Graduation Projects 2011–2012 EN

KLÁRA BALÁZSBARTOSZ BOROWICZ

ALÍZ BORSADANIELA CHROUSTOVÁ

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G4 brozura 2012 EN.indd IG4 brozura 2012 EN.indd I 21.2.2013 16:00:5621.2.2013 16:00:56

Jury meeting on 12/12/12 at 12.12pm

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G4 brozura 2012 EN.indd IIG4 brozura 2012 EN.indd II 21.2.2013 16:01:1721.2.2013 16:01:17

This year’s international Graduation Projects once again showcased 40 winning submissions (20 on graphic design, 20 on industrial design) from graduates of Central European universities. And as in past years, this year’s number of submissions represented an increase compared to last year. The jury, which was composed of Marcel Benčík and Sylvia Jokelová (1977 Association, Slovakia), Czesława Frejlich, Wojtek Kubiena, Jacek Mrowczyk, Mariusz Sobczyński and Kuba Sowiński (2+3D magazine, Poland), Katarzyna Pełka (Cieszyn Castle, Poland), Krisztina Somogyi (Plusminus Visual Intelligence, Hungary) and Filip Blažek, Linda Kudrnovská and Michael Vasku (Typo and Czechdesign, Czech Republic), selected from 357 master’s and bachelor’s projects. This is 80 more submissions than the previous year. In this competition distinctions are not classifi ed and no awards are assigned. Recognition comes in the form of publication in the pages of Typo, Slovakia’s Designum, Polish 2+3D, as well as on the competition’s web page graduationprojects.eu. The winners also take part in exhibitions held in Cieszyn, Prague and Berlin as part of this year’s competition (see p. 43).This year graphic design was represented in 208 works and industrial design 149. Czech students sent in 55 submissions, Poles 236, Slovaks 23 and Hungarians 43. While Poland and Slovakia mainly submitted 2D designs, the Czech Republic and Hungary predominantly focused on the industrial design category. Though these numbers do tell a story, what impresses us most is that the rising number of submissions is matched by increasingly higher standards each year. This was especially clear in the 2D projects. For example, the large number of very good book designs made the jurors’ task of choosing winners extremely diffi cult. To win it was not enough to merely create a well-designed publication or typeface that contains some sort of future potential; instead a winning project had to be elaborated in detail and completely polished, it had to display the designer’s good understanding of graphic traditions and ability to select a subject well. In choosing to use covers of their favourite books or a series of posters to illustrate slogans invented by their supervisor, students missed a chance to show their creative abilities at a very important stage – the concept stage. Professional graphic designers need not, of course, invent what they are commissioned, but they do need to know how to fi nd the design challenge in it and how to construct it. The 3D projects raised even more heated discussions among the jurors. Technical expertise, the ability to work with a potential producer, innovation in solving an important social problem and the presentation of a well-crafted model – which says more about a design than the most beautiful rendering – were all fundamental criteria in the evaluation process. As with graphic design, many fi ne 3D designs did not appear in the fi nal twenty.We would like to thank everyone who participated in this year’s competition and congratulate the winners. We’re looking forward to next year’s graduates! Editors

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G4 brozura 2012 EN.indd 1G4 brozura 2012 EN.indd 1 21.2.2013 15:13:3121.2.2013 15:13:31

The subject of Klára Balázs’ graduation project was the visualisation of sociological research data in a region of Budapest known for its social problems, conducted as part of a larger project fi nanced by the European Union. The project to revitalise eight houses in the Ferencváros district (known as JAT, from the name of the Hungarian poet József Attila) began by gathering information on the inhabitants’ social ties, living conditions, and socio-cultural heritage. The designer’s aim was to catalogue the information and create an online presentation on the restoration of this part of the city in the broadest sense of the term. Conscious of the vital role of clear communication in the whole revitalisation process, she legibly translated the selected data into a visual language. Even before we appreciated the designer’s responsible approach, the aesthetic virtues of the solution caught our eye.

Moholy Nagy University of Art and Design in Budapestwww.balazsklari.hu

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Increasing numbers of people are travelling by bicycle. The designer has noticed that this trend has been accompanied by a rising need for road assistance specially geared toward bicyclists. This could be handled by a mobile bicycle squad that makes emergency service calls. This brought about the TOOLba, a backpack containing tools for any situation. The thoughtful construction and stiff body makes it comfortable even when carried or transported with a full load. The backpack can also be strapped to the bicycle baggage rack like a saddle bag. Rounding off the set is a folding stool, which can also be used as a surface for spreading out tools. The designer has foreseen far-ranging individual adjustments. With just a few moves, the inner tool panels come off and others can be attached – e.g., for camera or fi shing gear, a well stocked fi rst-aid kit or hiking gear for a weekend trip. The interchangeable panels are so simple and inexpensive to produce, everyone can adapt the backpack to their own needs.

Design Department at the Academy of Fine Arts in Warsaw

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After graduating from the University of West Hungary in Sopron, Alíz Borsa did further course work in the Netherlands. Her graduation project is the Leda family of typefaces designed for body copy. The name of the type hails from the LEDA 074886 galaxy which was discovered last year and has a very unusual rectangular shape. Like its namesake, the type has atypical attributes – it combines calligraphic inspiration with geometrical construction. Borsa designed the Broken variant (based on calligraphy, drawing from the tradition of black letters), bold and bold italic. One advantage of the set is its precisely drawn diacritics for Central European languages. In spite of their differences, the family of types gives the impression of a harmonious whole. Inspired by the historical role of initials, the well-constructed serifs and fi nely built kerning speak of a gifted and well-educated designer.

Department of Type and Media at the Royal Academy of Art in The Haguewww.typemedia2012.com/#leda

4 ALÍZ BORSALELEDDA TYA PEFACE CONCEPT


This bachelor thesis aimed to reinterpret traditional textile crafts – bobbin lace, alternative uses of wool and polyester felt and eliminating hand fi nishing work to accelerate and improve manufacturing by using a CO2 laser and breaking down the boundaries between attire and interior design.The project is based on the repetitive character of bobbin lace patterns transferred to perforated structures, and later to prints processed by digital sublimation printing technology.It is a game with variable shapes lined up together like infi nite textile patterns. CO2 laser-cut felt parts are connected to the surface and shaped into forms decorating the body. By connecting the coloured components, a new clothing architecture is created that is capable of multiple variations, including small accessories such as collars, brooches, wristbands, belts etc. Large swathes can be used in interior design as curtains, carpets or pillows. This bachelor thesis brings an endless number of additional options and inspirations that are required from contemporary design.

Department of Textile Engineering at the Technical University of Liberec

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Institute of Applied Art at the University of West Hungary in Sopron

Inspired by the Z-Series product, the sports and recreational design for these sleds aims to stress the importance of active recreation and encourage people to take part. The idea for the construction arose from accepted sled shock-absorbing techniques and attempts to minimise the mass of the sled, creating a light and elegant structure. The sleds are specially adapted for use in a supine riding position, though the sitting position is also possible. Five sizes are planned for sledders of various heights and weights. The dimensions are important not only for riding comfort, but also because turning is only possible when using the foot brake and by changing the user’s centre of gravity. The jury gave high marks to the design from a formal perspective, in light of the use of bentwood.

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Department of Industrial Design at the Academy of Fine Arts in Krakow

Young people 15–18 years of age spend most of their time behind their desks at school. Fatigued from many hours of stationary work, they require a change. To help them there is Rocker, which allows the user to adopt two positions – high and low. The fi rst is similar to riding in a saddle, a position arrived at after ergonomic research on what helps sitters to maintain the natural curve of the spine. In the second position, when you lean forward, it facilitates a free rocking movement, and when you lean even more, the movement becomes an exercise. The seat is made of two symmetrical components made of expanded polystyrene, and covered with a material using Line-x technology. This makes Rocker light and safe, and inexpensive to produce. The compact dimensions also make it suitable for small interiors.

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The Podlasie Octave of Cultures, a festival that has been organised for the past several years in Białystok, is devoted to the somewhat diverse cultural societies living alongside one another in Eastern Poland: Polish, Belarusian, Ukrainian, Russian, Lithuanian, Tartar, Jewish and Romani. The concerts, exhibitions and theatre productions in the program take place not only in the region’s capital, but also in many of the surrounding towns. The designer has displayed these places in a newly designed visual identifi cation. At the same time, alongside the normal components of this sort of design, he has made a mini-guide to the most interesting sites in the region, some of which are displayed in simplifi ed vector illustrations. The symbol of the festival itself, which makes subtle reference to matryoshka dolls, has been expanded with a system of icons representing all eight nationalities. Event posters promoting a sample festival are the most interesting and, oddly enough, most discreetly presented part of the work in the submission. The designer has boldly combined images characteristic of the Białystok region with contemporary vector illustrations that recall operating instructions or an assembly layout. Each poster has eight parts representing the eight cultures that form the region’s identity.

Department of Graphic Arts at the Academy of Fine Arts in Krakow

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Department of Design at the Academy of Fine Arts in Katowiceissuu.com/musliki

(67,3 g)

(0,7 g)cukry

(7,1 g)białko

(0,4 g)(0 g)tłuszcze

trans(8,7 g)

błonnik

(0,5 g)

(0,7 g)

węglowodany złożone (w tym skrobia 67 g)

WARTOŚĆ ODŻYWCZA:wyrażona w przeliczeniu na 100 gram produktu

bogaty w minerały: fosfor 1276mg miedź 0,95mg cynk 8,85mg żelazo 14,9 mg

magnez 490 mg potas1121mg

WAGA NETTO: 150 g

wskazane dzienne spożyciew gramach dla diety 2000 kcal0g

wartość energetyczna: 268 kcal (1113 kJ)

Otręby pszenno-żytnie

SKŁADNIKI: otręby pszenne (70%) + otręby żytnie (30%)

sól: 0,0091 g (zalecane spożycie 6 g)

kwasy tłuszczowenasycone

kwasy tłuszczowejednonienasycone

kwasy tłuszczowewielonienasycone

100 g = ×10

ilość składnika na100 gram produktu

ZAWIERA:

SOJĘ MLEKO ORZECHY

= 26,8 kcal WAGA NETTO: 100 g

SEZAM ORZESZKIZIEMNE

GORCZYCA

Healthy Food Production S.A.ul.Ryżowa 1, Bielany Wrocławskie55-040 Kobierzyce, POLSKA

Przechowywać w suchym i chłodnym miejscu

NAJLEPIEJ SPOŻYĆ PRZED: 12.10.2012

kraj pochodzenia: GRECJA

In 2016 a new EU law will come into force that requires all grocery items bear a list of ingredients on the packaging; how this data will be visualised remains an open question, however. Grabowska has created a new uniform system for such information based on a bar diagram that spreads out in rays. It presents the nutritional content of the product’s various ingredients (fat, carbohydrates, protein, etc.) in relation to daily requirements. The black bars indicate the amount of the ingredients in a 100-gram portion of the given food item. The recommended daily intake is marked by dashed lines. The consistent, ray-like layout of the bars was not coincidental: it took up the least amount of room in the very limited space usually designated for such charts and lists. The designer has also presented apps for mobile devices that will allow consumers to select products and monitor the nutritional value of the meals they prepare.

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spożywajac 100 gram

tego produktu pokryjemy

ok. połowe dziennego

zapotrzebowania na cukry

aby pokryć dzienne

zapotrzebowanie na

kwasy tluszczowe

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spożyć 400 gram

tego produktu

nazwa składnika

odżywczego

niska zawartość

kwasów tłuszczowych

wielonienasyconych

spożywajac 100 gram tego produktu

przekroczymy zapotrzebowanie na

kwasy tłuszczowe nasycone

100 gram

(0g)

(13 g)

(49,6 g)cukry

(5,3 g)

(22 g)(1,3 g)(1,4 g)

(8,4 g)

(1,2 g)

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DESIGN FOR FOOD PRODUCTS.UCTGRECRECJAJA

VISUAL INFORMATION SYSTEMInformacja ile substancji odżywczych dostarczył

szpinak, wraz z oznaczeniem go na wykresie.

Podgląd, których składników

odżywczych jest za duzo i o ile.

Wykres po dodaniu sera i informacja o produkcie

informacje dodatkowe:

edukacja, analiza diety

cukry

magnez

60 kcal:

cukry

szpinak

ZJEDZ:

serszpinak

pomidor

orzechy

kotletysojowe

kwasy tluszczowenasycone

260 kcal:sód

cukry

SER


Richard Jaroš has dealt with the subject of the visualization of data, and its history and use in the media. He has traced its historical development, taking into account the issues of political correctness and ethics. He researches overuse and manipulations that arise from suggesting incorrect interpretations of data, and the consequences of this. The designer has also decided to tackle contemporary social problems concerning the Internet, freedom of expression, and access to information. He is interested in the crisis of journalism, the monopolization of the media, and its impact on public opinion, as well as the increasingly raised postulates of information censorship on the Internet under the pretext of copyright protection, the fi ght against child pornography, terrorism etc. Jaroš has gathered a great deal of data which he has visualized and presented in the form of large-scale installations and samizdat, which become independent, alternative sources of information. To facilitate and hasten the multiplication of materials, which was a priority for the designer, he used no colours. These he replaced with monochromatic designs, which remain legible even when photocopied multiple times. The jury appreciated both the subject and the execution of the work. The visualization of data is an underdeveloped specialisation in Central European countries, making Richard Jaroš’ contribution to the fi eld all the more valuable.

Department of Multimedia Communications at the Tomáš Baťa University in Zlín

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Kassai focused on a purely practical problem: fi nding optimal solutions to ensure ideal parameters for a forklift, including safety, lifting height and maneuverability. To achieve this aim he sought out new materials, such as the use of layered materials for building the roof to increase safety. The construction of the forklift was simplifi ed down to just three parts: the cabin, the frame and the counterbalance. By exchanging the pedals and steering wheel with two joysticks, the cabin provides better visibility and more freedom of movement for the operator. A more ergonomic control panel has also been designed. The work reveals the designer’s fascination for mechanics and his treatment of design as a tool to improve everyday living and working conditions.


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Using broken down PET bottles and colour caps, the designer created tiles that featured good construction properties and were moisture resistant, mechanically easy to process and suitable for further processing. The designer has carried out a series of tests that investigated the effects of temperature, melting time and chemical composition on the tiles’ technical and aesthetic properties. This inexpensive material looks surprisingly refi ned, while the technology allows for many colour variations. The resulting material was used to make bench and seat designs. Given the time and effort devoted to developing the new material, the simple form of the furniture suggests that it has been treated more as a presentation of the capabilities than as fi nished solutions. It seems that the potential of this effective and practical material will provide the designer with opportunities for more fruitful design work and may turn out to be a “way of life” in these economically hard times.

Department of Interior Design and Design at the Academy of Fine Arts in Wrocław

12 KATARZYNA KĘDZIORRE-DESIGN. A FURNITURE SET MADE

OF WASTE MATEWW RIALS


3,100 is a design for a luxury compact home vacuum cleaner. The design combines traditional and upright vacuums, and its innovation lies in the user being able to adjust the Hoover to work in three positions: it pulls along the fl oor, can be picked up and moved like a suitcase and has a pull-out handle; it can also be shifted upright to quickly clean a selected spot. This eliminates inconveniences involved in current Hoovers, such as carrying, storage, cleaning staircases and more. The equipment can be used without pulling out and assembling all the components, which are concealed in a special compartment under a fl ap in the body. The intuitive touch control panel is another innovation. When folded up, 3,100 takes up little room and is easy to store. The compact, elongated shape is refi ned enough to earn a place in an elegant interior, especially since the interchangeable covers let the user match it to the decor.


13SABINA KNAPCZYKCOMPACT VACUUM CLEANER 3,100


Department of Graphics at the Academy of Arts, Architecture and Design in Prague

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14

B4, whose visual identifi cation is the subject of Erika Knoppová’s graduation project, combines music and theatre (its members are also active in the Buchty a loutky theatre). The musicians of B4 experiment in a recording studio, creating their own instruments. This visual identifi cation design ties in to the masks the musicians often wear during their concerts or performances. The design also includes a book with a full series of texts and a CD (the cheaper version of the CD has a cardboard package), printed T-shirts and a portable stand with gadgets to use at festivals and large music events. Erika Knoppova’s work stands out with its use of recycled materials, breaking with the stereotypical image of a rock band.

ERIKA KNOPPOVÁof a rock band.of a rock ban

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Department of Visual Communication at the Academy of Fine Arts and Design in Bratislava

15

The subject of Juraj Kočár’s graduation project was to design a visual identifi cation system – or rather a graphic self-identifi cation system – which the designer sees as an investment for the future. His work was remarkably systematic and went according to a strictly defi ned plan. For over a month and a half, three times a day, at regular hours and for a strictly defi ned period of time, he collected visual materials that were linked to the initials JPK – Juraj Peter Kočár. He amassed many graphic symbols, photographs and illustrations, complementing them with a collection of his own sketches and designs. At the same time he sought the best methods of organising and presenting the material, which he ultimately gathered in two books of his own design. The fi rst precisely documents the design process, which can be traced in the chronological order from 7 March till 23 April. The second is a picture dictionary modelled on a dictionary of the Slovak language. Each page contains three visualisations of the initials J, P and K. The books are a kind of “tool kit” for creating your own identifi cation. Even if the designer wanted to change his logo every three days, the designs from the books would keep him going until his hundredth birthday.

JURAJ KOČÁRJPK VISUALL IDDENTIFICATION


Department of Multimedia Communications at the Tomáš Baťa University in Zlínissuu.com/absurdo.tomas/docs/knihaaha

The AHA project is meant to call attention to the virtues and traditions of Slovak ornamentation (the designer studied in the Czech Republic, but is Slovak himself), in particular folk embroidery, shown in a “timeless” pairing with contemporary trends in graphic design. AHA aims to spread knowledge of Slovak embroidery, to show its artistic value and diversity. The main part of the project is a book composed of eight chapters, with each devoted to patterns from a separate region and differing in terms of colour scheme, choice of graphic components and typography. All present ornaments and song lyrics characteristic of the region. The hand stitching of the book and use of various kinds of paper (including gold and silver) tie in with the handicrafts and correspond well with the vector graphics and digital print. The project is rounded off with shirts featuring selected ornaments. This year’s review included a few designs alluding to folk motifs. This way Tomáš Kompaník showed the beauty of Slovak embroidery and its potential in contemporary art and design, and made his work seem to us the most interesting of the bunch.

16 TOMÁÁŠŠ KOMPANÍKKOOOOOOOOOOOOOOOOOOMMMMMMMMMMMMMMMMMMMPPPPPPPPPPANNNNNÍKAHA PROJECT: USING SLOVAK FOLK ART

IN GRAPHIC DESIGN


Department of Design at the Academy of Fine Arts in Katowicewww.behance.net/gallery/Data-visualisation-tool-prototype-of-iPad-app/4029481

Jacek Malinowski’s graduation project is one of a few practical designs submitted to the review that uses the new capabilities of the iPad interface. This working prototype visualises the proportion of expenditures in the performance-based part of the state budget with a more detailed division. Inspired by the diagrams of Scottish engineer William Playfair, the designer has presented the data in the form of circles set on an axis. The system allows the user to gain a full visualisation of the budget and compare, sort, fi lter and search selected items. The diagrams can be enlarged and data and selected sets exported. Easy access to information at the deeper levels of the budget is a clear virtue of the design. However, various components of the budget are marked with stylistically disparate, overlapping pictograms, which is somewhat of a fl aw. When the iPad is held vertically, though, these icons are replaced with the full names of the tasks. The jurors greatly appreciated the subject matter – the creation of a tool that allows us to see into the secrets of the state budget, generally hidden behind long rows of numbers itemised in unreadable charts.

obsługa interfejsu – gesty

przesuwanie slajdów pozycja horyzontalna(widoczny cały interfejs)

„tap” – zaznaczenie indykatora (przycisku)

przybliżanie (zoom in) oddalanie (zoom out) pozycja pionowa (widoczne wszystkie opisy grup)

17JACEK MALINOWunreunreSKIeadableeadable

VISUALIZATION OF THE POLISH BUDGET –AN IPAD APP PROTOTYPE DESIGN


The ILU project presents a collection of home crystal light fi xtures comprising fl oor and table lamps, wall lamps, and ceiling lights. The project was made possible thanks to Preciosa, a Bohemian crystal chandelier producer that provided access to the manufacturing process for small-series production. The light collection combines the benefi t of a practical object with the optical, material and aesthetic potential of glass. Her selection of an asymmetrical shape, a dominant motif throughout the collection, is a step towards a less explored area of the glass production process. The aim of the project was to create a special type of light fi xture featuring a fresh asymmetrical shape, unusual method of formation and structure, and emphasis traditional, high-quality craftsmanship. The unusual approach to the design has at least in part brought new options to current glass-working methods and the production of new types of crystal lighting.

Department of Design at the Academy of Arts, Architecture and Design in Prague

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The designer of this bathtub for seniors has extended the traditional form, introducing four integral components with very intuitive functions: the step and the seat offer a safe way to get in and out of the bathtub, the elbow rests make it easier for the bather to raise their body, and the high backrest encourages the bather to adopt an optimal position and increases their sense of safety. The upper part of the bathtub ensures there is an adequate amount of space for hand movement and the lower part, from the hips to the feet, has been intentionally minimized. There is a drain-overfl ow system with an automatic plug that is lifted using a dial mount near the overfl ow. The design is to be produced using quick, inexpensive acrylic thermoforming, a method that ensures a faithful replication of the shape and the required level of thermal insulation.


19OLGA MATRASBATHTUB FOR SENIORS


Design Department at the Academy of Fine Arts in Warsawwww.agnieszkamazur.com.pl

Coffee or breakfast? For some it makes little difference. For the designer of the takka set, however, it does matter what and in what position we eat. The height of the round table she designed can be regulated, allowing it to serve as an “ordinary” table or coffee table. Its relatively modest diameter (60 cm) means that it has space for two dinner settings or three coffee settings. This is the number of users for whom the designer has planned chairs – stools with round seats similar to the tabletop. The sharp contrast between the white tops and the wooden construction of the bases emphasizes the furniture’s natural grain and refi ned expression. The screw mechanism that stops the tabletop at the desired height is operated with a simple T-shaped handle painted red to contrast with the other parts of the table.

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The times have passed when designing postage stamps was a valued and lucrative branch of design. The role of the post offi ce in society’s system of communication is losing signifi cance alongside the development of computer technology. Regardless of these changes, Boglárka Nádi decided to put this small scrap of paper “under the magnifying glass” and design stamps for the Hungarian Post. She has successfully managed to translate seven Hungarian folk tales into a series of stamps, devoting a souvenir sheet with four different denominations to each. Nádi has also designed special collectors’ items – envelopes, postmarks and more. The graphics allude to folk handicrafts. Despite the fl oral decor in the background and around the edges, the visual language remains simple and clear. The majority of stamps are printed in two-colour versions. The design was appreciated for its consistent application of graphic components and subtle and synthetic visualisation, testifying to historical knowledge and references to inter-war design culture and calling attention to a neglected fi eld of graphic design.

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Kateřina Orlíkova’s project addresses problems in archiving art and design events, the historical analysis of materials and methods of organising data. The practical part of the project attempts to capture physical space in online photographs. The designer collected 10,000 photographs of her hometown of Chotěboř, a Czech town with around 10,000 inhabitants. She catalogued the photographs according to two criteria, colour and subject matter (e.g. architecture, food, dance, animals), and presented them on large-format (228 × 170 cm) and pocketbook format (12.5 × 17 cm) prints. A magnifying glass is appended to the design to encourage the viewer to discover new places. Chotěboř 10,000 is an original attempt to show a large quantity of visual material available on the Internet in a way that is interesting to the general public.

22 KATEŘINA ORLÍKOVÁCHOTĚBOCCHHOOTĚĚBBOOŘŘŘ 10 000 1100,,000000


Moholy-Nagy University of Art and Design in Budapest

Buddy, Woody and Twiggy come from the same family and, as often happens in families, they share some qualities, while others are all their own. It is not by chance that Woody was given the name of the eccentric fi lmmaker. Twiggy is slender and long-legged like the famous British supermodel. Buddy is good company, whatever the circumstances. All three make up an intriguing family of lamps whose remote ancestors might have been bundles of fi rewood. The idea of fi re as a light source may seem archaic, but the formal solution is new. The three lamps of various heights can be situated in various places – hung on a shelf or on door handles, set on a table or even used outside the house. The lighting effects vary according to the capacity of the energy source, increasing the usefulness of the set. This work is an example of the skilful combination of practicality, simplicity and wit.

23AISPANNI PALIGHTME LAMP FAP MILY


In making the Dolce Vita collection, the designer went back to her childhood and holidays spent with her grandmother in a village. The handle of a scythe, a barn, or a fence inspired her to create her furniture. The set includes an armchair, commode, hanger, lamp, and a mirror. Some rough and anonymous fi nds transported from the village – raw wood, branches, and weaves – were used as a “basis” for building new forms. They are not solely for decor – their use arises from functional needs, but they also supply tactile and visual impressions. For instance, the seemingly awkward front of the commode, made of rough wooden boards, helps you pull out the drawers. The designer understands village life, where the harshest circumstances force people to think practically and to favour functional solutions over aesthetic ones. In this furniture collection she also managed to insert a great deal of emotion.

Department of Design at the Academy of Fine Arts and Design in Bratislava

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Moholy-Nagy University of Art and Design in Budapest

Eco Idea is a game based on the premises of sustainable development. It explains the ideas of ecological balance and signals the issue through the form of the product itself. A maximum of six people can play at once. They are meant to “weigh” the product by placing coloured pawns on the playing fi eld according to the descriptions provided on specially designed cards. The players’ task is to put the largest possible number of pawns on the board so that the semicircular base of the board becomes balanced. We appreciate the game for its educational virtues and for popularizing the notion of sustainable development.

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The modular interior system represents a perfect combination of originality, functionality and beauty. The basic idea was to design a module that could serve as a table or ottoman, or be multiplied to form a shelving system. The designer found the perfect curve in Rococo and then adjusted it according to the symmetrical shape of Renaissance characters. There are notches in the tops of the modules into which another module simply slides, thus preventing the sides from moving. There were two complementary modules added to system, a simple drawer and a shelf. During the design process Lucia Plevová created two options, each one using differing materials, processing technology and subtle changes of form. The fi rst option would have produced a series made using polypropylene plastic injection technology. The second luxurious wood version was created using steam bending technology on beech wood. By combining all aspects of the work, the designer created furniture which initially appears historical and natural, yet the simple design makes it suitable for modern interiors.


26 LUCIA PLEVOVÁROCAISENSE – VARIABLE MODULAR

INTERIOR SYSTEMssNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTEEEEEERRRRIIIOOOORRR SSSYYSSTTEEEEMM


“In times when everyday items are mass-produced, I feel a need to fi nd a way back to customising and individualising them,” says Pavla Podsedníková. She realized that the boot structure commonly used was not an option, so she cast her own feet and based on these casts created a new shoe custom-made to her own proportions. With this fi rst step an idea surfaced – new technology has made it possible for anyone to have their feet digitized in 3D and perfect-fi tting shoes made for them. It would not be a problem to change the design of the shoes (there could be even an online catalogue of designs) and then manufacture them exactly to the given proportions. Since new technologies (3D printing, ABS vacuum shaping, carbon fi bre lamination) were used, a new design solution for each pair had to be developed. The designer has created a shell-like shape which feels like the shoe is an organic extension of the feet (Vacuum step 1, Vacuum step 2). The second series (Walking carbon) is kind of a “shoe skeleton” that holds the feet only at the necessary pressure points. Another concept is Vacuum step 3, which uses the upper as an exchangeable component, so it can be worn as pumps or Wellingtons. The ultimate models are Footprint 5, which combines a 3D print with classic shoe construction, and fi nally Footprint 6, which is completely printed on a 3D printer and demonstrates that in the future, shape will not have to be subordinate to function.

Department of Fashion and Shoe Design at the Academy of Arts, Architecture and Design in Prague

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The designer decided to expose what is most often concealed in upholstered furniture, the springs. She uses them in simple links to create “developing” structures inspired by chemical molecules, fullerenes, which owe their name to Richard Buckminster Fuller – hence the title of the project. The designer wrapped the parts of the armchair and footstool that come in contact with the user’s body in strips of orange velour, making sitting very comfortable, while the screens are of woven multicoloured tulle, which is both functional and attractive. The placement of the legs and above all the open-work construction enhance the impression of lightness. This open-work quality implies two more attributes of this solution which the user can subjectively rate as pros or cons. The fi rst is brilliant ventilation, the other is the high “resistance” of the seat’s surface to all sorts of soiling, spills and crumbs.

Department of Architecture and Design at the University of Arts in Poznań

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Design Department at the Academy of Fine Arts in Warsaw

Straw is used in farming, construction and even for the production of bio-fuels. Apart from these practical applications, there are less utilitarian uses – straw is also used in various decorative crafts such as Christmas-tree ornaments. This project, simple straw seats designed for use in public spaces, is somewhere between the practical and the aesthetic. Two cube-shaped modules can function separately, like tables of various sizes. The uniform wave of the surfaces allows them to be securely placed on top of one another and when turned over, the smaller module can be used to lean against. The oval openings in the sides make the modules easy to move. The proposed binder, urea glue, allows the six-sided modules to be burned or composted after a season’s use. It seems that the designer’s solutions, in terms of the material, shape, binding and natural usage of this short-lived (seasonal) product are meant to bring the user closer to nature.

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AVAILABLE INDUSTRIAL AND FARM WASTE


Department of Graphic Arts at the Academy of Fine Arts in Warsaw

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This project sparked a lively discussion among the jury on the subject of convention in wine label design. The votes to break with tradition, as is visible in the South American wine market, for example, came out on top. The point of departure in the design of labels and posters promoting a Polish brand of wine from the Kazimierz Dolny region was the stylistic inspiration of folk kilims and wicker products. The visually attractive motifs that resulted are built both from abstract and fi gurative elements. The entire surface is silkscreened with gold paint. This departure from the standard (photographic or graphic) realistic image of bottles and glasses on the advertising posters was a fi ne decision under the circumstances. The designer emphasises, “To discover the assets of this remarkable drink, a photographic reproduction or fl eeting contact (with a poster) are not enough. With wine you have to sit down, think a bit, come closer and taste.”

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Department of Arts at the Technical University in Košice

This rest and relaxation set – a chair and footstool with added accessories – was made as a proposal for the TON furniture producer. The design process included an analysis of the economic and technological conditions, and the history and mandate of the company. The designer managed to take these factors into account in the resulting prototype, without sacrifi cing visual appeal. The furniture’s visually distinguishing feature is the easily interchangeable upholstery pieces. After their removal, the footstool can serve as a coffee table, and the furniture can be used outdoors. Here, changeability does not come at the expense of comfort and functionality (as is often the case). As the prototype has confi rmed, the designer took full advantage of the capabilities and attributes of the company, while simultaneously developing a visually clear and innovative form.

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The work of Magdalena Rogier is shown in a book featuring several infographic instruction designs which all qualifi ed for the fi nal round. We chose it because it struck us as the most complete, multifaceted and transparent design which considered the signifi cance of the problem, the manner of publication and the target group of readers. There was a general sense of this being a ready publication which we, as designers, would like to have in our collections. The book’s form does not seduce at fi rst sight. It was designed as an extremely functional publication, facilitating an understanding of the various activities in each of the four sets of bookbinding instructions it presents. The “active” elements of the illustrated activity, marked in red, are supplemented by a brief description and icons of the tools needed to carry these out. Although this is “merely” a BA project, we might hold it up as a model of a clear, understated response to an aptly formulated design problem – which is, in this case, educational.

Department of Design at the Academy of Fine Arts in Katowice

32 MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMAGDALENA R GIEOG RA BOOK ON BOOKS – SELECTED BOOCTE KBINDING

INSTRUCTIONS


Department of Visual Communication at the Academy of Fine Arts and Design in Bratislavawww.noveucebnice.sk

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FOR ELEMENTARY SSCHOOLS

Both the content and appearance of Slovak textbooks has remained at a very low standard for a long time. The situation has seen no improvement for decades – on the contrary, it is worsening and has now reached alarming proportions. This worried Martina Rozinajová. Her graduation project shows that a primary school textbook can be attractive and laid out entirely differently. The designer has set the task of not only redesigning the layout, but also changing the very structure of a visual art textbook. She has also decided to motivate pupils to study and be creative and has used all the graphic resources at her disposal. She has used paper of different kinds and colours, made her own illustrations and designed the title typeface. She has also left the child a great deal of room for individual interpretation and interaction with the book. Each spread introduces a new challenge. A new website devoted to textbooks and textbook design has also been launched to serve as a platform for further activities.


Department of Visual Communication at the Academy of Fine Arts and Design in Bratislava

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Vojtech Ruman’s enthusiasm for the history of Bratislava, especially the lettering used in urban areas in the early 20th century, was decisive in his choice of topic. The practical aim of the design was to create a display font inspired by hand-painted street signs immortalised in old photographs. The result of his work is the Pressburger typeface (alluding to the city’s old German name). It has a range of alternate characters for almost every letter, giving it a wide range of uses and making layout work more enjoyable. The alternate typeface characters “represent” anonymous sign makes and symbolically link to today’s diverse city. The design can be infi nitely extended. This open system allows for the concept to be developed and provides it with a timeless nature. The typeface has enormous potential for application in complex system designs, and in the future could become a part of the Slovak capital’s dynamic visual identifi cation.


Department of Design at the Academy of Fine Arts and Design in Bratislavawww.allt.sk/

Three objects make up a furniture collection with powerful metaphorical signifi cance. Depending on their mood and individual experience users can interpret the meaning and function of the objects in different ways. The designer has built the collection on archetypal images, to evoke a sense of ambiguous meaning. An objective description of the objects is impossible, because their comprehension is always a question of individual interpretation. One example is the couch, which is the most expressive and evokes the most powerful – and sometimes confl icting – emotions. Its form can be just as well associated with a coffi n as with a roofed hut, affording shelter and intimacy. The other two objects are equally ambiguous. The designer’s work should leave no one feeling indifferent – as he elevates functional objects to the realm of art.

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The visualisation of new media data and experience is of increasing signifi cance in education. Krisztina Szűcs’ graduation project, a touch screen app for the Nyugat literary journal, was made in collaboration with the Sándor Petőfi Museum of Literature. Nyugat (Hungarian for “west”) gained an importance in the fi rst half of the 20th century that has never diminished. It has brought together numerous generations of the fi nest Hungarian writers. In many cases, however, much remains unknown about their private and social lives, the information they exchanged, where they met and resided. The designer has focused on visualising data available about famous people and places – for instance, she links the cafés where they met to their names. The result is a colourful network of possible ties and contacts that could serve researchers and at a glance demonstrates the wealth of literary contacts available during the period.

Moholy Nagy University of Art and Design in Budapestvimeo.com/krisztinaszucs/nyugat

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In dressmaking, concealing and revealing often express the art of seduction. Although dresses increasingly revealed the female body in 20th-century Western fashion, in Oriental cultures the body is still concealed under fabric. The designer of this collection of dresses plays a kind of game, drawing from both cultures: she plays with fabric and composition, focusing primarily on the face. Sometimes she conceals the woman’s shape under “strong” forms, while at other times she uses fabric to emphasize the natural beauty of the body. She combines different kinds of fabrics to give the clothing a new quality. Using a limited colour palette – mainly black, gray, and white – she exposes the structure of the fabrics and the characteristic attributes of formal collections.

Department of Fashion and Textile at the Moholy-Nagy University of Art and Design in Budapest

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Department of Design at the Academy of Fine Arts in Katowicealeksandratwardokes.blogspot.com/p/blog-page9391.html

Man in the Culture of Writing caught our eye with its utterly innovative design which Twardokęs created as a whole, beginning with the actual content and fi nishing with the choice of paper. The publication is designed for people seeking basic information about writing. The book has a deliberate construction. The fi rst part, which the designer has generously illustrated with photographs in various formats and scales, infographics and more, is devoted to the history of writing. The wide margins in this part are used for a navigation system facilitating orientation among the numerous engravings. Part Two is critical, addressing socio-psychological issues linked to writing. Fewer illustrations are provided here and the photographs are presented in shades of gray. The book’s format is 175 × 250 mm. The main text was set in Calluna Regular, while the footnotes and navigation helpers are in Calluna Sans.

38 ALEKSANDRA TWARDOKĘSA DESIGN FOR A POPULAR SCIENCE BOOK

CONCERNING WRITING AND ITS ROLE IN CULTURE


The media places high demands on women in terms of their appearance, abilities and behaviour. Anna Ulahelová has analyzed many websites, magazines and advertisements on the subject and on their basis has created a list of attributes every woman is expected to have. The aim of the work was to establish the degree to which women fulfi l the media’s expectations. The designer began by assessing herself in this respect, creating lists of expectations and the discrepancies in her appearance, home, culinary abilities, fashion sense, sex and relationships with friends. The result of this research was Error 404: Anka cannot be displayed. An interactive list of “errors” was placed on the Internet. Any woman can compare herself with Anka and see which media expectations she fulfi ls. Anyone patient enough to go through the 404 questions gets test results in the form of a diagram and a set of numbers. All the responses are supplied with links to a web page that tell you how to solve a problem. The layout and typography have been optimised for the capabilities provided by web sites. The project turns our attention to the problem of how ideals and images of femininity are created and the mechanisms in the media that create stereotypes.

Department of Visual Communication at the Academy of Fine Arts and Design in Bratislavawww.ankazena.eu

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Unable to wait for a museum of Polish industrial design, Piotr Wiśniewski has developed his own virtual version. This website presents the history of product design in Poland divided into six periods, from the very beginnings until the present day, and into seven theme-based categories: lighting, household appliances, furniture, glass and ceramics, radio and television equipment, transportation and accessories. The slogan of the Virtual Museum, “Learn about Design – 100%”, is carried out by showing the historical context of the designs and the use of multimedia (fi lms, 3D animation, construction schemes). “Tour paths” are planned independent of the site’s basic structure. The site is integrated with the Internet Library of Industrial Design and the Polish Designers’ Dictionary (IWP). The intention is for the site to be built up by users in collaboration with specialists who will verify the added information. The site’s graphic design itself is based on a module network which was also used in the logo.

Department of Industrial Design at the Academy of Fine Arts in Krakowwww.youtube.com/watch?vDExFWxURbcA

40 PIOTR WIŚNIEWSKIDESIGN FOR A VIRTUAL MUSEUMOF POLISH INOOF POLISH INDUDDUUSTRIALSSTRIAALLL DDDESIE GN


Department of Arts at the Maria Curie-Skłodowska University in Lublin

This graduation project is an interactive educational app available online. The designer has attempted to familiarise viewers with the multifaceted history of the January Uprising in an accessible and graphically interesting manner. An apt choice of technology shows that familiar inventions like the computer and Internet can aid school education in a much more interesting fashion than a banal PowerPoint presentation. The designer has grouped the most interesting facts tied to the uprising. At every stage he has also brought the contents together in three instalments using the “cause-course-event” model. The whole app is therefore made of nine interactive streams (the interactivity facilitated the further development of various subjects). The graphic design of the project is based on press typography and layouts from the latter half of the 19th century, which explains the use of the massive, serif job print typefaces. The illustrations appear like rough woodcuts, with the texture of the diagonal lines imitating its rhythmic hatching. The design will not replace the contents of textbooks, but thanks in part to the structure and the visually interesting data, it allows the viewer to assemble their knowledge and understand the course of an event as complex as the January Uprising.

41KKAAMIL ZMIL ZAANIENN WSKIJANUARY UPRISING 1863: AN INTERACTIVE

EDUCEDUCAATIONALTIONAL AAPPPP



GRA

DU

ATIO

N20

11–2

YN1 feb – 3 mar 2013

PRAHA13 mar – 13 m

BERLIN6 jun – 9 jun 2013j j

BUDAPEST10 aug – 10 sep 2013g p

EXHIBITIONS

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This catalogue has been published with the assistance of the International Visegrad Fund. www.visegradfund.org

G4 – 6th Central European Review of DesignGraduation Projects 2011–2012

editors Marcel Benčík, Filip Blažek, Zsolt Czakó, Czesława Frejlich, Jakub Gołębiewski, Krzysztof Hamiga, Jacek Mrowczyk, Linda Kudrnovská, Maciej Pawłowski, Mariusz Sobczyński, Krisztina Somogyi, Kuba Sowińskienglish translations Søren Gaugerproofreaders Elizabeth Spacilova, Susan Orsatoreview curator Wojtek Kubienaexhibition curator Anna Zabdyrskadesign Filip Blažek typefaces Pressburger by Vojtech Ruman & Plantin

© TYPO, o. s. 2013


The catalogue is featured as a supplement to Typo #50.

G4 brozura 2012 EN.indd IVG4 brozura 2012 EN.indd IV 21.2.2013 16:01:1821.2.2013 16:01:18

Graduation Projects 2011–2012 EN

Documents