaj set ini osobito korisnim za djecu svih uzrasta.

first semester
Interactive nutrition plate
Color full / a set of dinnerware for a
balanced diet
The set comprises of plates, bowls, glasses and cups that react
upon contact with food by changing their colour, aiming to show
the nutritional diversity of food. The idea behind this product
was to encourage the user to opt for a greater food variety in
an intuitive and entertaining way or to create the entire visible
spectrum on the dinnerware through a selection of the right food.
The target groups comprises of all the individuals striving to
have a more balanced diet and learn about it in a simpler and a
more relaxed way, which makes this set of dinnerware particu-
larly useful for children of all age groups.

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Diplomski Graduation
radovi Theses

Diplomski rad se temelji na cjelovitoj obradi utvrenih tema, a A graduation thesis is based on comprehensive approach to speci-
sastoji se od dva dijela: istraivako-teorijskog dijela i projek- fic topics and comprises of two sectionsthe theory section and
tnog dijela. Tijekom 3. semestra diplomskog studija studenti the project section. During the three semesters of the postgra-
istrauju i analiziraju odabrane teme kako bi bili u moguno- duate study students explore and analyse the selected topics in
sti stvoriti teorijski temelj za projektni dio kojeg realiziraju order to provide a theory section as the idea behind the project
tijekom 4. semestra i brane ga pred ispitnim povjerenstvom section which is consequently implemented during the fourth
imenovanim na Vijeu Studija dizajna. semester and presented before the exam commission appoin-
Ovim radom student treba dokazati posjedovanje kompeten- ted at the Council of the School of Design.
cija i postizanje ishoda uenja pri rjeavanju problema iz pod- The thesis shows student competences and study results in pro-
ruja koja su bila sadraj njegova studija te koritenje teorij- blem solving related to the field of interest, as well as imple-
skog i praktinog znanja steenog tijekom studija. mentation and use of both theoretical and practical knowledge
U podruju industrijskog dizajna diplomski radovi u akadem- acquired throughout the course of studies.
skoj godini 2014./2015. ukljuivali su podruja poput dizajna The theses in the field of industrial design during the academic
proizvoda i njihovih sustava, dizajna urbane opreme, razvoja year 2014/2015 included the topics such as product and pro-
turistikih proizvoda/suvenira, stvaranja novih koncepata duction system design, urban equipment design, development
prostornih zahvata u povijesnim gradskim jezgrama s ciljem of tourism products/souvenirs, creation of new concepts of
isticanja lokalnih vrijednosti i podruje dizajna za izvanredne spatial intervention in historical town nuclei to enhance local
situacije, dok je nekolicina diplomskih radova bila temeljena monuments and design in extraordinary circumstances, whilst
na podruju dizajna interakcija i doivljaja. several graduation theses covered the topics of experience and
U podruju vizualnih komunikacija diplomski radovi u aka- interaction design.
demskoj godin 2014./2015. ukljuivali su irok raspon tema The graduation theses in visual communications during the aca-
od obrazovanja, kulture, medija, turizma pa sve do sporta. demic year 2014/2015 covered a vast array of topics ranging
Zajednika znaajka veine odabranih tema je izbor interak- from education, culture, the media and tourism to sports. The
tivnih medija kao dominantnog oblika komuniciranja s oda- common feature of most selected topics was the choice of inte-
branom ciljnom skupinom. Tek nekolicina diplomskih radova ractive media as the principal form of communication with the
ukljuuje klasine medije komunikacije. selected target group. Only several graduation theses covered
the classical communication media.

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sveuilini diplomski studij


Magistri
university graduate studies
Masters
Benussi Dorja Matea Brki Slavica Farka Antonio Karaa
Senzomotorno stimulativna edukacijska oprema Specifine kvalitete usluga u gradu Zagreba kao kljuan Uloga i funkcija bajki Uloga dizajna u digitalnoj distribuciji i prodaji glazbe
Sensorimotor Stimulation Educational Equipment element za razvoj kreativnog turizma odnos vizualnoga i narativnog The role of design in digital distribution and music sales
mentor: Mladen Orei Dizajn i destinacija/harmonizacija turizma The role and the function of fairy tales mentor: Ivan Doroghy
komentorice/comentors: Ivana Fabrio, Rea Fulgosi-Masnjak komentor/comentor: Tomislav Vlaini
godinja nagrada studija dizajna / annual awards at the school of design Specific quality of services provided in the city of Zagreb as a the relationship between the visual and the narrative
key feature for the development of creative tourism mentor: Nenad Dogan
Design and destination/harmonisation of tourism komentorica/comentor: Romana Kajp Iris Klari
Marta Birki
mentor: Nenad Dogan Informacijska platforma otoka Braa
Bademi kao sredstvo revitalizacije sredine Ravnih kotara komentorica/comentor: Romana Kajp Tihomir Filipec Information platform of the island of Bra
Almonds as an instrument for revitalisation of Ravni Kotari region
Kreator/Creator mentor: Ivan Doroghy
mentor: Zlatko Kapetanovi Anta Buevi komentor/comentor: Tomislav Vlaini
komentorica/comentor: Sanja Benceti mentor: Stipe Bri
Djeji strahovi/vizualizacija, verbalizacija i edukacija suradnica/associate: Karla Paliska

Set za preivljavanje straha / Strahovnica i Strahoslov Stanislav Kosti


Luka Daniel Bori
Childrens fears/visualisation, verbalisation and education Matija Guli Milosca
Arhiva radionica A fear survival kit / Strahovnica (Fear picture book) and Uloga vizualnih komunikacija u religiji Set posuda za spremanje hrane
portal za metodoloko arhiviranje procesa Strahoslov (Fear alphabet book) primjena u finskom paganizmu Milosca
dizajnerskih radionica mentor: Nenad Dogan The role of visual communications in religion A Set of Food Storage Containers
Archives workshop komentorica/comentor: Romana Kajp
application in Finnish paganism mentor: Zlatko Kapetanovi
a portal for methodological archiving of design komentorica/comentor: Sanja Benceti
mentor: Nenad Dogan
workshop process Niko Crnevi komentorica/comentor: Romana Kajp
mentor: Ivan Doroghy
komentorice/comentors: Ivana Fabrio, Sanja Benceti Emotivni dizajn Dorotea Kutlea
komentor/comentor: Tomislav Vlaini posjedovanje i osjeaji Zrinka Horvat Uradi sam u javnom prostoru
Emotional Design Taktilna slikovnica za slijepu djecu DoItYourself In Public Premises
Maja Bokovi Possession And Feelings A tactile picture book for blind children mentor: Zlatko Kapetanovi
mentor: Mladen Orei mentor: Stipe Bri
Urbani dizajn komentorica/comentor: Ivana Fabrio komentorica/comentor: Sanja Benceti
unaprjeenje prostornih kvaliteta i funkcija grada suradnica/associate: Karla Paliska Sanja Kuzmanovi
Urban design godinja nagrada studija dizajna / annual awards at the school of design Antimuzej Vladimira Dodiga Trokuta
Vidovi Kristina Crnek
enhancement of urban spatial quality and functions Web arhiv
mentor: Zlatko Kapetanovi Zaboravljena zimnica
Mario Jeki Antimuseum by Vladimir Dodig Trokut
Forgotten winter wood
Videoigra kao motivacija u svladavanju gradiva Web archives
mentor: Zlatko Kapetanovi
komentorica/comentor: Sanja Benceti matematike u osnovnoj koli mentor: Ivan Doroghy
komentor/comentor: Darko Schneider
Video game as a motivation to learn Mathematics subject komentor/comentor: Tomislav Vlaini
Hrvoje Dominko matter in elementary school
mentor: Nenad Dogan
Online baza urbanog jezika govornih podruja u Hrvatskoj komentorica/comentor: Romana Kajp
An online basis of urban language of speaking areas in Croatia
mentor: Ivan Doroghy
komentor/comentor: Tomislav Vlaini

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dodiplomski sveuilini studij


Diplomanti
Graduate University Study Programme
The Graduates
Dora Lugari Ena Priselec Maja Suboti Mirna Saletovi
Problem miastenije gravis u Republici Hrvatskoj Suvremena prezentacija tradicijske kulture Edukacija mladih o vizualnoj kulturi Vizualni identitet opg-a
The issue of Myasthenia gravis in the Republic of Croatia Contemporary presentation of traditional culture slikovnica kao sredstvo odgoja i obrazovanja obiteljsko poljoprivredno gospodarstvo Saletovi
mentor: Ivan Doroghy mentor: Mladen Orei Raising awareness of young people on visual culture Visual identity of family farms
komentor/comentor: Tomislav Vlaini komentorica/comentor: Ivana Fabrio picture books as educational resources Saletovi family farm
mentor: Nenad Dogan mentor: Ivan Doroghy
komentorica/comentor: Romana Kajp komentor/comentor: Veljko van
Ivona Milo Katarina Ratkaj
Kulturni krajobraz bakarskih prezida Interaktivni mediji u obrazovanju
Cultural landscape of Balkan partition walls Interactive media in education Alma avar
mentor: Mladen Orei mentor: Ivan Doroghy Georgievics de Abadia
komentorica/comentor: Ivana Fabrio komentorica/comentor: Marina Gabelica Georgievics de Abadia
komentor/comentor: Tomislav Vlaini
mentor: Ivan Doroghy
Lucija Nieno komentor/comentor: Tomislav Vlaini
Janja Rokar
Fleksibilno stanovanje
Flexible housing Unaprjeenje iskustva posjetitelja glazbenih festivala Matija poljar
mentor: Zlatko Kapetanovi kroz dizajn Autonomna vozila u kontekstu urbanog transporta
Experience Enhancement of Music Vestival Visitors Through Autonomous Vehicles in the Context of Urban Transportation
Design mentor: Mladen Orei
Tea Pavi
mentor: Mladen Orei komentorica/comentor: Ivana Fabrio
Fragmenti komentorica/comentor: Ivana Fabrio
enski antifaistiki Zagreb
Petra Vrdoljak
Fragments Ana Somek
Womens antifascist Zagreb ivot na margini
Naini zbrinjavanja i oivljavanja naputenih gradskih uloga dizajna u poboljanju kvalitete ivota beskunika
mentor: Stipe Bri
suradnica/associate: Karla Paliska prostora Zagreba Life on the Margins
Methods of management and revitalisation of abandoned The Role of Design in The Improvement of the Quality of
urban spaces in Zagreb Life of Homeless Persons
Martin Peranovi
mentor: Nenad Dogan mentor: Mladen Orei
Holo/Holo komentorica/comentor: Romana Kajp komentorica/comentor: Ivana Fabrio
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp
Franka Speti
Inkluzivna didaktika igraka
Luka Peri
Inclusive Didactic Toy
Selfmonitoring mentor: Zlatko Kapetanovi
platforma za pacijente na antikoagulacijskoj terapiji komentorica/comentor: Sanja Benceti
Self-monitoring
platform for patients on anticoagulation therapy
mentor: Stipe Bri
suradnica/associate: Karla Paliska

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dorja benussi
mentor: Mladen Orei
komentorice/comentors: Ivana Fabrio, Rea Fulgosi-Masnjak
godinja nagrada studija dizajna / annual awards at the school of design

Senzomotorno stimulativna edukacijska oprema Sensorimotor Stimulation Educational Equipment


Set stolaca i pisai stol osnovni su dijelovi opreme senzomotorno A set of chairs and a desk are fundamental parts of the equipment
stimulativnih edukacijskih prostora, ali i ostalih prostora namijenje- of sensorimotor stimulation educational premises, as well as other
nih boravku djece. Umirivanje i bolja koncentracija kljune su smjer- premises intended for the accommodation of children. Calming down
nice za prikazane stolce, dok su praktinost i prilagodljivost okosnica and enhanced concentration are the fundamental features of the
oblikovanja stola. Suptilno umirivanje dubokim pritiskom tkanine presented chairs, whereas practicality and adaptability are crucial
sjedita i mogunost izolacije mogu uvelike unaprijediti praenje for desk design. Subtle calming down through deep pressure on the
nastave, posebice kod osjetljive djece s problemima niskoga neu- cloth of the chair and the possibility of isolation can substantially
rolokog praga. Mogunost ljuljanja i poskakivanja, s druge strane, improve the concentration during the lectures, primarily amongst
mogu pomoi pretjerano aktivnom djetetu da zadovolji svoje osjetne sensitive children with issues of low neurological threshold. On the
potrebe ili potaknuti dijete sa slabom registracijom osjeta. Inkluzivni other hand, the possibility of rocking and jumping can considerably
pristup u dizajnu senzomotorno stimulativnog namjetaja temelji se help hyperactive children to meet their sensory needs or encourage
na prilagoavanju djeci s tekoama, a ovakve znaajke namjetaja children with sensory processing disorder. The inclusive approach
pozitivno utjeu i na raspoloenje svakog djeteta. to sensorimotor stimulation furniture design is based on adapta-
tion to challenged children, whilst its features positively affect also
childrens mood.

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niko crnevi
mentor: Mladen Orei
komentorica/comentor: Ivana Fabrio

Emotivni dizajn Emotional Design


Posjedovanje i osjeaji Possession and feelings
Set jednostavnih svakodnevnih proizvoda proizlazi iz istraivanja A set of straightforward and everyday products originated from a
ljudske potrebe za posjedovanjem materijalnih predmeta, odnosno research on the human need to possess material objects, or the anal-
odnosa izmeu ovjeka i njegovih predmeta, uvjetovanog nainom ysis of the relationship between people and their belongings, against
ivota, okolnostima i kulturom konzumerizma, u suprotnosti s moder- the backdrop of the lifestyle, the circumstances and the culture of
nim pokretom ivotnog minimalizma. Uzimajui u obzir analogiju consumerism, as opposed to the modern movement of minimalist life-
meuljudskih odnosa i odnosa s materijalnim predmetima osnovna style. Taking into account the analogy of interpersonal relationships
ideja je prianje poune prie kroz poznanstva s predmetima. Korite- and the relationship with material objects, the idea behind the work
nje takvih predmeta korisnik ui o sebi, svom odnosu s predmetima was to tell an illuminating story through acquaintance with objects.
koje posjeduje te ih ima mogunost ponovno promisliti i reevaluirati. Following the use of such objects the user learns about themselves,
Suptilna edukacija i podizanje svijesti o stvarima koje uzimamo zdravo their relationship with objects they possess and they have the possi-
za gotovo pomak je u shvaanju koje nas usmjerava na stazu logi- bility to reconsider and re-evaluate them. A subtle raising awareness
nog promiljanja svoga posjeda, a time i interakciju tih predmeta s of the objects we normally take for granted is a move that directs us
naim ivotom, ivotom ljudi oko sebe, ali i prirode. towards a path of logical consideration of our own possession, as
well as the interaction of such objects with our lives, the lives of the
people around us, as well as the life of Nature in general.

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stanislav kosti
mentor: Zlatko Kapetanovi
komentorica/comentor: Sanja Benceti

Milosca Milosca
Set posuda za spremanje hrane A Set of Food Storage Containers
Projekt se temelji na ispreplitanju elemenata seoske kulture Slavonije The project is based on interweaving of the features of rural culture
i Baranje, ukljuujui lokalne materijale, obrtnike vjetine, obiaje i of Slavonia and Baranja, including local materials, craft skills, cus-
karakter lokalnog stanovnitva, a posebno na tradicionalnom feno- toms and the character of the local population, primarily concern-
menu i gesti iskazivanja gostoljubivosti prema gostu kroz poklanja- ing the traditional phenomenon and the gesture intended to show
nje hranemiloeprilikom odlaska. Set se sastoji od modularnih hospitality towards the guests by giving food gifts upon departure
glinenih posuda s drvenim poklopcima te platna pomou kojega se namedmiloe. The set comprises of modular clay food storage
posude zaveu u sveanj za noenje, po uzoru na platneni sveanj u containers with wooden covers and a piece of cloth with which
koji se nekada vezala hrana kada se odlazilo u polje na etvu. Platno the containers can be tied together for easy carrying, similar to a
slui i kao stolnjak tijekom konzumiranja hrane. Uz to sadri grazam linen parcel for carrying food which was used by agricultural work-
proizaao iz karakteristine tehnike tkanja, s 12 linearnih graka koje ers when working in the fields. The piece of cloth is simultaneously
prikazuju mjesece u godini s istaknutim datumima i mjestima u kojima used as a tablecloth upon food consumption. Moreover, it contains
se odravaju sajmovi ili godinja dogaanja. Na taj nain posjetitelj a graphism that originates from a specific weaving technique, with
nakon to razmota posudice s hranom moe iitati informacije u 12 linear graphics representing the months of a year with highlighted
koje doba godine moe posjetiti odreene aktivnosti. dates and venues of fairs or other annual events. Consequently, upon
unpacking the food containers, the visitor is provided the informa-
tion on the dates and venues that may be of interest so they can
participate in activities they select.

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school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester

dorotea kutlea
mentor: Zlatko Kapetanovi
komentorica/comentor: Sanja Benceti

Uradi sam u javnom prostoru DoItYourself In Public Premises


Projekt preispituje i potie mogunosti samostalne graanske par- The project analyses and encourages opportunities of independ-
ticipacije u javnom prostoru grada odnosno njegovu (pre)oblikova- ent participation of citizens in the public space of the city in its (re)
nju, te odnos dizajna i suvremenih uradi sam trendova i fenomena designing and the relationship between design and the contempo-
u urbanim prostorima. Osmiljeni set je poetni paket jednostavnih rary doityourself trends and other phenomena in urban premises.
funkcionalnih proizvoda za potencijalne takozvane urbane hakere, The designed set is the initial baseline of simple functional products
kojima je dodatna zadaa motivacija graanstva na kontinuirano for potential so-called urban hackers. Moreover, they are intended
interveniranje u gradskim prostorima. Radi se o slobodnoj knji- to motivate the public to continuously intervene in urban spaces. It
nici koja potie na razmjenu i itanje knjiga i tiskovina u parkovima, is a free library that encourages the exchange and reading of books
potom o spremniku za vreice namijenjenom vlasnicima pasa kojeg and publications in parks, as well as a dispenser for bags intended
graani sami pune, malom oglasniku za stupove gdje pojedinci mogu for dog owners, free ads for columns where individuals can place
postaviti svoje oglase, te kukici na koju se moe ovjesiti odjea, kruh their ads and a small hook for hanging clothes, bread or bottles for
ili boce za pojedince kojima je to potrebno. Proizvodi su podrani u those who find it indispensable. Moreover, there is a specialised in
HACKER mobilnom aplikacijom koja potie pojedince na samostalno HACKER mobile app intended for independent and continuous inter-
i kontinurano interveniranje u svoju okolinu kroz natjecanje i komu- vention of individuals in their environment through competition and
nikaciju s ostalim korisnicima. communication with other users.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/industrijski dizajn,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester

janja rokar
mentor: Mladen Orei
komentorica/comentor: Ivana Fabrio

Unaprjeenje iskustva posjetitelja glazbenih Experience Enhancement of Music Vestival Visitors


festivala kroz dizajn Through Design
Projekt obuhvaa dizajn proizvoda i doivljaja namijenjenih posjetite- The project comprises of design of products and experiences intended
ljima glazbenog festivala na otoku Obonjanu, uzimajui u obzir spe- for the visitors of the music festival on the island of Obonjan, taking
cifinosti manifestacije, lokacije i korisnika. Prva skupina proizvoda je into account the specific features of this event, the location and the
namijenjena unapreenju uvjeta i iskustva kampiranja, potie pove- users. The first set of products is intended to improve the conditions
zivanje s prirodom i koritenje prirodnih materijala i resursa: spre- and the experience of camping, foster the bonding with Nature and
mnik vode za tuiranje na otvorenom, ogledala i jastuke za spavanje the use of natural materials and resources: outdoor water storage
punjene slamom ili drugim dostupnim materijalom. Druga skupina tank, mirrors and pillows filled with straw or other available material.
proizvoda su ujedno i suveniri, pri emu svaki nosi i dodatna zna- The other set of products comprises of souvenirs and each product
enja i vrijednosti kao to su briga za zdravlje, elegancija u funkcio- has additional implications and values such as health care, elegance
nalnosti te potreba za socijalizacijom i interakcijom: boca za vodu, in functionality and a need for socialisation and interaction: a water
prijenosna svjetiljka i analogni zvunik za mobitel koji ujedno slui i bottle, a portable lamp and an analogue loudspeaker for mobile
kao udaraljka. Trea skupina je instalacija u koju posjetitelji umeu phone that can simultaneously be a percussion instrument. The third
prazne plastine ae te grade objekt, ime se potie svijest o brizi set of products comprises of an installation where the visitors dispose
za okoli, smanjuje koliina otpada, daje osjeaj sudjelovanja i dopri- their empty glasses and hence construct a facility, aiming to raise
nosa te prua vizualnu atrakciju. environmental awareness, reduce the amount of waste, create the
feeling of participation and contribution and provide visual attraction.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/industrijski dizajn,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester

franka speti
mentor: Zlatko Kapetanovi
komentorica/comentor: Sanja Benceti

Inkluzivna didaktika igraka


Temeljni cilj projekta je smanjenje diskriminacije meu djecom i uka-
zivanje na ljepotu razliitosti, odnosno poticanje socijalne inkluzije
osoba s invaliditetom od najranije dobi. Rjeenje je didaktika igraka
namijenjena razvoju i poticanju motorikih i umnih sposobnosti, kre-
ativnosti i inovativnosti, te poticanju i razvijanju pozitivnih karakteri-
stika osobnosti djece 8-10 godina. Set se sastoji od osnovnih eleme-
nata kruga, kvadrata I trokuta izrezanih od furnirske ploe s utorima
koje se meusobno povezuju slamkama i konopcima razliitih duljina.
Set se moe koristiti na razliite naine: za obraivanje gradiva na
nastavi ili za igru; pojedinano, u paru ili u skupini. Time se potie
individualni rad koji je bitan radi donoenja samostalnih odluka kao
i timski rad koji je vaan inbenik socijalizacije koja se odraava na
sve ostale aktivnosti bilo u razredu ili izvan njega. Set takoer nudi
mogunost nadogradnje od strane nastavnika, a prema u odree-
noj nastavnoj cjelini.

Inclusive Didactic Toy


The specific objective of the project is to reduce the discrimination
amongst children and highlight the beauty of diversity through
encouragement of social inclusion of disabled people from the ear-
liest age. The solution is provided through a didactic toy intended to
develop and encourage motor and intellectual abilities, creativity and
innovativeness, as well as to encourage and develop positive per-
sonality traits of children aged between 8 and 10. The set comprises
of fundamental features of a circle, a square and a triangle cut out
from a veneered board, with slots that are mutually connected with
straws and ropes of diverse lengths. The set can be used in various
ways: for presentation of coursework or for playing; individually, in
pairs or in groups. This encourages individual work which is impor-
tant for independent decision-making, as well as team work which
is an important feature of socialisation and impacts on all the other
activities, both inside and outside the classroom. Moreover, the set
provides the teacher with the opportunity of upgrade depending on
the specific teaching unit.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/industrijski dizajn,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester

matija poljar
mentor: Mladen Orei
komentorica/comentor: Ivana Fabrio

Autonomna vozila u kontekstu urbanog transporta Autonomous Vehicles in the Context of Urban Transportation
Projekt se temelji na preispitivanju postojeeg prometnog sustava u The project is based on reassessment of the existing transportation
urbanim sredinama i mogunosti suvremene tehnologije autonomne system in urban environment and the opportunities of modern tech-
vonje, te predstavlja inovativni koncept poboljanja prometa na svim nology of autonomous driving and represents an innovative concept
razinama. Temeljni cilj projekta je usmjeriti razvoj vozila prema demo- of transportation improvement at all levels. The specific objective of
kratinoj upotrebi koja e poboljati promet za sve stanovnike urba- the project is to direct the development of vehicles towards a demo-
nih sredina. Projektno rjeenje je javni, umreeni sustav autonomnih cratic use that will improve transportation for all urban community
vozila koja korisnici ne posjeduju, ve koriste prema potrebi, ulazei inhabitants. The solution provided by the project is a public network
u sustav preko stanica na ulicama ili mobilnih aplikacija putem kojih of autonomous vehicles that are not owned by the users, as they are
se doziva vozilo. U sreditu projekta je dizajn javnoga autonomnog used only when needed, whilst the system can be accessed through
vozila koje je namijenjeno za opisani nain koritenja. stops on the streets or mobile apps through which a vehicle is called.
The project focuses on the design of public autonomous vehicles
intended for the previously described method of use.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/industrijski dizajn,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/industrial design,3rd and 4th semester

petra vrdoljak
mentor: Mladen Orei
komentorica/comentor: Ivana Fabrio

ivot na margini Life on the Margins


uloga dizajna u poboljanju kvalitete The Role of Design in The Improvement of the Quality of
ivota beskunika Life of Homeless Persons
Nedostatak osobnog ivotnog prostora kao osnovni problem besku- A lack of personal space as a fundamental issue for the homeless
nika uzrokuje tri nova vea problema: nemogunost ostvarivanja results in three serious problems: the impossibility to exert their
graanskih prava, zadovoljavanja osnovnih ivotnih potreba i emo- civil rights, to meet their basic needs and reach emotional fulfil-
cionalnog ostvarenja, pri emu se rad se pokazao kao kljuni aspekt. ment, where work proved to be imperative. The project is based on
Projekt se temelji na suradnji beskunika i dizajnera u svrhu osmilja- co-operation between the homeless and designers aiming to create
vanja proizvoda koje bi beskunici mogli izraivati i ijom bi prodajom products that could be made by the homeless and ensure their basic
mogli osigurati sredstva za ivot. Osmiljeni proizvodi nisu sami sebi resources through their sale. The products are not an end in itself,
svrhom, ve nose jasnu poruku o onima koji su ih izradili (besku- since they convey a clear message on those who made them (the
nicima), ime e se kupci s vremenom upoznavati s problematikom homeless). Hence, the buyers will in time become acquainted with
beskunitva i postati senzibilniji prema toj drutvenoj skupini. Svaki the issue of homelessness and their sensitivity towards this social
proizvod pria jednu priu, odnosno referira se na jedan od problema group will be raised. Each product tells a story or addresses one of
beskunitva, koji su detektirani kroz suradnju s beskunicima, iz nji- the problems of homelessness identified throughout the co-operation
hovih konkretnih iskustava: papue i sjenilo nose simboliku doma i with the homeless and originates from their concrete experiences:
udobnosti, a podmetai simboliku druenja i socijalizacije. e.g. the slippers and the lampshade are symbols of home and com-
fort, whereas table mats are a symbol of socialising and socialisation.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

zrinka horvat
mentor: Stipe Bri
komentorica/comentor: Sanja Benceti
suradnica/associate: Karla Paliska
godinja nagrada studija dizajna / annual awards at the school of design

Taktilna slikovnica za slijepu djecu A tactile picture book for blind children
Teorijsko i vizualno istraivanje teme pokazalo je da veina posto- Theoretical and visual research of the topic showed that most exist-
jeih taktilnih slikovnica nije u potpunosti prilagoena slijepoj djeci. ing tactile picture books are not entirely adapted to blind children.
Iako se u obzir uzima nedostatak vida, esto se zanemaruje nedo- Irrespective of the fact that lack of vision has been considered, lack
statak vidne memorije kao kljune odrednice ove skupine. Stoga je of visual memory is frequently ignored although it is a fundamental
glavna ideja ovoga rada bila osmisliti taktilne slike koje e motive iz feature of this group. Hence, the principal idea behind this work was
prie uprizoriti prvenstveno kroz haptiku interakciju i zvuk, umje- to create tactile images that will present the motifs from the story
sto uobiajenim vizualnim stereotipima. Slikovnica je projektirana primarily through haptic interaction and sound, rather than using
kao set voluminoznih ali laganih ploa, ime je osiguran dovoljan the usual visual stereotypes.The picture book has been designed as
fiziki prostor za interaktivnost razliitih taktilnih slika unutar jed- a set of voluminous, albeit lightweight boards that ensured suffi-
nake krune forme. Kako bi dizajn ukljuivao i slabovidnu djecu, kori- cient physical space for interactivity of diverse tactile images within
tene su kontrastne boje te je uz brajicu uveden i uveani tisak. Za the identical circular form. In order to adapt the design to the vis-
potrebe projekta napisana je posebna pria. Zavrni model testirala ually impaired children, colour contrast enhancement was used and
su slijepa i slabovidna djeca u Centru za odgoj i obrazovanje Vinko enlarged print was introduced in addition to Braille font. A special
Bek u Zagrebu, pokazavi velik entuzijazam za taktilne slike i pozi- story had been written as an integral part of this project. The final
tivnu reakciju na cjelokupno rjeenje. version was tested by blind and visually impaired children from the
Zagreb-based Vinko Bek Centre for Education and Rehabilitation,
who showed immense enthusiasm for tactile images and positive
reactions to the comprehensive solution.

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school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

martin peranovi
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp

Holo Holo
Na drugoj strani naeg monitora nalazi se prostrana nova granica On the other side of our monitor there is a spacious boundaryuntamed,
neukroena, nestabilna i nezaustavljiva. Holo nudi usluge pretrai- unstable and unstoppable. Holo provides the services of browsing,
vanja, komunikacije, informiranja i transakcija na temelju naih dosa- communication, informing and transactions based on ones brows-
danjih pretraga te pretraga ljudi koje poznajemo. Holo prepoznaje u ing history and the browsing history of the people we are acquainted
svakom trenutku tko smo, gdje smo, to radimo, ali takoer i pred- with. Holo identifies us continuously, locates us, identifies our activ-
via, na temelju naih financijskih stanja i osoba s kojima se viamo, ities and it also predicts our future, based on our financial situation
nau budunost te nam servira generirane manipulativne sadraje i and the situation of the people we socialise with and it provides us
pretpostavke u obliku oglaavanja koje je teko zaobii jer smo i sami with generated manipulative content and postulates in the form of
dio njih. U sustavu Holo etika i moral su u konfliktu s konzumeriz- advertising that can hardly be avoided as we are their integral part.
mom. Korisnici su lieni svakog oblika privatnosti do krajnjih granica In the Holo system the ethics and morality are in conflict with con-
te oglaavanje postaje novi oblik drutvenosti. sumerism. Users are deprived of any form of privacy to the utmost
limit and advertising is transformed into a new form of sociability.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

iris klari
mentor: Ivan Doroghy
komentor/comentor: Tomislav Vlaini

Informacijska platforma otoka Braa Information platform of the island of Bra


Informacijska platforma otoka Braa, IP:Bra, kroz sferu informacij- Information platform of the island of Bra, IP:Bra, studies and pre-
skog dizajna prouava i prezentira demografsku i gospodarsku sliku, sents the demographic and the economic picture, cultural, historical
kulturnu, povijesnu i prirodnu batinu te stanje drutvene i kulturne and natural heritage, as well as the situation of the social and cultural
infrastrukture ovog otoka. Osmiljena je kao mrena platforma inte- infrastructure of this island through the sphere of information design.
raktivnoga grafikog suelja gdje korisnik ima punu kontrolu filtrira- The idea behind it is a web platform with an interactive graphic
nja i selekcije informacija te mogunost nadzora rasporeda i prikaza interface where the user has full control of filtering and selection
podataka. Funkcionira kao web-aplikacija koja putem internetske of information and the opportunity to monitor the positioning and
baze podataka filtrira one informacije koje se odnose na otok Bra, presentation of data. It functions as a web application that through
stvarajui tako vlastiti fond podataka koji se neprestano nadograuje. internet database filters the information concerning the island of
Dizajnirana kao responzivno web-sjedite, objedinjuje doivljaj pri Bra, creating its own database that is being continuously upgraded.
pregledavanju ovog sadraja te prilagouje doivljaj njegova kori- It has been designed as a responsive web centre, combining the
tenja odreenoj tehnolokoj platformi (raunalo, tablet, mobitel). experience upon browsing through this content and it adapts the
Oekivani rezultat je stvaranje potpunije slike otoka to daje toan experience of its use to a specific technological platform (PC, tablet,
uvid u neiskoritenost otokih resursa te na taj nain potie pove- mobile phone). The expected result is the creation of a comprehen-
anje kvalitete ivljenja i poslovanja. sive picture of the island that provides an accurate insight into the
unexploited island resources and it hence encourages enhancement
of the quality of life and doing business.

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school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

tihomir filipec
mentor: Stipe Bri
suradnica/associate: Karla Paliska

Kreator
Kreator je drutvena igra edukativnoga karaktera namijenjena mladima. Igra je
proizila iz istraivanja o problemima i nedovoljnoj zastupljenosti astronomije u
obrazovanju. Astronomija je znanost koja obuhvaa sve prirodne predmete u cje-
linu te je djeci jedno od najzanimljivijih podruja. Kako je djeci puno lake shvatiti
astronomske teme koje se lako vizualiziraju, igra se temelji na nebeskim tijelima,
njihovim znaajkama i meusobnim odnosima. Svrha igre je izgraditi vlastiti Sunev
sustav koji je podoban za nastanak ivota. Igru ine odnosi elemenata koji stva-
raju i elemenata koji unitavaju uvjete za razvoj ivota na nekom planetu. Potie
kreativnost, razmiljanje i znatielju, a ujedno pouava kakve vrste zvijezda i pla-
neta postoje, kako planeti utjeu jedni na druge, to sve dovodi u opasnost razvoj
ivota te jo mnogo toga.

Creator
Creator is an interactive game with educational features intended for young people.
The game resulted from a research on insufficient presence of astronomy and the
problems concerning this issue throughout education. Astronomy is a science that
encompasses all the natural subjects and hence children find it extremely interest-
ing. Since it is much easier for children to comprehend astronomy topics that can
easily be visualised, the game is based on celestial bodies, their features and their
mutual relationships. The object of the game is to build ones own Solar system
that provides a suitable site for the origin of life. The game comprises of relations
between the components that ensure the necessary conditions and the compo-
nents that annihilate the conditions needed on a habitable planet. It encourages
creativity, thinking and curiosity, whilst simultaneously informing on the existing
types of stars and planets, as well as on interrelationships between the planets and
the features threatening the development of life forms, to name a few.

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godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

matea brki
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp

Specifine kvalitete usluga u gradu Zagreba kao kljuan element


za razvoj kreativnog turizma
Dizajn i destinacijaharmonizacija turizma
U radu se propitkuje i vizualizira identitetski sustav grada Zagreba te njegova pro-
storna i povijesna struktura u obliku 2d plohe. Konceptualna ideja bila je stvoriti
alternativni vodi grada Zagreba personaliziranoga karaktera koji trai stalnu inte-
rakciju i sudjelovanje u oblikovanju doivljaja i iskustava. Takvom istraivakom
interakcijom s prostorom i 2d plohom kao medijem, gdje e ostati zapisani osje-
aji, zanimljivi trenuci i doivljaji, stvara se struktura koja e posve personalizirano
odrediti priu putovanja pojedinca. Ovaj medij prerasta u materiju s kojom je autor
sentimentalno vezan te koju e rado u ivotu s vremena na vrijeme prelistati, prisje-
ajui se na taj nain svojih osjeaja i dogaaja. Emocije koje nastaju intervencijom
na ovoj plohi te dodavanje svog zapisa u posve neogranienoj formi, postaju nedo-
dirljiva i nematerijalna svojstva nekog putovanja. A to su doivljaji koji su esto skupi,
a s vremenskim odmakom postaju vrijedni te ostaju u sjeanju kao novo iskustvo.

Specific quality of services provided in the city of Zagreb as a key


feature for the development of creative tourism
Design and destinationharmonisation of tourism
The project analyses and visualises the identity system of the city of Zagreb and
its spatial and historical structure in the form of a two-dimensional surface. The
idea behind it was to create an alternative city guide of Zagreb with personalised
character features that requires continuous interaction and participation in the
shaping of the experiences and occurrences. A structure has been created that
will define the story of an individuals journey and be entirely personalised against
the backdrop of this exploratory interaction with space and the two-dimensional
surface as a medium recording the feelings, interesting moments and experiences.
This medium will be transformed into a content with which the artist has a senti-
mental bond and will hence be glad to look through it occasionally, remembering
in this way their feelings and occurrences. The emotions evoked through the inter-
vention on this surface and the provision of ones own entry in an entirely unlim-
ited form will be transformed into intangible and immaterial features of a journey.
These experiences and occurrences are normally expensive, yet in time they are
attributed a new value and remain impressed on the memory as new experiences.
300 conet aperferuptae ve ihilitat qui di a eat lautatu reperia quis minctiur? 301
godinjak studija dizajna 2014./2015. diplomski studij/diplomski radovi/dizajn vizualnih komunikacija,3. i 4.semestar
school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

sanja kuzmanovi
mentor: Ivan Doroghy
komentor/comentor: Darko Schneider
komentor/comentor: Tomislav Vlaini

Antimuzej Vladimira Dodiga Trokuta Antimuseum by Vladimir Dodig Trokut


Web arhiv Web archives
Ideja digitalizacije i web arhiviranja Antimuzeja proizala je iz elje da se zbirka koja broji vie The idea of digitisation and web archiving of Antimuseum originated from the
od pola milijuna predmeta, meu kojima ima i vrijednih umjetnikih djela, ouva od propadanja. wish to preserve the collection comprising of over half a million objects including
Koncepcija digitalizacije zbirke temelji se na njezinoj kategorizaciji. Za ovaj diplomski rad zbirka valuable works of art.The concept of digitisation of the collection is based on its
je razvrstana na jedanaest osnovnih sekcija. Kako je Antimuzej dinamini projekt, daljnja razrada categorisation. For the purpose of this graduation thesis the collection has been
omoguila bi da se kategorije i sadraj unutar njih nadopunjava i mijenja CMS sustavom (Con- divided into eleven fundamental sections. Since Antimuseum is a dynamic project,
tent management system) koji omoguuje upravljanje sadrajem na mrenoj stranici. Kategorije: a further elaboration would provide the opportunity to expand and alter the cat-
etnomitologija, svakodnevnica, No Art, mistini predmet, moda, erotika, industrijska arheologija, egories and their content using a Content management system that would ena-
predmeti prirode, dizajn, igre i igrake, turizam. Vizualni identitet web arhiva temelji se na algo- ble content management on the website. Categories: ethnomytology, everyday
ritamskom znaku koji e interakcijom korisnika mijenjati svoj izgled, to potkrepljuje ideju dina- life, No Art, a mystical object, fashion, erotics, industrial archaeology, objects of
minog muzeja koji mijenja i ponitava samoga sebe. Posebnost je znaka to iz logotipa postupno nature, design, games and toys and tourism. The visual identity of the web archives
(korisnikom intervencijom) prelazi u znak i obratno. Estetika znaka preuzeta je iz No Art radova is based on a sign of the algorithm that will change its appearance through user
Vladimira Dodiga Trokuta. Cjelokupan dojam web arhiva jednostavan je i pristupaan korisniku, interaction which substantiates the idea of a dynamic museum that changes and
a predmeti na bijeloj pozadini plijene pozornost svojom zanimljivou. Web arhiv prikazivat e abolishes itself. A specific feature of the sign is the fact that it is gradually (through
V.D.Trokuta kao linost, nain na koji ivi u stanu-muzeju, undercammeri, kabinetu i laboratoriju user intervention) transformed from a logotype into a sign and vice versa. The aes-
udesa, trenutno malom stanu u uem centru Zagreba gdje se nalazi dio zbirke. thetics of the sign has been based on No Art works by Vladimir Dodig Trokut. The
overall impression of the web archives is that it is straightforward and accessible for
users, whilst the objects placed against a white background attract attention due
to their intriguing features. The web archives will present V.D.Trokut as a person-
ality, the way he lives in an apartment-museum, the undercammera, a study and
a laboratory of miracles, currently located in a small flat in the immediate centre
of Zagreb where a part of the collection is located.

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tea pavi
mentor: Stipe Bri
suradnica/associate: Karla Paliska

Fragmenti: Fragments:
enski antifaistiki Zagreb Womens antifascist Zagreb
Svrha ovog projekta bio je vratiti prie antifaistikih The objective of this project is to recall the stories of
borkinja u kolektivnu memoriju Zagreba te ih ponovno antifascist women fighters into the collective memory
uspostaviti kao dio identiteta zajednice, koristei nove of Zagreb and revive them yet again as an integral part
tehnologije i interaktivne medije. Njihove se prie kazuju of the community identity, using new technologies and
kretanjem i skupljanjem fragmenata kroz prostor. Umje- interactive media. Their stories are told through move-
sto prenamjene ve zauzetoga fizikog prostora (npr. ment and collecting fragments through space. Instead
imenovanje ulica), zauzimaju se mjesta vana za prie of the reallocation of the occupied physical space (e.g.
samih heroina te se mimo politike vlasti proiruju pri- naming streets), they point out the places that are of
padajuim detaljima iz njihovih ivota (tekst, fotogra- importance for the stories told by the heroines and
fija, video).Takoer, otvara se prostor za sudjelovanje: are enriched by details from their lives beyond polit-
demokraciju i razgovor o prolosti te mogunosti ljudima ical power (text, photography, video, etc.). Further-
da podre takav eksperimentalni model memorijalnog more, room for participation opens up:democracy
sustava. Posjetitelji sudjeluju u projektu ostavljanjem and discussions about the past and the opportunities
i dijeljenjem sadraja. Fotografije proirenoga, hibrid- for people to provide support to such an experimen-
nog prostora, geotagirane na tonu lokaciju, putem tal model of memorial system. The visitors participate
drutvenih mrea mogu mijenjati fiziku sliku grada u in the project through providing and sharing content.
virtualnom prostoru, a njihovim dijeljenjem poveava Photographs of extended, hybrid space, geotagged
se zanimanje za projekt i iitavanje pria iz fizike to an exact location, can change the physical image
okoline na nov nain. of the city through social networks in virtual space,
whilst interest in the project is aroused through shar-
ing and the stories from the physical environment are
perceived in entirely new ways.

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mario jeki
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp

Videoigra kao motivacija u svladavanju gradiva Video game as a motivation to learn Mathematics
matematike u osnovnoj koli subject matter in elementary school
Ovaj se diplomski rad bavi problemom niske razine obrazovanja u This graduation thesis addresses the issue of low level of knowledge
podruju matematike u osnovnoj koli u Republici Hrvatskoj. Izrazito acquisition in the area of Mathematics in elementary school in the
zabavnim i interaktivnim medijem, videoigrom, nastoji se motivirati Republic of Croatia. We are aiming to motivate and encourage chil-
i ukljuiti djecu u rjeavanje matematikih zadataka.Temeljni kon- dren to become involved in Math problem solving through a video
cept projekta je stvaranje videoigre pod nazivom Odiseja te njezino game, as an extremely entertaining and interactive medium. The prin-
dijeljenje u osam nastavaka, meusobno povezanih kontinuiranom cipal concept behind the project is the development of a video game
priom. Svaki nastavak prati odreenu kolsku godinu i nastavni pro- entitled Odyssey and its eight sequels mutually connected through
gram matematike za tu godinu. Primjerice, Odiseja 3 prati nastavni a story. Each sequel is intended for a specific academic year and the
program matematike za trei razred osnovne kole. Igra koristi priu, Maths syllabus for that year. For example, Odyssey 3 is intended for
likove, zvukove, glazbu i ostale popratne elemente kako bi se to vje- Maths syllabus for the third grade of elementary school. The game
rodostojnije doarao novi imaginarni svijet te da bi dijete to lake uses a story, characters, sounds, music and other accompanying fea-
zaronilo u novo arobno okruje. Takva okolina stvara pozitivne tures aiming to faithfully present a new imaginary world and help
emocije i osjeaj samopouzdanja u svladavanju novih, izazovnih pre- children to plunge into a new magical environment. Such environ-
preka i zadataka kako bi se uspjeno stiglo do cilja, putem trenirajui ment encourages positive emotions and the feeling of self-respect
kognitivne vjetine igraa. in overcoming new, challenging obstacles and tasks aiming to suc-
cessfully achieve the goal, whilst simultaneously practising cogni-
tive skills of the players.

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alma avar
mentor: Ivan Doroghy
komentor/comentor: Tomislav Vlaini

Georgievics de Abadia Georgievics de Abadia


Tema ovoga diplomskog rada bila je analiza osobne obiteljske povijesti radi materi- The topic of this graduation thesis was the analysis of a personal family history
jalizacije i ouvanja obiteljskog naslijea. Rezultat projekta je knjiga Georgievics de aiming to materialise and preserve the family heritage. The project resulted in a
Abadia gdje su prezentirani svi sauvani materijalni dokazi tog naslijea (obiteljsko book entitled Georgievics de Abadia where all the preserved material evidence of
stablo, dokumenti, fotografije, pisma, prie pojedinaca...), tvorei tako svojevrsnu this heritage has been presented (family tree, documents, photographs, letters and
obiteljsku arhivu vizualne grae koja svjedoi o ivotima ljudi u prolosti, a see sve personal stories, to name a few), creating specific family archives of visual mate-
do druge polovine 17. stoljea. Sintezom infografskih i narativnih komponenata obi- rial that testifies of the lives of people in the past, reaching as far as the second
teljsku priu nastoji se predstaviti kao odreeni kronoloki slijed, postavljen u kon- half of the 17th century. Through a synthesis of infographic and narrative compo-
tekst povijesnih, politikih i kulturnih zbivanja kako bi se postigla ira slika povijesti nents the family story is being presented as a specific chronological sequence, in
obitelji i ouvala kao svojevrsni dokument vremena. Kao inspiracija, ali i izvor veine the context of historical, political and cultural events, aiming to provide a broader
grae za projekt, posluilo je postojee genealoko istraivanje iz 60-ih godina 20. picture of a family history and preserve it as a document of a specific period of time.
stoljea, sauvano u obliku rukopisa koji su, gotovo doslovno, stranica kraeg for- The project was primarily implemented against the backdrop of the existing genea-
mata. Samim time knjiga zapravo ima dvostruku namjenuprezentacije obiteljske logical research from 1960s, preserved in a manuscript form comprising almost liter-
povijesti kao subjekta istraivanja kao i dokumentacije samog procesa istraivanja. ally of a page in short format. Hence, the intended use of the book is dualto pres-
ent the family history as a subject of research and to document the research process.

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school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

maja suboti
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp

Edukacija mladih o vizualnoj kulturi Raising awareness of young people on visual culture
Slikovnica kao sredstvo odgoja i obrazovanja Picture books as educational resources
Istraivanja pokazuju da je edukacija o vizualnoj kulturi neprimjerena The research has shown that education on visual culture is inappro-
kod svih dobnih skupina koje ulaze u sustav obrazovanja. Problem priate throughout all the age groups involved in the educational sys-
koji izrasta iz toga je drutvo koje vizualnu kulturu ne poznaje pa ne tem. Consequently, the society created through such a system has no
moemo ni oekivati drutvo koje e u kulturi i sudjelovati. Ciljana insight into visual culture and hence it cannot be expected to par-
skupina ovog projekta su djeca vrtike dobi, stoga je medij komuni- ticipate in it. The target group of this project comprises of children
kacije slikovnica. Slikovnicom nas vodi pas Mirka koji pomae djetetu attending kindergarten, hence the communication medium opted
razumjeti vizualne pojmove i elemente. Izraena je u dvije inaice, kao for is picture book. The dog named Mirka takes us through the pic-
klasina slikovnica te slikovnica unutar koje su provedeni kodovi koji ture book helping the child to comprehend the visual concepts and
pomou aplikacije pokreu animaciju zadanog pojma. Touchscreen the features. It has been created in two versions, as a classic pic-
suelje omoguuje djetetu da intuitivno koristi sve funkcije i rukom, ture book within which there are codes that through an application
tj. prstima ostvaruje interakciju sa slikovnicom. Pri oblikovanju ovoga activate the animation of a specific concept. Touchscreen interface
primijenjenog programa voena je briga o minimalnim veliinama enables the child to intuitively use all the functions and with their
koje su prihvatljive za ruku kako bi dijete bez tekoa moglo listati hand or fingers interact with the picture book. During the develop-
slikovnicu ili aktivirati animaciju. Koritena tipografija dizajnirana je ment of this applied programme attention has been paid to minimal
za lake itanje osobama s disleksijom. size that is acceptable for a childs hand in order to go through the
picture book or activate the animation easily. The used typography
has been designed to facilitate reading for dyslexic people.

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school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

dora lugari
mentor: Ivan Doroghy
komentor/comentor: Tomislav Vlaini

Problem miastenije gravis u Republici Hrvatskoj The issue of Myasthenia gravis in the Republic of Croatia
Miastenija gravis je autoimuna neuromuskulaturna (ivano-miina) Myasthenia gravis is an autoimmune neuromuscular disease that
bolest koja izaziva teku slabost svih miia u tijelu. Uzrok nastanka causes severe weakness in all the muscles. The cause of the dis-
bolesti je nepoznat, a najee se javlja kod mlaih ena i starijih ease is unknown and it most frequently affects young women and
mukaraca. U Republici Hrvatskoj je oko 300 oboljelih registriranih elderly men. There are around 300 registered patients suffering from
pacijenata. Istraivanje je pokazalo kako je izrazito bitno obolje- this disease in the Republic of Croatia. The research has shown the
lima pruiti uvid u sve procese kroz koje e proi i pripremiti ih na extreme importance of providing those affected with an insight into
mogue situacije i probleme koji e ih u ivotu s miastenijom gravis all the processes they are about to go through and prepare them
pratiti. Osim pravodobnog informiranja bolesnika i upoznavanja ljudi for potential situations and the problems they are about to encoun-
s miastenijom openito, kao glavni smjer projekta iskristaliziralo se ter throughout their lives due to myasthenia gravis. In addition to
poboljanje komunikacije meu oboljelima. Budui da je izvora infor- informing the patients in due time and providing an insight on myas-
macija mnogo, one su loe strukturirane i nerijetko slabo dostupne. thenia in general, the project focused primarily on improvement of
Medij odabran za realizaciju je mrena stranica o miasteniji gravis communication amongst those affected. Against the backdrop of a
koja istodobno funkcionira kao forum za poboljanje komunikacije plethora of information sources, it is badly structured and frequently
i razmjene informacija. hardly available. The medium opted for is a website on myasthenia
gravis that simultaneously functions as a forum for improvement
and exchange of information.

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school of design annual review 2014/2015 graduate programme/graduation theses/visual communications,3rd and 4th semester

slavica farka
mentor: Nenad Dogan
komentorica/comentor: Romana Kajp

Uloga i funkcija bajki The role and the function of fairy tales
Odnos vizualnoga i narativnog The relationship between the visual and the narrative
Teorijskim istraivanjem potvrena je velika uloga bajke u razvoju i Theoretical research has confirmed the importance of the role of
odgoju djeteta. Vizualnim istraivanjem pojavnosti bajke u razlii- fairy tales in the development and the upbringing of children. Fol-
tim medijima dola sam do zakljuaka koji upuuju na razliitu funk- lowing visual research of appearance of fairy tales in diverse media
ciju njezine vizualizacije. No osnovni problem je da se s vremenom I reached conclusions that show diverse functions of their visualis-
mijenjala struktura bajke, to je poljuljalo njezinu ulogu u drutvu i ation. Nevertheless, the fundamental problem is that the structure
odrazilo se na vizualno tako da forma vie ne slijedi funkciju. Rezultat of fairy tales has changed over time which adversely affected their
diplomskog rada je drutvena igra koja je dizajnirana tako da njezini role in society and their visual aspect and hence the form no longer
elementi i pravila zapravo ine formulu za stvaranje bajki u izvornom follows the function.The result of the graduation thesis is a family
obliku. Drutvena igra kao medij pokazala se kao idealno rjeenje za game designed in such a way that its features and rules actually pro-
interpretaciju ove teme jer je njezin nain konzumacije vrlo blizak vide a formula for the creation of fairy tales in their original form.
onome kako je izvorna bajka funkcionirala u usmenoj predaji: oko nje A family game as a medium proved to be the ideal solution for the
se okuplja i drui, s njom se igra i dijeli radost, njome se ui i spoznaje. interpretation of this topic, since its method of consumption is close
Igra je kooperativna i temelji se na pripovijedanju, igranju uloga, to the way original fairy tales used to function in oral tradition: they
memoriji te kombiniranju modularnih elemenata igre koji su meu- brought people together and made them socialise, play and share
sobno ovisni. their joy, as well as learn and acquire new knowledge.The game is
co-operative and based on narration, role play, memory and com-
bining of modular interdependent features of the game.

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Studenti
Diplomskog studija

Graduate Programme
Students
godinjak studija dizajna 2014./2015. studenti diplomskog studija
school of design annual review 2014/2015 graduate programme students

1. godina 1stYear 1. godina 1stYear


Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications

Dorja Benusi Elizabeta Bonjak Monika Daki Andrej uki Matej Goreta Ana Herceg Barbara Bjeli Luka Daniel Bori Borna Aaron Grevi Mateo Grubii Klasja Habjan Ivana Hrabar

Maja Jandri Igor Kolar Laura Mrka Nataa Njegovanovi Adriana Paveli Tamara Petrua Sanja Kuzmanovi Vitomira Martinjak Lovro Miokovi Zita Naki-Vojnovi Vanja Perkovi Josipa Pra

Viktoria Lea Vavra Valentino Veeri Luka Reicher Hana Tintor Martina Uki Ana Vujasi Ana Vuko Lara ic

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2.godina 2dYear 2.godina 2dYear


Diplomskog studija Graduate Programme Diplomskog studija Graduate Programme
Industrijski dizajn Industrial Design Vizualne komunikacije Visual communications

Marta Birki Maja Bokovi Niko Crnevi Kristina Crnek Vidovi Stanislav Kosti Dorotea Kutlea Matea Brki Anta Buevi Hrvoje Dominko Slavica Farka Tihomir Filipec Lana Grahek

Ivona Milo Lucija Nieno Karlo Pavii Ena Priselec Janja Rokar Franka Speti Matija Guli Zrinka Horvat Mario Jeki Antonio Karaa Iris Klari Dora Lugari

Ana oli Matija poljar Petra Vrdoljak Tea Pavi Martin Peranovi Luka Peri Katarina Ratkaj Ana Somek Maja Suboti

Alma avar

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Diplomski studij
Izvedbeni program

Graduate Programme
Curriculum Outline
godinjak studija dizajna 2014./2015. diplomski studij/izvedbeni program
school of design annual review 2014/2015 graduate programe/curriculum outline

diplomski studij graduate programme


1.godina First Year
Izvedbeni program / Curriculum Outline 1.semestar / 1st semester 2.semestar / 2nd semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vjebe ects Pred. Vjebe ects


Zajedniki predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Sociologija kulture / Sociology of Culture 30 15 3 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Teorija i povijest dizajna 1, 2 / Theory and History of Design 1, 2 30 15 3 30 15 3 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Umjetnost danas / Art Today 30 0 2 pred.dr.sc. Ivana Podnar / PhD, lecturer
Znanstvenoistraivake metode / Scientific Research Methodology 15 15 2 izv.prof.dr.sc. Anka Mieti / PhD, associate professor
Razvoj koncepata i strategija / Development of Concepts and Strategies 15 15 3 doc.mr.sc. Ivana Fabrio / assistant professor
Dizajn interakcija 1, 2 / Interaction Design 1, 2 15 30 2 15 30 2 doc. Vedran Kasap / assistant professor
pred. Tin Kadoi / lecturer
Teorija medija 1, 2 / Media Theory 1, 2 30 0 2 30 0 2 pred. Veljko van / lecturer
210 12 195 12
Predmeti smjera industrijski dizajn
Courses in the Industrial Design Programme

Industrijski dizajn 1, 2 / Industrial Design 1, 2 15 60 7.5 15 60 7.5 prof. mr. sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Sanja Benceti / MSc, assistant professor
prof. Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Robert imetin / associate professor
Izbor materijala / Materials 15 15 3.5 prof.dr.sc. Tomislav Filetin / PhD, full professor
Suvremene tehnologije materijala / Modern Technology of Materials 15 30 3.5 prof.dr.sc. Mladen ercer / PhD, full professor
150 14.5 165 14.5
Izborni predmetiindustrijski dizajn
Elective Courses in the Industrial Design Programme

Film i video 1, 2 / Film and Video 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Kreativni laboratorij / Creative Lab 12 18 2 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 45 0 3.5 45 0 3.5
45 3.5 45 3.5
Predmeti smjera vizualne komunikacije
Courses in the Visual Communications Programme

Dizajn vizualnih komunikacija 1, 2 / Visual Communications 1, 2 15 60 7.5 15 60 7.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Kreativna komunikacija i drutvo 1, 2 / Creative Communication and Society 1,2 15 30 3.5 15 30 3.5 pred. Veljko van / lecturer
120 11 120 11
Izborni predmetivizualne komunikacije
Elective Courses in the Visual Communications Programme

Projektiranje pisma 1, 2 / Font Design 1, 2 15 30 3.5 15 30 3.5 doc.dr.sc. Nikola urek / associate professor
Interaktivni mediji 1, 2 / Interactive Media 1, 2 15 30 3.5 15 30 3.5 pred. Tin Kadoi / lecturer
Film i video 1, 2 / Film and Video 1, 2 15 30 3.5 15 30 3.5 izv.prof. Stanko Herceg / associate professor asist.Pavel Posavec
Interieur 1, 2 / Interior Design 1, 2 15 30 3.5 15 30 3.5 doc. Robert imetin / associate professor
Kreativni laboratorij / Creative Lab 12 18 2 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 45 0 3.5 45 0 3.5
90 7 90 7

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2.godina Second Year
Izvedbeni program / Curriculum Outline 3.semestar /3 rd semester 4.semestar / 4th semester Nositelji kolegija / Course Leaders Suradnici / Associates and Assistants

Pred. Vjebe ects Pred. Vjebe ects


Zajedniki predmeti / Joint Courses Lectures Exercises Credits Lectures Exercises Credits

Teorija i povijest dizajna 3 / Theory and History of Design 3 30 0 6 izv.prof.dr.sc. Fea Vuki / PhD, associate professor
Upravljanje dizajnom / Design Management 30 0 3 doc.dr.sc. Vatroslav kare / associate professor
Socijalni dizajn / Social Design 15 15 2.5 doc.mr.sc. Ivana Fabrio / assistant professor
90 11.5
Predmeti smjera industrijski dizajn
Courses in the Industrial Design Programme

Industrijski dizajn 3 15 75 13.5 prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
Industrial Design 3 prof.Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Industrijski dizajnDiploma 0 210 20 prof.mr.sc. Zlatko Kapetanovi / MSc, associate professor doc.mr.sc. Ivana Fabrio / assistant professor
Industrial Design Graduation Thesis prof.Mladen Orei / associate professor asist. Andrea Hercog / teaching assistant
Diplomaobrana / Graduation ThesisPresentation 10
90 13.5 210 30
Izborni predmetiindustrijski dizajn
Elective Courses in the Industrial Design Programme

Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc. mr. sc. Sanja Benceti / MSc, assistant professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 30 0 2.5
60 5
Predmeti smjera vizualne komunikacije
Courses in the Visual Communications Programme

Dizajn vizualnih komunikacija 3 15 75 13.5 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Visual Communications 3 prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Dizajn vizualnih komunikacijaDiploma 0 210 20 prof. Stipe Bri / associate professor asist. Romana Kajp / teaching assistant
Visual CommunicationsGraduation Thesis prof. Nenad Dogan / associate professor doc.Tomislav Vlaini / teaching assistant
prof. Ivan Doroghy / associate professor

Diplomaobrana / Graduation ThesisPresentation 10


90 13.5 210 30
Izborni predmetivizualne komunikacije
Elective Courses in the Visual Communications Programme

Inkluzivni dizajn / Inclusive Design 15 15 2.5 doc.mr.sc. Sanja Benceti / MSc, assistant professor
Kolegiji sa Sveuilita / Courses at the University (free choice) 30 0 2.5
60 5

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Projekti Projects

Poglavlje Godinjaka koje slijedi namijenjeno je prezentaciji The ensuing chapter of the Yearbook aims to present the spe-
onog dijela sadraja rada Studija dizajna koji se organizira u cific area of work of the School of Design that was organised
suradnji s brojnim dravnim i kulturnim institucijama, obra- in co-operation with a large number of state-owned and cul-
zovnim ustanovama, gospodarskim subjektima i udrugama. tural institutions, educational institutions, economic entities
Sveobuhvatan raspon tema i pitanja na kojima rade nastav- and associations. A vast array of topics and issues addressed
nici i studenti iz realnog su okruja, to studentima omogu- both by professors and students was from the real environment,
uje upoznavanje i usvajanje vjetina prijeko potrebnih za rad which provided the students with the opportunity to gain insight
s potencijalnim klijentima. Studiju dizajna pak otvara prostor to and acquire the skills indispensable for work with potential
za snanije povezivanje s realnim okruenjem u kojem djeluje. clients. On the other hand, the School of Design was provided
Vano je ovdje istaknuti kako pozitivna iskustva iz ovih sve- the opportunity to establish a stronger connection with the real
stranih suradnji promoviraju dizajn i dizajnersku struku u irem environment in which it operates.
drutvenom kontekstu, kao vaan imbenik u gospodarskom It is important to highlight that positive experiences resulting
rastu i razvoju. from the previously mentioned co-operation were striving to
Neke od tema iz ovih projekata postale su dio redovnoga promote design and design profession in a broader social context,
nastavnog programa, a to je bez sumnje obogatilo standar- as an important factor of economic growth and development.
dnu pedagoku praksu. Some of the topics addressed in the previously mentioned proje-
cts have become integrated in the regular curriculum, which has
absolutely enriched the standard pedagogical practices.

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Filmske srijede Film Screenings on HAI!Didaktika igraka


Wednesdays inspirirana hrvatskom batinom
Filmske srijede poele su s odravanjem Films Screenings on Wednesdays is the Projekt je proveden sa studentima drugog semestra
u ljetnom semestru 2014./2015. u sklopu event that was launched during the sum- u suradnji s udrugom Povucizakulturu. Tema je obli-
predmeta Vizualna kultura 2. Cilj njihova mer semester 2014/2015 within the course kovanje didaktikih igraaka za djecu predkolske i
pokretanja je da se filmskim medijem entitled Visual Culture 2. The objective kolske dobi koje potiu interaktivno iskustvo igre,
objasne i interpretiraju teorijska gledi- was to explain and provide interpretations inspirirane hrvatskom batinom. Na temelju opirnog
ta ovog predmeta. Studentima su bile of theoretical attitudes expressed in this istraivanja razvojnih vjetina koje proizlaze iz igre,
zadane problemske teme, a odabir fil- course through the media of film. Students hrvatske batine i postojeeg asortimana igraaka na
mova bio je preputen njihovom slobod- were assigned topics to address and they tritu, postavljanji su kriteriji za oblikovanje. Cilj je
nom izboru. Time je postignuta visoka were free to select the films. Hence, stu- oblikovati igrake koje potiu razvoj novih vjetina i
motiviranost studenata koji su postali dents were highly motivated and became doivljaja igre, uz potacanje djejeg samopouzdanja,
sukreatori nastave. Kritike analize fil- co-creators of the course. Two key features inventivnosti i kreativnosti. Kolekcija novonastalih
mova studentima su pokazale dva kljuna were highlighted through critical analyses igraaka interpretira razliite vrijednosti hrvatske
elementa: neiscrpne mogunosti inter- of films: immense possibilities of the inter- batine, od mitologije, naina ivota i navika, do
pretacije svijeta kroz umjetnost pokret- pretation of the world through the art of suivota ovjeka s prirodom. Projekt je rezultirao s
nih slika te legitimnost njihovih subjek- moving images and the legitimacy of their tridesetak idejnih rjeenja od kojih je desetak iza-
tivnih pogleda. subjective stances. brano za realizaciju i komercijalizaciju pod zajed-
Film i biopolitika analizirani su filmom Film and bio-policy were analysed in the nikim brendom HAI!Hrvatska autentina igraka.
Jastog (2015.,r.Yorgos Lanthimos,.); dru- film entitled The Lobster (2015, by Yorgos
tvena konstrukcija identiteta problem- Lanthimos); the issue of social construction
ski je sagledana filmom Djeca tranzi- of identity was addressed in the film Chi-
HAI!A didactic toy inspired
cije (2014.,r.Matija Vukigostovao ldren of Transition (2014, by Matija Vuk- by Croatian heritage
na nastavi); odnos fikcije i stvarnosti ivisited the classes); the issue of the
The project was implemented with students enrolled at
te stvaralakog procesa i egzistencije relationship between fiction and reality
the second semester and in co-operation with Povuci-
istraeni su filmom Sinegdoha New York and the creative process and the existence
zakulturu Association. The topic was design of didactic
(2008.,r.Charlie Kaufman,), a film 24 was explored in the film entitled Synecdo-
toys for pre-school and school-aged children, intended
City (2008.,r.7Zhangke Jia) pokazao je che New York (2008, by Charlie Kaufman,),
to encourage interactive experience of playing, inspi- Autori/ Authors:
ulogu arhitekture kao pokazatelja dru- whilst the film entitled 24 City (2008, by
red by Croatian heritage. Design criteria were defined idejne zaetnice projekta / project idea generators:
tvene, politike te individualne ljudske Zhangke Jia) showed the role of archite-
following a comprehensive research of development mr.sc. Inga Seme Stojnovi, M.Sc.
transformacije. S obzirom na pozitivne cture as an indicator of social, political and prof. Tijana Vidovi, prof.
skills arising from playing, Croatian heritage and the
rezultate ovakvog modela uenja, u planu individual human transformation. voditelji projekta / project managers:
currently available toy product range on the mar-
je nastavak takve prakse i idue akadem- Considering the positive results achieved Udruga Povucizakulturu / Povucizakulturu Association
ket. The objective was to design toys that encourage Tanja Tandara, projektna menaderica u kulturi / Culture Project Manager
ske godine. through this learning model, we are planning
the development of new skills and the experience of Studij dizajna / School of Design
to continue with these activities also thro- prof. Mladen Orei, prof.
playing, in addition to encouraging childs self-confi-
ughout the forthcoming academic year. doc. Ivana Fabrio, Assistant Professor
dence, inventiveness and creativity. The collection of
mentori / mentors:
newly created toys interprets diverse values of Cro- doc. Sanja Benceti, Assistant Professor
atian heritage, ranging from mythology, lifestyle and doc. Ivana Fabrio, Assistant Professor
habits to coexistence between humans and nature. prof. Zlatko Kapetanovi, prof.
prof. Mladen Orei, prof.
The project resulted in around thirty conceptual design
solutions and 10 solutions were selected for imple-
mentation and commercialisation under the name
HAI! Authentic Croatian Toy.
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frka/Filmska revija Kazaline akademije


Suradnja Akademije dramske dora kasun i gala marija vrbani
mentor: Nanad Dogan
umjetnosti i Studija dizajna asistenti/assist.: Romana Kajp, Tomislav Vlajini

Na Akademiji dramske umjetnosti odrana je jedanaesta po


redu FRKAFilmska revija Kazaline akademije. Radi se o bije-
nalnoj reviji studentskih filmova koji su nastali u Akademijinoj
produkciji i u kojoj sudjeluju studenti svih studija Akademije
dramske umjetnosti.
Zanimljivost ovog projekta nalazi se u injenici da u njemu, kao i
u projektu KRADUKazalinoj reviji Akademije dramske umjet-
nosti, sudjeluju i studenti Studija dizajna Arhitektonskog fakulteta,
kojima je povjerena izrada prijedloga vizualnog identiteta projekta.
Prijedloge su izradile tri skupine studenata 5. semestra smjera
vizualnih komunikacija pod mentorstvom profesora Nenada
Dogana i asistenata Romane Kajp i Tomislava Vlainia.
Oputena atmosfera ove revije studentskih filmova potaknula
je autore da odabranim vizualnim jezikom sugeriraju opije-
nost dobrim filmovima.

FRKA/Academy of Dramatic Art


Student Film Festival
Co-operation between the Academy of
Dramatic Art and the School of Design Odabrano je i realizirano rjeenje Dore Kasun i Gale Marije Vrbani.
U obrazloenju idejnog rjeenja autorice su istaknule da su eljele
The eleventh consecutive FRKA a review of the Academy of Dra- iskomunicirati neformalnu i leernu atmosferu festivala, koristei
klasine elemente dramskog tekstadijalog i didaskalije. Plakati,
matic Artwas held. It is a biennial review of student films that majice, pozivnice i ostali promidbeni materijali postali su svoje-
were produced at the Academy through participation of students vrsni scenarij festivala, koji su posjetitelji mogli postupno otkrivati,
from all the study programmes at the Academy of Dramatic Art. tumaiti i nadopunjavati.

It is important to highlight the fact that students at the School The solution provided by Dora Kasun and Gala Marija Vrbani was
of Design of the Faculty of Architecture participated in this pro- opted for and also implemented. In the explanation to the conceptual
ject, as well as in the project entitled KRADUAcademy of Dra- design the authors pointed out their focus on informal and relaxed
festival ambience, using classical features of dramatic textdia-
matic Art Student Theatre Festival and they were allocated the logue and stage directions. Posters, T-shirts and other promotional
task to provide suggestions for the visual identity of the project. materials have become a specific festival scenario that was gradu-
The suggestions were provided by three groups of students at ally revealed, interpreted and expanded by the visitors.
the 5th semester of Visual Communications study programme
under the mentorship of the professor Nenad Dogan and assi-
stants Romana Kajp and Tomislav Vlaini.
The relaxed ambience of this student film review encouraged
the authors to suggest an inebriation with good films using
appropriate visual language.

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sara pavlekovi preis, tin buri otto kuec, miran bai


mentor: Nanad Dogan mentor: Nanad Dogan
asistenti/assist.: Romana Kajp, Tomislav Vlajini asistenti/assist.: Romana Kajp, Tomislav Vlajini

Sara Pavlekovi Preis i Tin Buri predstavili su drugi pri- Trei prijedlog izradili su studenti Otto Kuec i Miran
jedlog koji se temelji na injenici da filmske projekcije Bai. Istaknuli su da je cilj njihova projekta bila prenijeti
prate odline zabave i druenja. miljenja mladih filmaa o hrvatskoj filmskoj industriji
te na duhovit nain pokazati kako je upravo izostanak
Sara Pavlekovi Preis and Tin Buri presented the sec- glamura i kia holivudskog tipa snaga ovog festivala.
ond proposal based on the fact that film screenings are
followed by excellent parties and socialising. Other suggestions were provided by the students Otto
Kuec and Miran Bai. They stressed that the specific
objective of their project was to present the opinions
of young filmmakers concerning the Croatian film
industry and in a witty way point out the absence of
a Hollywood style glamour and kitsch as the main
strength of this festival.

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klasja habjan zita naki vanja perkovi hana tintor lovro miokovi
mentor: Nenad Dogan mentor: Ivan Doroghy mentor: Stipe Bri mentor: Nenad Dogan mentor: Stipe Bri
asistentica/assistant: Romana Kajp asistent/assistant:Tomislav Vlajini suradnica/associate: Karla Paliska asistentica/assistant: Romana Kajp suradnica/associate: Karla Paliska

vitomira martinjak ivana hrabar martina uki


mentor: Ivan Doroghy mentor: Ivan Doroghy mentor: Nenad Dogan
asistent/assistant:Tomislav Vlajini asistent/assistant:Tomislav Vlajini asistentica/assistant: Romana Kajp

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