第十六届All Sokol Slet 2018视觉形象设计

VIS设计/非盈利机构、公共事业

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发布于2018-10-07

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XVIth All Sokol Slet 2018


Slet is a mass gymnastics event and union of schools that has its roots in the latter half of 19th century Prague with the intention of providing physical, moral and intellectual training for the nation. Slet takes its name from the Czech word for flocking of birds. This can be understood in the sight of a stadium field filled with participants exercising in union. Slet became Skol clubs and spread across the country, establishing strong relationships with gymnastic bodies internationally, particularly with those in France, a relationship that endures today.


Slet, which took place every six years, were also characterised by their strong visual identities. This was a critical part of the unifying nature of the occasion. This was often put in the hands of prominent artists of the time.


From its beginnings in the second half of the 19th century to the present, Slet has found itself caught amongst political agendas; suppressed or repurposed for propaganda, only to reclaimed. The event was revived during the Prague Spring of 1968, only to fade out and remerge again for the fourth time in 1990 and then in 1994 when 23,000 Skols participated.


In 2018 Slet once again returned for its 16th event. In the same spirit of its earliest events, visual identity was an essential component. Inspired by the complex movements and the diagrams of dots, lines and arrows that guided the gymnasts, Prague-based Studio Najbrt draws a sense of fun, energy and character from complexity. This runs across and links a variety of printed materials, these included posters, billboards, badges, t-shirts, stamps, bags, badges and a variety of merchandise.



Visual identity, posters, billboards, t-shirts and merchandise by Studio Najbrt for the XVIth All Sokol Slet 2018


The visual language of organised movement, be it in the sports arena or guiding artistic performance, is a familiar and recurring reference point and device in graphic and identity design. However, the approach here is not defined by its stylistic uniqueness; but by its historical and cultural context and relevance, in the way it exists between its formal socialist beginnings; the health and intellectual well-being of the nation and an expression of referential joyfulness today.


Slet, in its origins, in its suppression, appropriation and resurgence at very specific moments (1968 and 1990), sees it very much tied to time and cultural sentiment. That these events also had a strong relationship with the visual arts, a tool for tapping into and elevating a feeling, as well as its role within a sequence, is critical and essential to understanding the relevance of the concept.



The complexity and difficulty of recording and then communicating movement, which is then expected to happen in union, is amplified, beyond practicality, into a visual cacophony. There is a spirit here that, as someone who spent an extended period in the Czech Republic, sees as timely. That Studio Narbjt, who have found themselves in a unique spot; their work is very much part of Prague’s visual landscape, often imposing moments of modernity and simplicity amongst the Gothic, Renaissance and Baroque ornament of the urban topography, is not a surprise and very much in keeping with the symbolic and visceral nature of the event.



Stylistically the work clearly has its roots in the mid-century modern. Studio Najbrt mention Bauhaus and the legendary Czech designer Ladislav Sutnar. This can be seen in colour, spatial sensitivity, typographic modernity and diagrammatical play. There are some lovely moments where posters are presented together within the city, a wall of arrows, lines and dots, that amplify this theme of fun from function. While the essential components and foundation of the graphic work may not be unique, the quality of its execution, its balance and movement, the elevation of pragmaticism into a convivial absurdity, a clear continuity across all assets, as well as the sequential component and historical legacy marks this out.



Slet是一个大规模的体操活动和学校联盟,其根源在于19世纪下半叶布拉格,旨在为国家提供身体,道德和智力训练。 Slet的名字来源于捷克语中的鸟类植绒。这可以通过充满参与者锻炼的体育场场景来理解。 Slet成为Skol俱乐部并遍布全国各地,与国际体操机构建立了牢固的关系,尤其是与法国的体育俱乐部,这种关系至今仍然存在。


Slet每六年举办一次,其特点还在于其强烈的视觉形象。这是该场合的统一性质的关键部分。这经常被当时杰出艺术家掌握。


从19世纪下半叶开始到现在,Slet发现自己陷入了政治议程之中;压制或改变用途进行宣传,只是为了回收。该活动在1968年的布拉格之春期间重新开始,仅在1990年第四次淡出并重新出现,然后在1994年23,000 Skols参加时再次出现。


在2018年,Slet再次参加了第16届比赛。与其最早的事件一样,视觉识别是一个必不可少的组成部分。灵感来自复杂的动作以及引导体操运动员的点,线和箭的图表,位于布拉格的Studio Najbrt从复杂性中汲取了乐趣,活力和个性。它贯穿并连接各种印刷材料,包括海报,广告牌,徽章,T恤,邮票,袋子,徽章和各种商品。



Studio Najbrt为第十六届All Sokol Slet 2018设计的视觉识别,海报,广告牌,T恤和商品


有组织的运动的视觉语言,无论是在体育领域还是指导艺术表演,都是图形和身份设计中熟悉且反复出现的参考点和设备。然而,这里的方法并不是由其风格独特性来定义的;但它的历史和文化背景和相关性,正如它在正式的社会主义开端之间存在的那样;国家的健康和智力福祉,以及今天表达的参考快乐。


Slet在其起源,在非常特定的时刻(1968年和1990年)的镇压,占有和复兴中,认为它与时间和文化情感密切相关。这些事件也与视觉艺术有着密切的关系,这是一种利用和提升感觉的工具,以及它在序列中的作用,对理解概念的相关性至关重要。



记录然后传达运动的复杂性和难度,然后预期在联合中发生,被放大,超出实际,变成视觉上的杂音。这里有一种精神,就像在捷克共和国度过一段长时间的人一样,这种精神是及时的。工作室Narbjt,他发现自己在一个独特的地方;他们的作品是布拉格视觉景观的重要组成部分,往往在城市地形的哥特式,文艺复兴时期和巴洛克式装饰中蕴含着现代性和简约性的时刻,这并不令人惊讶,并且非常符合该活动的象征性和内在性。



在风格上,这项工作显然源于本世纪中叶的现代。 Studio Najbrt提到包豪斯和传奇的捷克设计师Ladislav Sutnar。这可以从颜色,空间敏感性,印刷现代性和图解性游戏中看出。有一些可爱的时刻,海报在城市中呈现在一起,箭头,线条和点的墙壁,从功能放大这个有趣的主题。虽然图形作品的基本组成部分和基础可能并不是独一无二的,但其执行的质量,平衡和运动,将实用主义提升为欢乐的荒谬,所有资产的清晰连续性,以及顺序组成和历史遗产标志着这一点。


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第十六届All Sokol Slet 2018视觉形象设计

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