http://www.aljaz-vindis.info Aljaž Vindiš Sun, 13 May 2012 23:06:18 +0000 http://www.aljaz-vindis.info en http://www.aljaz-vindis.info/In-brief-Tribuna-Way-of-the-Cross-to-eternity http://www.aljaz-vindis.info/following/aljaz-vindis.info/In-brief-Tribuna-Way-of-the-Cross-to-eternity Sun, 13 May 2012 23:06:18 +0000 Aljaž Vindiš 3391952 Image of the project<img src="http://payload54.cargocollective.com/1/3/110446/3391952/Aljaz-Vindis-Tribuna-Way-of-the-Cross-to-eternity-1.jpeg" width="600" height="857" width_o="600" height_o="857" src_o="http://payload54.cargocollective.com/1/3/110446/3391952/Aljaz-Vindis-Tribuna-Way-of-the-Cross-to-eternity-1_o.jpeg" data-mid="17453943" border="0" align="left"/><img src="http://payload54.cargocollective.com/1/3/110446/3391952/Aljaz-Vindis-Tribuna-Way-of-the-Cross-to-eternity-3.jpeg" width="600" height="430" width_o="600" height_o="430" src_o="http://payload54.cargocollective.com/1/3/110446/3391952/Aljaz-Vindis-Tribuna-Way-of-the-Cross-to-eternity-3_o.jpeg" data-mid="17470387" border="0" align="left"/>The spread with the integrated illustration. Digital vector drawing and typographic composition, 420 × 600mm.About the projectIn her article "Way of the Cross to eternity", published in February 2011 issue of Tribuna, Katja Šircelj deconstructs in her typical direct fashion the perception of woman in modern western society. Western traditions and stereotypes share a strong origin in Christian teachings, one can trace back to Middle Ages and their origins in the Roman empire. Just how hard it is to get rid of them and how detrimental they are to the position of women in the society, has been translated into illustration in language just as direct, as Katjas' words are.The project is licensed under BY-NC-ND. As is encouraged with the open license of the project, you can download the full resolution image for personal re-use. The image is saved in full-size, 150dpi, CMYK, JPEG file:Download the full resolution image in ZIP, 6.7 MB http://www.aljaz-vindis.info/Synagogue-Maribor http://www.aljaz-vindis.info/following/aljaz-vindis.info/Synagogue-Maribor Tue, 20 Mar 2012 22:47:46 +0000 Aljaž Vindiš 2543976 Images of the project<img src="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-1.jpeg" width="500" height="400" width_o="500" height_o="400" src_o="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-1_o.jpeg" data-mid="16562437" border="0" align="left"/>The basic logotype, supperimposing the Slovene and Hebrew word "Synagogue", in latin and hebrew script.<img src="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-2.jpeg" width="500" height="500" width_o="500" height_o="500" src_o="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-2_o.jpeg" data-mid="16562439" border="0" align="left"/>Logotype, with the added long title of the institution, in Slovene and Hebrew.<img src="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-3.jpeg" width="500" height="626" width_o="500" height_o="626" src_o="http://payload12.cargocollective.com/1/3/110446/2543976/Aljaz-Vindis-Synagogue-Maribor-3_o.jpeg" data-mid="16562440" border="0" align="left"/>Application of the logotype and typographic system to the printed matter of the synagogue.What their motives wereThe history of jews in Europe is long and rich, however many of their religious simbols carry the burden of history, with bitter connotations and memories. So how do you represent a center for jewish cultural heritage, with several hundred years of history, intertwined with the city of Maribor?How we got thereWe approached it by expressing the connection between the culture and the city. Language, at the core of cultural identity, provided us with a solution in a logotype. Using both the latin and the hebrew script, one being written left-to-right, the other right-to-left, we supperimposed the name of the institution, in a short and full-lenght variant.The tools we createdWe chose carefully the typefaces used in the logotype, so that the scripts would act contemporary and complement eachother in form, proportions, spacing and weight. Having been sliced in an alternating method, an optical fusion of the scripts took place; the fusion of culture and the city. As we went further, developing the whole typographic system, we kept true to the basic concept by using a double-sided apporach: one side for latin script, with latin part emphasised in the logotype, and vice-versa.The goals we accomplishedThe communication between the cultures is not only made possibble, but is encouraged and educating. We are now working on expanding this approach to each communication tool used by the sinagogue, so this project is still very much an exciting work in progress.In collaboration with Matej Koren. Based on typeface families Nitti and Arial Hebrew. Printed matter printed at Repro studio Lesjak, Maribor. The project is licenced under a closed licence. http://www.aljaz-vindis.info/In-brief-From-woman-to-woman-a-woman http://www.aljaz-vindis.info/following/aljaz-vindis.info/In-brief-From-woman-to-woman-a-woman Mon, 28 Nov 2011 21:49:24 +0000 Aljaž Vindiš 2367890 Image of the project<img src="http://payload3.cargocollective.com/1/3/110446/2367890/Aljaz-Vindis-From-woman-to-woman-a-woman.jpeg" width="566" height="800" width_o="566" height_o="800" src_o="http://payload3.cargocollective.com/1/3/110446/2367890/Aljaz-Vindis-From-woman-to-woman-a-woman_o.jpeg" data-mid="16878503" border="0" align="left"/>The motif of the play. Digital photomontage, 210 × 300mm.About the projectMore of a chance expression than a planned collision with the feminist agenda, Form woman to woman a woman, poetry-in-theatre of the independent theatre Moment from Maribor, speaks to its audience through self-ironisation of the two actresses, acting on behalf of the playwright, Minca. In order to communicate her stance to the public, two conflicting feminine stereotypes were joined in a seamless, subliminal montage, developed from repurposed images, found on the Word Wide Web, using stereotypical search queries. The image was latter applied to printed matter of the play. The play has received wide attention and is getting invitations for performances from around Slovenia, booking full venues on several occasions. The image has left a strong impression among the performers, members of the theatre and the public and is instrumental in inviting viewers to the performance.The motif was developed in collaboration with the members of the theatre. Printed at Hopa, Maribor. The project is licenced under a closed licence. http://www.aljaz-vindis.info/Planica http://www.aljaz-vindis.info/following/aljaz-vindis.info/Planica Tue, 11 Oct 2011 15:04:24 +0000 Aljaž Vindiš 1768187 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1768187/Aljaz-Vindis-Planica-1.jpeg" width="670" height="328" width_o="670" height_o="328" src_o="http://payload.cargocollective.com/1/3/110446/1768187/Aljaz-Vindis-Planica-1_o.jpeg" data-mid="16562509" border="0" align="left"/>The new logotype.<img src="http://payload.cargocollective.com/1/3/110446/1768187/Aljaz-Vindis-Planica-2.jpeg" width="670" height="670" width_o="670" height_o="670" src_o="http://payload.cargocollective.com/1/3/110446/1768187/Aljaz-Vindis-Planica-2_o.jpeg" data-mid="16562510" border="0" align="left"/>Side by side comparison of the old and the new logotype, superimposed to reveal the preserved relations.What their motives wereThe icon of Slovenian sport's heritage, the ski jumps of Planica, have come to their age, but fragmented ownership and clashes of interests caused years of delay of renovation and expansion. To avoid further degradation of the infrastructure, matters have been resolved in the form of a joint foundation and a project which includes all the necessary upgrades and additions to the sites and objects.How we got thereTo reflect the changes in the valley, the logotype of Planica had to be corrected. However, the logotype is part of the Slovene visual history and carries strong emotional value for its managers, staff, users and regular visitors. The scale of changes to the logotype had to be equal to the scale of changes of the infrastructure; repairing the past and building on it, rather than replacing it.The tool we repairedThe changes were based on the legibility of individual letters and the logotype as a whole, from small sizes to huge enlargements that might occur in environmental use. Shapes also had to comply with the limitations of computer and television screens, of printing and of materials used in signage systems. Hence, the letters have lost the curved endings and block-structure, but gained 10 degree smaller tilt, spacing, correct proportions and slightly bigger horizontal cuts to accommodate ink spread at small sizes and optical distortion when viewed from far.The goals we accomplishedThe logotype can now work in any enviroment it is exposed to. It was commissioned as part of the visual identity system, being developed for the Nordic center Planica and will be released into full use only after the renovations in the valley are finished and the new nordic centre officially opens. In collaboration with Nenad Cizl. The project is licenced under a closed licence. http://www.aljaz-vindis.info/Tribuna-student-newspaper http://www.aljaz-vindis.info/following/aljaz-vindis.info/Tribuna-student-newspaper Sat, 06 Aug 2011 12:38:21 +0000 Aljaž Vindiš 1827208 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-1.jpeg" width="465" height="333" width_o="465" height_o="333" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-1_o.jpeg" data-mid="16562562" border="0" align="left"/>The cover of the May 2010 issue.<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-2.jpeg" width="465" height="333" width_o="465" height_o="333" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-2_o.jpeg" data-mid="16562565" border="0" align="left"/>A spread from the February 2010 issue.<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-3.jpeg" width="465" height="333" width_o="465" height_o="333" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-3_o.jpeg" data-mid="16562566" border="0" align="left"/>A spread from the March 2010 issue.<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-5.jpeg" width="465" height="333" width_o="465" height_o="333" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-5_o.jpeg" data-mid="16562568" border="0" align="left"/>A spread from the June 2011 issue.<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-6.jpeg" width="465" height="341" width_o="465" height_o="341" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-6_o.jpeg" data-mid="16562569" border="0" align="left"/>A spread from the October 2010 issue.<img src="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-7.jpeg" width="465" height="341" width_o="465" height_o="341" src_o="http://payload.cargocollective.com/1/3/110446/1827208/Aljaz-Vindis-Tribuna-the-newspaper-7_o.jpeg" data-mid="16562570" border="0" align="left"/>A spread from the October 2010 issue.What our motives wereIn summer of 2009, following the ever growing dissatisfaction in Slovene student corpus, Tribuna, the socially-critical Slovenian student newspaper in circulation from 1951 to 1998, has been revived. All that has remained of the old Tribuna are the archived pieces in the National Library of Slovenia, so it had to be brought up anew and in a way, that would contrast the increasingly demoralized and precarious environment the students populate.How we got thereDespite the pressure to distribute content in digital form, we chose to first develop the analog publishing platform, so we get to understand the existing methods and models of production and can better evaluate the upcoming ones for their benefits and shortcomings, if we choose to switch. The newspaper operates on annual budget of just 60.000 euros; such a pragmatic approach allowed for a fast learning curve in regards to allocation and use of the newspaper's resources, while retaining it's function as a socially responsive project. The tool we createdThe newspaper's grid does not have fixed modules in fixed positions, but is rather constructed by a set of parameters, allowing a generative approach. The sections and the articles are subjected to this mathematical system, which allows the editors to calculate the distribution of each issue's articles in advance, come up with compositional sketches prior the production and plan the orders for the content, saving both time and costs. Such an approach also helps to resolve problems if they occur, as the layout can quickly be refitted based on the parameters at hand, allowing for seemingly endles variations of the layout, yet keeping the newspaper coherent.The goals we accomplishedIt's still running ... providing paid internship for students in the fields of visual communication and journalism, with a system of collective production, so each student can play an equal role in the process. It has established itself as one of the foremost references in Slovene newspaper production and is getting the students jobs in the professional publishing industry. Its extensive use of illustrations helps to (re)establish and (re)define illustration in Slovene newspapers, as more and better illustrations are appearing on their pages.In collaboration with Alen Kirn, Aleš Guid, Aljaž Košir, Anej Korsika, Jurij Smrke, Klemen Ilovar, Miha Erjavec, Nejc Prah, Robert Bobnič, Tanja Peček. Mixed technique. Formerly printed at SET Vevče, Ljubljana, in Berliner format, on 45g newspaper stock. Currently printed at Tiskarna Hren, Ljubljana on A3 format, 70g newspaper stock. It's current format corresponds to the standard sizes of bags students carry to school and allows for printing on home laser and ink-jet printers in 50% size, proportionally reduced. The project is licenced under BY-NC-ND. As is encouraged with the open licence of the project, you can download all of the issues for reading and personal re-use. The issues are saved in full-size, 150dpi, CMYK, PDF files:Download the issues in ZIP, 298.6 MB http://www.aljaz-vindis.info/Tribuna-God-Save-the-music http://www.aljaz-vindis.info/following/aljaz-vindis.info/Tribuna-God-Save-the-music Mon, 25 Jul 2011 10:28:57 +0000 Aljaž Vindiš 1774479 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1774479/Aljaz-Vindis-Tribuna-God-Save-the-music-1.jpeg" width="465" height="660" width_o="465" height_o="660" src_o="http://payload.cargocollective.com/1/3/110446/1774479/Aljaz-Vindis-Tribuna-God-Save-the-music-1_o.jpeg" data-mid="16562661" border="0" align="left"/>First iteration of the manipulated message. Mixed technique, 280 mm x 400 mm.<img src="http://payload.cargocollective.com/1/3/110446/1774479/Aljaz-Vindis-Tribuna-God-Save-the-music-2.jpeg" width="465" height="660" width_o="465" height_o="660" src_o="http://payload.cargocollective.com/1/3/110446/1774479/Aljaz-Vindis-Tribuna-God-Save-the-music-2_o.jpeg" data-mid="16562665" border="0" align="left"/>Second iteration of the manipulated message. Mixed technique, 280 mm x 400 mm.What our motives wereIn February 2010 newspaper Tribuna has dealt with the issue of intellectual property, with special interest in Sazas (link in Slovene); the musicians authorship collective of Slovenia. They are responsible for absurd regulations and fees for use of audio material, enforced under questionable terms.How we got thereTribuna participated as a printed media platform for a coordinated campaign, devised in collaboration with all of it's participants, including Radio Študent, individual musicians, activists, bloggers and members of the student club from Vrhnika. It was a socially responsive project.The tools we createdThe irony and perversity of the situation have been told through the remake of the infamous Sex Pistols cover from Good save the queen album, with the head of the president of the collective in the place of the Queen, and alteration to the collaged message. Such an approach also gave it a critical comment on the general state of music industry today.The goals we accomplishedSazas responded legally towards the publisher of Tribuna. However, by the end of the campaign, an estimated 5.000 badges were sold and distributed. Tribunals of their chairman have been pasted in music venues all over Slovenia and some Slovenian musicians have openly supported the campaign. Through the culmination of pressure from our campaign and from others in its footsteps, the Slovene office for intellectual property (link in Slovene) sanctioned the collective, a move which resulted in the legal battle (link in Slovene) between the two, with the collective having lost the case. However, a year has passed and not much had actually changed, so in March 2011 the montage was altered a bit more.Both montages were developed in collaboration with Ana Baraga and Miha Erjavec. The project is licenced under BY-NC-ND. As is encouraged with the open licence of the project, you can download the full resolution images for personal re-use. The images are saved in full-size, 150dpi, CMYK, JPEG files:Download the full resolution images in ZIP, 2.8 MB http://www.aljaz-vindis.info/Academy-of-fine-arts-and-design-University-of-Ljubljana http://www.aljaz-vindis.info/following/aljaz-vindis.info/Academy-of-fine-arts-and-design-University-of-Ljubljana Mon, 25 Jul 2011 01:53:44 +0000 Aljaž Vindiš 1773419 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-1.jpeg" width="600" height="482" width_o="600" height_o="482" src_o="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-1_o.jpeg" data-mid="16563053" border="0" align="left"/>Mock-up of the index page.<img src="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-2.jpeg" width="600" height="592" width_o="600" height_o="592" src_o="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-2_o.jpeg" data-mid="16563085" border="0" align="left"/>Mock-up of the events and news page, with an active pop-over for submitting.<img src="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-3.jpeg" width="600" height="717" width_o="600" height_o="717" src_o="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-3_o.jpeg" data-mid="16563102" border="0" align="left"/>Mock-up of the organisation graph with a pop-over for detailed information.<img src="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-4.jpeg" width="600" height="1313" width_o="600" height_o="1313" src_o="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-4_o.jpeg" data-mid="16563120" border="0" align="left"/>Mock-up of the pedagogues' public profile with a pop-over for filters in the gallery.<img src="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-5.jpeg" width="600" height="920" width_o="600" height_o="920" src_o="http://payload.cargocollective.com/1/3/110446/1773419/Aljaz-Vindis-Academy-of-fine-arts-and-design-University-of-Ljubljana-5_o.jpeg" data-mid="16563126" border="0" align="left"/>Mock-up of the curriculum page.What their motives wereIn 2009, the Academy of Fine Arts and Design, University of Ljubljana, commissioned an update to its web site and services in light of the approval of the Bologna study system corriculum.How we got thereAnalysis of the old site and the institution itself revealed that its processes relied on old approaches to administration and communication, leading to confusion, overworked staff and dissatisfied students. Those three factors were putting a strain on the personal relations and as such resulted in a stressful work and study climate. A proposal was put forward by the project group, to revise the processes of institution as a whole and integrate the solutions in a layered, socially responsive web site and dedicated services; one layer for public relations, one for internal relations. Solving the existing set-backs could and most probably would cause positive effects to take place. By distributing the effort of running the institution among all of its members, study and work climate would relax and further changes could be put in place by the members of the institution themselves.The tools we createdThe revised relations between the members, the starting point for revising the processes, were mapped for better understanding. There was an effort to come up with technical solutions to practical problems, which would ease the bureaucratic and logistic burden of employees. As the Academy is the foremost educational body for fine arts and design in Slovenia, the finished product had to reflect that, as a case study of interactive design and visual communication. It also adhered to the visual representation of the University of Ljubljana, developed by Miljenko Licul (link in Slovene). You can get some insight into this complex system through the mock-ups, showing you the user interface in some of the many different situations and stages of use.The goals we (haven't) accomplishedIn the end, over 40 pages of technical documentation have been written and prepared for the public invitation for applications by executants. However, due to (preventable) financial problems well into the project, the administration of the Academy decided to abandon the necessary internal services and resort to releasing only an arbitrarily abridged public web site, developed by an unqualified executant. This has been met with a strong opposing argument, referring to our initial analysis, but they have since kept their decision and went ahead with the development of the abbridged site, published in an unfinished state, still missing most of it's content.In collaboration with Jure Kožuh, Tanja Semion, expert consultant Tadej Zajšek and representatives of the Academy; prof. dr. Petra Černe Oven and vice-dean, prof. Alen Ožbolt. The project is licenced under a closed licence. http://www.aljaz-vindis.info/In-brief-Emzin-Childhood http://www.aljaz-vindis.info/following/aljaz-vindis.info/In-brief-Emzin-Childhood Sat, 23 Jul 2011 10:12:18 +0000 Aljaž Vindiš 1768191 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-1.jpeg" width="465" height="602" width_o="465" height_o="602" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-1_o.jpeg" data-mid="16562485" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-2.jpeg" width="541" height="359" width_o="541" height_o="359" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-2_o.jpeg" data-mid="16562486" border="0" align="left"/>Illustration for the article by Robi Kroflič titled "Images of childhood", concentrating on the the perception of a child and childhood, as it evolves through history. Mixed technique, 230 mm x 300 mm.<img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-3.jpeg" width="465" height="602" width_o="465" height_o="602" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-3_o.jpeg" data-mid="16562488" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-4.jpeg" width="541" height="359" width_o="541" height_o="359" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-4_o.jpeg" data-mid="16562489" border="0" align="left"/>Illustration for the article by Metka Kuhar titled "Sticks and carrots in the corner!", concentrating on the quazi-scientific approach to raising a child, resulting in the polarised, manufactured self-reflection of the child. Mixed technique, 230 mm x 300 mm.<img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-5.jpeg" width="465" height="602" width_o="465" height_o="602" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-5_o.jpeg" data-mid="16562490" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-6.jpeg" width="541" height="359" width_o="541" height_o="359" src_o="http://payload.cargocollective.com/1/3/110446/1768191/Aljaz-Vindis-Emzin-Childhood-6_o.jpeg" data-mid="16562491" border="0" align="left"/>Illustration for the article by Žarko Trebješanin titled "A new image of child and childhood in anthropology, psychology and psychoanalysis", concentrating on the approaches to raising children change with time, what the current state is and how it is reflected in children of today. Mixed technique, 230 mm x 300 mm.About the projectEmzin, Slovenian magazine for culture, deals with a specific topic in each issue. They invite scientists and scholars of choice to write, and authors of choice to translate that writing into visual language. In 2011, they gave focus to the topic of "Childhood" and the following illustrations have been made for the "Theory" section. The visual guidelines for the section stated that the image should be either in two colours or grayscale with a second colour accent. As if the theory itself is not complex enough ... The images have been set to the articles by Robi Kroflič, Metka Kuhar and Žarko Trebješanin. They illustrate their individual content, as well as interpret it in a common visual narrative, connecting separate illustrations in a series, more meaningfully than just the sum of its parts.Printed at Formatisk, Ljubljana. The project is licenced under a closed licence. http://www.aljaz-vindis.info/Tribunal-typeface-family http://www.aljaz-vindis.info/following/aljaz-vindis.info/Tribunal-typeface-family Fri, 22 Jul 2011 23:11:27 +0000 Aljaž Vindiš 1766975 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-1a.jpeg" width="527" height="731" width_o="527" height_o="731" src_o="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-1a_o.jpeg" data-mid="16878548" border="0" align="left"/>Simulations of use.<img src="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-2a.jpeg" width="527" height="731" width_o="527" height_o="731" src_o="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-2a_o.jpeg" data-mid="16878549" border="0" align="left"/>Formal and technical information about the family.<img src="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-3a.jpeg" width="527" height="731" width_o="527" height_o="731" src_o="http://payload.cargocollective.com/1/3/110446/1766975/Aljaz-Vindis-Tribuna-Tribunal-typeface-family-3a_o.jpeg" data-mid="16878550" border="0" align="left"/>The entire character set.What our motives wereBespoke type families are a specialised field of typeface design. They focus on specific problems of their users, be it financial, visual, technical, any combination of them or all three at once that shape the typeface. In case of newspaper Tribuna, all three problems were relevant: licensing a font was too expensive, the newspaper had a rich visual history and the technical infrastructure was scarce. So, we made a decision to develop a bespoke type family in-house.How we got thereThe deadline for the first upright cuts was 2 months and before the initial issue, only one test print run was available. However, the specific nature of the newspaper allowed for a prolonged period of testing the working cuts with each new issue, in print and on screen, as long as necessary.The tool we createdAfter 30 months of developement and over a dozen versions, the final font files were prepared for release and the typeface family was released to the newspaper for continued use. Because of it's intended use both in print and on screen, the glyph forms incorporate solutions that use limitations of the printing machines and the screen matrix to their advantage.The goals we accomplishedTribunal has received great feedback from the readers, successfully established itself in the newspaper and serves well to the editorial board of Tribuna. We have even recieved numerous requests by interested buyers for it's use outside of the newspaper. It stands as a statement to the commercial publishing industry in Slovenia, as it is only the fourth bespoke typeface family for a Slovenian newspaper, after families for Delo, Večer and Dnevnik.At different stages of development, I have recieved generous support and encouragement from Samo Ačko, Tomato Košir, Lucijan Bratuš, Marko Drpič, Mitja Miklavčič, Veronika Burian and Gerard Unger. The project is licenced under a closed license. However, the newspaper does not have an exclusive and will not enforce one, so I am looking for a foundry, to release it to public. When I do, Tribunal will be made available for purchase. http://www.aljaz-vindis.info/Tribuna-Gebt-mir-4-Jahre-Zeit http://www.aljaz-vindis.info/following/aljaz-vindis.info/Tribuna-Gebt-mir-4-Jahre-Zeit Fri, 22 Jul 2011 21:28:19 +0000 Aljaž Vindiš 1766701 Images of the project<img src="http://payload.cargocollective.com/1/3/110446/1766701/Tribuna-Gebt-mir-4-Jahre-Zeit-1.jpeg" width="465" height="664" width_o="465" height_o="664" src_o="http://payload.cargocollective.com/1/3/110446/1766701/Tribuna-Gebt-mir-4-Jahre-Zeit-1_o.jpeg" data-mid="16562615" border="0" align="left"/>The montage for May issue of 2010, set to the article "Let's not fall for the Socialism for the dummies", written by Anej Korsika, depicting the rise of radical right in contemporary Slovenia, fueled in part by the actions of the Nationalist party of Slovenia. Mixed technique, 280 mm x 400 mm.<img src="http://payload.cargocollective.com/1/3/110446/1766701/Tribuna-Gebt-mir-4-Jahre-Zeit-2.jpeg" width="465" height="638" width_o="465" height_o="638" src_o="http://payload.cargocollective.com/1/3/110446/1766701/Tribuna-Gebt-mir-4-Jahre-Zeit-2_o.jpeg" data-mid="16562617" border="0" align="left"/>The montage for January issue of 2011, set to the article "Reconciliation; nationalistic ideology of Slovenehood; a plea for collaborators from the right wing" written by Gal Kirn. Mixed technique, 280 mm x 400 mm.What our motives wereDuring World War II, Slovenia was occupied by fascist Italy and nazi Germany. Our nation has a strong memory of the ideology and propaganda used by them. This does not however stop the expanding neofascist and neonazi groups in Slovenia to refer to their ideals and visual symbols, while the mainstream media more or less ignores this growing social problem. So, in the May issue of 2010 Tribuna has dealt with nationalism in Slovenia today.How we got thereThe contemporary Slovenian National Party, at the time a member of Slovenian parliament and allegedly connected to the radical right groups, was gaining votes at the time. We saw this as a que for a campaign to expose the groups' mode of operation and inform the public of their dangerous potential. The highly refined visual language of totalitarian propaganda was analyzed in detail by Steven Heller in the book Iron Fists: Designing the 20th century totalitarian state. An image on the page 60 of the book was the basis for our manipulation. It depicts the poster for 1937 National Socialist German Workers' Party campaign, stating "Gebt mir 4 Jahre Zeit", in translation "Give me 4 years time". The author and the printer of the original poster are unknown.The tools we createdWe used montage to replace the head of Adolf Hitler with the head of Zmago Jelinčič, the president of the party. The nazi symbols were replaced by the symbols of the nationalist movement in Slovenia. To evoke a feeling of a repressive regime, the entire issue was also contextually censored before it went to print, intentionally skewing certain parts of the content, revealing the mechanism of propaganda.The goals we accomplishedThe motif was received with a strong reaction among the readers, but, to our surprise, not so much from the radical right groups. We decided to increase the pressure in January Issue of 2011: In reaction to the occupation of Slovenia during World War II, the nation split in two - the partisan movement and the collaborative movement. Their post-war ideological dispute has been fueled by the outrage of the collaborators for being labeled as traitors. War is complex and it certainly is not innocent, but the collaborative movement has somewhat forgot that even thought their intentions might have been good, they have helped the oppressors, not the oppressed. The poster has once again been manipulated, this time representing the (intentional) amnesia of the collaboration apologists. The final manipulation was based on several experiments of image destruction: painting over it, cutting it apart and dissolving it with alcohol.The project is licensed under BY-NC-ND. As is encouraged with the open license of the project, you can download the full resolution images for personal re-use. The images are saved in full-size, 150dpi, CMYK, JPEG files:Download the full resolution images in ZIP, 13.2 MB