VIZUALNI IDENTITET I GRAFIČKI STANDARDI

VISUAL IDENTITY AND GRAPHICS STANDARDS

Mario Tomiša

Sažetak

Dizajn je interdisciplinarna djelatnost koja povezuje društvene, humanističke i tehničke znanosti s kreativno-umjetničkim komponentama. Posao grafi čkog dizajnera nije vezan samo uz estetski doživljaj nego je primarno dio komunikacijskog procesa. Najvažniji zadatak za dizajnera je da se željena poruka ispravno prenese do ciljne skupine. U tom komunikacijskom procesu izuzetno je važna dosljednost, kontinuitet i efi kasnost, kao i relevantnost u odnosu na ciljnu skupinu i originalnost u odnosu na konkurenciju. Osnovni elementi identiteta svake organizacije su verbalni i vizualni identitet. Knjiga grafi čkih standarda je temelj svakog vizualnog identiteta. Na primjeru vizualnog identiteta Sveučilišta Sjever detaljno će se prikazati svi elementi knjige grafi čkih standarda te važnost njene dosljedne i kontinuirane primjene kroz sve komunikacijske kanale koji su ustanovi na raspolaganju.

KLJUČNE RIJEČI: DIZAJN, KOMUNIKACIJA, VIZUALNI IDENTITET, KNJIGA GRAFIČKIH STANDARDA

Abstract

Design is supposed to be an interdisciplinary work because it combines social, humanistic and technical sciences with creative and artistic components. Th e role of a graphic designer is related not only to an aesthetic experience, but primarily is a part of a communication process. Th e most important designers’ task is to properly communicate to the target group. Consistency, continuity and effi ciency are extremely important throughout that process, as are the relevance to the target group and originality when compared to competition. Basic elements of every organisations identity is verbal and visual identity. Th e graphics standards manual is the foundation to every visual identity. Th e visual identity of University North will serve as an example for all the elements of a graphics standards manual, and also signify the importance of its consistent and continuous use throughout a vast communication channels available to the institution.

KEYWORDS: DESIGN, COMMUNICATION, VISUAL IDENTITY, GRAPHICS STANDARDS MANUAL

Patrik Ervells latest collection is ironically titled “Software”ADIDAS ORIGINALS TUBULAR SHADOW. In the notes from the presentation, Ervell says he was interested in developing tension between nostalgia and sci-fi,NIKE ZOOM WINFLO 3 and even included 90s cyberpunk amongst his influences. Ervell developed this point of view by creating an imaginary software company called Idegen software systems. He then re-appropriated the company’AIR JORDAN XXXI MENs logo in several of the collection’s garments. Elsewhere,MBT TARIKI MEN mohair coats with oversized lapels made an appearance alongside mock neck tees,NIKE AIR JORDAN RETRO 5 police-inspired ribbed sweaters,MBT FORA GTX WOMEN flight bombers, and polyurethane leather coats. The setting was also suitably dystopian, and the resulting ambiance was something akin to if the creators of Deutschland 83 and Hackers met up and decided to create a collection… We mean that as a compliment.Yesterday afternoon,JORDAN CP3 IX MEN artist JR spent the day working on his latest collaborative piece with Daniel Arsham in Greenpoint,NIKE AIR MAX 90 Brooklyn,MBT KIMONDO GTX MEN NYC. Connecting the lines between art, architecture, dance and theater, Daniel Arsham has been known to subvert existing architectural structures in unconventional,NIKE CLASSIC CORTEZ NYLON playful ways; confusing and confounding the expectations of space and form. Source: Street Art News .